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‘Mr. Robot’ Just Changed Everything with a Shocking Reveal

There have been a lot of moving parts put into place over the course of Mr. Robot’s fourth season. Several of them just came together, in devastating fashion.

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Mr Robot

There have been a lot of moving parts put into place over the course of Mr. Robot‘s fourth, and final, season. On Sunday night, however, several of those pieces came together for one of the best episodes of the entire series in “Proxy Authentication Required”.

The reveal of a trauma so intense and horrific allows the character of Elliot to make so much more sense – so much so it almost warrants an entire series rewatch, to search for other hints.

Staged like a five act play, and utilizing a cinematic aspect ratio, “Proxy Authentication Required” immediately lets viewers know that it’s doing something a little different. While this may not be a huge surprise for fans (Mr. Robot just did a dialogue-free episode two weeks ago, among other experimental efforts throughout the series) the reason for it is fitting.

Essentially a bottle episode, “Proxy Authentication Required” takes place entirely in the apartment of Elliot’s former therapist, Krista. As such, the five act structure makes it even more like a play than it already is. Moreover, the episode is very dialog heavy, with almost no action.

Mr Robot
Still, with a meaty chess match between Elliot/Mr. Robot and drug dealer Fernando Vera making up the majority of the episode, the dialogue is weighty enough to justify this structure. The first round goes to Vera, who obviously has Elliot over a barrel, having kidnapped both he and Krista. However, Mr. Robot turns the tables in the second round, pointing out the lack of originality or planning in Vera’s drug-fueled, mystically-advised bid to take over New York City.

Finally, the third round comes: the tie breaker. As Fernando orders Krista to have an impromptu therapy session with Elliot, the most shocking reveal in the series is laid bare. After a tense build-up, and against the protests of both Krista and Mr. Robot, Elliot finally digs up the truth behind his alter ego. Mr. Robot wasn’t created after Elliot had an accident, he was created to protect Elliot from a series of traumas that came before it.

In an emotional moment sold gloriously by Rami Malek, Elliot accepts the truth: his father molested him throughout his childhood. In one fell swoop, so much of what we know about Elliot suddenly makes sense – and the fact that Mr. Robot looks like his dad is just the beginning. There’s also the details of the trauma that we’ve had up until now: that Elliot told Darlene to hide when he heard his dad coming; that he grabbed a bat to defend himself – and, finally, that he threw himself from the window when he feared he couldn’t best his father in the altercation.


The reveal of a trauma so intense and horrific allows the character of Elliot to make so much more sense – so much so it almost warrants an entire series rewatch, to search for other hints. Certainly it’s more logical that Mr. Robot was created out of these terrible memories rather than materializing after the injuries sustained during Elliot’s fall. It also lets the viewer know that Mr. Robot had a history of altering Elliot’s perception and memories long before the events of the series.

Even more disturbing is that the creation of false narratives and fake memories is actually a real-life coping mechanism used by survivors of sexual abuse, especially children. As such, the reveal fits naturally into the character of Elliot – but it’s a huge shock to drop on the audience a mere three episodes before the end of the show.

Of course, the reveal will no doubt ignite debates as to whether Mr. Robot creator and showrunner Sam Esmail planned this backstory from the start, or whether it was concocted as a wrench to throw in the gears at the last minute. Either way, questions remain as to how this new information will affect the remainder of the series.

Will Mr. Robot be back or is he gone for good, now that his job of protecting Elliot from the truth has become obsolete? Did/does Darlene know? Will this affect the plan to hack the Dark Army that has been building all season? All of these questions and more will be answered in the next three weeks but in the meantime, we’ll be waiting with baited breath.

Mike Worby is a human who spends way too much of his free time playing, writing and podcasting about pop culture. Through some miracle he's still able to function in society as if he were a regular person, and if there's hope for him, there's hope for everyone.

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“Crisis on Infinite Earths” Is an Endearingly Clumsy Love Letter to DC’s Television Legacy

DCTV’s sprawling, ambitious crossover is creatively uneven, but its endearing nostalgia easily outweighs its flaws.

