Positives: I like the stories behind the narratives and Paula can READ
Negatives: But she cannot interview. Her questions are inane eliciting a one word yes/no answer, she never blinks (I think she's not listening to the interviewee at all, but to directions from the earpiece) and her barely there reactions do not look genuine at all. She appears disinterested in her subjects and at times both she and her 'victim' look annoyed at each other. She should be allowed to narrate only and leave the interviews to a more empathetic reporter.
Paula never speaks to anyone in person. Field people record interview statements/segments from the real-life people. Producers then write questions to match. Paula sits in a room and reads the engineered questions. She's not talking to anyone! I can't watch this show anymore. It's too fake and stupid. Is this really all she does at her job, sit there and read questions to no one, faking facial expressions, while a camera videos her? She must work at most an hour a week, most of that spent in makeup. Nice gig!
This is nothing more than "Dateline Lite," lightweight crime coverage intended for the Lifetime network.For a full 5-7 minutes of each show, the camera is on Zahn looking concerned or being overly dramaticwhile asking softball weepy questions with obvious answers so the victim's relatives can have their chance on camera. Facts? Well, there is superficial recital of most of the relevant facts of the case, but the case always takes a backseat to Zahn's overly, overtly emotional interviews with the families of the victims, usually (for obvioustearjerking reasons) the mother.
I think it is hilarious how the shows that are based in say the 60's and 70's have police cars from 2016 chasing after leads and suspects. The actors are a joke repeating same scene over and over again. Formula is exactly same for all episodes. The crime, a probable suspect or two that are later cleared and then the surprise guilty player. Paula dresses to the nines to talk by herself in that interviews are fake.
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