Interview de Sam Esmail, créateur de la série Mr. Robot. Extrait:
"""
But Facebook is where I really have the problem. Because those are meant to be my private interactions with my family and close friends. And here we are giving it to a large corporation. ... They have all this information on us, and that's exactly how they make money, and they're going to monetize it. And there's just something incredibly dangerous about that.

There were these discoveries that Facebook has been conducting psychological tests and social experiments, and then using the information they know about you to manipulate how you feel about certain things. I mean, just think about the consequences of that. A corporation whose sole purpose is profit, knowing all these personal intimate details of your life, and then using this against you in some sort of subtle, subliminal psychological warfare to compel you to either buy products, or switch from one product to another. To me, that's just incredibly disgusting and Orwellian. I don't really know why there isn't more of an uproar.

USA did a survey when our show premiered, targeting millennials, and asked if they could go back in time and start over, would they join Facebook. And I think, overwhelmingly, most people said no, which is great. [The survey actually noted most Americans wouldn't join any social media site.] I still don't know why it's as popular as it is. I'm hoping either that changes, or Facebook changes. But I doubt Facebook will.
"""
Cette critique transpire effectivement dans la série. C'est plaisant.

Le coté obssessionnel de coller à la réalité l'est également, surtout quand on aime/comprend la technique:
"""
The hacking elements feel a lot more realistic than other shows and films. How did you achieve that?

I was probably a huge tyrant about it on set. I'm sure I didn't make many fans because of it, because it takes a lot of work. Everything from the writing of it, to the execution, to the production design, to the shooting, we don't shoot any green screen when we deal with a computer screen. That's all done practically. So that required a production design to build all the screens beforehand. And it required our tech consultants to walk us through what those screens would look like. And then it required the actors to follow all the commands and type all the commands that an actual hacker would need to do. All of that required a lot of time and energy and money. And then in post [production] if I saw something that wasn't right, we had to fix it and redo it by reshooting those screens.

I became incredibly obsessive about it because I just think in reality, this is what goes on. These screens are not fake. I never wanted to conjure anything up, or fake anything, because the reality of it is far way more interesting than anything I could imagine. There were times when people wanted to take shortcuts and I started to understand why I was frustrated all these years. People think that that's not the drama; it's not in the coding. Which they're right, but if you start fudging on that, you lose the credibility of the world. And if that starts to go, then the drama goes with it. I hope we proved it.
"""