
Crafting a love letter to New York City certainly isnāt a groundbreaking concept in art, and yet Master Of Noneāwith a story by Cord Jefferson and a teleplay from Aziz Ansari and Alan Yangāhas written a striking love letter that soars above so much of televisionās depictions of the city. Even its title reflects the episodeās devout, earnest love for the city. An inverted, verbose rewording of the sentiment seen plastered on souvenirs and clothing in gift shops throughout NYC, āNew York, I Love Youā is more intimate, more rhythmic, more real than that trademarked tourism campaign. Television and film often present a glitzy, blindingly white picture of New York where people of color are mere set dressing. Master Of None brings the background characters to the foreground in this episode about the interconnected lives of a group of New Yorkers, painting a richly detailed and real picture of the city.
And that doesnāt mean Master Of None is gritty or dark in its depiction of New York. On the contrary, itās effervescent, funny, and beautifully shot. White people arenāt the only people having fun in New York, contrary to what Hollywood would have you believe. In āNew York, I Love You,ā Edie (a doorman), Maya (a bodega employee), and Samuel (a cab driver) all participate in the grueling grind of New York, their paths intersecting as they go about their lives. These are the characters who are seen but rarely heard in whitewashed depictions of New York. Their presence is acknowledged as an essential part of New York, and yet their experiences, perspectives, and stories remain unspoken. Master Of None, instead, puts them at the epicenter of this New York tale, makes them specific and dynamic. They have namesāEddie, Maya, and Samuelāand they have stories to tell. And with its fluid structure and very natural writing, āNew York, I Love Youā is equipped to tell them masterfully. One story waltzes into the next, unearthing humor from the charactersā everyday lives.
And then the white characters who usually get their stories told on screenāthe businessman cheating on his wife, the woman sleeping with the married businessman, the young and wealthy women who hop into cabs without any acknowledgement that the person driving them existsāfall into the background. These people suck, and Master Of None knows it. Theyāre a part of New York, but they arenāt what makes this city intoxicating. āNew York, I Love Youā turns them into plot devices and punchlines in the way people of color usually are treated in whiter cinematic depictions of New York. Even the fact that Dev isnāt really a part of this episodeāexcept at the beginning and the endāacknowledges the characterās privilege. Master Of None is his story, but āNew York, I Love Youā is not. Itās Eddie, Maya, and Samuelās story. And Master Of None doesnāt need Dev to tell a compelling story. The episodeās bold structure, emphasis on everyday humor, and bittersweet tone make for excellent storytelling.
In Eddieās, we see how the ugliness of the rich, white people living in his building who assume he exists simply to make their lives easier. The comeuppance of watching Eddie tell the businessman that he cannot help him when his wife catches him cheating is oh so satisfying. When the camera shifts from the women in the back of the cab to Samuel, Master Of None casually flips the script, giving voice to a cab driver (who is also much more than his job). The fact that the women spoil the end of a movie for Samuel is a funny setup that touches on larger ideas about cab drivers being ignored by entitled passengers. And once his roommates Watson, Junior, and Jameson are introduced to the story, I want an entire show revolving around this crew of heartfelt, hilarious cab drivers.
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In āNew York, I Love You,ā we see the city through Edie, Maya, and Samuelās eyes. And thatās especially true for Maya, whoās also deaf. The second act of the episode revolves around her and for its entirety; thereās no sound, no score, positioning us firmly in her point of view. Itās a brilliant storytelling choice, and Treshelle Edmond gives a vivacious, hilarious performance. No audio necessary: Her mere presence carries the segment, and strong editing and direction choices make the episode a technical sensation. The way her relationship drama plays out is organic and real, and her performance gives emotional weight to it.
Master Of None captures New York in unconventional ways, not in sweeping shots of its popular sights or romanticized renderings of the cityās hustle and bustle. The impromptu late-night party in a closed fast food spot with strangers and faux bottle service (a flask in a cup of ice) is one of the most New York things Iāve ever seen on TV. Even the fact that all of the characters end up at the same screening of the hot new horror film Death Castle is reflective of this cityās specific love affair with cinema. The whole episode looks and feels strikingly real, an authentic love letter that doesnāt whitewash or slap a filter on New York.
Stray observations
- Ronald Seinfeld.
- Shoutout to the Venga Bus. That might be my favorite runner of the episode.
- The entire break room scene in Eddieās portion is fantastic.
- Who else thought Frank and Diana were going to be dogs and then scream-laughed when they turned out to be birds?
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