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Vivian’s dogged pursuit of the truth behind Anna’s façade is what’s supposed to drive the entire series, but it’s hard to root for her when a source has to remind her that Anna’s Instagram might be useful, or when she stares down a wall of selfies and marvels at Anna’s audacity to mark the different stages of her life with different hair colors. But the cranky denizens of Scriberia can’t do everything for Vivian, and so she keeps barreling down her own path, losing the plot and snapping at her husband (Anders Holm) as she chases leads to their most obvious conclusions. Played by Terry Kinney and Shondaland alums Anna Deveare Smith (“For the People”) and Jeff Perry (“Scandal”), this Greek chorus of jaded writers keep both Vivian and her storyline afloat, not so gently prodding her in the right direction when her basic journalistic instincts seem to have gone on vacation. Unlike Ellen Pompeo and Kerry Washington, however, Chlumsky struggles to lock into the specific cadence Rhimes’ dialogue requires, instead doubling down on an oppressive acidity that bleaches the bite out of every sentence.īy the time we met Vivian, her blowhard editor Paul (Tim Guinee) has banished her to “Scriberia,” a far-flung corner of “Manhattan Magazine” otherwise populated by older writers with little patience for their flashier millennial cohorts.

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(Every episode begins with a disclaimer that the show is true, “except for all the parts that are totally made up,” a caveat that proves especially important for the final couple episodes depicting Anna’s conviction beyond the article’s publication.) It stands to reason and history that Rhimes would want to put a deeply flawed professional woman at the center of this series, the first she herself has created for Netflix, thus following in the footstepss of Meredith Grey (“Grey’s Anatomy”) and Olivia Pope (“Scandal”).

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Weirdest and most damning of all, the entire series hinges on Anna’s relationship to the journalist who puts her on the map, a specific and limiting narrative framework that only ends up working against it.īased on Jessica Pressler’s 2019 New York Magazine story, “Inventing Anna” recasts Pressler as Vivian Kent (Anna Chlumsky), a writer who shares enough characteristics with her inspiration - a drive to prove herself beyond a bygone reporting screwup, an inconveniently timed pregnancy - but also distances herself just enough that the show can dramatize her dynamic with Anna as something more akin to Clarice approaching Hannibal than a reporter doing her job. Why the show didn’t just turn its nine rambling episodes into 10 more succinct ones, I cannot tell you.) With the help of an apparently generous Netflix budget, it spares no expense in its portrayal of jaw-dropping wealth, but still retains the flat cinematography of a broadcast network drama cutting corners.

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(The shortest clocks in at 58 minutes, while the finale runs almost a full hour and a half long. In retelling Delvey’s salacious and undeniably delicious tale of besting Manhattan power players, the limited series is at its best when zipping through snappy “Scandal”-esque banter, but is also weighed down by oppressively long episodes. But much like its inscrutable anti-heroine (played with an even more inscrutable accent by Julia Garner), Shonda Rhimes’ new Netflix series becomes a more frustrating knot of contradictions the more you try to untangle it. When it gives its actors enough meat to sink their teeth into, it can be as fun a distraction as Anna’s wilder nights were for the various sidekicks she picked up along her way to true notoriety. When “ Inventing Anna” taps into what made New York City scammer Anna Delvey (née Anna Sorokin) such a fascinating flashpoint, it’s easy to get sucked into its orbit.

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