‘Predators’ examines the tactics of a reality TV phenomenon that may have gone too far

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The Dateline NBC show “To Catch a Predator” quickly became a cultural phenomenon after only 20 episodes. The program combined the elements of a police sting operation with a hidden camera show, creating a compelling premise: men who engaged in inappropriate online conversations with what they believed were underage individuals were lured to a meeting place – a home seemingly occupied by children – greeted by an actor portraying a young person, and then confronted and questioned on camera by Emmy-winning news anchor Chris Hansen. Hansen had previously received two Emmys for his reporting on sexual trafficking in Cambodia.

Hansen would often start by casually asking the men he was investigating what their evening plans were. Some tried to act nonchalant, but quickly changed their tune when he revealed their online conversations. Others broke down and asked for help. Every segment followed the same pattern: the men were arrested, and the audience reacted with a mix of outrage and suspicion, wondering if someone they knew could be next. My roommate was a dedicated viewer, always laughing at the show’s ironic punchline – the brief moment of relief a man felt after Hansen seemed to let him go, right before the police swarmed in.

David Osit’s documentary, “Predators,” shifts the focus to the making of the original program. Unlike the show itself, the film is thoughtful, sad, and shows compassion for everyone involved. It avoids placing blame – perhaps because the public already formed opinions – and doesn’t claim the men featured are innocent. However, the film acknowledges that watching behind-the-scenes footage naturally leads to a complex and sometimes confusing sense of empathy.

Even a former Kentucky prosecutor, proud of his collaboration with NBC and the praise he received, seemed to reconsider his hard stance when watching footage of a quiet and clearly confused suspect. He wondered if, perhaps, the man could have been helped by mental health support to become a contributing member of the community.

Osit investigates the reality behind the show “To Catch a Predator,” examining what it set out to do, what it actually accomplished, and why it captivated audiences – including himself. He discusses these ideas with anthropologist Mark de Rond, who proposes that the show offered viewers a sense of control by clearly defining right and wrong. However, Osit seems satisfied if his film ultimately leaves you questioning that very distinction.

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His thorough investigation involves speaking with three former performer-decoys – two women and one man – who were very young when they took the job. It was a demanding and stressful assignment that required quick thinking. One of them explains, “I just treated it like any other acting role.” Another, watching a video of herself as a college freshman luring someone who could have been a fellow student, says, “Even now, years later, it still takes an emotional toll.”

Having experienced childhood sexual abuse himself, Osit also wonders why anyone would harm a child. Despite countless interviews, Hansen never found an answer. In this documentary, Hansen reflects on his past work, and Osit, who co-edited and filmed the project with Nicolás Nørgaard Staffolani, carefully documents the details of a typical TV interview – things like makeup, preparation, and transportation – seemingly to highlight the contrast between this careful process and the shocking footage that made Hansen famous, or to reveal the extensive behind-the-scenes effort that rarely appears in a final broadcast.

Whether it’s right or not, it feels uncomfortable that Chris Hansen is being presented as the only person responsible for the show. “To Catch a Predator” involved a whole production team, and they’ve avoided facing questions about their involvement. This makes Hansen’s decision to participate in a tough interview seem even more courageous. He maintains the show helped people who were harmed. The conversation becomes particularly interesting when Hansen starts speaking on behalf of victims, prompting Osit to share his own difficult past. While this exchange could seem like a trick question, it feels more nuanced than that.

The show “To Catch a Predator” aired from 2004 to 2007 and, at its height, received recognition from prominent figures like Oprah and even a mention on “The Simpsons.” It was also acknowledged in Washington D.C., when lawmakers agreed that addressing this serious issue was important for the nation. Interestingly, around the same time in Florida, a wealthy man accused of similar crimes was secretly working out a legal agreement.

Recently, the early 2000s have come under criticism for the way the media sexualized young celebrities. Websites obsessively counted down the days until Mary-Kate and Ashley Olsen turned eighteen, and paparazzi aggressively sought compromising photos of Emma Watson at her birthday party. Lindsay Lohan’s coming-of-age was even sensationalized with a magazine cover proclaiming her “Hot, Ready and Legal!” Osit cleverly points to this troubling trend by including a news clip that jarringly shifts from a serious report on Hansen to making jokes about Britney Spears’ mental health and her widely debated virginity.

The documentary centers around the show’s most controversial episode – the one many believe led to its cancellation, though that’s not certain – and the one a participant says he’d never repeat, even for a huge sum of money. The episode involved a Texas prosecutor who refused to meet the child involved. In an unprecedented move, the TV crew, accompanied by the sheriff and a tactical team, went to the man’s house. As officers forced their way inside, the man shot and killed himself.

The documentary “Predators” includes unedited footage from the day of the incident, but notably avoids using material from body cameras operated by the production crew, which raises questions about the filmmakers’ motivations. The film follows Hansen as Osit’s edited segment plays out slowly, giving viewers time to consider what they’re seeing: not compelling entertainment, but a prelude to tragedy. I initially felt anger towards the lieutenant who calmly informs Hansen of the man’s suicide, but then realized she may have simply been uncomfortable being filmed. Throughout the documentary, a key point is made: the act of being on camera diminishes a person’s complexity and full humanity.

How has all the true crime on TV affected how we think about crime? Has watching so many sensationalized cases made us misjudge how much crime actually happens around us? It’s even possible that police officers, having watched shows like “Cops,” might feel pressure to find exciting action, even when things are quiet. And do we want to encourage people to take the law into their own hands, like Skeet Hansen, who films his own amateur stakeouts and posts them online, pretending to be a crime fighter?

Osit wants the film to leave audiences thinking about these difficult questions, even questioning whether the movie itself is ultimately helpful. He admits, with a sense of resignation, that filmmaking can perpetuate harm, saying, “We create media, we film events, and the cycle of trauma continues.”

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2025-09-26 21:01