The trust fund did not exist, month long stays at various swanky hotels were never paid, and somehow, the check - or in this case, the German wire transfer - was always in the mail.
JULIA GARNER ANNA SOROKIN SERIES
Starring Julia Garner as Anna “Delvey” Sorokin, the 9-episode series tells the story of the fake German (really Russian) heiress named Anna, who swooped into Manhattan in 2014 and set about establishing herself as an ‘It’ girl with big business plans and a huge trust fund. Like Delvey’s persona, “Inventing Anna” lives mostly on the surface, and though you might believe it for a moment, that feeling will surely pass.“Inventing Anna” on Netflix is everyone’s delicious binge watch obsession this winter. “Inventing Anna” devotes plenty of attention to glamorous locales (Paris, Ibiza, Morocco) and Kent/Pressler’s attempt to revive her reputation as a journalist after falling victim to a hoax - that’s based on a true story too - but fails to unravel the case’s most important question: Not who would fall for this, but why? (And plenty of people did, despite the apparent warning signs: According to Pressler, Garner‘s version of the voice is “exactly” like the real deal.) With a victim-of-the-week episode structure, the series delivers mini-portraits of those Delvey swindled, mostly without digging into their motivations. She’ll pay them back as soon as her money arrives! It’d be best if they invested now, of course, before the project takes off. New York City bankers and philanthropists, represented here by the likes of Anthony Edwards and Kate Burton, aren’t so lucky: Anna convinces them she has enough capital in her overseas trust fund to erect a large complex in the city dedicated to the arts and promises to transfer funds once she’s able to cut through the international red tape.
Personal trainer Kacy (Laverne Cox) is one of a few people in Anna’s orbit who senses something is wrong, and she’s ultimately one of the only ones who doesn’t get hurt. The vapid trio’s collective obsession with living large on social media is fun to despise. Photo editor Rachel (Katie Lowes) and hotel clerk Neff (Alexis Floyd) follow her like thirsty Heathers vying for her validation. Her sycophantic friends aren’t much better. She intimidates with moneyed arrogance and, when that fails, manipulates by any means necessary (guilt, sex appeal, grossly transparent praise, even threats of self-harm). Anna is an entitled monster much of the time. If you enjoy a hate-watch, “Inventing Anna” at least has that going for it. The garbled Russian/German/snooty America mix sounds utterly ridiculous. The bizarre accent, however, is problematic.
She saunters through Bergdorf Goodman like a queen, but that subtle tick in her lip or awkward hair flip connotes she’s on the edge of ruin.
Anna Sorokin, a bright young thing who befriended “New York’s party people,” as the story had it, and used them to prop up her life of lies and excess.Īnna is not a relatable personality, but Garner connects through her character’s idiosyncrasies: She may be conniving, but look closely and there are flashes of doubt and insecurity in her otherwise ice-cold gaze. The series, about a self-proclaimed German heiress who conned millions from Manhattan’s rich and powerful, is based on a true story, though all 10 hourlong episodes begin with a disclaimer that the show is true “except for all the parts that are totally made up.” What’s clear is that the narrative is adapted from “ Maybe She Had So Much Money She Just Lost Track of It,” Jessica Pressler’s 2018 New York magazine article about Anna Delvey, a.k.a. But in the spirit of fixing something that’s not broken, scripted dramas, based on docuseries, books or magazine articles, which were in turn retellings of true stories, are now vying for space in the true-ish crime world.īefore “The Dropout” (Theranos) and “WeCrashed” (WeWork) arrive next month, Shonda Rhimes’ drama “Inventing Anna” premieres Friday on Netflix. No need to labor over fictional narratives about brazen frauds when reality has given us Elizabeth Holmes and Bernie Madoff. From “Fyre Fraud” to “The Tinder Swindler,” con artists and their schemes have provided an endless font of material for television docuseries.
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