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A free scan shows the junk files, broken settings and background clutter dragging Windows down - then fixes them in one click.Free scan · Windows 10 & 11For a first watch, follow this order: Nathan for You (seasons 1–4, 2013–2017), The Rehearsal season 1 (2022), The Curse (2023–2024), The Rehearsal season 2 (2025), then You Can See Everything (2026). This sequence starts with Fielder’s defining business-comedy format, follows its expansion into private life, pauses for his major scripted drama, and then returns to his nonfiction experiments before ending with his newest documentary.
The recommended viewing order
| Order | Project | Year(s) | Format | What it contributes |
|---|---|---|---|---|
| 1 | Nathan for You, seasons 1–4 | 2013–2017 | Manipulated nonfiction and business field pieces | The foundation of Fielder’s methods, persona and comic escalation |
| 2 | The Rehearsal, season 1 | 2022 | Personal social experiment | Applies elaborate planning to intimate decisions rather than struggling businesses |
| 3 | The Curse | 2023–2024 | Scripted drama | Moves Fielder’s discomfort, control and moral ambiguity into a sustained fictional story |
| 4 | The Rehearsal, season 2 | 2025 | Continuing nonfiction/social experiment | Returns to the series after the scripted detour, building on season 1’s premise |
| 5 | You Can See Everything | 2026 | Documentary feature | Extends his interest in performance and public identity into a portrait of Elizabeth Holmes |
The sequence follows release order for the central works while keeping the two seasons of The Rehearsal together conceptually. Watching season 1 before The Curse makes the later change to scripted drama easier to recognize; placing season 2 afterward preserves the chronology and lets you see what changes when Fielder returns to nonfiction.
1. Nathan for You (2013–2017)
Why it comes first
Nathan for You is the essential starting point because it establishes nearly every idea that later projects reshape: a deliberately awkward on-screen persona, elaborate plans imposed on real people, a fascination with rules and loopholes, and a willingness to continue a premise long after a conventional television host would abandon it. Paramount Global Content’s 2026 catalog lists four seasons and 32 episodes, released from 2013 through 2017, with Fielder starring.
The catalog describes the setup as Fielder playing a business adviser who uses strategies “that no traditional consultant would dare attempt.” The show’s interventions can involve genuine small-business problems, but the proposed solutions become increasingly elaborate performances. Examples highlighted in the catalog include the Dumb Starbucks stunt and a poo-flavored-yogurt scheme. The comedy comes from the collision between an apparently practical consultation and the impossible machinery built around it.
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How to watch it
Watch all four seasons in release order rather than jumping directly to famous clips. The early episodes establish the basic field-piece structure; later episodes become more ambitious and reveal how much the show depends on accumulated trust, awkwardness and escalation.
- Start with season 1 to learn Fielder’s consultant character and the show’s intervention format.
- Continue through seasons 2 and 3, where the schemes become larger and the boundary between advice and performance grows less stable.
- Finish season 4. Its concluding run includes “Finding Frances,” a finale-length episode that functions as a culmination rather than a substitute for the preceding episodes.
“Finding Frances” is a useful entry point if you are sampling, as is the Dumb Starbucks episode, but sampling misses the gradual construction of the show’s style. A first-time viewer should treat those episodes as landmarks after, not instead of, the complete run.
What to notice
- Business advice as theater: The businesses are nominally the subject, while the planning process becomes the real spectacle.
- Escalation: A small operational suggestion can expand into branding, legal maneuvering, casting or a public stunt.
- Fielder’s performance: His flat delivery and apparent naivety are tools that make other people underestimate how engineered a situation is.
- Ethical uncertainty: The show repeatedly asks whether a helpful outcome excuses manipulative means, without resolving that question for the viewer.
2. The Rehearsal season 1 (2022)
What changes from Nathan for You
After the business-centered field pieces, The Rehearsal turns the same appetite for preparation toward personal dilemmas. Time described season 1 as a six-episode HBO series that applies the social-engineering methods of Nathan for You to people facing private problems. Instead of helping a shop attract customers, Fielder constructs detailed environments in which participants can practice conversations, decisions or possible futures.
