I have mixed feelings about the new Netflix “Shot in the Dark” series about
television stringers in the Los Angeles market. It’s slickly produced and
expertly shot (for the most part) but it also seems a tad manufactured at
times. Like maybe the subjects are in bed with the show’s producers to
heighten drama.

The best way to explain it is that it is a reality TV example of the
“Nightcrawler” movie starring Jake Gyllenhaal. Basically the three camps
are three competing television freelance operations. One is RMG News run by
British-born twin brothers. Another is Loudlabs run by Scott Lane. He is
the most paparazzi of the trio. They capture him passing traffic on the
right trying to get to a story quicker. Another time he runs a red light.
When one of his employees commits a journalistic felony and gets called out
on the news, Lane laughs it off. If he had been my employee and done that I
would have bitch slapped him to Barstow. The last is OnScene TV, the
largest, run by Zak Holman. Lane hates Holman, in part because Holman calls
him out on his recklessness. But Lane criticizes Holman as someone who is a
journalist because he’s a failed first responder and that criticism is a
direct hit. Holman has flashing lights in his car that he uses one time as
a civilian to slow down Los Angeles freeway traffic because one of his
drivers is photographing an incident on the road. And he’s currying favor
with cops and firefighters.

They use all kinds of tricks to get great shots of the photographers. They
have some talented photographers getting some compelling video, often
expertly framing the freelancers. They also have cameras mounted on the
cars the freelancers drive. They use either drones or helicopters to get
video from above. And for me the coolest thing they do graphically is a map
that shows the locations of the freelancers and their destination so you
can see their routes. It’s clear it’s a race to get there first.

I don’t want to give away too much, but definitely watch at least the first
episode for the world class, epic cliffhanger. Maybe one of the best ever
in episodic reality TV. Part of the reason the show resonates with me is
because it reflects my personal life. I’ve been a journalist for more than
30 years and I’ve spent the last 18 months as an assignment editor at a
smaller market television station. One problem we’ve always faced in
journalism, and especially at the TV station, is picking which breaking
news things to cover. Scanner traffic is often wrong and major stories go
silent when the police go to tactical channels. Guessing which thing to
cover and getting there quickly is a constant theme in “Shot in the Dark.”

This is a Guardian review of the show.

https://www.theguardian.com/tv-and-radio/2017/nov/30/shot-in-the-dark-review-pure-undiluted-rubbernecking-feeding-on-human-misery

This reviewer calls it voyeurism. I don’t feel like it’s voyeurism at all.
It feels like a job. I get no emotional satisfaction or pleasurable
reaction from watching the pain people suffer. The one time that felt most
voyeuristic was in 1990. I accompanied police on a prostitution sting. They
had a female police officer wearing a radio wire. I sat with two officers
about 200 feet away in an unmarked car and listened to men solicit her. I
felt so embarrassed for the men I let out involuntary groans and gasps. I
could not keep myself quiet.

“Shot in the Dark” also has an energetic soundtrack to keep the showing.
But the soundtrack and quick cuts of cars zooming into the night started to
wear on me by about episode four. It became more of a gimmick and a
liability. I give the series a thumbs up because the story line picks up by
the last couple of episodes.

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