My wife was watching it off and on over the weekend. I wasn’t really
focused on it, but from what I saw, it could’ve been a movie or even a
short film. Expanding the premise across a full season only seems to lead
to the repetitive “will she get caught” storyline that ultimately turned me
away from “The Americans” and other shows. In hindsight, it’s also why I
only finished watching Dexter at my wife’s urging… I lost interest in the
premise before the first season had finished.

On Tue, Feb 22, 2022 at 12:18 PM Adam Bowie <[email protected]> wrote:

> I'm not sure how many have seen this Netflix limited series from Shonda
> Rhimes, but I devoured the whole thing over a few days last week and I have
> a couple of big questions.
>
> The story is a take on the real Anna Sorokin/Delvey who inveigled her way
> into New York's high society between 2013 and 2017. I came into it cold,
> knowing nothing about the woman, or what had happened to her in real life.
>
> The series is structured in that way that everything seems to be these
> days - with two separate timelines. The present(ish) day where Anna
> Chlumsky's Vivian Kent is trying to write Anna's story for "Manhattan"
> magazine (more on that in a minute), and then we go back in time to see
> what Anna was doing.
>
> The story unravels over a slightly too long nine episodes, and at first it
> did feel that if you didn't know who Anna was, the show wasn't going to
> explain that to you. In other words, the first episode was slightly jarring
> and I was left feeling I'd need to Google the characters to get caught up.
> But then I'd find out what happened and that'd spoil the series.
>
> Things improved, but the show has made some very odd decisions. At the
> start of each episode they say that the story is true aside from the bits
> they completely made up. Of course, as viewers, we don't know which bits
> are true and which are dramatic licence.
>
> We do know that "Vivian Kent" and "Manhattan" magazine were, in reality,
> Jessica Pressler and New York magazine. "Manhattan" magazine shares "New
> York" magazine's typeset masthead. But by fictionalising the reporter, who
> we are supposed to care most about, they then run into some seriously
> unethical areas. When Anna gets a plea deal, everyone is in no doubt that
> she should take it, but the "Kent" knows that it'd be better for her if she
> went to trial. So she basically works with the defence and persuades Anna
> that she should go to trial. (Her defence lawyer similarly wants the fame
> that a trial would get even if her client might be better off with the
> plea).
>
> I've no idea what happened in reality, but the reporter getting involved
> like this would surely be a career killer at any proper journalistic
> organisation. Indeed, the backstory of "Kent"'s character is about
> something she'd done at Bloomberg that completely derailed her career.
>
> Then we follow "Kent" going around to see the various people who Anna was
> involved in and trying to get them to talk. She does this with great gusto,
> but often falls back on the line that she won't put their name in the story
> but call them something slightly vague. Except that the things she's
> calling them are so specific, everyone would be Google-able in about five
> minutes.
>
> Now I like Anna Chlumsky from Veep, but here she's going off the rails big
> time, gurning the whole way through. She's pregnant (which I think the real
> reporter was), but it takes over her story to such a large extent, that it
> becomes tedious.
>
> A lot has been written of Julia Garner's Delvey/Sorokin and in particular
> her accent which is truly something. But I actually found Chlumsky's
> character more distracting. Garner portray's her character in a way that
> you can see how sheer self-belief allowed her to carry off what she did.
>
> Can I recommend this? No. Did I devour it? Absolutely, despite being way
> too long. But there's plenty for a journalism ethics class to take apart in
> this. At least from this side of the Atlantic.
>
>
> Adam
>
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>
-- 
Kevin M. (RPCV)

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