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The central device is rehearsal itself: build a scenario, populate it with performers or replicas, repeat it, then adjust the conditions when reality refuses to cooperate. The approach sounds therapeutic or managerial, but Fielder’s interventions keep exposing the limits of simulation. A perfectly prepared exchange can still produce an unplanned emotion, and a model of another person can never fully replace that person.
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Why it follows Nathan for You
Season 1 works best when you already understand Fielder’s earlier television persona. The viewer recognizes the familiar planning diagrams, controlled spaces and deadpan instructions, but the stakes are more intimate. The show’s subject is no longer whether a promotional stunt will work; it is whether a person can make an honest choice after rehearsing every possible version of it.
Viewing approach
Watch the six episodes consecutively. The season’s structure rewards attention to how a rehearsal changes once Fielder becomes part of the scenario rather than remaining an outside consultant. The production’s artificial spaces are not merely visual jokes: they make the difference between a copy and lived experience visible.
Rank #3
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- Compact without compromises: Our sleek design won’t block neighboring HDMI ports, and it even powers from your TV alone, plugging into the back and staying out of sight. No wall outlet, no extra cords, no clutter.
- No more juggling remotes: Power up your TV, adjust the volume, and control your Roku device with one remote. Use your voice to quickly search, play entertainment, and more.
- Shows on the go: Take your TV to-go when traveling—without needing to log into someone else’s device.
3. The Curse (2023–2024)
The major format departure
The Curse is a scripted series co-created and co-written by Nathan Fielder and Benny Safdie, starring Fielder, Safdie and Emma Stone. The filmography dates it to 2023–2024 and associates it with Showtime and Paramount+ distribution. Place it after The Rehearsal season 1 because it shows Fielder carrying his recurring concerns—control, performance, exploitation and self-presentation—into sustained fiction rather than a nonfiction intervention.
Unlike Nathan for You and The Rehearsal, the characters and situations are scripted. That distinction changes how to read every uncomfortable pause or apparently spontaneous reaction. The tension comes from a deliberately constructed dramatic world, not from waiting to discover how a real participant will respond to an improvised scheme.
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Why it belongs in the middle of the order
Watching The Curse before either season of The Rehearsal can make Fielder’s career look more linear than it is. In this position, the series functions as a pivot. You have seen him manipulate real-world situations, then watched him investigate private life through rehearsals; now you see those interests translated into character drama and collaboration with Safdie and Stone.
Rank #4
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- Breathtaking picture quality: Stunningly sharp 4K picture brings out rich detail in your entertainment with four times the resolution of HD. Watch as colors pop off your screen and enjoy lifelike clarity with Dolby Vision and HDR10+.
- Seamless streaming for any room: With Roku Streaming Stick 4K, watch your favorite entertainment on any TV in the house, even in rooms farther from your router thanks to the long-range Wi-Fi receiver.
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How to approach it
- Expect a slower, more sustained dramatic rhythm than in the short field pieces of Nathan for You.
- Read the performances as character work, not as evidence that the actors are being surprised on camera.
- Pay attention to how property, media images and personal morality become entangled; the show’s unease comes from their interaction rather than from a single stunt.
4. The Rehearsal season 2 (2025)
Why return after The Curse
Season 2 should follow season 1 in release order. The Television Academy records Fielder as writer and director of the 2025 episode “Pilot’s Code,” while Warner Bros. Discovery’s pressroom identifies The Rehearsal as an HBO Original and notes its second season. Those production records support treating both seasons as one continuing work, separated by the scripted experiment of The Curse.
Returning here lets you compare the premise with fresh expectations. In season 1, the novelty lies in seeing a business-style intervention applied to personal life. By season 2, the viewer knows the machinery: preparation, replication, role-playing and recursive self-involvement. The interest shifts toward what Fielder does with that machinery once it is familiar.
What to keep in mind
Do not treat season 2 as a replacement for season 1 or as a separate starting point. Its meaning depends on the first season’s questions about consent, authenticity and whether rehearsal can improve reality without changing the person being rehearsed. Watching the seasons together also makes Fielder’s changing role—as planner, participant, performer and director—easier to track.
