The Washington PostDemocracy Dies in Darkness

Scammers are having a cultural moment. Why are we so obsessed with them?

Steven Zaillian’s “Ripley” and Emerald Fennell’s “Saltburn” explore the appeal — and the depravity — of con men

Perspective by
Matt Damon in Anthony Minghella’s “The Talented Mr. Ripley.” (Shutterstock)
8 min

“New Anna Delvey just dropped.”

That’s what a friend posted in a Slack channel recently upon reading about a New York City promoter associated with an archipelago of buzzy restaurants and bars, who had been sued for allegedly pocketing the money of people who thought they were his investors.

It was a particularly good example of the specific kind of excitement that spreads through chats and DMs when it appears there’s a new con artist on the horizon. From the aforementioned Delvey, a.k.a. Anna Sorokin, the fake heiress shacking up at the finest hotels, to disgraced congressman George Santos, spending campaign funds on Botox, there’s something delectable about consuming the details of a grift — especially when there’s an aura of glamour around it.