StretfordRed
Afro-European
Dunno if you're joking, but it should be BOLO. It's an acronym
THE OFFICIAL MR. ROBOT - SEASON 2 THREAD WOOOOOOOOOOOOO
- Thread starter Nature Boy Ric Flair
- Start date
From a socialist leaning site:
Hello, Friend
Mr. Robot asks the right questions about how, exactly, we’re going to change the world.
by Jen Hedler Phillis
Mr. Robot. Pogdesign
Warning: this post contains spoilers.
“Hello, friend.” That’s the first line of Mr. Robot, as its protagonist, Elliot Alderson — a cybersecurity engineer and hacker — hails the viewer before launching into his manifesto:
What I’m about to tell you is top-secret. A conspiracy bigger than us all. I’m talking about the guys no one knows about. The guys that are invisible. The top one percent of the top one percent. The guys that play God without permission. And now I think they’re following me.
These opening thirty seconds establish Mr. Robot’s two centers of gravity: the 1 percent are destroying the world, and our narrator can’t always discern reality from fantasy.
Sam Esmail’s Mr. Robot came as a surprise when it premiered last year: not only does the series stand out from the USA Network’s typical programming — handsome men in nice clothes either enforcing or evading the law — but it also asks viewers to root for an anticapitalist, drug-addicted protagonist, who may or may not be imagining most of what happens to him as he attempts to take down one of the world’s largest corporations and seriously disrupt “the system” in the process.
Mr. Robot took revolution prime time, and the Left should pay attention to what it has to say.
If Tyler Durden Were a Hacker
On a basic level Mr. Robot functions as political allegory, indexing progressive movements’ failure to enact large-scale change. The first season broadly explores two methods for achieving social transformation as Elliot (recent Emmy winner Rami Malek) and his childhood friend Angela (Portia Doubleday) work independently to get revenge on E Corp, a multinational corporation too big to fail.
They hate the company because it caused a chemical spill that killed Elliot’s father and Angela’s mother. The corporate players have, of course, done no time and paid no settlements, and their surviving victims are drowning in medical debt that E Corp, conveniently, also owns.
In the first episode, Mr. Robot (Christian Slater), recruits Elliot to join a hacker collective called fsociety, which is preparing to break into E Corp’s files and delete all its debt records. There’s something off about Mr. Robot: no one speaks directly to him except Elliot, and, when Mr. Robot speaks, characters often respond directly to Elliot. Although viewers picked up on this immediately, it takes Elliot most of the first season to realize that Mr. Robot is his very own Tyler Durden.
The tension between the audience’s suspicions of Mr. Robot’s reality and Elliot’s unwillingness to acknowledge this makes fsociety’s plan to rid the world of debt feel hallucinatory: we cannot trust anything we see on screen.
Elliot’s drug addiction contributes to the sense of unreliability. He goes cold turkey just before breaking into E Corp’s server farm to install a raspberry pi that will corrupt the plant’s thermostats and destroy their data. The withdrawal-induced dream sequence calls into question whether the heist actually happened or if it is another of our narrator’s fantasies.
Meanwhile, Angela is busy trying to convince a lawyer to reopen the wrongful death lawsuit against the company. She gets an outgoing executive to testify to his participation in the spill; and, impressed with her negotiating skills and fearlessness, he recruits her. Believing she can leverage her position within E Corp to get justice for chemical-spill victims, Angela takes the offer and joins the public relations department — just when fsociety successfully completes it mission, throwing the corporation into a tailspin.
Season two finds the main characters in defensive positions: rather than intensifying their assault on E Corp, fsociety hacks the FBI to stay ahead of their investigation. Angela has since positioned herself in E Corp’s risk management department, but her boss knows that she was involved in the lawsuit and won’t trust her with damaging company information. She finally steals the data she needs, only to discover that the government regulators are E Corp pawns.
As we follow the exploits of Elliot and Angela, the show encourages us to connect Mr. Robot’s plot elements to real-world corollaries. Fsociety is Anonymous and Occupy; E Corp’s logo is identical to Enron’s, and the computers it builds, the insurance it sells, and the banks it runs makes it interchangeable with Apple, Lehman Brothers, and Wells Fargo.
In the second season, the production team re-cuts, splices, and dubs over news footage to update us on the state of the world post-hack. We see Barack Obama say, “The FBI announced today that Tyrell Wellick and fsociety engaged in this attack.” (No, the media-friendly president did not record the clip himself.) Images of riots and strikes appear in news reports about the ongoing crisis. Edward Snowden gives his take on the FBI investigation.
