Finkel is the real author whose memoir the film is based on. The portrayal of his firing from the NYT, his interactions with Longo, and his complex motivations align closely with his own account, with some dramatic interpretation.

Longo is the real convicted murderer. The film accurately depicts his crime (murdering wife and three children), flight, use of Finkel's identity, capture, and manipulative personality based on Finkel's interactions and trial evidence.

Based on Finkel's real wife. Her portrayal reflects the supportive but increasingly troubled perspective described in the memoir regarding Michael's involvement with Longo.

Mary Jane Longo was the real victim.

Zachary Longo was the real victim.

Sadie Longo was the real victim.

Finkel was actually fired from The New York Times Magazine in 2002 for creating a composite character in a story about child labor in Africa.

Christian Longo did murder his wife Mary Jane and their three young children, Zachary, Sadie, and Madison, in Oregon in December 2001.

While on the run in Cancún, Mexico, Longo falsely identified himself as "Michael Finkel, writer for the New York Times."

Finkel was contacted by a reporter after Longo's arrest, informing him that Longo had been using his name, which sparked Finkel's initial contact.

Finkel initiated contact with Longo while Longo was awaiting trial, leading to extensive phone calls, letters, and eventually prison visits, as detailed in the memoir.

Longo did offer Finkel exclusive rights and presented various narratives, initially claiming innocence in some of the murders, attempting to manipulate Finkel.

Finkel's memoir details his complex psychological involvement with Longo, the blurring of journalistic objectivity, and the "mutual manipulation" that developed between them.

Their interactions involved discussions about narrative and writing, with Finkel sharing insights and Longo practicing, as described in "True Story" (the memoir).

Longo's story changed over time during his interactions with Finkel and during the legal proceedings.

Finkel attended the trial where Longo testified.

Longo did testify, presenting a specific narrative attempting to mitigate guilt (he pleaded guilty to killing Mary Jane and youngest daughter Madison, not guilty to killing older children Zachary and Sadie). The film simplifies this plea/testimony somewhat.

The prosecution presented evidence and witness testimony that undermined Longo's version of events.

Longo was found guilty of the aggravated murders of all four family members and sentenced to death by lethal injection (he remains on death row in Oregon).

Finkel published his memoir detailing his relationship with Longo and the case in 2005.

The film effectively captures the lingering questions about Longo's complete truth and the complex, morally ambiguous nature of the Finkel-Longo relationship, central themes of the memoir.

Represents the real setting where Finkel lived after his dismissal, providing a contrast to the urban world of NYC journalism and the grim realities of the Longo case.

Depicts the professional journalistic environment from which Finkel was ejected.

Represents the key locations in Oregon related to the Longo murders, investigation, trial, and Longo's incarceration (Oregon State Penitentiary implied).

Briefly depicts the setting where Longo fled and was eventually apprehended while using Finkel's identity.

The film accurately reflects the timeframe (approx. 2002-2003) through technology shown (phones, computers), news cycles, and general atmosphere.

The stark setting for Finkel's interviews with Longo reflects typical prison visitation environments.

The depiction of the courtroom during Longo's trial appears standard for American legal proceedings.

Effectively conveys the distinct atmospheres of investigative journalism, a high-profile murder case, and the formalities and tensions of the American legal system.

Uses settings effectively to underscore the stark contrast between Finkel's relatively comfortable (though professionally troubled) life and Longo's imprisoned reality facing capital charges.