The subgenre of scammers is already a classic in world literature, film and television, and it is because it is an inherent part of the human being. The picaresque novel would be inconceivable without scammers. The cinema has its classics like The hit, de George Roy Hill, o The scammers by Stephen Frears, and for these payments it suffices to quote The cheaters, scored by Pedro Lazaga. But if art is a reinterpretation of life, the truth is that life, in terms of scams, far exceeds art.
The second season of Sneaky Pete (Amazon), a series that absolutely revolves around hoaxes, is as good as the first. The fortunes and misadventures of Giovanni Ribisi and his false adoptive family always border on disaster and always survive with the imagination and tricky professionalism of their protagonist. On this occasion, the leitmotiv of its 10 chapters is the forgery of a Vermeer painting with which to get a fortune from a billionaire. Naturally, other collateral scams arise, such as an obscenely valuable wine fraud, and risks such as the confrontation with drug traffickers, but Ribisi surpasses everything with the help of the family.
Life is less entertaining, and the repertoire of fraud is broader. They range from financial engineering to mortgages subprime or the autochthonous preferential until the unfulfilled electoral promises, the public waste or that entelechy of the independence movement. On Sneaky Pete there is imagination and talent; in life, arrogance, conviction of impunity and unscrupulous greed. In fiction, the viewer identifies with the scammers. In reality, he laments that not all those who should sit on the bench.