The integration of actually existing political figures into the plot of Mr. Robot heightens its hallucinatory feel. Mr. Robot’s world is our world, shifted just a few degrees.
This allows Esmail to dramatize the two lines of attack taken up by the American left in recent years — protest and change from within — and how they have been diverted or captured by the combined power of capital and the state.
Both fsociety and Angela find themselves more directly at odds with elements of state power than their real target — financial capital — mirroring what happened to both the Occupy movement and the Sanders campaign. After all, Occupy wasn’t cleared by Goldman Sachs; it was the police, under the cover of public safety. Attempts to reoccupy the park and build more permanent camps have been blocked by police, not capital.
Likewise, it’s business as usual at the DNC. Listening to Hillary Clinton’s campaign speeches or considering her bland vice presidential nominee, you’d never know that a social democratic insurgency rocked the party this year. And while hope remains for down-ticket candidates, the trouble that plagued Our Revolution’s launch underlines the difficulty of enacting change from within a capitalist party.
But treating Mr. Robot as a show that bears a one-to-one resemblance to contemporary life misses the point. The bleak picture Esmail paints of contemporary revolution isn’t designed to depress us, it’s designed to force us to confront how we engage with politics, capital, and our best (and worst) utopian impulses.
Hello, Friend
Mr. Robot asks the right questions about how, exactly, we’re going to change the world.
by Jen Hedler Phillis
Mr. Robot. Pogdesign
Warning: this post contains spoilers.
“Hello, friend.” That’s the first line of Mr. Robot, as its protagonist, Elliot Alderson — a cybersecurity engineer and hacker — hails the viewer before launching into his manifesto:
What I’m about to tell you is top-secret. A conspiracy bigger than us all. I’m talking about the guys no one knows about. The guys that are invisible. The top one percent of the top one percent. The guys that play God without permission. And now I think they’re following me.
These opening thirty seconds establish Mr. Robot’s two centers of gravity: the 1 percent are destroying the world, and our narrator can’t always discern reality from fantasy.
Sam Esmail’s Mr. Robot came as a surprise when it premiered last year: not only does the series stand out from the USA Network’s typical programming — handsome men in nice clothes either enforcing or evading the law — but it also asks viewers to root for an anticapitalist, drug-addicted protagonist, who may or may not be imagining most of what happens to him as he attempts to take down one of the world’s largest corporations and seriously disrupt “the system” in the process.
Mr. Robot took revolution prime time, and the Left should pay attention to what it has to say.
If Tyler Durden Were a Hacker
On a basic level Mr. Robot functions as political allegory, indexing progressive movements’ failure to enact large-scale change. The first season broadly explores two methods for achieving social transformation as Elliot (recent Emmy winner Rami Malek) and his childhood friend Angela (Portia Doubleday) work independently to get revenge on E Corp, a multinational corporation too big to fail.
They hate the company because it caused a chemical spill that killed Elliot’s father and Angela’s mother. The corporate players have, of course, done no time and paid no settlements, and their surviving victims are drowning in medical debt that E Corp, conveniently, also owns.
In the first episode, Mr. Robot (Christian Slater), recruits Elliot to join a hacker collective called fsociety, which is preparing to break into E Corp’s files and delete all its debt records. There’s something off about Mr. Robot: no one speaks directly to him except Elliot, and, when Mr. Robot speaks, characters often respond directly to Elliot. Although viewers picked up on this immediately, it takes Elliot most of the first season to realize that Mr. Robot is his very own Tyler Durden.
The tension between the audience’s suspicions of Mr. Robot’s reality and Elliot’s unwillingness to acknowledge this makes fsociety’s plan to rid the world of debt feel hallucinatory: we cannot trust anything we see on screen.
Elliot’s drug addiction contributes to the sense of unreliability. He goes cold turkey just before breaking into E Corp’s server farm to install a raspberry pi that will corrupt the plant’s thermostats and destroy their data. The withdrawal-induced dream sequence calls into question whether the heist actually happened or if it is another of our narrator’s fantasies.
Meanwhile, Angela is busy trying to convince a lawyer to reopen the wrongful death lawsuit against the company. She gets an outgoing executive to testify to his participation in the spill; and, impressed with her negotiating skills and fearlessness, he recruits her. Believing she can leverage her position within E Corp to get justice for chemical-spill victims, Angela takes the offer and joins the public relations department — just when fsociety successfully completes it mission, throwing the corporation into a tailspin.
