Mr Robot 3.2 – Legacy

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Episode three of this season, titled ‘Legacy,’ takes us back in time in order to fill in some of the details leading up to Elliot’s incarceration in season two. It begins in the dimly-lit carnival atmosphere of the Eldorado Arcade – where FSociety originated – with Elliot (Mr Robot) and Tyrell examining the 5/9 hack that brought E Corp to it’s knees at the end of season one. With another clever ‘cowboy switch’ that visually communicates that Mr Robot is currently in the driver’s seat, we witness a confrontation between Mr Robot and Tyrell that illustrates a deeper emotional disturbance in Tyrell than we may have previously realized. The late night meeting, however, is interrupted by the series’ newest enigmatic character, Irving, and two of his henchmen.

“If you‘re seein‘ me, that means you boys fucked up.”

Presumably, this is some of the earliest contact Irving ever makes with Mr Robot, and it illustrates why Irving was so confused when Elliot didn’t recognize him when they met at The Red Wheelbarrow at the beginning of the season.

Irving is a masterful character that communicates – both to Mr Robot and to the audience – how much reach Dark Army truly has; it has eyes and ears everywhere and Stage Two has yet to be initiated. Tyrell is forced into hiding, guarded by Dark Army acolytes at a remote cabin in the woods, divorced from all of his contacts. Elliot is sentenced to eight months in jail for harassing his therapist’s boyfriend and Whiterose, during a private briefing, expresses his intention to pull the right strings to help manipulate Donald Trump into the Oval Office.

The play-by-play of much of the episode is unimportant. What is important are the details and character development. We begin to dig into the psychology of Tyrell Wellick, whose fanatical devotion to Elliot hinges on the disturbing. We witness the button-down demeanor of Tyrell shift to a wild-eyed frenzy, believing he is a demigod. We also see vulnerability in Tyrell when he expresses that he needs to “look good for Elliot,” when he admits that he is afraid he will become like his father, and when we see Irving begin to serve as something of a father figure to him out in the woods. Beyond all of this making Tyrell more three-dimensional and relatable, this also begins to humanize Irving who – up until this point in the season, at least – has only ever appeared calculated, methodical, cold, and threatening.

And if we pay close attention, there is one huge things missing from this episode: notice that Elliot is not narrating this episode, which is a significant departure from the show’s format. The result is that the audience feels more distant from the characters and events (especially Elliot), and adds to the cloak-and-dagger mystery tone of this season.

As each of the show’s central characters become increasingly aware of Elliot’s dissociative personality, Elliot himself becomes increasingly distant from the audience. As more of Elliot’s associates begin to navigate his dual personas, chances are good that Mr. Robot’s world is going to change, too. Last week we saw how Mr. Robot reacted to losing control over Elliot; moving forward, it’s easy to assume that this nervous rage is going to have real-world consequences, especially as Stage Two is implemented.

This television show has woven a complicated tapestry, constructing intricate connections between hacktivists, corporate executives, political opponents, economic balance, and organized & corporate crime. Mr. Robot is expert in revealing enough information to prevent the audience from feeling overly manipulated while simultaneously keeping us in the dark enough to keep guessing. That’s the strength of the show; we know that everything is connected, but aren’t quite sure how or why. All the while, the story is slowly unfolding, slowly filling in the blanks.

The split personality trope is still a shaky one, but it’s being handled with a unique finesse that hasn’t yet threatened to injure the overall narrative. ‘Legacy’ has certainly upheld the mystery and intrigue of Mr. Robot, and it’s certainly clear that there will be many more surprises down the road.

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Mr Robot 3.1 – Undo

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“You know when you fuck something up and you wish you had the power to hit ‘undo’? Like when you say the dumbest thing in front of your biggest crush? Or when you talk shit about your boss in an email and then hit ‘reply all’ to everybody at work?”

“We all have those days.”

Such is the way episode two begins, with an upbeat INXS song (“New Sensation”) and a montage of Elliot’s new routine at E Corp. Our unreliable narrator is hopeful that he can undo the damage he’s done, undo the hack. We see the painful virtual tours and corporate training videos he has to endure at his new job – the security checks and card swipes, the idiot greasy co-worker objectifying women and the other elements of his morning routine.

