Explosive Doc ‘Predators’ Reveals: How ‘To Catch a Predator’ Fuels America’s Crime Obsession!

“At least my life isn’t a spectacle on television.”

This is one viewpoint on why “To Catch a Predator” became so popular, as mentioned by a participant in “Predators,” a new documentary that examines the infamous segment from “NBC Dateline.” This film has been released in theaters across the country following its debut in New York and Los Angeles, offering a comprehensive and unsettling retrospective of the reality TV show that turned pedophile sting operations into compelling viewing.

The premise of “To Catch a Predator” was straightforward. Each episode involved an actor pretending to be a minor, engaging with a sexual predator in an anonymous online chat and then luring them to a face-to-face meeting. At this meeting, journalist Chris Hansen and his camera crew would emerge, confront the predator with questions, and ultimately, law enforcement would arrest them. Although the series lasted just three years, its combination of vigilante justice and reality TV drama, all presented by the charismatic Hansen, captured the public’s attention and created a dedicated following.

David Osit, the filmmaker behind “Predators,” was initially captivated by the show but began to rethink his views after he accessed raw, unedited footage of the stings. These lengthy, continuous interrogation videos showed the full, harsh reality of the predators realizing their lives were ruined. These intense, uncut scenes reminded Osit of slow cinema filmmakers like Hou Hsiao-Hsien, containing a complex emotional depth rarely seen in true crime shows. This led to the concept behind his documentary.

Osit pondered in an interview with The Bangin Beats over Zoom, “What if I could create a film that examines how shows like ‘To Catch a Predator’ shape our understanding of good versus evil?” He added, “Everyone loves straightforward moral tales. They’re simple to market and consume. They require no effort from the viewer.”

The documentary begins by revealing how “To Catch a Predator” was produced, featuring interviews with former actors who discussed the ethically questionable acts of engaging with pedophiles. Osit, who has edited true crime documentaries himself, delves into the moral dilemmas inherent in creating such content, which has become a staple in the documentary genre as much as superheroes are to blockbuster films.

Osit criticizes the black-and-white morality often portrayed in true crime documentaries, where the police are invariably seen as the moral judges, and the ‘bad guys’ are always punished. “It’s a simplistic narrative that I find dull,” he remarks. “Even some left-wing documentaries fall into this trap, not challenging us to think critically but rather reinforcing our pre-existing anger and biases.”

As “Predators” progresses, it explores the phenomenon of internet vigilantes inspired by “To Catch a Predator.” One notable segment follows Skeeter Jean, a self-proclaimed “Chris Hansen impersonator,” who has gained over two million YouTube followers by mimicking the original show’s format. Meanwhile, Hansen himself looms large over the documentary, portrayed as a powerful but ultimately questionable figure.

While “Predators” continues its theatrical run, Osit is eager for it to hit streaming platforms, hoping it will surprise viewers who think they are in for a typical true crime story. “It’s the kind of twist I hope viewers experience—an unexpected turn in an era dominated by predictable content algorithms,” he explains.

From the start, the documentary does not shy away from discussing the allure of “To Catch a Predator,” even while critically analyzing it. How crucial was it to maintain this appeal within the documentary itself?

“It was essential to integrate this aspect into the film,” Osit states. “The first person I critique is myself—the filmmaker. I couldn’t challenge the audience to reflect on their consumption of true crime without first scrutinizing the ethical implications of making this documentary. The line between us and the predator hunters is thin; we’re both driven to make our content more appealing to attract viewers. If there’s an issue with one, it raises questions about the other.”

You become more of a character in the documentary as it unfolds, particularly during a segment where you join Skeeter Jean in confronting an alleged predator. How did that experience compare to your expectations?

“I hadn’t fully considered it until I was there, feeling uneasy about my presence,” Osit reflects. “To the alleged predators, there was no difference between Skeet’s crew and mine; we were all part of the same spectacle. That’s when I realized I needed to include myself in the film—to genuinely address the complicity of the audience, I had to examine my own role.”

Most of your interviewees are connected to the series, except for ethnographer Mark de Rond, who offers insights on the unseen footage. When did you decide to include an academic perspective in the documentary?

“Mark was studying predator hunting groups in the U.K. and writing a book about them. His ethical quandaries mirrored my own filming concerns,” Osit explains. “He seemed like a filmmaker’s voice before I had developed my own in the film. His European perspective provides a sort of external neutrality, like an outsider looking in with curiosity but without judgment.”

Were there any challenges in securing interviews?

“Not really. While some were apprehensive, it’s been 20 years since the show aired. Most were receptive to my transparent approach, and they responded in kind.”

As a self-reflective documentary, did you gain any personal insights from making this film?

“This project helped me confront some underlying concerns about my profession that I hadn’t previously articulated—like questioning the actual impact of films purportedly raising awareness,” Osit shares. “Ken Loach once said that a film can only contribute to public outrage, not be a movement itself. I aimed to create a film that neither incites nor directs anger but instead leaves viewers with challenges and questions, breaking from the typical viewing experience.”

This interview has been edited and condensed.