It helps that the story Kent’s after is full of glamour and celebrities and months of living in fancy hotels like Eloise in the Plaza. It’s “peak millennial culture,” since she thinks she’s too special to work, and says something-a lot, probably-about the fallacy of the American dream. The story also shows just how many people cannot fathom perceiving a pretty young white woman as capable of committing felonies. who have received much harsher punishments and cruel treatment-family separation, inhumane detention centers-despite paying taxes. Compare that with nonwhite undocumented workers in the U.S. Delvey was born in Russia and raised in Germany, and she frequently got away with her scams by blaming international wire transfers or the fact that her money was stored overseas. Still, Kent is convinced that the real story, behind the glitz and salaciousness of rich kids getting screwed, is actually about the inequities in the U.S.’s immigration system. Her editors only acquiesce because they doubt the pregnant journalist can file before her baby is due. So they try and assign her Wall Street #MeToo, but she protests, fearful that such stories simply turn women’s trauma into clickbait without offering them adequate protection or change. She soon pitches the story to her editors (all men), but they aren’t interested-they need their female reporter on a tried-and-true feminist beat that’s sure to get clicks. © Nicole Rivelli/Netflix 2021Īfter learning of Delvey’s arrest and commenting that “the indictment reads like a novel,” Kent sets out on a journey to understand the con artist’s mysterious mind. Julia Garner as Anna Delvery in episode 107 of Inventing Anna. ![]() ![]() Except for all the parts that are totally made up.”) (The series even includes a disclaimer: “This whole story is completely true. Netflix doesn’t seem to have been able to secure the life rights to tell Pressler’s story, though that wasn’t a problem for 2019’s Hustlers, also based on a New York investigative piece. Kent’s story is based on the life and work of Jessica Pressler, the New York magazine reporter whose investigative article helped make Delvey notorious. We quickly realize that show’s protagonist isn’t Delvey (Julia Garner) herself, but rather Vivian Kent, a journalist for the fictitious Manhattan magazine played by the urbane Anna Chlumsky of Veep fame. The series opens at a printing press as magazine covers stream by, and then cuts to a news segment, both introducing the fake German heiress to fame. Instead of a Carrie Bradshaw or Serena van der Woodsen you’re meant to envy, there’s Anna Delvey, a character you love to hate, or maybe are dying to understand. In Shonda Rhimes’s hands, Inventing Anna is chock full of delicious lines and scandalous sub-plots. The original story is too juicy to mess up-it was made for TV. Imprisoned Scammer Anna Delvey Is 'Reinventing' Herself By Minting NFTsĪrtist Claims To Be Owed $8,000 After Staging Anna Delvey's ExhibitionĪnd with that in mind, Netflix has tried to frame Delvey’s story of conning elite Manhattan bankers, art collectors, and scenesters as-wait for it-some sort of feminist narrative instead of what it really is: proof of how easily white privilege can blur into white-collar crime. She got out early, last February, on good behavior. Dubbed the “Soho Grifter,” she faced trial in 2019, where she was found guilty of both theft of services and grand larceny, then slapped with a sentence of 4–12 years. Exposed in 2018 by Vanity Fair and New York magazine after periodic punches from the New York Post, Anna Sorokin-known to many by her alias, Anna Delvey-evaded payments for months-long stays at posh downtown hotels, conned collector Michael Xufu Huang into footing the bill for her visit to the 2015 Venice Biennale, and even screwed over her friends on a lavish trip to Morocco, ultimately leading to her downfall. Premiering February 11 on the streaming service is Inventing Anna, a nine-episode miniseries that partially fictionalizes the true story of a fake German heiress who scammed her way into the upper echelons of New York society, the art world included. ![]() Netflix, too, is now attempting to merge an out-of-touch story with a politically correct update. Last year saw reboots of both Sex and the City and Gossip Girl that tried in vain to have it all-there are rumors that Girls is next-endeavoring to speak to the social issues of our time while still offering the signature forms of glamour and escapism that are their bread and butter. ![]() But in retrospect, this out-of-touch genre, a common problematic favorite, has been in dire need of an update. Television has long been host to fantastical depictions of living large in New York City.
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