“In her world, this is what her social circle did… Everyone’s life was perfectly curated for social media. People were fake. People were phoney. And money was made on hype alone.”
So says the defense attorney for Anna Sorokin – aka Anna Delvey. Sorokin was convicted last month of what amounts to one big scam of New York’s social elite. Three counts of grand larceny, one count of attempted grand larceny, four counts of theft of services. She was sentenced on Thursday to a maximum of twelve years in jail. ICE have also confirmed that Sorokin – who has German citizenship – will likely be deported at some point.
Reading through the list of her escapades, you can’t help but be impressed. Socialites, five-star hotels, even a hefty loan from City National Bank. Over the course of four years she managed to bilk them out of around $275,000. She got others to pay for luxury rooms, private jets, vacations to Morocco, and lavish nights out while having barely a cent to her name. All by convincing people that she was heiress to a $67 million fortune.
She isn’t. Her father is a truck driver and her mother is a housewife. Who said millennials lack ambition?
Sorokin’s conviction and sentencing have, predictably, been the source of vigorous buzz and chatter. For some she’s been the object of derision and spite, for others she’s cause for the gleefullest of glee. Fashionistas have gandered at her choice of clothing throughout her trial. Shonda Rhimes is developing a series based on Sorokin’s story. Lena Dunham is working on another.
Still others have wondered why it is that the New York District Attorney has gone after Sorokin with such viciousness while in the past he has failed to prosecute the likes of Harvey Weinstein and Dominique Strauss-Kahn for more serious crimes. Some suspect sexism afoot, and I reckon there is something to this.
What interests me the most though is what Sorokin’s lawyer means when he says “her world.” Because, after all, the life of the rich and privileged wasn’t “hers.” It’s precisely this that in the end got her into so much trouble. In Sorokin’s case it is less about the amount of money she stole than who she stole it from, who she pretended to be. At the core of it, her biggest crime is the crime of false pretense.
In some ways, though, it was her world. If her place within it could be so easily adopted and faked, then perhaps that says more about the world than her. Sorokin’s actions didn’t just rely on aestheticization. They were, in their entirety, aestheticization. Delvey never existed. She was made up, invented, carefully curated and skillfully plotted.
Ben Davis writes of how the art world was the circulatory system through which Delvey ran her scams. She promised an arts center to potential financial backers, featuring art from Koons and Christo. Her Instagram presence (as she is sure to have learned from so many Rich Kids of Instagram) was patiently crafted and constructed. It suggested that Sorokin had a deep appreciation and love for art and aesthetics. Though as Davis has also pointed out, this could itself be an act; for all we know of Anna Delvey, Sorokin could have known and appreciated as much about art as the average Wikipedia reader.
Whatever the case, Sorokin has if nothing else closely studied the ways of the rich and spoiled. Her ability to convince those around her that she was an heiress reflects how perceptive this study was. But it also reveals that there isn’t a whole lot of difficulty in aping the upper crust, in convincing them that you are one of them. There is no substance to fake, no authenticity to mine, just an image to cultivate.
Yes, it is old hat to point out that the lives of the rich are, behind the glitz, empty and banal. Or that social media aids in the cultivation of these full spectrum poses. But there is also something particular about the timing of Sorokin’s story, falling as it does in an era also marked by the Fyre Fest fiasco, by Elizabeth Holmes, by the specter of the “millennial scammer.” Compare this crop with those behind the Enron or WorldCom scandals of the early 2000’s, and you start to see an added element in play.
It is more than generational turnover. More than just conspicuous consumption. The global slump of 2008 was a foundational crisis in neoliberalism, exposing not just its inner machinations but thusly forcing sections to reassess how it maintained cultural hegemony. If financialization required the basic workings of exploitation to be obscured, aestheticized, then the crisis of this template required an intensification of neoliberalism’s specific relationship with the culture industry.
Take, as an example, the rich people of reality television. Not long before the ‘08 crash, production studios had begun to lean heavily on reality TV. This was most immediately an adaptation to the four-month writers’ strike that put countless scripts on hold. But the strike itself was indicative of much larger rifts that were opening up in Hollywood’s business model. And so Hollywood also stumbled on a very profitable lesson.
Today, reality TV is far more bankable than scripted shows. Labor costs are lower for them and their ratings are on the whole higher, but they also reflect and encourage a peculiarly voyeuristic kind of moralism. Among them a special place is held for shows like Keeping Up With the Kardashians, Real Housewives, Southern Charm; shows that dramatize the idleness of the pampered. Their mundane pettiness is wrapped in the pretense of high drama, and in such a way that it wouldn’t be if they were of a more common socioeconomic stature.
The line between content and form becomes blurred, and it is used against us. Our emotional investment in the petty behaviors of the privileged mirrors the way in which our own lives are financially tied up with the maintenance of their lifestyles. Yes, the vacuity of the rich has been laid bare, but even in schadenfreude, we are made complicit in that same vacuity.
This dynamic doesn’t merely apply to gulag bait reality TV. But the specific form exhibits a logic that has been widely instilled in neoliberalism and accelerated in its later, post-crash iteration. The internet, social media, the generalized on-demand-ification of our cultural artifacts, even the rise of a mundane surveillance state; all have instilled in public consciousness that we somehow have a purchase in the lives of others. And if it seems as if the lives of the more well-off have more weight in that purchase, well, then you probably also have understood the double meaning behind the word “purchase.”
What we are talking about then is a huge innovation in glamour, in the psychology and aesthetics of envy. Glamour and envy in the way that Berger described them almost fifty years ago:
Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for full democracy which entails, among other things, the overthrow of capitalism; or else he lives, continually subject to an envy which, compounded with his sense of powerlessness, dissolves into recurrent day-dreams.
Telescope this forward to today. The means of reproducing the day-dream have been revolutionized and innovated a thousand times over. Yet the means to democratize daily life haven’t just failed to keep up but have been coerced from us.
What happens when someone decides to not merely stay in the daydream, but make it their reality at any cost? The answer is found somewhere in the gap between Anna Sorokin and her avatar Anna Delvey. With the desires of the first unrealizable, the invention of the second becomes necessary. And the only skill needed is a convincing con game.
It is not just that the lives of the rich are empty, it is that this very same emptiness has become its greatest source of strength. The void has gotten bored of staring back. Now it’s devouring us whole. And when we finally get to its center, there’ll be nothing waiting for us but Lena Dunham.