After four seasons of being captivated, puzzled, and increasingly exasperated by the enigmatic figure of Tyrell Wellick and his elusive role within the realm of "Mr. Robot," I have reached a point where I must confess that his portrayal constituted somewhat of a colossal misstep for the series. Initially introduced as an American Psycho-inspired counterpart to Elliot, Wellick occupied a semi-pivotal position during the show's inaugural season, collaborating with Mr. Robot to pull the trigger on the Five/Nine hack. Since then, his presence has lingered in the periphery, resurfacing whenever the narrative necessitated his involvement.
In season two, as the terrorist face of fsociety, his ominous shadow cast a heavy influence over the unfolding events, albeit from a clandestine exile. By season three, he had transformed into a mere pawn of the Dark Army, relegated to the sidelines as his family crumbled, his ties to Elliot's revolution weakened, and his significance within the narrative dwindled.
I am acutely aware that many viewers might take issue with this critique. Tyrell's actions and demeanor are deliberately ambiguous, sparking myriad theories and speculations about their underlying meanings. Nevertheless, I posit that this character succumbed to a familiar pitfall in television storytelling: the series boasts such a sprawling ensemble that some characters inevitably get sidelined. In the quest to service characters like Darlene, Angela, Price, Dom, and Whiterose, someone had to be sacrificed. Tyrell gradually transitioned from a focal point to an afterthought, an initially promising concept that failed to materialize beyond its inception. Despite his unwavering devotion and aspiration to become gods alongside Elliot, his utility diminished swiftly.
"Not Found," undoubtedly the finest episode of this penultimate season, bid farewell to Tyrell in the most exhilarating manner conceivable. Written by Kyle Bradstreet, this episode bears a striking resemblance to "Pine Barrens," where Tyrell terminates a Dark Army soldier who had bugged Elliot's apartment. Compelled to dispose of the evidence, Tyrell, Elliot, and Mr. Robot pilfer the soldier's van and head upstate. They halt at a gas station to procure fuel and a lighter but, after being detained by a chatty clerk convinced of recognizing Tyrell, they exit to find their van vanished. With no mobile reception for miles, the trio is compelled to trek through the woods to reach a nearby town, the distance of which remains uncertain—thirty minutes or thirty miles away. They wander in circles, haunted by eerie animal sounds, and eventually, tensions flare among them.
While "Not Found" may not match the grandeur of its "Sopranos"-inspired predecessor, its straightforward narrative actually serves to illuminatingly delineate Tyrell's personality and driving forces. Much like the rest of this enigmatic series, Sam Esmail's intricate plotting often shrouds elementary character traits beneath layers of complexity. Consider Tyrell's infatuation with Elliot: he is so deeply convinced by Elliot's perspective that he yearns to embody him. His forest soliloquy on their differing fashion sensibilities is surprisingly potent, as it underscores a fundamental truth – Elliot's indifference grants him strength, whereas Tyrell's fervent concern only renders him vulnerable in the eyes of those he seeks to impress. Elliot's ability to consistently astound stems from his hunched posture and relaxed, millennial hacktivist attire, which don't command attention. Conversely, Tyrell's $6,000 suit betrays his desperate need for validation. "My whole life, I've been an outsider," he confides to Elliot, "worried about others' perceptions, striving to please, craving their approval and acceptance. Yet you never cared."
In the realm of "Mr. Robot," the underlying message is starkly apparent: Tyrell and Elliot are more similar than they realize. Elliot, too, harbors such anxieties, but he excels at concealing them, as he admits to Tyrell. Though Tyrell may have initially hesitated to embrace Elliot's revolution, he remains the sole confidant willing to stand by his side, regardless of the cost. Hence, Elliot cannot abandon him to a fate of freezing in the woods. Similarly, Tyrell cannot reconcile with allowing Elliot's seemingly inevitable demise at the Dark Army's hands to be in vain. For better or worse, they embarked on this journey together, and they must see it through to its conclusion.
Bradstreet and Esmail exquisitely capture the profound melancholy that pervades the Christmas season in this episode, particularly its capacity to draw together isolated, lonely souls and compel confessions from the most reticent hearts. As Elliot and Tyrell trudge through the forest towards an uncertain future, Darlene, despite her fury towards Elliot, resolves to pursue him. When she attempts to steal a car, she is thwarted by a drunken Santa (Jon Glaser), who threatens to summon the police. Recognizing Tobias's incapacitation, both come to the realization that he cannot operate a vehicle, let alone articulate coherently. Darlene strikes a deal: she'll drive him home in exchange for borrowing his car to track down her unresponsive, potentially suicidal brother.
On the winding road, Tobias confides in Darlene, his voice laden with solemnity, revealing his role as Santa Claus for the children's cancer ward at Sloan Kettering. He shares how he drowns his sorrows in alcohol afterward, struggling to cope with the harrowing sight of young lives cut short. ("Some are mere infants, as if fate decreed their birth solely for their untimely demise," he murmurs under his breath.) He speaks of Jimmy, a friend facing dire straits, whose wife has suffered a mishap, and then pulls out a bottle of liquor and Percocet, prompting Darlene to fear that Tobias intends to end his life that very night.
Upon their arrival, however, Tobias amusingly, though slurred, assures her that he is perfectly alright. His earlier comments were a nod to Jimmy Stewart's character in "It's a Wonderful Life." It transpires that Jimmy's wife strained her back decorating for Christmas, and the Percocet was intended for her relief. In stark contrast, it is Darlene who is unraveling, casting her own melancholic shadow upon those around her.
Meanwhile, Dom finds solace in the confines of his home, unsettlingly masturbating to interrogation footage of Darlene, in what stands as one of the most melancholic scenes akin to the depths explored in "Mulholland Drive." Driven by loneliness, he invites an old cybersex acquaintance over for a casual encounter, only to discover her true identity as a Dark Army agent who forces him into submission, threatening to drown him in a bathtub. But this harrowing sequence is merely a dream—his subconscious urging him to cease resisting the omnipotent forces that govern his fate. Submission is paramount; otherwise, more lives may be lost at his hands.
While Dom's narrative falls somewhat flat, the intertwining tales featuring Darlene and Tobias shine brightly, embodying "Mr. Robot" at its finest. Darlene unburdens herself to a stranger she has just met, who, though inebriated, wisely advises her that self-sacrifice for others cannot come at the expense of one's own well-being. She yearns to save Elliot, her last remaining tether, but her quest will be futile if she loses herself in the process.
That night, Darlene does not lose a brother, but in a poignant sense, Elliot loses something invaluable. Elliot and Tyrell discover the van housing a Dark Army soldier, who opens fire before taking his own life. One of the bullets strikes Tyrell in the abdomen. Elliot insists they rush him to a hospital, but Tyrell, acknowledging their isolation, opts for a solitary stroll instead. With his wife deceased and his infant son's whereabouts unknown, he sees little reason to continue living. Yet, he implores Elliot to vanquish Whiterose, ensuring his demise serves a purpose. As Tyrell stumbles through the woods, he encounters a mysterious, glowing light—the source of the eerie sounds echoing throughout the night. Just as the screen fades to white, he fixes his gaze upon it, catching a fleeting glimpse of the unknown, perhaps the transcendent beauty he has sought all his life. For a fleeting moment, Tyrell has transcended himself.
