At the most basic level, the TV show was a deathmatch between two dominant cult films of the end of the 90s: the narrator from Fight Club and Patrick Bateman from American Psycho over the stakes of capitalism. Mr. Robot is Sam Esmail’s attempt at re-purposing and repairing of these two opposing representations in order to succeed where they both failed. Therefore Mr. Robot transcends tribute and arrives at re-invention. Continue reading Mr.Robot, Fight Club, American Psycho
Bret Easton Ellis realized the apex of his writing genius within his third book, American Psycho, a truly bold attempt at a violent and shocking creation: a young American yuppie Patrick Bateman, whose solipsistic affliction cleverly exposes the putrid underbelly of consumerism. The narrative is limited to the first person, an intimate access to Patrick Bateman’s warped perspective and Ellis skillfully employs this technique to ratchet up the tension in order to convey a successful black comedy. Continue reading Nor is this an exit
I first encountered philosophical boredom in Nietzsche and Sartre during my early years, and didn’t really grasp the significance or magnitude until I read American Psycho. While vacationing in Italy, I read the majority of the Fritzean corpus and came across two important aphorisms regarding boredom: (paraphrased from memory) if the highest creatures are susceptible to boredom, then the infinitely perfect being is also susceptible to infinite boredom. Therefore when god “rested” on the 7th day he was bored with his creation so he sank to the grass and became a snake…. Continue reading Boredom is not boring in itself.