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Crisis on Infinite Earths

The ambition of The CW’s “Crisis on Infinite Earths” crossover can’t be understated, an attempt to integrate the network’s sprawling set of universes into a single, coherent reality – and perhaps more importantly, to say farewell to the series, and star, at its heart. A world-hopping, universe-jumping adventure acting as an homage to 50-plus years of DC television (and, in one notable case, film), the first three parts of “Crisis on Infinite Earths” are unfiltered joy, embracing its limited budget and impossibly large cast of characters (and famous cameos) in a wildly entertaining – if creatively uneven – journey through DC’s strange history on the small screen.

The sheer audacity of “Crisis on Infinite Earths” is, frankly, incredible to watch: while it doesn’t always work, it makes the crossover event utterly fascinating to dissect.

The CW’s sixth official crossover technically began during its fifth; last season’s “Elseworlds” established the broad strokes to follow, setting Oliver Queen on his path to destiny – and in the process, muting the impact of every isolated story line of the extended DC lineup. The reveal of The Monitor in “Elseworlds (Part 3)” (which was Supergirl‘s ninth episode of its fourth season, if anyone is keeping score) was intriguing, but ultimately distracting: knowing the fate of the multiverse was casually hanging in the balance, limited the ability of stories like Lex Luthor and Barry’s convoluted time-traveling to have any sort of noticeable impact. Knowing what was coming made these (slightly) smaller scale stories just not matter; knowing the final season of Arrow was directly integrated with the “impending crisis” only further overwhelmed any sense of purpose the stories of its shows held.

(and if we’re being honest, “Crisis on Infinite Earths” has kind of been teased since The Flash‘s pilot episode in 2014, though that’s splitting hairs a bit.)

Crisis on Infinite Earths

Perhaps it is all that hype that makes “Crisis on Infinite Earths (Part 1)” the weakest entry of the three to air this week (parts four and five air in mid-January) feel like such an underwhelming, rushed introduction to this universe-hopping story of Drama and Emotion. When an anti-matter wave begins wiping out parallel Earths (including Earth-66, letting them sneak in a quick Burt Ward cameo), “Crisis on Infinite Earths” begins pulling it its many iconic major characters – which, let’s admit, doesn’t quite have the same impact it did back in “Invasion” or “Crisis on Earth-X”.

It then spends an inordinate member of time trying to integrate Supergirl‘s supporting cast into the fray (albeit briefly); which, as fans of previous crossovers would probably agree, always ends up being the weakest part of any crossover. Lena, Querl, Alex, and Kelly feel like nothing but obligatory inclusions in the episode – whatever is going on with Supergirl and the DEO, “Crisis on Infinite Earths (Part 1)” struggles mightily to make it feel like anything meaningful.

In their defense, it’s hard to invest in whatever side stories Part 1 is trying to nod towards; it all pales in comparison to seeing Kara fawn over momma Lois and poppa Clark, which is a tall task to compete with. But the DEO’s characters are noticeable momentum killers, moments where “Crisis on Infinite Earths” fumbles at grounding its outlandish, epic story with the non-powered entities of its universe.

Crisis on Infinite Earths

Unfortunately, it gets worse before it gets better: once we get all the heroes arranged, we get a lame-ass fight scene where the heroes (Supergirl, The Flash, Green Arrow, Atom, White Canary, Superman, and Batwoman) battle against some terrible CGI demons. It is easily the low point of all three hours, a clumsily-executed scene that utterly fails in providing any sense of urgency to the larger story (The Monitor’s nemesis killing off entire planets and realities with a massive wave of anti-matter, in case you were wondering).

It’s strange, because the fight scene ostensibly serves as the kicking off point for the whole crossover: and boy, is it awkward when it tries to make the CGI ghost fight the moment Oliver sacrifices himself to save the universe (or does he?). It’s a halting way to end Part 1, after a herky-jerky hour with a few choice cameos (including Griffin Newman as a trivia host, and Wil Wheaton as a protestor) and a lot of sci-fi mumbo jumbo establishing the stakes of the anti-matter wave.

