On the other hand, the film stages a critique of classical Hollywood cinema, and the popular Horatio Alger myth; the typical American “rags to riches” story where the protagonist works hard, pays his dues, and ultimately achieves the success of his dreams. Popular Hollywood films typically reinforce stories such as this (e.g., Rocky, The Pursuit of Happyness, October Sky, etc.), and we recognize this familiar structure in Nightcrawler. When we first meet our protagonist, Lou, we see he is a thief. He bungles an attempt to rob a construction site, and instead attacks a security guard and steals his watch. One evening he watches as a camera crew films a woman being pulled from an auto wreck, and is introduced to the world of freelance journalism. He purchases a camera and a police scanner, and sets out to become a stringer; on the hunt for violent content to sell to local TV stations. The major confrontation of the film revolves around Lou working at getting his graphic video footage into the news. He hires an intern named Rick, and builds a relationship with Nina, the news director at Channel 6. “I want to be the guy that owns the station…that owns the camera,” he tells her, and a montage sequence depicts him gathering and cataloging an assemblage of violent clips like “CARJACKING CRIME WAVE” and “RAMPAGE IN RESEDA”.