frozen Cokes before blokes

1. The FBI's Famous Cases & Criminals archive (fbi.gov/history/famous-cases) has detailed breakdowns of real fraud cases, Ponzi schemes, and confidence operations. The language they use is clinical and precise, which is perfect for getting the procedural details right.

2. The FTC Consumer Sentinel Network publishes annual reports on the most common fraud tactics in the US. Great for understanding how modern scams actually work and what makes people fall for them.

3. The Smithsonian's American Art Museum has a free digital collection of forgery case studies. If your character forges documents or art, this is gold.

4. Court Listener (courtlistener.com) is a free legal database where you can read actual court transcripts from fraud trials. Want to know how a real con artist talks under oath? This is where you find out.

5. The Internet Archive's collection of old newspaper crime sections. Search for "confidence man" or "swindle" in papers from the 1920s through 1960s and you'll find incredible real stories that would feel too dramatic for fiction.

Bonus: The Psychology of Fraud section on the Association for Psychological Science website has accessible articles about why people trust, how deception works cognitively, and what makes someone a convincing liar. Essential reading if you want your con artist characters to feel psychologically real.

ignore everybody else, we're alone now...

And don't even get me started on the poster design!! I gasped when I saw the tag line on the trailer

Whakapapa. Whānau. Utu.

The reproduction of society calls for a particular set of feelings seen as socially appropriate. Different feelings are the right ones in different social circumstances. For people to feel well, someone needs to create good feelings. These feelings of niceness are a core function of the bourgeois family. There can be a lot of work involved in creating a spirit of niceness at family dinners and holidays, where conflict needs to be held at bay. It is also a key feminine task – smoothing over conflict, soothing hurt feelings, creating a spirit of relaxation and wellbeing. Women are called to perform these tasks in their families, at work, and among friends and acquaintances. Niceness is a bourgeois family value which women are compelled to create through both domestic and emotional labour. In this way, the gendering of feeling reproduces a split subjectivity where women are tasked with creating relationality and emotional wellbeing, while men have licence to act as solitary individuals, affirming their own importance and worth over others.

This lens of emotional reproduction allows us to see how gender is intimately connected to work. The work that we do becomes part of how we experience ourselves as subjects. Our self-understanding of what types of work we can do, what skills we have, is closely linked to how we perceive ourselves as gendered subjects. Moreover, the process of becoming a properly gendered subject can itself be understood as a form of work – the labour we do on ourselves to manage our relation to gendered norms. Sometimes we work to live up to such norms, and sometimes we work to distance ourselves from them. The labour of becoming a gendered subject is never complete. Gender consists of ideal forms to which people are compelled to aspire, with varying degrees of success, not as forms that can be fully inhabited by any individual. While these forms are ideological, they are also both the results and the preconditions of gendered forms of labour. Gender ideals are often multiple and contradictory. It is impossible to fully adhere to idealised gender norms. These norms are a way of extracting a certain amount of labour, despite or because of the fact that fully living up to hegemonic gender ideals is an impossible goal. Women tend to be perceived, and perceive themselves, as more caring than men. Their very personalities therefore become conflated with a specific type of work: emotional reproduction.”]