{"id":70873,"date":"2026-02-13T11:40:20","date_gmt":"2026-02-13T11:40:20","guid":{"rendered":"https:\/\/youzum.net\/the-myth-of-the-high-tech-heist\/"},"modified":"2026-02-13T11:40:20","modified_gmt":"2026-02-13T11:40:20","slug":"the-myth-of-the-high-tech-heist","status":"publish","type":"post","link":"https:\/\/youzum.net\/th\/the-myth-of-the-high-tech-heist\/","title":{"rendered":"The myth of the high-tech heist"},"content":{"rendered":"

Making a movie is a lot like pulling off a heist. That\u2019s what Steven Soderbergh\u2014director of the Ocean\u2019s<\/em> franchise, among other heist-y classics\u2014said a few years ago<\/a>. You come up with a creative angle, put together a team of specialists, figure out how to beat the technological challenges, rehearse, move with Swiss-watch precision, and\u2014if you do it right\u2014redistribute some wealth. That could describe either the plot or the making of Ocean\u2019s Eleven<\/em>.<\/p>\n

But conversely, pulling off a heist isn\u2019t much like the movies. Surveillance cameras, computer-controlled alarms, knockout gas, and lasers hardly ever feature in big-ticket crime. In reality, technical countermeasures are rarely a problem, and high-tech gadgets are rarely a solution. The main barrier to entry is usually a literal barrier to entry, like a door. Thieves\u2019 most common move is to collude with, trick, or threaten an insider. Last year a heist cost the Louvre \u20ac88 million worth of antique jewelry, and the most sophisticated technology in play was an angle grinder.<\/p>\n

The low-tech Louvre maneuvers were in keeping with what heist research long ago concluded. In 2014 US nuclear weapons researchers at Sandia National Laboratories took a detour into this demimonde, producing a 100-page report called \u201cThe Perfect Heist: Recipes from Around the World<\/a>.\u201d The scientists were worried someone might try to steal a nuke from the US arsenal, and so they compiled information on 23 high-value robberies from 1972 to 2012 into a \u201cHeist Methods and Characteristics Database,\u201d a critical mass of knowledge on what worked. Thieves, they found, dedicated huge amounts of money and time to planning and practice runs\u2014sometimes more than 100. They\u2019d use brute force, tunneling through sewers for months (Soci\u00e9t\u00e9 G\u00e9n\u00e9rale bank heist, Nice, France, 1976), or guile, donning police costumes to fool guards (Gardner Museum, Boston, 1990). But nobody was using, say, electromagnetic\u00a0pulse generators to shut down the Las Vegas electrical grid. The most successful robbers got to the valuable stuff unseen and got out fast.<\/p>\n

\n
\"rench
Last year a heist cost the Louvre \u20ac88 million worth of antique jewelry, and the most sophisticated technology in play was an angle grinder.<\/figcaption>
DIMITAR DILKOFF \/ AFP VIA GETTY IMAGES<\/div>\n<\/figure>\n<\/div>\n

Advance the time frame, and the situation looks much the same. Last year, Spanish researchers looking at art crimes from 1990 to 2022 found that the least technical methods<\/a> are still the most successful. \u201cHigh-tech technology doesn\u2019t work so well,\u201d says Erin L. Thompson, an art historian at John Jay College of Justice who studies art crime. Speed and practice trump complicated systems and alarms; even that Louvre robbery was, at heart, just a minutes-long smash-and-grab.<\/p>\n

An emphasis on speed doesn\u2019t mean heists don\u2019t require skill\u2014panache, even. As the old saying goes, amateurs talk strategy; professionals study logistics. Even without gadgets, heists and heist movies still revel in an engineer\u2019s mindset. \u201cHeist movies absolutely celebrate deep-dive nerdery\u2014\u2018I\u2019m going to know everything I can about the power grid, about this kind of stone and drill, about Chicago at night,\u2019\u201d says Anna Kornbluh, a professor of English at the University of Illinois at Chicago. She published a paper<\/a> last October on the ways heist movies reflect an Old Hollywood approach to collective art-making, while shows about new grift, like those detailing the rise and fall of WeWork or the con artist Anna Delvey, reflect the more lone-wolf, disrupt-and-grow mindset of the streaming era.\u00a0<\/p>\n

Her work might help explain why law-abiding citizens might cheer for the kinds of guys who\u2019d steal a crown from the Louvre, or $100,000 worth of escargot from a farm in Champagne (as happened just a few weeks later). Heists, says Kornbluh, are anti-oligarch praxis. \u201cEverybody wants to know how to be in a competent collective. Everybody wants there to be better logistics,\u201d she says. \u201cWe need a better state. We need a better society. We need a better world.\u201d Those are shared values\u2014and as another old saying tells us, where there is value, there is crime.<\/p>","protected":false},"excerpt":{"rendered":"