Season two finds the main characters in defensive positions: rather than intensifying their assault on E Corp, fsociety hacks the FBI to stay ahead of their investigation. Angela has since positioned herself in E Corp’s risk management department, but her boss knows that she was involved in the lawsuit and won’t trust her with damaging company information. She finally steals the data she needs, only to discover that the government regulators are E Corp pawns.
As we follow the exploits of Elliot and Angela, the show encourages us to connect Mr. Robot’s plot elements to real-world corollaries. Fsociety is Anonymous and Occupy; E Corp’s logo is identical to Enron’s, and the computers it builds, the insurance it sells, and the banks it runs makes it interchangeable with Apple, Lehman Brothers, and Wells Fargo.
In the second season, the production team re-cuts, splices, and dubs over news footage to update us on the state of the world post-hack. We see Barack Obama say, “The FBI announced today that Tyrell Wellick and fsociety engaged in this attack.” (No, the media-friendly president did not record the clip himself.) Images of riots and strikes appear in news reports about the ongoing crisis. Edward Snowden gives his take on the FBI investigation.
The integration of actually existing political figures into the plot of Mr. Robot heightens its hallucinatory feel. Mr. Robot’s world is our world, shifted just a few degrees.
This allows Esmail to dramatize the two lines of attack taken up by the American left in recent years — protest and change from within — and how they have been diverted or captured by the combined power of capital and the state.
Both fsociety and Angela find themselves more directly at odds with elements of state power than their real target — financial capital — mirroring what happened to both the Occupy movement and the Sanders campaign. After all, Occupy wasn’t cleared by Goldman Sachs; it was the police, under the cover of public safety. Attempts to reoccupy the park and build more permanent camps have been blocked by police, not capital.
Likewise, it’s business as usual at the DNC. Listening to Hillary Clinton’s campaign speeches or considering her bland vice presidential nominee, you’d never know that a social democratic insurgency rocked the party this year. And while hope remains for down-ticket candidates, the trouble that plagued Our Revolution’s launch underlines the difficulty of enacting change from within a capitalist party.
But treating Mr. Robot as a show that bears a one-to-one resemblance to contemporary life misses the point. The bleak picture Esmail paints of contemporary revolution isn’t designed to depress us, it’s designed to force us to confront how we engage with politics, capital, and our best (and worst) utopian impulses.
The Mediation Is the Message
Mr. Robot is made from popular culture. While Fight Club and American Psycho are its most obvious forebears, it also draws on Lolita, Back to the Future II, V for Vendetta, Taxi Driver, Raising Arizona, Breaking Bad, Fringe, Alf, and a hundred others.
Culture critics call this pastiche — a mode of representation Frederic Jameson famously decried as “blank parody.” Jameson argues that pastiche removes its cultural references from their historical moment, erasing history — and therefore politics. The recycled surface of pastiche blocks the audience’s capacity to engage politically with the work of art.
Reasonable people can — and do — disagree with Jameson’s assessment. Mr. Robot certainly offers a compelling counterexample: its use of pastiche doesn’t mask the relationship between viewers and politics, it reminds them that this is, in fact, how they encounter capitalism everyday.
The final moments of the first season drive this point home. We discover that Whiterose, leader of the Chinese hacker group Dark Army, works with E Corp CEO Phillip Price. As they discuss fsociety’s success, Price admits, “of course” E Corp knows who pulled off the hack and that they will “handle that person as we usually do.”
The scene establishes two things: it reveals that Whiterose operates at the highest levels of both the anticapitalist hacker movement and the business world. It also shows the extent of E Corp’s power: they know who is responsible for the attack, hinting that they perhaps even knew it was coming. This seeming omniscience underlines how “the guys that are invisible,” whom Elliot references at the beginning of the season, have remained invisible: there’s another layer of power and conspiracy behind the one fsociety just took down.
This scene handily sets up season two — new villains, new plots, a broader, more global perspective. It also plays into our cultural obsession with conspiracy theories. Across the political spectrum, frustrated people devise improbable explanations for the world’s problems. Whether it’s Alex Jones’s New World Order, the Illuminati mess, or 9/11 truthers, everyone — right, center, and left — finds comfort in having a faceless enemy to blame.
But we don’t need a conspiracy. In life, as in Mr. Robot, something does stand between us and the real players, protecting people like Price and Whiterose from the underclasses.
In a financialized economy, we increasingly deal with virtual wealth and property — money, stocks, bonds, mortgages — more than we do with material. This doesn’t mean that there was ever a time where capitalism wasn’t mediated — the money form as a general equivalent, in Marx’s words, has been with us all along.
