“Citizen Kane” investigates an irony that has existed since the beginning of economy: to be happy is not necessarily to have a bunch of money and power. At heart, Charles Foster Kane is a small-town country boy whose world consists of Mom, Dad, and his sled Rosebud. But his parents send him off to the city with a rich man in order to live a different life. From education to business advisors, everything is provided for Kane in this new life. He runs a newspaper, runs for public office, and pretty much everyone across the globe knows and loves the man. Kane seems to draw a massive circle of happy-go-luckiness wherever he goes. However, Kane himself always seems out of place. It’s as if no matter how much attention he gets, it’s not enough. The rich man who gives him this new life tries to advise him, but Kane shoos him away every time. Instead, Kane begins a materialistic search for happiness. The man of the people who wanted his newspaper to tell the undivided truth for all becomes a confused dictator who lusts for control. Kane starts to collect statues, builds an opera house in which he forces his wife to sing, neglects his old friends and advisors, and where does he end up? A giant palace with a butler, an expensive suit, and a wife who spends her days building puzzles in front of the fireplace, longing for the old Kane and perhaps a different life. Here is where the irony is most interesting. With nothing but a sled, a small house, and two parents, Kane is a happy child. But with all the riches imaginable he is nothing but happy.