(Many interviews presented on this show, for instance, consist of voices overlaying still photographs of the person speaking, suggestive of this project’s origins as a work of audio.) But if it’s somewhat visually limited, the series does interesting things with structure: It begins, for instance, with the audio obtained from Italian model Ambra Gutierrez’s wire when she recorded him in acts of sexual misconduct in 2015, and only later circles back to how Farrow obtained the audio.
This is, fundamentally, a story that’s eminently consumable, combining a great monster of recent history with setbacks and journalistic derring-do - even if it’s not consistently telegenic. He also shares the degree to which he himself was surveilled during his reporting - all fascinating enough to carry along even viewers who’ve read the book or heard the podcast. Farrow’s ongoing coverage of the story behind the story carries with it the suggestion that NBC was susceptible to an influence campaign by Weinstein. NBC News and Farrow have publicly quibbled over the degree to which it was ready for publication when he was preparing it at the network there’s certainly something cathartic, for those who’ve followed the story and Farrow’s telling of it, about this reporting finally coming to be aired on TV after his attempt to report it for the medium got cancelled.
(Farrow remains with the New Yorker to this day - recently co-writing a piece on Britney Spears’ conservatorship - but the focus here remains tightly on the Weinstein story.) Farrow took that story to the New Yorker, which worked with him to get the story published - and, in this series, we meet the editors and fact-checkers who got it across the finish line. The “Catch and Kill” story is one with a certain inherent drama: Farrow was an ambitious investigative reporter within NBC News, whose reporting on Harvey Weinstein came to a halt when the organization called him off the story.
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