But these representational instruments have, in recent decades, exploded. To give just one example, the 2008 crisis was brought on by financial products that shed their connection to the thing itself: a house becomes a mortgage, which is then sliced up and repackaged with other slivers of homes, and sold. These assets then get sliced up even further, while other investors get in on the game buying and selling insurance.
The levels of mediation spiral higher and higher until we are no longer dealing with the thing itself, but — as in pastiche — recycled material completely disconnected from the object it was designed to represent.
It’s nearly impossible to represent this; much easier, then, to show Price and Whiterose pulling the strings. Mr. Robot’s second season increasingly uses these shady powerbrokers’ scheming to move the story along, presenting them — and not the structure of the economy — as Elliot’s real enemy. This ultimately dulls the political intervention Mr. Robot might make — at least on the level of plot.
But as long as Mr. Robot underlines that something always mediates our relationship to power, the show’s politics will be worth thinking about, and, indeed, engaging in.
Silent Observers
From the moment Elliot addresses the audience as “friend,” viewers are implicated in the actions that unfold onscreen. Season two takes the audience’s involvement a step further: as Elliot is forced to listen to a tertiary character ramble on, his voiceover implores viewers to tune out the speech and search his apartment for clues to Mr. Robot’s plans. The camera obligingly moves up to ceiling level and slowly scans the set.
Elliot asks us to intervene, to help him figure out what his alter ego has in store. We should do as he asks and apply our answers to our world.
Granted, these answers aren’t easy coming. The show’s political takeaway isn’t always clear, and it hesitates in showing the hack’s human costs. We hear from news reports that the attacks devastated the economy, but Esmail doesn’t give viewers much more. Elliot questions whether the revolution had positive effects, and we are shown long lines for an ATM and a massive swap-meet that seems to have popped up as an alternate economy.
None of this seems to touch the main characters however — all of whom are engaged in high-end service- and creative-sector work like cybersecurity, sales, and public relations. At worst, they have to wade through a protest before enjoying their expensive dinners.
The characters’ position in the economy, on the one hand, gives them access to some of contemporary capitalism’s most important nodes: Elliot can plant viruses directly in corporate servers; Angela can access E Corp’s files to document their malfeasance.
But their failure to enact positive and meaningful change raises questions about the limits of the creative class’s political and economic engagement. Can an insurgent collective really change the world?
Esmail raises this question when Angela encounters an old friend of her father’s. He criticizes her for joining E Corp and implies that she traded sex for promotions. She responds angrily, throwing his working-class status in his face: “You’re a plumber. Right, Steve? You had what, sixty years at life? And that’s the best you could come up with?” Neither character looks great after this exchange — he’s a hateful misogynist; she’s a smug classist. The audience isn’t meant to side with either.
So far Mr. Robot has refused to decide if the fsociety revolution is good or bad. And that’s not a bad thing. By relentlessly presenting us with popular-cultural representations of capitalism and resistance to it, it demands that we think through what new shapes a radical challenge to capitalism might take.
Should we organize only those who have a “direct” relationship to production? Should we follow Kim Moody and focus on logistics? Is there hope for an insurgent campaign within a capitalist political party? Can a horizontal organization like Occupy do anything more than temporarily inconvenience the bankers? Should we all don masks and learn to code?
Mr. Robot doesn’t offer answers. But for a network whose biggest hit before this was a legal drama called Suits, we should welcome every cultural product that raises these kinds of questions, pushing economic inequality, corporate malfeasance, and the cozy relationship between business and politics into the light. Even if Esmail isn’t interested in his characters’ politics, his viewers are.
Mr. Robot is made from popular culture. While Fight Club and American Psycho are its most obvious forebears, it also draws on Lolita, Back to the Future II, V for Vendetta, Taxi Driver, Raising Arizona, Breaking Bad, Fringe, Alf, and a hundred others.
Culture critics call this pastiche — a mode of representation Frederic Jameson famously decried as “blank parody.” Jameson argues that pastiche removes its cultural references from their historical moment, erasing history — and therefore politics. The recycled surface of pastiche blocks the audience’s capacity to engage politically with the work of art.
Reasonable people can — and do — disagree with Jameson’s assessment. Mr. Robot certainly offers a compelling counterexample: its use of pastiche doesn’t mask the relationship between viewers and politics, it reminds them that this is, in fact, how they encounter capitalism everyday.
