Telvision Criticism - Univ. of Iowa

The introduction follows a day in New York City. The first shot is of the city shortly after dawn (1). Following that is a mix of things happening during the “work” day: a kid breakdancing for money (14), people selling black market goods (20), people purchasing black market goods (21), vague shots of money being handled (21-22), people holding signs for businesses (16), a man in a suit on the phone (25), a stylish woman with both arms holding multiple bags (29). This segment ends with a shot of a downtown high-rise in the afternoon (46). It immediately switches to the same exact building, but at night (47). From then on, the images of work and buying are replaced with images of nightlife: young, stylish people partying, taking pictures, and kissing (48-57, 59-62, 64-66, 68-72, 76-78, 80). Intermixed in all of these images are images of random street corners across New York (57, 63, 67, 79). In stark contrast to the daytime scenes, money is completely removed from these images. The focus of the intro becomes the gratifying and meaningful social experiences of the city youth as the city transforms from a place of work and consumption into a playground. Interestingly enough, the only one who seems to be working during all of this is an Asian food worker who we see cutting off the head of a roasted duck. Finally, the nighttime images transition to a calm traffic light set against the dawn sky before cutting to the same early morning image of the city that was used in the very first shot.

How to Make it in America is ostensibly about a couple of eager go-getters out to climb out of the levels of low-wealth (which, throughout the show, is primarily indicated by a lack of respect among more-successful peers rather than any particular financial hardship) and into the world of success by producing their own clothing line. Yet, from the title credits, it’s clear that the intro to HTMIIA is telling a story about “New York.” The first 4 shots are all cityscapes, which are followed by a rapid progression of shots that seem to hit on every cultural touchstone of New York: graffiti (4, 7, 34, 40, 42), subways and cabs (37-39, 45), ethnic and religious diversity (6, 19, 34, 39), hot dogs and knishes (27-28), breakdancing (14), crowds of pedestrians (3), faux designer goods (20), pawn shops (16-17), luxury fashion (29, 31-32), hip parties (47-78), etc. Further, none of the actors are actually shown in the opening. Instead, their names are overlaid onto shots of the “real people” of New York, suggesting that the show is less about the stars or the one-of-a-kind characters they play and more about the common person that make up and create the actual city. The discrepancy between the actor’s name and the person next to it lets us know that this story is universal, and the characters could be anyone in New York.

The New York presented in the introduction is a unified, harmonious environment. Notably absent from any of the images presented: Crime, horrid living conditions, homelessness, people in dilapidated clothing and poor physical condition. Images of the downtown cityscape and high fashion retail shopping are fluidly intercut with images of graffitied walls, closed storefronts, services workers, and black market dealings. The fact that all these images take place in a presentation of a “day in New York City” argue for a conception of New York as a singular space and culture where income gaps do not equal social and cultural gaps. New York becomes an inclusive amalgamation of all manners of living that operates through the passing of money and positive social gatherings. There is no “other half" or separation of socioeconomic classes in this New York.

This is especially prevalent in the day/night dichotomy of the opening, which valorizes the city and the economic system that created it as an inclusive site that provides enjoyment to all regardless of socioeconomic status. The day is presented as the time when money is made and spent; the night as when life is "lived" and memories are made. Thankfully, the introduction lets us know that no one works at night (except for the Asian grill worker, and even he gets a “heartfelt” thank you in the form of mustard, which joins him in on the fun). Everyone gets to be a participant in the spoils of the capitalist system and the culture it supports. This series of scenes reinforces the “work hard, play hard” mentality that underlies and reinforces the valorized myth of the lower socioeconomic classes that is central to HTMIIA. To maintain this myth, the intro must strategically ignore the concept of money that was so prevalent in the daytime scenes, even though it is just as important in “play” as it is in “work.” Trendy fashion costs money, cabs cost money, subways cost money, food costs money, entrances to clubs cost money, drinks at clubs cost A LOT of money. The experiences depicted by the intro are presented as if they are earned by hard work and determination alone, not bought and paid for by the same money that needs to go to rent, food, and clothing.

Further, not only do the lower socioeconomic classes operate in the same sphere as everyone else, the culture of low-wealth citizens is presented as an essential component in the greatness of New York, America, and the individuals themselves. Here, non-wealth creates motivation and desire, which produces creativity (graffiti, breakdancing, fashion) and entrepreneurship (performing for money, street vending). Poverty is not so much an entrenched part of the American composition, borne out of systemic structures and calcified into the American landscape and reinforced by political, economic, and social structures, but as a personal obstacle easily overcome by those willing to put the work in. Success is presented as available to all who do so and keep the proper attitude (all our subjects are smiling, after all). HTMIIA presents the common refrain that material wealth is the direct result of applied effort + positive emotional perspective. The American dream is thus the center of the show, and New York becomes the personification of that. It is no coincidence that the last show shows the Manhattan cityscape, one of the richest places in the world, with the words “Make America” superimposed over it. Additional words are then added to create the title, “How to Make it in America.” Thus New York itself becomes a mere symbolic compounding of all the actions undertaken in the name of “making it,” or fulfilling the American dream.