![]() The shifting viewpoints don't so much provoke intrigue as make things feel simply muddled, and a certain glibness takes hold, perhaps because some of the people initially foregrounded in Vivian's investigations – including Anna's infamous "futurist" boyfriend, familiar from Pressler's feature, and a wealthy older socialite-cum-mentor – are thinly-sketched and difficult to care about. It takes the show a while to warm up: the initial two or three episodes are, frankly, a slog. And through all this sashays our eponymous anti-heroine, big handbag wielded in the crook of her arm, a puzzle within an enigma. From there, as Vivian tries to join the dots of Anna's subterfuge, the different perspectives of those she duped – some real, some invented – are folded in, episode by episode. Visiting Anna in prison, she finds herself jousting with a formidably nonchalant subject who, like a more benign Hannibal Lecter, seems determined to psych her out with barbs about her weight and clothes. A journalist for "Manhattan" magazine, she spots a small news item about Anna's arrest and sniffs a much better story than the one about #MeToo on Wall Street her editors are trying to foist upon her. Except for all of the parts that are totally made up" before we enter the show's hall of mirrors via Pressler's lightly fictionalised alter-ego, Vivian Kent. It begins with the thematically neat disclaimer that "this whole story is completely true. Still, Inventing Anna is not lacking for playfulness: at once, it manages to be a largely gripping recounting of the original scam, that will satisfy anyone who eagerly lapped up Pressler's feature, and a sophisticated dissection of a postmodern media event. ![]() But in covering Sorokin's stratospheric rise to global infamy, it seems odd that the show never refers to itself: after all, it could end up being the key work in her pop-culture immortalisation. And now – with Anna having served her jail term, but back in detention for overstaying her US visa – comes this long-awaited nine-episode Netflix miniseries created by super-producer Shonda Rhimes and starring the hotly-feted rising star Julia Garner as Anna. ![]() Then there was the 2019 trial, in which Anna amplified her cause célèbre status by employing a courtroom stylist – and was found guilty on eight counts. No, the story of Sorokin is as much about her becoming the story: the "invention" of her as a totemic 21st-Century figure by journalists, lawyers, online culture – and, of course, Anna herself.įirst there was the 2018 New York Magazine article by Jessica Pressler, which introduced her to the world at large and created a social media frenzy. For, as the show recognises, from its opening shot of rolling magazine presses, the story of Sorokin is not just about the facts of her fraudulence, juicy as those are – how, as a go-getting twentysomething, she conned New York society, and its moneymen, into believing she was a super-rich German trust-fund baby with the capital to set up a vast arts centre in Manhattan. If there's one big omission in Inventing Anna – the new drama about the "fake heiress" Anna Delvey, aka Anna Sorokin – it's that it fails to dramatise the making of TV drama Inventing Anna.
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