The final moments of the first season drive this point home. We discover that Whiterose, leader of the Chinese hacker group Dark Army, works with E Corp CEO Phillip Price. As they discuss fsociety’s success, Price admits, “of course” E Corp knows who pulled off the hack and that they will “handle that person as we usually do.”
The scene establishes two things: it reveals that Whiterose operates at the highest levels of both the anticapitalist hacker movement and the business world. It also shows the extent of E Corp’s power: they know who is responsible for the attack, hinting that they perhaps even knew it was coming. This seeming omniscience underlines how “the guys that are invisible,” whom Elliot references at the beginning of the season, have remained invisible: there’s another layer of power and conspiracy behind the one fsociety just took down.
This scene handily sets up season two — new villains, new plots, a broader, more global perspective. It also plays into our cultural obsession with conspiracy theories. Across the political spectrum, frustrated people devise improbable explanations for the world’s problems. Whether it’s Alex Jones’s New World Order, the Illuminati mess, or 9/11 truthers, everyone — right, center, and left — finds comfort in having a faceless enemy to blame.
But we don’t need a conspiracy. In life, as in Mr. Robot, something does stand between us and the real players, protecting people like Price and Whiterose from the underclasses.
In a financialized economy, we increasingly deal with virtual wealth and property — money, stocks, bonds, mortgages — more than we do with material. This doesn’t mean that there was ever a time where capitalism wasn’t mediated — the money form as a general equivalent, in Marx’s words, has been with us all along.
But these representational instruments have, in recent decades, exploded. To give just one example, the 2008 crisis was brought on by financial products that shed their connection to the thing itself: a house becomes a mortgage, which is then sliced up and repackaged with other slivers of homes, and sold. These assets then get sliced up even further, while other investors get in on the game buying and selling insurance.
The levels of mediation spiral higher and higher until we are no longer dealing with the thing itself, but — as in pastiche — recycled material completely disconnected from the object it was designed to represent.
It’s nearly impossible to represent this; much easier, then, to show Price and Whiterose pulling the strings. Mr. Robot’s second season increasingly uses these shady powerbrokers’ scheming to move the story along, presenting them — and not the structure of the economy — as Elliot’s real enemy. This ultimately dulls the political intervention Mr. Robot might make — at least on the level of plot.
But as long as Mr. Robot underlines that something always mediates our relationship to power, the show’s politics will be worth thinking about, and, indeed, engaging in.
Silent Observers
From the moment Elliot addresses the audience as “friend,” viewers are implicated in the actions that unfold onscreen. Season two takes the audience’s involvement a step further: as Elliot is forced to listen to a tertiary character ramble on, his voiceover implores viewers to tune out the speech and search his apartment for clues to Mr. Robot’s plans. The camera obligingly moves up to ceiling level and slowly scans the set.
Elliot asks us to intervene, to help him figure out what his alter ego has in store. We should do as he asks and apply our answers to our world.
Granted, these answers aren’t easy coming. The show’s political takeaway isn’t always clear, and it hesitates in showing the hack’s human costs. We hear from news reports that the attacks devastated the economy, but Esmail doesn’t give viewers much more. Elliot questions whether the revolution had positive effects, and we are shown long lines for an ATM and a massive swap-meet that seems to have popped up as an alternate economy.
None of this seems to touch the main characters however — all of whom are engaged in high-end service- and creative-sector work like cybersecurity, sales, and public relations. At worst, they have to wade through a protest before enjoying their expensive dinners.
The characters’ position in the economy, on the one hand, gives them access to some of contemporary capitalism’s most important nodes: Elliot can plant viruses directly in corporate servers; Angela can access E Corp’s files to document their malfeasance.
But their failure to enact positive and meaningful change raises questions about the limits of the creative class’s political and economic engagement. Can an insurgent collective really change the world?
Esmail raises this question when Angela encounters an old friend of her father’s. He criticizes her for joining E Corp and implies that she traded sex for promotions. She responds angrily, throwing his working-class status in his face: “You’re a plumber. Right, Steve? You had what, sixty years at life? And that’s the best you could come up with?” Neither character looks great after this exchange — he’s a hateful misogynist; she’s a smug classist. The audience isn’t meant to side with either.
So far Mr. Robot has refused to decide if the fsociety revolution is good or bad. And that’s not a bad thing. By relentlessly presenting us with popular-cultural representations of capitalism and resistance to it, it demands that we think through what new shapes a radical challenge to capitalism might take.