“Crisis on Infinite Earths (Part 2)” is really where the crossover comes to life; both as a contained story, and a cumulative celebration of the strange, long legacy of mixed DC media. Batwoman travels to a parallel Earth to visit a embittered Batman (played by longtime Batman voice actor Kevin Conroy), Sara Lance gives Jonah Hex his signature scar outside a Lazarus Pit, and there’s an extended cameo of Tom Welling and Erica Durance as the OG The CW Clark and Lois; though all of those things are exactly as ludicrous and self-indulgent as they sound, the more Part 2 – and as a byproduct, Part 3 – bounce around worlds to visit iconic characters (and performers) from its past, the more powerful it becomes as a true crossover event.

Crisis on Infinite Earths

And despite the abundance of casting announcements and on-set photos, “Crisis of Infinite Earths” is still able to deliver a number of surprising appearances: who could’ve predicted a scene where Netflix’s Lucifer Morningstar talks to NBC/The CW’s John Constantine, which occurs after Part 3 does a motherfucking Birds of Prey cameo with Ashley Scott (AND the voice of Dina Meyer as Oracle, to boot). It is a fan fiction wet dream come true, even FINALLY integrating Black Lightning‘s Jefferson Pierce into the multiverse, with a shockingly (sorry) strong introduction of The CW’s most underrated hero into the already-crowded mix.

The sheer audacity of “Crisis on Infinite Earths” is, frankly, incredible to watch: while it doesn’t always work, it makes both Parts 2 and 3 utterly fascinating to dissect. It is Justice League by way of Into the Spider-Verse and Avengers: Endgame, as clumsy and endearing as that sounds; at times, it utterly fails to make its universe-ending narrative hold any actual weight, but it is an emotional powerhouse of iconic, often underappreciated performances in DC’s television history (I swear to God, if they bring in Linda Hamilton for a Wonder Woman cameo, I’ll lose my shit).

If we’re being honest, it’s more interesting in its construction than it is in execution: after ingesting 200+ episodes of DC television over the years, I hold no expectations for “Crisis on Infinite Earths” to ever capture the immense dramatic potential of its narrative.

Crisis on Infinite Earths

That’s just not what DC television is good at (save for a couple seasons of Arrow, and most of Legends of Tomorrow): where these shows shine is their heartfelt depictions of human connection, of the beauty in finding shared purpose. At that, “Crisis on Infinite Earths” is a pretty resounding success; whether Batwoman and Supergirl’s young friendship, or Barry’s tunnel-visioned optimism, “Crisis on Infinite Earths” proves the DC universe still has engaging stories to tell with the biggest stars of the present – and with characters like Kate Kane, Jefferson Pierce, and Ryan Choi (introduced in Part 3, in what appears to possibly be establishing a new Atom), the future.

We’ll have to wait until January to see how the grand experiment to unite all the timelines works out – but in its holiday send off, “Crisis on Infinite Earths” is a pretty touching love letter to decades of superhero television, earning its entry into the annals of modern television’s most ambitious endeavors.

Other thoughts/observations:

In what appears to be his swan song (knowing that he is departing Legends of Tomorrow), Brandon Routh’s double-duty as Ray Palmer and Superman (reprising his role from Superman Returns) is wonderful.

Even Wentworth Miller makes an appearance, kind of: the alternate-reality Wave Rider the team of heroes, paragons, and ominous entities is guided by Leonard, an AI who ironically sounds exactly like Captain Cold.

We forever stan Sara Lance; to see her guide and organize the team in Part 1 and Part 2… well, it’s just beautiful to see.

Boy, it is strange how “Crisis” just kind of glosses over Batwoman killing the bitter, murderous version of Batman her and Supergirl visit in Part 2.

Easy litmus test to know whether you’re in or out on this whole endeavor; whether you jump for joy or scream in agony when hearing the word “infinitude” in the opening moments of Part 1.

There is a very, VERY brief shot of a few characters from DC Universe’s Titans, which I always forget exists. No Doom Patrol or Swamp Thing, unfortunately.

Unlike previous crossovers, only Supergirl‘s episode feels like it is still kind of trying to be an episode of its own series. I haven’t watched much Batwoman, but part 2 definitely does not attempt to make any play at drawing in a new audience with a unique display of personality (and in fact, I don’t think there’s a single other Batwoman regular in the episode).

Apparently the Brec Bassinger Stargirl character will make her debut in the final part of “Crisis on Infinite Earths”, even though her series is not airing until 2020… on DC Universe? Modern television is so fucking weird.

