Spoilers ahead for You Can See Everything.
We are accustomed to seeing luxury rentals through the hyper-polished lens of overexposed, brightly lit Zillow listings, artificially staged with computer-generated furniture or draped in trendy bouclé across every available surface. However, director Lance Oppenheim and his director of photography, David Bolen, chose a remarkably different aesthetic for the residential backdrops of their documentary project You Can See Everything. Shooting with minimal artificial lighting and on actual celluloid film, they captured every structural crack, architectural quirk, and floating dust mote. The homes selected by Elizabeth Holmes and her partner, Billy Evans, during the twilight years of her high-profile legal saga are striking: they are the peculiar sort of properties that materialize when exceptionally wealthy individuals construct idiosyncratic estates that they ultimately decide they do not actually wish to inhabit.
In Texas, inside a high-ceilinged starter castle, the documentary captures Holmes’s parents sitting anxiously at a dark, shiny-topped wet bar, bracing themselves to send their daughter off to federal prison. Shortly afterward, the home’s backyard—complete with rustic Adirondack chairs and a gravel firepit—serves as an oddly cheerful, sunlit setting for Nathan Fielder’s final, deeply uncomfortable line of questioning before Holmes formally begins her prison sentence.
While tracking down the exact address of that particular Texas rental proved elusive, Billy Evans clearly preferred it that way. In the film, he notes that the couple frequently relocated to evade the relentless pursuit of the paparazzi, and public records show his name was carefully insulated from deeds, voter registrations, and commercial filings tied to that specific residential location. Yet investigative efforts successfully pinpointed the two primary Holmes-Evans residences where the vast majority of the documentary’s domestic drama unfolds, setting aside the picturesque farm scenes featuring Amanda Seyfried.
2986 Sandy Lane, Del Mar, California
Last Advertised Rent: $5,650 in 2015
Last Sale Price: Assessed at $441,110; transferred repeatedly between relatives since 1994
It is undeniably jarring to witness the once-untouchable founder of a sleek, hyper-capitalized Silicon Valley start-up residing in a dark, low-ceilinged mid-century home walled entirely in honey-colored wood. In this coastal dwelling, most of her personal belongings remain packed away in plastic storage bins stacked neatly on a concrete driveway. The house features four bedrooms and four bathrooms, but it exudes none of the traditional signifiers of high-end luxury: the kitchen is outfitted with white Formica countertops, a basic black microwave, and a memorably dated mauve stand-up shower. Outside, the exterior paint is visibly peeling. Inside, an ancient, sun-faded poster of Tahiti hangs on the wall.
By all outward appearances, it is a classic, sand-worn beach house that has seen generations of heavy foot traffic. Even if Holmes genuinely loved to swim, as she mentions to Fielder, her presence in Del Mar was likely engineered by Evans. His family has deep-rooted ties to the San Diego hospitality industry, having developed a prominent collection of local hotels, and his parents appear to have resided on the very same street. For a couple relentlessly hounded by the media, the property offered a crucial logistical perk: private beach access situated on a gated, secure street, according to local real estate professionals.
Although Fielder notes in the documentary that the home is a rental, the most recent public rental advertisement dates back more than a decade to 2015, when the property commanded an asking price of $5,650 per month. It remains entirely possible that Evans leveraged his local connections to secure an off-market arrangement directly with the owners. Real estate tipsters reportedly informed Substack writer Carson Griffith that the Evans family enjoyed a personal acquaintance with the property owners. Griffith also reported an estimated monthly rental figure of $28,000, though the precise methodology behind that valuation remains unclear, while Zillow currently estimates the overall value of the beachfront parcel at nearly $9 million.
County property records indicate that the house has changed hands exclusively within the same family network since 1994, when the trust of Frances Hays transferred the deed to Thomas C. Hays and Melinda Hays Bedell. Following a subsequent transfer in 2022, ownership currently rests with three members of the Bedell family. Griffith also unearthed municipal records from a 2018 Del Mar City Council meeting demonstrating that the Evans family aligned with the Hays family to oppose a local ballot measure that would have restricted their ability to remodel their beachfront properties—a measure that ultimately passed despite their opposition. Despite its prime coastal location, the property is a structure that could still benefit significantly from a comprehensive, modern renovation.
606 Josephine Street, Austin, Texas
Last Advertised Rent: $8,750
Current Listing Price: $2.25 million
While Holmes serves her sentence at a federal prison camp in Bryan, Texas, Evans is documented living roughly two hours away in Austin. There, he raises their two children in a contemporary residence featuring a talking, deep-fake digital avatar of their mother projected onto a vertical screen positioned directly across from the dining table. A local real estate broker recently shared the home’s address on social media, publicly identifying it as the exact property featured in the film and highlighting its status on the open market with an asking price of $2.25 million.
Evans appears to have commandeered one of the home’s four bedrooms to serve as a private home office—complete with a Winston Churchill poster that is conspicuously absent from current real estate listing photographs. The residence sits a short distance from the WeWork location where Evans established his subsequent business venture, a blood-testing start-up reportedly utilizing laser technology.
The official property listing displays the same austere, white-walled aesthetic and minimalist furniture that likely trace back to the family’s residency: the L-shaped living room sofa where Amanda Seyfried interacts with the children, and the circular dining table where dramatic confrontations unfold on camera. Brokerage records archived on Zillow indicate that the property struggled to secure a buyer after bouncing on and off the market near its current price point since March 2022. The owners ultimately pivoted to leasing the house, securing Evans and his family as tenants in 2024 following an advertisement listing the monthly rent at $8,750.
An earlier promotional description for the lease characterized the home as an unparalleled blend of comfort and convenience where every interior detail was meticulously selected. Yet, much like their California retreat, the true selling point for a high-profile tenant was likely privacy: the property features gated parking and a low stone fence designed to block the peering lenses of the paparazzi.
