There still is a part of me that believes that what Whiterose showed to Angela was proof that while their world is real to them, it’s only a fiction to us (something Elliot instinctively understands, hence us being his “friend”), and fictions can be rewritten to be better—something which would appeal to Angela given her mother’s death at the hands of Evil Corp. It’s going to be particularly disjointed for a show to spend so much time playing with the narrative nature of reality (Elliot talking to us, the severe framing of shots, the sit-com dream, an entire sequence shot from above an office set with the ceilings removed) only to not have it mean something to the narrative itself. I’ve suggested before, in a post no longer online, that perhaps it’s simply meant to be a kind of Brechtian alienation, and I’m still willing to accept that, but if Mr. Robot’s intention had been to admit overtly its fictionality, I do wonder whether they’d stick to that plan given the end of the second season of The OA, although that would be a pretty severe thing to have to change. It’s also possible, given the fiction of my first forty-six years of life, that I’m simply as drawn to the idea of being able to force a rewrite as was Angela herself.