SummaryThe 2011 murder of Betsy Faria (Katy Mixon) was originally pinned on her husband (Glenn Fleshler) but a retrial soon revealed her co-worker Pam Hupp's (Renée Zellweger) involvement in this limited series based on the real-life case.
SummaryThe 2011 murder of Betsy Faria (Katy Mixon) was originally pinned on her husband (Glenn Fleshler) but a retrial soon revealed her co-worker Pam Hupp's (Renée Zellweger) involvement in this limited series based on the real-life case.
Ms. Zellweger, who does justice to the role, transmits a powerful aura of derangement, and does so with enough energy to make you want to reach for the antacid pills. The one flaw in the tone of the six-part work is its pervasive note of archness, ever so slight but also ever so always there. A note common in many a crime docu-drama. ... Such things aside, all in all this is a wholly compelling tale.
Drama meets "Dateline" in The Thing About Pam, an NBC series that seeks to turn one of the newsmagazine's salacious stories into a limited series, complete with ghoulish narration by reporter Keith Morrison. Featuring Renée Zellweger tromping around under the weight of prosthetic makeup, it's a true-crime experiment that clearly wants to be the next "Fargo" and doesn't get there.
There is no shortage of plot here, but the programme-makers are too concerned with the quirky tone – they think they’ve produced the next Fargo – to have considered the pacing, or any attempt to explore Hupp’s motivations. There is no mystery or suspense, because the show tells us from the outset that Hupp is the villain.
Zellweger is the most incongruous component in a performance that prioritizes caricature, and she calls into question what exactly The Thing About Pam is trying to accomplish with this extension of its existing IP. Entertainment? Journalism? Whatever it is, Zellweger is a distraction.
Zellweger is, too often, drowned out, whether by the loudness of the production’s reshaping her body or by literal narration. ... The end result is an ebbing-away of Pam’s story in favor of a media metanarrative that’s far less compelling; the show is, in moments, more about the customs and rhythms of “Dateline” than it is about a crime story.