How to Make It in America's second season was new territory thanks, in large part, to an influx of HBO money. The result? A quicker pace, more structure, and better character development as the show's training wheels were removed. Season 1 felt like an experiment at times—especially during the earlier episodes. Season 2 took a noticeable step forward as the show appeared to be finding itself. 

Season 2

Farino: [In Season 2], HBO asked for more narrative of [the characters] progressing. For me, I would’ve been happy to do the show with them scraping around for $200 every week. I loved the ground-level element of Season 1. I really did. But HBO was asking us to create a little more in terms of upward trajectory for them. So it became a bit less loose in slack.

Edelman: In the second season, we had this new producer, Jill Soloway. Jill created that show Transparent. Jill came into the show like, “I’m a Lake fan. Let’s do more with Lake.” And I was like, “Let’s do it.”

Bell: Jill Soloway was the co-showrunner for Season 2 and wrote so many beautiful, hilarious moments for Rachel, and I’m just indebted for that. I feel like I have Jill to thank for a lot of the great Rachel story threads, and Jill also had a huge part in writing the episode where I get a tattoo from a famous tattoo artist, Scott Campbell, who ended up being my husband. So when I [see Jill], Jill’s like, “You’re welcome.”

Farino: In terms of making sure it was balanced, because it was mostly blokes making [the show], Jill came in to challenge us with a woman’s perspective. I remember just hanging around and chit-chatting; it didn’t go that deep. And then, the next minute, Jill had one of the best shows in America. 

Greenberg: Jill’s energy changed the show. It got a little more interesting and a little weirder, which I liked. And I think we sort of figured out our tone and what the show was.

Rasuk: I think they just focused a lot more on what Ben and Cam really wanted. With Cam, he wanted his own crib. That’s why I love the whole scene when he’s pushing the stove down Bowery [Street] and he’s got his own crib. I think they humanized the characters.

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