NBC's To Catch a Predator only ran from November 2004-December 2007. For a show that only aired for a little over three years, it left behind quite a legacy. Host Chris Hansen is a pop culture icon who spawned multiple catchphrases ("Why don't you take a seat?", "You see how this looks right?") that remain in the lexicon today and the show's questionable ethics have become an even hotter topic of debate in recent years as several copycat shows have emerged on social media platforms like TikTok.
It was just last year that a documentary examining the show's history and legacy entitled Predators received a limited theatrical release before heading onto Paramount+. Now, a dramatized look at the show and Hansen himself from director Lance Oppenheim- who is ironically a documentarian making his narrative feature debut-entitled Primetime has arrived to reignite conversations about To Catch a Predator among a much wider audience.
Primetime is adapted from a 2007 Esquire article Tonight on Dateline This Man Will Die" by Luke Dittrich. The entirety of the film is set in 2006 right after To Catch a Predator had been moved to a primetime slot (Wednesday nights at 9 EST) and largely deals with how Hansen and his team become obsessed with the idea of luring somebody of a higher societal status like a politician, celebrity or law enforcement official with the hopes of further boosting their ratings now that the show is airing in a slot where it's commanding more eyeballs than it was in its previous time slot on Friday nights at 10 PM EST. They got their wish when they entrapped an assistant district attorney from Dallas/FortWorth named Bill Conradt and caused him to commit suicide on camera when the show's crew arrived alongside local police at his home in Terrell, Texas to serve him multiple warrants that stemmed from the conversations he had with the people from the show that were posing as a underage boy. This incident proved to be the beginning of the end for the controversial show and Conradt's estate later successfully sued NBC for damages related to his suicide (the settlement took place outside of court, so it's not known about how much Condradt's estate received)
To Catch a Predator is not a series that I saw much of when it was on. My parents weren't watching much Dateline before, during or after its run and ironically, I was spending my Wednesday nights watching Lost when it shifted to the Wednesday at 9 PM slot in the fall of 2006. Most of the knowledge that I have of the show is from watching miscellaneous clips online and seeing the flurry of memes that have been blasted all over the internet in the years after it went off the air.
My take on the show isn't a particularly novel one: I view it as a very entertaining product on the surface that becomes very insidious once you think about all of the actions that go into its creation. As much Hansen tried to build himself up as this noble guy who had dedicate his whole life to taking pedophiles off the street, neither him nor anyone on were concerned about anything else other than getting good footage that would help boost their ratings. Nobody who was serious about stopping pedophilia would go about it in such an exploitative, public facing way that shows a deep disrespect for the people out there who've been legitimately preyed upon online. Not to mention, this shows produced an easily mimicked playbook for baiting prospective predators that has been used by people with even sketchier moral compasses than Hansen. Many of the aforementioned social media shows are just guys luring men to a location, so they can beat the shit out of them on camera. Nothing says "I empathize with the plight of victims of child sexual abuse" quite like making videos where five guys pop out of the bushes and start wailing on the guy who thinks he's about to meet the 13-year-old he's been flirting with online for the past week or two. I'm sure the people who make and consume this content are similarly mad about The Epstein Files and the powerful people that are implicated in them.
While Singh's script certainly would've benefited from digging a bit deeper into its subject matter, Primetime still make for an awfully haunting, absorbing snapshot into the legacy of the show and the people that made it possible. Entrusting Robert Pattinson to play Hansen provides Oppenheim with the unshakable foundation he needed to bring the rest of his vision into place. Pattinson is such an intuitive, committed performer that he knows when to lean into the theatrical showmanship that defined Hansen's television persona and when to be the pathetic, insecure coward that is gutted that the entire world doesn't view him as the benevolent hero that he views himself to be. It's yet another incredible performance that shows off a completely different side of him as an actor and as of today at least, it looks there's a pretty good chance that this effort will propel him to his first career Oscar nomination.
Playing Hansen rightfully makes Pattinson the face and driving force of Primetime. What proved to be the most pleasantly surprising element of the movie for me seeing Merrit Wever and Skyler Gisondo do incredible work that is crucial to the film's examination of how this machine was run. Wever makes for the perfectly ruthless, self-absorbed partner to Hansen as the show's lead producer while Gisondo gives the most endearingly nuanced performance of his career as a struggling young actor who hopes that appearing on the show as a decoy will help him achieve his dream of becoming a working actor in Hollywood but isn't quite prepared to reckon with what the job actually entails or how his work is being viewed by his peers or audiences. Without this duo showing up and bringing plenty of additional depth to these characters, this movie wouldn't landed with the same force that it does-particularly during the pivotal final scenes where their characters are forced to directly confront the consequences of their actions and whether or not they can live with them in the name of keeping their popular television show afloat.
Where Oppenheim goes as a feature director after this will be fascinating to watch. His understanding of the power of performance, knowing when to go big and when to let something breathe and coming up with creative visual compositions (cinematographer David Bolen does some seriously excellent work here, particularly in the surrealist moments where the lighting changes mid-scene) are incredible for someone coming from the world of documentary filmmaking. If his confidence, skill and visual eye are able to be combined with a sharper script, he could make something really incredible in the near future.
Grade: B+
