“Black Mirror” once stood as a pinnacle of modern science fiction anthology series. But has time diminished its brilliance? After so many years, can the show maintain its originality or has it succumbed to self-repetition? This article delves into whether the series can still captivate audiences or if its creative spark has finally faded.
Has “Black Mirror” declined in quality? It`s a complex question. Some argue it has never again reached the dramatic heights of its very first episode – the one with the Prime Minister and the pig. Ironically, that episode lacked fantastical elements, yet it set the tone. “Black Mirror” isn`t solely about technologies that tragically alter our lives. It`s also about shock value, unexpected twists, sharp social commentary, and the unsettling proximity of its futuristic scenarios to our present reality.
Technically, the seventh season includes all the familiar ingredients. Some episodes lean more into science fiction, others into social critique. Personally, I found only half the episodes truly compelling: the first, fifth, and sixth. The rest are weaker. However, the entire season suffers from several shortcomings.
Firstly, the storylines are strikingly predictable. The writers practically shove the narrative “Chekhov`s guns” in the viewers’ faces. We`re shown a “trashy OnlyFans,” and it`s immediately clear how the protagonist will make money. In another instance, a supercomputer is casually introduced, and we instantly anticipate its hacking. Only “Callister” managed to surprise me.
Secondly, there`s a persistent feeling of self-plagiarism. Perhaps this was inevitable – crafting a consistently original anthology series is incredibly challenging. However, the themes not only echo past seasons but also resonate within season seven itself.
We are presented with three love stories. All three, in some way, explore the loss of a loved one and high-tech methods of coping with death. Three episodes are set in virtual reality, while two are closely related to video games and the fates of NPCs, and another two involve artificial intelligence and digital human copies.
Episode Synopses and Brief Thoughts
“Episode 1”
Synopsis: The story centers on a modest but happy married couple. The wife is diagnosed with a fatal brain disease. The husband agrees to an experimental surgery that saves her life but connects her to a cloud service. Everything comes at a price.
Of all the episodes in season seven, this one feels most authentically “Black Mirror.” It features highly plausible technologies closely intertwined with existing ones. The cyberpunk motto “High Tech, Low Life” is vividly illustrated. It starkly demonstrates how a miracle can transform into a curse.
The episode satirizes familiar subscription services: “Plus,” “Premium,” “Prime,” etc. The technology replacing the heroine`s damaged brain part requires a $300 monthly fee. And for those who believe all Americans are wealthy and $25,000 is insignificant to them, that`s not the case.
However, the added expenses forcing the couple to work harder are just the beginning. The subscription constantly evolves. Contextual advertising starts being displayed through the wife. Removing it costs $800. Then, the company begins using her brain`s processing power, causing her to sleep most of the day without rest. Reclaiming her own life costs $1,800 per month. And this is without mentioning the additional issues spawned by the subscription.
What I appreciated most was the love story. Fairytale and rom-com narratives about butterflies in the stomach are beautiful and fun. But a man and woman who endure hell together and remain devoted to each other – that commands respect.
“Episode 2”
Synopsis: A woman encounters a former classmate at work. Over time, she notices strange occurrences, which others seem oblivious to.
There`s a specific genre of paranoid cinema where the protagonist`s mind is the central conflict and villain. The protagonist, and consequently the viewer, struggles to distinguish reality from delusion. Unreliable narrators and other advanced narrative techniques might be present.
However, “Object of Repulsion” lacks any sophisticated techniques. What`s happening becomes clear quickly. The cause is also obvious, and doubting the protagonist’s sanity is pointless, as the solution is simple, albeit fantastical.
The main character’s classmate was a school outcast and computer genius, bullied by – you guessed it – the protagonist. This same classmate charms the entire protagonist`s workplace, while the latter experiences a series of misfortunes. The poor woman begins to doubt her sanity, feeling like reality itself is shifting around her. Names are not as she remembers them. Events unfold differently than she believed.
In any other context, this would be the setup for a psychological thriller. But here, it’s immediately apparent that the classmate is literally altering reality, and there`s no schizophrenia involved. The only redeeming quality of the story is its absurdly idiotic ending.
“Episode 3”
Synopsis: A company invents a novel method for movie remakes. They digitally insert a contemporary celebrity into the virtual world of an old film.
You`ll love this one, I guarantee. It`s about replacing the main character in a classic movie with a black lesbian*. Well, if “Ordinary People” was quintessentially “Black Mirror,” then “Dream Hotel” is quintessentially “Netflix.”
A popular actress is dissatisfied with her image and considers herself exceptionally talented (which is debatable). She agrees to play a role originally written for a man in a remake of her favorite film. However, she didn’t review the proposal details, and the film crew, for some reason, decided to film not only without rehearsals but without even discussing anything with the star (how foolish, words fail me, and I’m usually quite verbose).
Without proper explanation, they thrust the heroine into the film, much like in “Creepshow,” “Pleasantville,” “Last Action Hero,” or countless others. For the film to succeed, the actress must not just deliver lines but maintain a “level of attraction” with the love interest, “world integrity,” and other nonsensical terms invented on the fly, which, again, were never explained to her.
