Chris Hansen Watched Primetime Anonymously in a Packed Times Square
Summary
The real Chris Hansen filmed audience reactions for his own podcast outside the screening and says he still hasn't ruled out legal action, even as he maintains he isn't seeking a payout
Chris Hansen attended an opening-day screening of Primetime at a packed Times Square theater without being recognized, then shared his reaction on Fox News host Jesse Watters' podcast Have a Seat with Chris Hansen, according to CBR, Deadline and TVInsider. "It was so bizarre and so in-and-out of reality," Hansen said, later grading Robert Pattinson's performance a D when asked by Watters and adding, "At the end of the day, I wasn't blown away by it either way." Hansen also called the film "a complete work of fiction" and, in earlier remarks to The Hollywood Reporter, questioned whether A24's use of his name and likeness without his involvement constitutes "identity theft," though he has acknowledged the defamation bar for a public figure is high. Hansen brought a camera crew to interview moviegoers outside the theater for a separate podcast and has purchased pre-show advertising for his TruBlu streaming service in theaters screening Primetime. He has retained lawyers to examine his options but says he is not seeking a payout from A24. A24 has maintained Hansen's permission was not required to make the film, describing it as a dramatization inspired by true events, and TheWrap reported that a source familiar with the NDA A24 asked Hansen to sign for an advance screening said it was meant to prevent spoilers and protect the studio's IP, not to take his name, image and likeness, as Hansen has characterized it.
The Kinolime Lens
Hansen turning up anonymously with his own camera crew to film other people's reactions is the clearest evidence yet that his real dispute with Primetime is about control of the narrative, not compensation, which he has repeatedly said he isn't seeking. For anyone developing a project based on a living, non-consenting public figure, the practical lesson sits in the gap between the two accounts of that NDA: a studio and its subject can walk away from the same document with completely different understandings of what it covered, and that ambiguity is now playing out in public as free marketing for both the film and Hansen's own media business at once.