Meanwhile, Vox, the ideological home of the professional-managerial class, has called the recent Netflix series Inventing Anna, based on Pressler’s article, a ‘quasi-feminist, girlboss-adjacent revenge fantasy’. Shows about grifters are ‘the year’s most boring premise’, Stuart Heritage argued recently in The Guardian.
Since the Summer Of Scam’s initial rise, the mood has shifted from earnestness to derision. While the intellectual-property-to-Netflix-series pipeline moves fast, a media industry predicated on locating the correct moral position on cultural moments (‘takes’) moves faster. Most agreed there was a shared catharsis in reimagining the abstract and increasingly avant-garde world of financial subordination through the antihero narrative arc follow the plucky protagonist and you’ll find the real perpetrator, with global capitalism emerging as something we might successfully subvert. In Trick Mirror: Reflections on Self-Delusion, writer Jia Tolentino described the con as the ‘definitive millennial ethos’. Marie Claire suggested the obsession was ‘a winking protest of the status quo’ in order to ‘nod at glaring societal unfairness in a way that’s a little more nuanced than just ‘eat the rich’’. Kicked off by Jessica Pressler’s hit article in New York Magazine on the fake heiress Anna Delvey, those heady months saw a deluge of both stories about scammers and thinkpieces examining their relevance to the cultural moment.
In June 2018, the New York Times announced the arrival of ‘The Summer of Scam’. Julia Garner in Inventing Anna, ‘One Dollar’ in Sakawa, author Marlowe Granados.
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