Over four seasons (of varying length, between 10 and 13 episodes), Mr. Robot told the story of anarchist hacker Elliot Alderson as he plotted against a powerful corporation, fought against his own depression and anxiety disorder, and attracted the wrath of very powerful enemies. It was a series full of wild plot twists that reset the narrative with regularity -- so much so that to discuss anything more than the first few episodes in any detail would be spoiling the fun.
I can say that the show was willing to try a lot of bold departures from its normal formula. Over the course of four years, there was an episode set mostly inside a sitcom, another designed to look like a single take (1917 style), still another with only two lines of spoken dialogue, another designed like a stage play with limited characters and a single location, and other odd and experimental ideas. This was all on top of a normal narrative structure that played a lot with perspectives on reality.
It was also the most visually distinctive show on television. Creator Sam Esmail, who wrote and/or directed most of the episodes, pushed the stylistic envelope with camera work that would be considered a mistake anywhere else. Characters were often tiny in frame, or off-center in the wrong direction for how TV dialogue is usually filmed. Ceilings were often visible. Strange editing techniques would end scenes unexpectedly, or bridge "previously on" recaps straight into new action without warning. Show any given freeze frame of Mr. Robot, and you'd be able to tell what you're watching -- even if you didn't recognize any of the actors.
But you will recognize many of the actors. Rami Malek was best known before this series for a supporting role in the Night at the Museum films, but of course he has gone on to win the Oscar for his performance in Bohemian Rhapsody. He's always compelling here as the highly strung but often reserved Elliot, internalizing a lot while still letting the audience in (even when not giving one of the show's numerous, snide voice-overs). Christian Slater plays the mysterious Mr. Robot, who holds powerful sway over Elliot. He perfectly captures a charismatic but dangerous figure.
Watch enough television, and you're sure to also recognize BD Wong (as an intriguing villain that emerges as the show continues), Grace Gummer as an FBI agent (who's almost as much a misfit as the man she's hunting), and Bobby Cannavale (who appears in later seasons as a "fixer" with a chillingly happy demeanor). And breaking out in this show are Carly Chaikin, Portia Doubleday, Martin Wallström, and acclaimed theater actor Michael Cristofer. All of them have a way of selling Sam Esmail's heightened world as a realistic one. And they were expertly supported by a fantastic score by Mac Quayle.
Mr. Robot isn't perfect throughout. After a stellar first season, the show gets a little bogged down in its own cleverness (and less compelling side plots) for parts of seasons two and three. But I thought it worth blogging about because of how excellent season four is. There's a stretch of episodes through the middle of that final season that reminded me of Breaking Bad in its prime -- each episode felt to me like "the best ever episode of the series"... until the next episode would top it. And it all has a strong ending too. Weird, but strong. Which is Mr. Robot to a T.
If you've never watched Mr. Robot, and all that sounds like your brand of strange, you really should check it out. The beauty of recommending this show is that I really don't have to tell you "hang in there; it gets good." Mr. Robot knew itself right out of the gate, and only went on from there to expand its horizons. You'll know in one episode if it's for you.
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