![]() A fictionalised version of the festival’s chaotic co-founder, Billy McFarland (Ben Rappaport), appeared a few episodes prior.Ī fictionalised version of the real subject of a Netflix documentary who shows up in a dramatisation of a real story on Netflix…woah. Bamboozled,” - a reference to Ja Rule’s deeply dad-esque explanation for his involvement with the notorious Fyre Festival. Likewise, Neff’s boyfriend, Brian (Bryan Terrell Clark) tells her, “You’ve been hustled. There’s also BuzzFeed-style video where two hosts “dream cast” the Anna Delvey story. It’s worth noting that Netflix reportedly paid Sorokin USD$320,000 for the rights to her story.īecause Rhimes never takes her eyes off the fact that Inventing Anna perpetuates the mythology and notoriety Sorokin so desperately craves, it’s self-referential in the deftest, most-satisfying ways. Rhimes resists the urge to judge her characters for their part in the scandal, instead letting the fictionalised parts of the story serve as an effective reminder that these are real people capable of real, sometimes catastrophic, fuck-ups.Īnd it’s an important reminder: for the people who were scammed by Sorokin, their dealings with her would likely be some of the most painful, traumatic, and humiliating experiences of their lives, and seeing it fictionalised for headline-grabbing entertainment will surely hurt just as much. Jessica Deloache Williams (Katie Lowes), a former friend who was duped out of more than $60,000 by Sorokin, parlays the traumatic experience into a best-selling book deal and TV appearances worth roughly five times that. Vivian Kent, the fictional reporter inspired by Pressler and played by Anna Chlumsky, for example, agonises over the story, never fully reconciling the career-redeeming opportunity with the fact that she comes to care about Sorokin. And so complex characters emerge, see-sawing between giving their friend the benefit of the doubt and exploiting her faux generosity for their own gain. ![]() See, despite swathes of information was revealed through Pressler’s reporting and the ensuing court case, we can’t possibly know exactly what friends and colleagues discussed in private or the depth of what anyone was thinking when they chose, against their better judgement, to believe Sorokin’s story. ‘I’d be like, ‘Anna, there’s a line of eight people.’ But she’d keep putting money down.’” Indeed, Pressler writes, “When Delvey showed up while the concierge desk was busy, she would stand at the counter, coolly counting out bills until she got Neff’s attention. ![]() In one such scene, Sorokin (played compellingly by Julia Garner) dishes out hundred-dollar bills while the hotel concierge and her friend, Neff (Alexis Floyd), attempts to serve a long line of increasingly impatient hotel guests. Some parts of Pressler’s reporting are represented to the letter, the details unbelievable enough without embellishment. If anything, the anticipation of seeing how those incredible moments will be brought to life in Shondaland adds to the experience. This approach shouldn’t be as satisfying as it is when we already know Sorokin’s story in minute detail, but it works. Inventing Anna unfolds in a similar format to How To Get Away With Murder, wherein two storylines - one present, where viewers are privy to the fallout of some catastrophic incident, and one past, where the set-up happens - converge. Credit: Netflix Real People, Catastrophic Fuck-Ups Jessica Pressler’s article in New York Magazine.
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