Making a movie is a lot like pulling off a heist. That\u2019s what Steven Soderbergh\u2014director of the Ocean\u2019s franchise, among other heist-y classics\u2014said a few years ago. You come up with a creative angle, put together a team of specialists, figure out how to beat the technological challenges, rehearse, move with Swiss-watch precision, and\u2014if you do it right\u2014redistribute some wealth. That could describe either the plot or the making of Ocean\u2019s Eleven. But conversely, pulling off a heist isn\u2019t much like the movies. Surveillance cameras, computer-controlled alarms, knockout gas, and lasers hardly ever feature in big-ticket crime. In reality, technical countermeasures are rarely a problem, and high-tech gadgets are rarely a solution. The main barrier to entry is usually a literal barrier to entry, like a door. Thieves\u2019 most common move is to collude with, trick, or threaten an insider. Last year a heist cost the Louvre \u20ac88 million worth of antique jewelry, and the most sophisticated technology in play was an angle grinder. The low-tech Louvre maneuvers were in keeping with what heist research long ago concluded. In 2014 US nuclear weapons researchers at Sandia National Laboratories took a detour into this demimonde, producing a 100-page report called \u201cThe Perfect Heist: Recipes from Around the World.\u201d The scientists were worried someone might try to steal a nuke from the US arsenal, and so they compiled information on 23 high-value robberies from 1972 to 2012 into a \u201cHeist Methods and Characteristics Database,\u201d a critical mass of knowledge on what worked. Thieves, they found, dedicated huge amounts of money and time to planning and practice runs\u2014sometimes more than 100. They\u2019d use brute force, tunneling through sewers for months (Soci\u00e9t\u00e9 G\u00e9n\u00e9rale bank heist, Nice, France, 1976), or guile, donning police costumes to fool guards (Gardner Museum, Boston, 1990). But nobody was using, say, electromagnetic\u00a0pulse generators to shut down the Las Vegas electrical grid. The most successful robbers got to the valuable stuff unseen and got out fast. Last year a heist cost the Louvre \u20ac88 million worth of antique jewelry, and the most sophisticated technology in play was an angle grinder.DIMITAR DILKOFF \/ AFP VIA GETTY IMAGES Advance the time frame, and the situation looks much the same. Last year, Spanish researchers looking at art crimes from 1990 to 2022 found that the least technical methods are still the most successful. \u201cHigh-tech technology doesn\u2019t work so well,\u201d says Erin L. Thompson, an art historian at John Jay College of Justice who studies art crime. Speed and practice trump complicated systems and alarms; even that Louvre robbery was, at heart, just a minutes-long smash-and-grab. An emphasis on speed doesn\u2019t mean heists don\u2019t require skill\u2014panache, even. As the old saying goes, amateurs talk strategy; professionals study logistics. Even without gadgets, heists and heist movies still revel in an engineer\u2019s mindset. \u201cHeist movies absolutely celebrate deep-dive nerdery\u2014\u2018I\u2019m going to know everything I can about the power grid, about this kind of stone and drill, about Chicago at night,\u2019\u201d says Anna Kornbluh, a professor of English at the University of Illinois at Chicago. She published a paper last October on the ways heist movies reflect an Old Hollywood approach to collective art-making, while shows about new grift, like those detailing the rise and fall of WeWork or the con artist Anna Delvey, reflect the more lone-wolf, disrupt-and-grow mindset of the streaming era.\u00a0 Her work might help explain why law-abiding citizens might cheer for the kinds of guys who\u2019d steal a crown from the Louvre, or $100,000 worth of escargot from a farm in Champagne (as happened just a few weeks later). Heists, says Kornbluh, are anti-oligarch praxis. \u201cEverybody wants to know how to be in a competent collective. Everybody wants there to be better logistics,\u201d she says. \u201cWe need a better state. We need a better society. We need a better world.\u201d Those are shared values\u2014and as another old saying tells us, where there is value, there is crime.<\/p>","protected":false},"author":2,"featured_media":70874,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"pmpro_default_level":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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NU","author_link":"https:\/\/youzum.net\/th\/members\/adminnu\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/youzum.net\/th\/category\/ai-club\/\" rel=\"category tag\">AI<\/a> <a href=\"https:\/\/youzum.net\/th\/category\/committee\/\" rel=\"category tag\">Committee<\/a> <a href=\"https:\/\/youzum.net\/th\/category\/news\/\" rel=\"category tag\">News<\/a> <a href=\"https:\/\/youzum.net\/th\/category\/uncategorized\/\" rel=\"category tag\">Uncategorized<\/a>","rttpg_excerpt":"Making a movie is a lot like pulling off a heist. That\u2019s what Steven Soderbergh\u2014director of the Ocean\u2019s franchise, among other heist-y classics\u2014said a few years ago. You come up with a creative angle, put together a team of specialists, figure out how to beat the technological challenges, rehearse, move with Swiss-watch precision, and\u2014if you…","_links":{"self":[{"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/posts\/70873","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/comments?post=70873"}],"version-history":[{"count":0,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/posts\/70873\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/media\/70874"}],"wp:attachment":[{"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/media?parent=70873"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/categories?post=70873"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/youzum.net\/th\/wp-json\/wp\/v2\/tags?post=70873"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}