through racketeering and organised crime, as have been delivered by Hollywood productions such as The Godfather, The Sopranos, and The Wire. Counter-terrorism financing (CTF) is a somewhat less glamorised aspect of the genre, as represented by the likes of 24 and Homeland. Nevertheless, much public interest was aroused by the real deal, such as the Osama bin Laden Document Release by the US Director of National Intelligence and based on materials seized in the Abbottabad raid of 2011, which revealed some fascinating insights into the business of terrorism.1 The generation of public attention through not only popular culture but also governmental promotion might be viewed by some commentators as whipping up a climate of undue fear for ulterior political motives.2 However, governments seem to have been vehement about their own rhetoric