magazine is blemished by, in her mind, an unfair media scandal. A juicy story like Delvey’s is the chance to salvage her journalistic reputation. She’s also very pregnant, so she’s on a deadline to prove herself, a perpetually blowing gasket in contrast to the more assured, flawed heroines that Rhimes has given us in the past, from Meredith Grey to Olivia Pope.
Playing things like a true crime story, with Vivian piecing together how Delvey managed to get away with things for so long, would be fine and should be gratifyingly in-step with the hottest trend in television storytelling. But the portrayal of journalism here leaps to the front of a long line of pop-culture examples that reveal Hollywood has absolutely no idea how journalism works—or, at least, assumes the basest level of intelligence of the reporters worth making content about.
But for someone as skilled at lassoing devastatingly emotional, grounded stakes from the outrageous, soapy, and absurd as Rhimes has reliably been, there’s a disconnect between the fantasy lavish life that Anna lived, as we see it on screen, and the labored pursuit to piece together the puzzle of her crimes. This is never successfully bridged in a way that has you invested wholly in either Vivian or Anna, or even fully understanding their respective motivations.
It goes without saying that this is a larger-than-life story, and Rhimes gives it the outsized treatment: a massive production that screams “we got Netflix money!” and, to harp on it again, bloated running times. But maybe the fact that this, characters had sex with ghosts, murdered hospitalized Supreme Court justices by smothering them with pillows, and demanded to know why your penis is on a dead girl’s phone.
Source: Entertainment Trends (entertainmenttrends.net)
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