music friday: the rolling stones, sticky fingers
carlos (olivier assayas, 2010)

the jinx, series finale: quick notes

The final two minutes of The Jinx were the ultimate Holy Shit moment ... just check Twitter. I could do like the pros have done, and crank out a piece right now about the series and how it ended. But I’m not a pro, so I get to take my time.

I can think about what to do regarding spoilers (hint: I won’t be able to avoid them). I could already talk about the show from an aesthetic perspective, how the documentary was constructed, the creepy appeal of Robert Durst. I could even just say “Holy Shit!” along with everyone else who watched those last two minutes.

But The Jinx warrants some more measured thoughts, particularly about ethics and journalism. I don’t know how I feel about the ethics of The Jinx, and I’m not ready to just blather on the topic. For now, suffice to say the connection between what was on the screen and what was happening in real life went beyond the usual for documentaries. The question must be asked: was the astonishingly dramatic final scene, which went where non-fiction is rarely able to go, so worthy in terms of the art of The Jinx to overcome some obvious questions about withheld information.

So I’m going to postpone my more detailed thoughts for a few days.