Should we organize only those who have a “direct” relationship to production? Should we follow Kim Moody and focus on logistics? Is there hope for an insurgent campaign within a capitalist political party? Can a horizontal organization like Occupy do anything more than temporarily inconvenience the bankers? Should we all don masks and learn to code?
Mr. Robot doesn’t offer answers. But for a network whose biggest hit before this was a legal drama called Suits, we should welcome every cultural product that raises these kinds of questions, pushing economic inequality, corporate malfeasance, and the cozy relationship between business and politics into the light. Even if Esmail isn’t interested in his characters’ politics, his viewers are.
Who killed ro? Think I missed that
PlayerNinety_Nine
Produced, Arranged, Composed and Performed by....
Dom said it was a stray bullet from the neighbour's house.
interesting....what do u think?
PlayerNinety_Nine
Produced, Arranged, Composed and Performed by....
Me? I'm not sure. All I know is that White Rose said last week that there are no such things as "accidents". I believe there was a similar sentiment voiced when he pissed on the grave of the former E-Corp CEO and his flunky called that death an accident.
Art Barr
INVADING SOHH CHAMPION
I had to think about and quote this post.
To note the edit of the phrase at the beginning of this quoted rant.
into how are these two in the opening,...
So that post rant at the beginning in clarity got botched.
Like it could happen in the post touch screen rules era of posting via cellie predominately era. That also produces more typing errors.
coupled with spell check trying to be smarter than you but wrong as fukk moments.
From swaggerless non-social programmers trying to port their spell check before you finish a complete error.
or what is perceived error from standard slang war with the spell check.
That takes place when using cellies to post now instead of a terminal.
Anyway,...in the post credit kinda end.
when we see mobley and ol girl.
Looking like a regular girl instead of in her religious publically social garb.
At frye's of all fukk'n places.
They are like, " we have to fix this back."
when they are talking amougst themselves on break.
Like they need to fix their mistakes.
so they don't get caught for having Something to do with the entire issue.
Meaning a number of speculations from me when I heard that.
Plus I feel it really means something.
I think what occurred is the actual people behind this.
are the big wigs and they paid for this elaborate situation to occur.
which ruined the world and hurtled the world into the grips of evil corp coins.
As the time of paper for evil corp was thought to be destroyed.
From Elliot having to implode evil corp to force evil corp's hand. using evil coin as another layer of attempted Rico violation of control of actual money in the world.
Except Mobley and ol girl actually have the original evil corp battery backups data.
before the original fsociety phase one hack melted down and attacked evil corp resulting in phase two.
Which destroyed all the original paper data.
Forcing evil corp.to.go to whatever iron mountain is in this show and actually hard code from the actual paper documents the entire spreadsheet physical copy and paper logs of evil corp's history.
Where now, the data has to be restored to catch evil corp completely up in fraud.
for purposefully creating an entire ruse work.
to make the world one currency using evil coins.
Of which they were going to do and now powers that be, were discovered.
As in Elliot and possibly his family lineage with him and the connection of Mr robot the store and his dad's demise.
When I believe Elliot's dad the real original mr robot.
actually discovered the code that unearthed the entire long con in evil coin.
way before it would be a real relevant item in the world economy moving forward.
Whereas Elliot also found out about it and since his father passed.
Elliot, had to piece together kernels of his father's passed psyche and moves from bits of interaction and possibly even discovering the ruse himself.
before being able to consult his father in full about the full ramifications of discovering it himself as a young pre-teen Elliot.
Which would totally explain why Elliot forced himself schzio on purpose.
to actually in the event of anything seeing this situation through at any and all odds to save the actual world.
Where I believe f society and the masks and the movie.
was how Elliot as a kid from sleepovers were able to relate and relay the elaborate long con and Rico violation coup of the world's currency to them as kids. Using the movie and the instance of the
Content and moment.
to explain the long con to angela and his sister as children. Way before they typically would be able to even generally rationalize this long con as adolescents.
I really think it is that and that one kernel will be what drives the show next season.
Now alternatively, on some wild shyt to fukk my head up even more cause esmail has a crazy ass style.
Where nuffin relates to nuffin and he screw job swerves cause he feels like it to make our head explodes just cause.
In that regard I feel an alternative to my first hypothesis.
on where the endgame for this show is ultimately headed.
What could happen if esmail decides to really fukk us up.
Elongating this series past what I feel should only be at most three, no more THAN four seasons.
In the crazy alternative that drives the show into I have no idea and he fukked me up again territory.
Which I now have to keep in mind cause this is the mindfukk show of all creation for our Gen in a modern realistic cyber sense.
