‘Primetime’ reveals the story behind ‘To Catch a Predator’ | Review

Emmie Klekamp, Deputy Arts & Culture Editor, FSViewSat, October 10, 2026 at 1:02 PM UTC

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Lance Oppenheim’s A24 film goes behind the scenes of the sting house. FSU and TSC students react to Robert Pattinson’s Chris Hansen.

A different take on the true crime conversation is happening with Lance Oppenheim’s new film “Primetime.” The movie follows Chris Hansen (Robert Pattinson) during his reign as host of “To Catch a Predator” (“TCAP”) on “Dateline NBC,” a show that ran from 2004 to 2007 and centered on finding and arresting child predators.

Volunteers from an organization called Perverted-Justice would pose as children ages 11 to 15 in online chat rooms and agree to meet with predators at a “sting house,” where an NBC camera crew would be waiting.

After the decoy, an actor pretending to be a child, left the room, Hansen would walk out and confront the man, reading his disturbing messages aloud. From there, he would tell the man he could leave, leading him outside, where police would be waiting to arrest him.

‘Primetime’ sheds its protective clothing

The film adaptation is not entirely faithful; a title card at the end states that “Primetime” is “inspired by true events” rather than a documentary. Multiple characters, including “TCAP” producer Andie Bender (Merritt Wever) and decoy actor Dan Plum (Skyler Gisondo), are artistic takes on real people rather than explicit portrayals.

“Primetime” tackles the behind-the-scenes production of the show rather than the filmed content itself. Hansen’s personal journey is the focal point, as he balances being a father and husband, an affair with another woman, and hosting his TV show.

“‘Primetime’ opens with the lines, ‘I undress you, you undress me,’ which I think is really pivotal to understanding the whole film,” FSU screenwriting MFA student and AMC employee Eli Towry said to the FSView. “It’s not about the relative moral quality of Chris Hansen and ‘TCAP’ so much as it’s about stripping back the skin of the people involved and taking a closer look.”

Above his romantic and familial relationships, Hansen’s interactions with NBC and Bender are his most poignant. TV executives slate “TCAP” to air at 9 p.m., in prime time. To keep his spot amid growing controversy, Hansen fights to make his show increasingly shocking and entertaining for his audience.

This effort by Hansen and Bender is the crux of the movie, which questions their true motivation for arresting the predators. Beyond their side comments about the depravity of the people they capture, Hansen and Bender talk far more about entertainment value and the success of the show.

“Primetime” holds a mirror up to Hansen, challenging the idea of him as a predator-bashing superhero and recasting him as a multidimensional, ethically questionable human being.

By flipping the cameras back on the crew, the film highlights the decisions that go into making true crime sensational. Throughout the movie, Hansen, and Bender especially, treat appalling situations and people without emotion, only thinking about what’s best for programming.

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“I really enjoyed the movie. I feel like it hit pretty much every emotion — there were times where I was laughing, and other times where I was nervous, and even feeling sympathy for the characters,” TSC English student Christianos Lambridis said to the FSView. “I think the biggest standout for me was Robert Pattinson’s portrayal of Chris Hansen. His character is just so on edge the entire time, and you’re constantly wondering what he’s going to do next.”

A new stab at true crime

The true crime zeitgeist of today’s pop culture has already raised questions about where the line should be drawn when retelling horrific stories. Netflix’s popular “Monster” series features seasons on Jeffrey Dahmer, the Menendez brothers, Ed Gein, and Lizzie Borden, which have garnered mixed reactions.

Some audiences are enraptured by the absurd true events, while others, including family members of the murder victims depicted on-screen, rebuke the dramatization of trauma.

“Primetime” joins this discussion with layered nuance, condemning true crime sensationalism while also being an inherently stylized film that aestheticizes its own commentary. The cinematography is far from a documentary, using lighting and camera shots that would be experimental even for a purely fictional movie.

The film embeds comedy throughout, particularly through situational irony and dialogue. Aside from the sobering plot, “Primetime” has many absurdly enjoyable elements. The soundtrack in particular both contrasts and oddly aligns with its scenes; some gruesome moments are backed by upbeat orchestral music, jarring the audience and heightening the tension.

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“Oppenheim nailed the perfect level of comedy in compound with some pretty grave topics, just enough to lean into such compelling absurdity. And, oh my goodness, those visuals. I was seeing new colors for the first time,” FSU literature, media, and culture major Erin Shtrax said to the FSView.

With its fresh, introspective look at criminal exploitation and the boundaries of entertainment, “Primetime” leaves audiences to consider their own media habits. The justice served on “TCAP” was severe, yet unchallenged because of the nature of its content.

Hatred of the predators and doubts about the real motive behind “TCAP” ping-pong throughout the film, allowing viewers to draw that impossible line for themselves.

Emmie Klekamp is the Deputy Arts & Culture Editor for the FSView & Florida Flambeau, the student-run, independent online news service for the FSU community. Email our staff at contact@fsview.com.

This article originally appeared on FSU News: ‘Primetime’ reveals the story behind ‘To Catch a Predator’ | Review

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