And while Mamdani always knows what he wants to say, that’s not all you hear in the videos. “Sound is a big part,” Becker said. “I try to not keep it too clean or too pretty, you know. I think it’s fine that we hear the cars in the background, and we hear people yelling on the subway, and we hear his mic sometimes just stop working, and that’s okay. I try not to be too precious about the sound, because I feel like that’s certainly my experience in New York, is noise, in a good way. It’s part of the soundtrack.” Shooting New York is a tall order, given how well-photographed the city is. “We don’t do a lot of drone shots. We don’t do a lot of big sweeping landscape shots. We do a lot more of people on the street, and tight shots of people walking by, or little tableaus,” she said. “It can feel kind of messy. It can feel frantic. It’s a lot of handheld. This sounds like film bro aesthetic choices that we’re making, but a lot of it is just by nature how we’re shooting. Sometimes we only have 20 minutes and we don’t have a tripod. But I think we’ve all leaned into that and been like, Listen, we’re not on a studio set. We’re not on the backlot at Sony. We’re in New York City, and it’s going to feel like it.”