The beginning of this episode is rhythmically interesting. In many ways it mimics the Aronofski cut that was established in Requiem For A Dream – shirt, pill, train, turnstile, swipe the I.D. card, hit the elevator. All fast cuts. All on repeat. And we listen to upbeat ’80s music and watch Elliot slowly chip away at the senior staff members of E Corp.

Each iteration of the routine ends with Elliot in the middle of a presentation – about cost, efficiency, and security. And each roll-coll introduction of a new “upper-middle” manager reveals a lazy, distracted, arrogant, ignorant, and unconcerned corporate shill – fiddling with their smart phones, ignoring the presentation, interrupting the presentation because they’re bored.

“I’ve got a soul-cycle class I’m late for. Let’s pick this up sometime…next quarter?”

The beginning of this episode has the stains of American Psycho all over it, right down to the ’80s music, the polished surface of corporate America, and the roiling ocean of distraction and discontent beneath the surface. At the end of each cycle, we see that Elliot has managed to remove another corrupt manager; the space-bar click sound effect machine-guns the exit of corrupt corporate leaders – the sub-prime scammers, pension embezzlers, ponzi schemers, and sexual harassers.

Until he finally gets a receptive audience who gives him what he wants: the digitization of all corporate records.

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The first act is the most important. Elliot grinds through the days until he gets what he needs in order to try and begin reversing the damage he has done. Act two finds Elliot speaking with Krista, his therapist, who later recognizes his dissociative personality and seizes an opportunity to speak directly with Mr. Robot. Little comes of the conversation; the audience watches Krista come to terms with truths that the audience is already aware of.

Copycat organizations begin masquerading as F-Society and the noose tightens around Darlene. A currency war is introduced, presenting the tired notion of an “America Versus China” conflict. Joanna, manipulative and beautiful as she is, dies at the hands of her lonely and jealous lover, leaving her blood-stained infant wailing in the back of a car. No character shows remorse, even with the presence of the crying child, and I don’t believe the audience really cares, either. The woman was something of a robot herself.

Obviously Mr. Robot is building tension and stacking pieces together; long-form narrative is chess, not checkers, slow and patient strategy, rather than impulse. But there is absolutely nothing about this episode that stands out. Elliot crazy. China bad. Crazy wife dead. Audience not surprised.

Perhaps this is an insulting analysis. Maybe this is all building toward something more. But for now, I find myself not giving a single f*** about any of these characters, what they’re doing, or the world they live in. The story is pregnant with intrigue but lacks sympathetic characters. Let’s hope something changes.

Let me know in the comments what you think. I’d be curious to know.

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June 25, 2017 – Terry Wolf

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Artist, musician, rancher, motorcycle enthusiast, hippie, and so many things more, Terry Wolf is a force of nature. I don’t have her life story, but my understanding is that she has lived near and far, done a fair bit of traveling, and has endured about as much as life can throw at a person. She has her own patch of land outside of Historic Bisbee where she raises wolf pups and, on occasion, has bonfire celebrations where she invites the whole town to come down and dance, drink, and be merry by the fire.

She used to work a couple of days a week down at Mimosa Market, a small bodega up Brewery Gulch. Two of her wolf pups would sleep on the worn wooden floors all day while Terry stood behind the glass counter, manning the register. Her first husband’s ashes were scattered on the hilltop above Mimosa Market, where a man had constructed a makeshift shrine decades ago; the white cross at the top of the hill can be seen from the outskirts of town. She was also the very first person in Bisbee to buy one of my paintings – a Dia de los Muertos themed mariachi piece – which was a huge boost to a new artist in town struggling to get his footing.

Some of my favorite memories are listening to Terry play the guitar while John Cordes would play the fiddle – springtime afternoons on the outside porch at The Copper Queen Saloon. Folks from out of town would sit outside on Sunday mornings, drinking cold beer a mimosas, while Terry did her thing. On occasion Mark Pierce – another of this month’s performers – would drag out his stand-up base and play with the band.

Check out Terry Wolf and the Back Porch Swing here.

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