It is still hard to believe Jon Cryer as Lex Luthor.

There are hints of the theme from the 1989 Batman film in Blake Neely’s score, which is just fucking insane.

When Earth 90’s Barry Allen makes a major sacrifice, we are treated to a brief flashback to actual footage from the 1991 The Flash series. It is perhaps the most breathtaking surprise of the whole crossover.

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TV

‘J.T.’ – A Tragic, Poetic and Improbably Beautiful Holiday Special that is a Must-See!

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J.T.-1969-Christmas-Special

Join us as we spend the next 25 days writing about some of our favourite Holiday TV specials! Today we look back at the unsung gem, J.T.

What’s it About?

Produced for a Saturday morning children’s anthology on CBS, J.T. premiered to such rave reviews, the network scheduled it again a week later in a prime time slot. The Christmas special follows J. T. Gamble (Kevin Hooks), a shy, withdrawn Harlem boy who befriends a sick, one-eyed, old and badly injured alley cat days before Christmas. Showing compassion and responsibility, J.T. secretly nurses the feline back to health.

J.T.-1969-Christmas-Special

Review

Those who have seen J.T. will never forget the emotional impact this heartfelt drama has. Nor will they have forgotten the heartbreaking moment in which the cat is hit by a car. Priceless because it catches the sights, sounds, and moods of a city that are of a bygone era, watching J.T. is like being present for the opening of a time capsule, giving us one a look back at pre-Giuliani NYC. Brilliantly written by Jane Wagner and based on her own book of the same name, J.T. will capture the hearts of many, as we witness the young boy create a wellspring of comfort for his newfound pet in an abandoned apartment complex.

Winner of a Peabody Award, J.T. is also a story of a single mother’s struggle to be independent and support both herself and her son, while refusing to allow the ghetto life to break the family’s optimism. Come the teary denouement, this story will warm the coldest of hearts and challenge even the most hard-hearted moviegoer. There is a wonderful surprise at the end when a local grocer and his wife offer the young boy a second chance. Kevin Hooks is amazing in the lead, as is Ja’Net Dubois who plays his overworked mother, who tries her best to supply for her family while slaving away and working a low-paying job. Sensitively directed and rarely over-sentimental, this touching parable will likely ravish the emotions of cat lovers everywhere.

J.T. 1969

How Christmassy is it?

There isn’t much Christmas cheer, Christmas music, holiday shopping, decorations and so on, but the special ends on an uplifting note – one that rings true with Christmas spirit. So I would say 50/50.

You May Like It If…

If you are nostalgic for the late 60’s New York City or are an animal lover.

Final Thoughts:

It stars actor Kevin Hooks as the young lead. Hooks currently works as a director for several hit TV shows including Lost, 24, Monk and Prison Break. The role of J.T.’s mother is played by actress Ja’net DuBois, who also appeared as the upstairs neighbour, Willona, on the groundbreaking 1970s sitcom Good Times.

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Before the Internet

Watchmen Podcast: Breaking Down “A God Walks into Abar”

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Watchmen Podcast A God Walks into Abar

“A God Walks into Abar” is the deeply heartfelt episode we’ve been waiting for!

The wonderfully pun-titled penultimate episode—directed by Nicole Kassell, written by Damon Lindelof and Jeff Jensen— is a powerful love story that spans many years, and told in a disjointed fashion to explain just how the most powerful man in the world wound up in Tulsa, Oklahoma, married to Angel Abar and with his memory wiped out. It’s an amazing hour of television—able to carefully turn a seemingly indecipherable character, into something beautifully textured, human, and meaningful— and we have plenty to say about it.

Our Watchmen podcast will see Simon Howell and an assortment of guests tackle the entire series (or at least the first season). In this eight episode,  Simon Howell , Randy Dankievitch and guest Sean Collettin take a deep dive into “A God Walks Into Abar” and note some of the more astonishing facts of the episode you might have missed.

And for those of you wondering, in order to keep things simple, we’ve decided to upload each episode to the same feed as our other podcast, Before the Internet.

Listen here on iTunes or listen here on Stitcher. 

You can also catch our show on Pocketcast and on Spotify, or simply listen via the player embedded below.

Before the Internet Watchmen Podcast Special
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