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Ezra Edelman’s 7.5-hour epic is not merely a sports or crime documentary; it is an entertainment industry documentary about the manufacture of celebrity-as-legal-defense . The film argues that O.J. Simpson’s acting career ( The Naked Gun ) and broadcasting persona were not peripheral to his trial—they were the trial’s true subject. By interleaving footage of Simpson performing on screen with his real-life evasion of justice, Edelman demonstrates how entertainment logic (charisma, narrative arcs, audience sympathy) overrides legal logic. The documentary’s climax is not the verdict but the slow revelation that the industry trained us to want Simpson to win.

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The Documentary as Spectacle and Subtext: Deconstructing the Entertainment Industry on Screen Ezra Edelman’s 7

Entertainment industry documentaries face a unique ethical problem: their audience is the same public that consumed the original exploitation. When we watch Leaving Neverland , are we seeking justice or merely a more sophisticated form of gossip? The paper draws on scholar Bill Nichols’ concept of the “documentary gaze” to argue that EIDs risk re-traumatizing subjects while offering viewers a catharsis that changes nothing. Furthermore, documentaries that rely on “insider” interviews (assistants, ex-spouses) often reproduce the very hierarchies they claim to expose—only the powerful still control final cut or posthumous image rights. By interleaving footage of Simpson performing on screen