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5. You Can See Everything (2026)
The newest major project
You Can See Everything is a 2026 A24 documentary made by Fielder with Lance Oppenheim. The filmography records a surprise premiere at Telluride on September 6, 2026, followed by release on October 16, 2026. It depicts Elizabeth Holmes in the weeks before her prison sentence.
This is a feature-length documentary portrait rather than a television season built around repeated interventions. Its subject brings the question of performance into direct focus: Holmes is a public figure whose identity has already been shaped by media, business mythology and criminal proceedings. Fielder’s involvement places that portrait at the far end of the viewing order, after you have seen him examine business personas, private rehearsal and scripted self-fashioning.
Why it closes the sequence
The film is the latest dated entry in this filmography, so ending with it preserves chronology. It also broadens the range of formats represented: from manipulated nonfiction to personal experiment, scripted drama and finally a documentary portrait made with Oppenheim. Viewers should verify current availability in their country because release and catalog access can differ by territory.
Optional early and adjacent credits (2007–2012)
These appearances are useful context but not prerequisites for the main run. They show Fielder developing the field-piece, sketch and character skills that later become central.
| Project or appearance | Year(s) | Role or relevance |
|---|---|---|
| Canadian Idol | 2007 | Segment producer and writer |
| This Hour Has 22 Minutes | 2008–2009 | Performer |
| Important Things with Demetri Martin | 2011 | Segment director and performer |
| Jon Benjamin Has a Van | 2011 | Played Nathan |
| Bob’s Burgers | Early career | Voice performer |
| Drunk History, Kroll Show, The Simpsons, Rick and Morty, Transparent and The Disaster Artist | Later appearances | Guest, voice or acting work listed in the filmography |
| Who Is America? | Later work | Consulting and directing |
| How To with John Wilson | Later work | Executive producer |
Sample these credits after the core sequence if you want to trace technique rather than plot. They reveal a performer and writer moving among sketch, documentary-style comedy, voice work and production roles before Nathan for You gives those interests a complete format.
How the projects differ
| Question | Nathan for You | The Rehearsal | The Curse | You Can See Everything |
|---|---|---|---|---|
| Format | Manipulated nonfiction and business field pieces | Personal social experiments | Scripted drama | Documentary portrait |
| Primary subject | Businesses and customers | People facing personal decisions | Fictional relationships, property and public identity | Elizabeth Holmes before her prison sentence |
| Core commitment | 32 episodes across four seasons | Season 1 has six episodes; season 2 is a later continuation | Series-length scripted story | Feature documentary |
| Collaborators named in the filmography | Fielder as creator, writer, director, star and executive producer | Fielder as creator and performer; HBO production | Benny Safdie and Emma Stone, with Fielder | Lance Oppenheim with Fielder |
Practical tips for a first-time viewer
- Set aside time for the full foundation: The 32-episode run of Nathan for You is the longest commitment and explains references in the later work.
- Do not confuse format with authenticity: “Unscripted” does not mean unplanned. Fielder’s nonfiction projects are built around extensive preparation and intervention.
- Use release order for the central works: It preserves the progression from business consultation to personal rehearsal, scripted drama, renewed experimentation and documentary portrait.
- Check regional catalogs: Distribution and streaming rights can change by country and over time, particularly for the HBO, Showtime, Paramount+ and A24 releases.
- Watch for authorship changes: Fielder is the central creative presence, but The Curse is a collaboration with Safdie and Stone, and You Can See Everything is made with Oppenheim.
Where the viewing order leaves you
By the end of You Can See Everything, you have seen Fielder’s major projects in a sequence that makes their formal shifts legible. Nathan for You supplies the comic and structural foundation; The Rehearsal tests that method against intimate life; The Curse converts the concerns into scripted drama; the second season of The Rehearsal develops the nonfiction premise; and You Can See Everything applies his interest in performance to a documentary subject whose public image is already inseparable from her story.
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