Lance Oppenheim
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…whether he’s trying to unseat Lost in the ratings…
…get moved to primetime to compete with Lost (“We’re gonna be bigger than Lost!” Hansen screams through gritted teeth…
…ratings that that will clobber early aughts mega-hit “Lost,”…
Cuando el programa llega al horario estelar y debe competir directamente con Lost, la presión cambia de escala…
In this case, someone high-profile enough to make his show able to compete with the polar bears on Lost.
Let’s use a traditional broadcast series like ABC’s Lost as an example.
If you want more of the mechanics of the series, try the 2025 documentary “Predators” from director David Osit, which makes the necessary legal distinctions between a sting operation and entrapment.
…and more recently the similarly critical doc Predators…
With David Osit’s already searing documentary Predators having been released just last year…
In 2025, the series was the subject of David Osit’s documentary. Predators.
…prepare to watch “Predators” (2025), a documentary about the television series, immediately after “Primetime.”
(Watch David Osit’s 2025 documentary “Predators” for a more nuanced exploration of that and other issues around the show.)
Oppenheim follows “Network,” Paddy Chayefsky’s still topical 1976 media satire, in which madmen thunder that nations and democracy are illusions and that corporations are the world’s true gods.
…a big part of Primetime’s DNA (along with Network, To Die For, and Nightcrawler)…
‘Network’ de Sidney Lumet…
…the film will get compared to other ‘media’ movies like the Oscar-winning Network…
Merritt Wever, who channels the pitiless Faye Dunaway in Network as Hansen’s mercenary producer…
Bender’s persona inherited from Faye Dunaway in Network…
It reminds me a bit of Dan Gilroy’s delightfully twisted Nightcrawler…
…a big part of Primetime’s DNA (along with Network, To Die For, and Nightcrawler)…
…podría pensarse en películas como ‘Nightcrawler’ de Dan Gilroy…
The atmosphere reminded me of “Nightcrawler,” except Hansen is convinced he’s doing good rather than just chasing a story.
…the brilliant photojournalist tale Nightcrawler, with Jake Gyllenhaal…
…(and they didn’t take to 2014’s Nightcrawler, perhaps the closest recent comparison)…
…a big part of Primetime’s DNA (along with Network, To Die For, and Nightcrawler)…
…much like Nicole Kidman’s Suzanne Stone in To Die For…
“If there’s no news, I’ll go out and bite a dog,” said Kirk Douglas’s ink-stained wretch Chuck Tatum back in Billy Wilder’s scabrous 1951 classic, Ace in the Hole—still the cinematic gold standard for excoriating the fourth estate, and a big part of Primetime’s DNA…
…that title was evidently taken from the Hitchcock movie To Catch a Thief…
The quasi-supernatural inserts of demonic masks nod to The Exorcist—or maybe producer Ari Aster—but either way, they’re a mistake…
…cuando Hollywood decidió exorcizar la crisis moral de la nación yanqui con títulos como ‘Taxi Driver’ de Martin Scorsese…
…then a 2007 interrogation of them on 20/20…
Director Lance Oppenheim and cinematographer David Bolen evoke Robby Müller’s To Live and Die in L.A.’s cinematography in Primetime through imbuing every scene with bright lights and equally vibrant green/red hues.
…doesn’t seem that interested in exploring the phenomenon of law enforcement television (including shows like COPS and America’s Most Wanted) that turned justice into a circus for our amusement.
Hansen and his show ended up being parodied and laughed at on “The Simpsons.”
…doesn’t seem that interested in exploring the phenomenon of law enforcement television (including shows like COPS and America’s Most Wanted) that turned justice into a circus for our amusement.
The film’s aesthetic recalls the multimedia style of Oliver Stone’s 1994 media satire, Natural Born Killers.
He was just a few years old when Survivor and American Idol defined what 21st-century television looked like.
This isn’t a film about Fear Factor or The Biggest Loser.
He was just a few years old when Survivor and American Idol defined what 21st-century television looked like.
This isn’t a film about Fear Factor or The Biggest Loser.
The same “profits and success above all else” mentality fueling dehumanizing 2000s reality TV show nightmares like Kid Nation or The Briefcase receives a human form with this version of Chris Hansen.