Sometimes life imitates art. Other times art intimidates life. That seemed to be the case with the HBO documentary series The Jinx: The Life and Deaths of Robert Durst, which, over the course of a decade, tracked the shady past of the New York City real estate scion, in particular the trail of deaths that seemed to follow him. The final episode of The Jinx contained a shocking revelation: Durst, after an on-camera interview with filmmaker Andrew Jarecki, wandered into a hotel bathroom still wearing his microphone and made what sounded like a full confession. The shock was compounded by real-life events. The day before the finale was set to air, the FBI arrested Durst in New Orleans for the murder of Susan Berman, a friend of his who was killed in Los Angeles in 2000.
|Orleans Parish Sheriff's Office|
In a media landscape transfixed by artfully told true-crime stories (The Jinx comes on the heels of NPR's wildly popular Serial podcast), the show's presentation of its case against Durst — not to mention the timing of Durst's arrest — raised a host of questions regarding the lines between entertainment and jurisprudence, chain of custody, and the legal responsibilities of documentary journalists. The Jinx navigated this thicket with the help of Victor A. Kovner, a partner at Davis Wright Tremaine with a long history of providing pre-print or pre-broadcast review to media outlets (including, from the mid-1960s until the mid-2000s, the Village Voice).More »