What I speculate could alternatively happen is:
DJ mobley and ol girl, could have in a wild speculative alternative on a number of alternate style directions
DJ mobley and ol girl may have snitched and could be together in a ci eye witness program.
Where and now Joey is a hit man for the dark army who was inside jail.
Yet is now in this forward future clip now out in the world either handling a hit.
Or the other alternative of,...
being elliot's or his sister's liason to mobley and the hacker chick to retrieve the battery back up data from the f society hack in the actual physical to b line and get back to Elliot to exposed the ruse of evil coin from evil corp.
Whom i hope are not stoopid enough.
to work at frye's if they are trying to move around.
Or it could be the most stoopidest flub in this show.
as far as two supposed green smart characters ever.
Making the most obvious stoopid as fukk mistake in history.
Just being green and not knowing how deep down the rabbit hole they are really in this as far.
as the FBI pyramid chart wise and in the actual execution.
violating Rico laws in the first phase one fsociety hack.
So I just hope this is that.
I can't see them being in a jail sequence like Elliot in jail was setup to throw you off.
As that would mean DJ mobley and the hacker chick would not ever intermingle socially.
nor would Joey badass be able to just walk up on them, either.
Alternatively, in speculation as a plot twisting parallel.
If this is a real life interpretation of a meeting in cyber space. played out between them that could be cool as a connection.
to what was illustrated in Elliot's dreamscape when he got knocked.
Yet I don't think that is what this is but given this cat's, esmail style.
I have to now include that in my speculation.
As he pretty much turned Mr robot at one point in time.
into a married with children it's a small world camera lens looking style tv show on us in all this Cray ass shyt.
So, now I have to kinda be prescient of this dude's style to go on some next shyt and that part.
As far as the length or simple reveal but highly detail swerve foot sweep esmail does..is so simply wigged out that now you have to be conscious and a bit more prescient in anticipating how dialed in and forward thinking you have to be to abke to watch this show..especially with the execution of what has become Elliot purposefully and possibly using the Mr robot schzio persona to keep him from chickening out of the manipulation of this incredible large burden of the hack and psychological management of the small but shocking ptsd effects of what he is too gree to really partake in criminally in the dark world of being a hacker as a socially awkward and sheltered kid from a family with a mental disease genome. Or possibly Elliot tapping into that possibility to escape prison under the guise of insanity for his ultimate deed in all this if it results in his ultimate apprehension.
Which is what Elliot still fears ultimately but was what him facing part of his fear this season going to jail was about.
This show is wild bugged out.
When you look at all the psychological avenues this psycho cyber thriller tv show has.
Art Barr
Last edited:
PlayerNinety_Nine
Produced, Arranged, Composed and Performed by....
@Art Barr - I didn't quote you because I didn't want to hear all the 
from quoting long posts, but Mobley and Trenton are in Phoenix - where Mobley told Darlene that his boy lived. From the sound of it they are living at his place, and he's a scumbag - walked in on Trenton in the bathroom, and they're saving for their own place.
It is interesting that Trenton appears to be the only person on the board who they don't have an actual photo for yet.
I don't think Joey is a hit man. Dark Army's style is more 2 man squads with submachine guns in motorbike helmets. Joey is approaching them in broad day. I don't think he's there to kill them.
from quoting long posts, but Mobley and Trenton are in Phoenix - where Mobley told Darlene that his boy lived. From the sound of it they are living at his place, and he's a scumbag - walked in on Trenton in the bathroom, and they're saving for their own place.It is interesting that Trenton appears to be the only person on the board who they don't have an actual photo for yet.
I don't think Joey is a hit man. Dark Army's style is more 2 man squads with submachine guns in motorbike helmets. Joey is approaching them in broad day. I don't think he's there to kill them.
Art Barr
INVADING SOHH CHAMPION
In the streets this is typically forced to be reality to solve issues of loss.
Where now there are no accidents.
Or alternatively in corporate America.
Yes, this phrase of there are no accidents is true in corporate America outside of sheer human era.
Which in this age even human era is strategically used to pull off corporate admin based coups as well.
Past just alibi based intentions and actual physical world actions and employed fail safes as well.
Art Barr
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Art Barr
INVADING SOHH CHAMPION
@Art Barr - I didn't quote you because I didn't want to hear all the
It is interesting that Trenton appears to be the only person on the board who they don't have an actual photo for yet.
I don't think Joey is a hit man. Dark Army's style is more 2 man squads with submachine guns in motorbike helmets. Joey is approaching them in broad day. I don't think he's there to kill them.
Read my full rant and you will see what I speculate.
You skimmed that breh.
Read it again.
Real talk,....
Art Barr
Dr. Narcisse
Veteran
OK - so the FBI is running a python strategy on F Society, who are also running a python strategy.
It's a snake eating a snake
Is it me or did the spot that Trenton and Mobley work at look really 80's? The car that drove through the parking lot too?
Are we being prepped for alternate reality fukkery - Trenton wants to put things back "the way they were.
If Joey is capable of jumping between realities/ time travel
Maybe I'm too high for this
good but Oct.8 clown 
Art Barr
INVADING SOHH CHAMPION
Man, real talk,....
Joey badass is there to get the battery backups data from DJ mobley and ol girl in the physical on an actual physical drive.
Plus I believe DJ mobley hid the battery backups in an encrypted cloud somewhere anonymously.
When he system restored his cellie and disposed of it.
Yet it was filmed like he was moving in quick white back fear.
Yet he was moving in a detailed contingency plan manner.
Where he would have to move off the grid.
to the obvious in your face rendezvous with ol girl and in the event of escape they both are trying to get on and come up to shelter with jobs fleeing at frye's when they both relocated.
Plus this dude esmail is slick because he put everything in this show.
As Elliot entered prison and it showed the different parrallels.
of how the streets and cyber space to privileged white social construct alternatively operate.
Where white social construct deems blacks as of being non-sophisticated.
to even really be apart of the ruse.
if they illustrate a connection to just standard black poverty based existence.
As dart singer commercial guy and Joey badass really unless snitched and ratted out by elliot.
never are looked at as a threat at all in the sophisticated white privilege way of life and thinking.
Whereas the cyberspace arena operates in an autonomous sharing like the computer community does with all races.
Which is where society's manners should be swung to bblut white privilege arenas co tinie to narcissistically manipulate everything so society never grows from under their rule, socially or economically in nature when the world has grown.
Yet white privilege has stunted and crippled it from being orientated.
It is interesting and one of the dynamics illustrated in the dark web aspect as well.
As it parrallels the dark web and it being two internets or broken down into multiples ways and actions of life existing but one making and keeping others from readily existing publically in an open air market socially or economically.
It is bugged, especially if you were in the industry early enough.
Before this splintered change to know this as real and lived it to see it in reality.
Which allows Joey the simple easy task of rendezvous with Mobley and ol girl.
to get the battery backups for Elliot to re-introduce and give to his sister, to give to the feds.
to blow the doors off the case and take down evil coin Rico violations in evil corp.
Art Barr
Joey badass is there to get the battery backups data from DJ mobley and ol girl in the physical on an actual physical drive.
Plus I believe DJ mobley hid the battery backups in an encrypted cloud somewhere anonymously.
When he system restored his cellie and disposed of it.
Yet it was filmed like he was moving in quick white back fear.
Yet he was moving in a detailed contingency plan manner.
Where he would have to move off the grid.
to the obvious in your face rendezvous with ol girl and in the event of escape they both are trying to get on and come up to shelter with jobs fleeing at frye's when they both relocated.
Plus this dude esmail is slick because he put everything in this show.
As Elliot entered prison and it showed the different parrallels.
of how the streets and cyber space to privileged white social construct alternatively operate.
Where white social construct deems blacks as of being non-sophisticated.
to even really be apart of the ruse.
if they illustrate a connection to just standard black poverty based existence.
As dart singer commercial guy and Joey badass really unless snitched and ratted out by elliot.
never are looked at as a threat at all in the sophisticated white privilege way of life and thinking.
Whereas the cyberspace arena operates in an autonomous sharing like the computer community does with all races.
Which is where society's manners should be swung to bblut white privilege arenas co tinie to narcissistically manipulate everything so society never grows from under their rule, socially or economically in nature when the world has grown.
Yet white privilege has stunted and crippled it from being orientated.
It is interesting and one of the dynamics illustrated in the dark web aspect as well.
As it parrallels the dark web and it being two internets or broken down into multiples ways and actions of life existing but one making and keeping others from readily existing publically in an open air market socially or economically.
It is bugged, especially if you were in the industry early enough.
Before this splintered change to know this as real and lived it to see it in reality.
Which allows Joey the simple easy task of rendezvous with Mobley and ol girl.
to get the battery backups for Elliot to re-introduce and give to his sister, to give to the feds.
to blow the doors off the case and take down evil coin Rico violations in evil corp.
Art Barr