Predictably, everything goes awry. The plot develops incorrectly, the AI actress gains self-awareness, the protagonist gets trapped in the virtual world, and, of course, there`s a love affair that we and our friends from media censorship agencies wholeheartedly condemn.
The irony is endless: the characters seemingly struggle with plot holes, while their own story is a trypophobic nightmare. Filming without rehearsal, lack of technology explanation for the actress, a contrived time constraint (they could have launched their magic machine anywhere, but they inexplicably rent a pavilion), an endlessly obtuse supposedly professional actress, an absurd explanation for self-awareness. And all for what? To showcase a subpar version of “San Junipero”?
“Episode 4”
Synopsis: Police interrogate an eccentric murder suspect linked to a revolutionary 90s game.
It starts off promisingly, like “Toy Story.” Or perhaps that`s just me. For some inexplicable reason, the image of an antisocial gaming journalist befriending NPCs resonated more with me than that of a wealthy and successful black lesbian*.
Throughout the episode, the protagonist recounts his connection to an unsolved 1994 murder. It turns out, back then, he worked for a magazine writing about video games. He was invited to a closed preview by the renowned game designer Colin Ritman, the same one from “Bandersnatch” (or “Brandashmyg”). There`s no particular link to the interactive film, though. Here, he again serves as a narrative lever for the protagonist.
Ritman created a unique video game, not really a game at all, but a genuine self-evolving digital life form. The protagonist felt a connection with the pixelated creatures, stole them, found a way to communicate with them (which we also condemn, by the way), and ultimately dedicated his life to serving his new friends.
The concept itself is interesting, and Peter Capaldi and his younger version deliver excellent performances. Unfortunately, the ending creates a plot hole that swallows the entire story.
Spoiler Alert!
The protagonist, on command from his Tamagotchi, seizes control of the country`s main supercomputer. He does this by showing something resembling a QR code to a surveillance camera in the interrogation room. One wonders, why couldn`t he show it to any other camera in the city? Or, for that matter, tattoo the code on his forehead?
Furthermore, the episode feels like it`s playing on nostalgia: “Oh, look – Doom,” “Oh, look – Road Rash.” For some inexplicable reason, the protagonist buys consoles for upgrading, not PC components, because “they are much more powerful.” And I can`t believe a gaming journalist would hang an Atari Jaguar poster above his bed.
“Episode 5”
Synopsis: A man learns of the death of a longtime acquaintance. Funeral organizers offer to record his memories to display at the ceremony.
A unique and excellent episode. It`s practically a Paul Giamatti one-man show. And for those unaware, he`s a remarkably talented actor.
So, the deceased isn’t just an acquaintance but his beloved, the love of his life. However, they parted ways long ago and not on the best terms, so he can`t even recall her face. A virtual assistant and technology allowing entry into photographs are meant to help restore his memories.
Gradually, step by step, we learn how the young couple met, started dating, moved in together, and how they broke up. But we learn all this solely from the protagonist’s perspective, filtered through resentment, pain, and self-pity. How else, right?
Although this is undoubtedly another, the third, love story, love isn`t the primary focus here. I`d say it`s a narrative about healing. I know it sounds lofty, but this analogy fits perfectly. Their breakup – foolish, emotional, and misunderstood – is like an untreated wound in the soul. Over time, it festered and became infected, turning a cheerful young man into a gloomy old one. And the entire “Grief” process, the memory restoration, is like reopening that wound. A painful procedure that ultimately brings relief tinged with bittersweetness.
Spoiler Alert!
My lyrical abilities are exhausted, so I`ll return to complaining. I understand why the breakup was as it was; the plot required it. And I`m even sure such things happen often in reality. But that doesn`t excuse the situation`s absurdity. One, upon receiving something akin to rejection, severed ties without even trying to understand what happened. The other placed all her hopes on a note that a offended and heavily intoxicated person was supposed to notice. And also severed ties.
People! To convey a thought to another person, use words. Human beings start learning to speak around age one. Use this skill.
“Episode 6”
Synopsis: A direct sequel to the “USS Callister” episode from the fourth season. The ship`s crew must survive in a 30-million-player MMO, while their real-world counterparts begin to suspect something is amiss.
“Black Mirror” is known for numerous easter eggs and self-references. “Toy Story” even featured previously seen characters. But there hasn`t been a proper sequel before. Why “USS Callister” got this honor? Who knows. Perhaps because the episode was quite good. Or maybe because it was almost the only one with sequel potential.
The virtual crew escaped the captain and became something like glitched NPCs in the “Infinity” MMO. To survive, they are forced to rob players. But unlike gamers, for our heroes, all the dangers of the virtual world are absolutely real. The closest analogy is probably “Free Guy” with Ryan Reynolds (the episode even features a fan of Wrexham FC, owned by Reynolds).
Meanwhile, in the real world, Nanette (the protagonist) has somehow transformed into a copy of Robert Daly (the main villain of the first part). She concludes that her digital clone is trapped in the game and trying to help her. And then the plot unfolds as expected, offering a couple of “wow” moments.
Some might dislike it, but I was pleased that the sequel slightly shifted genres. The first part was a thriller – the heroes were trapped alone with an all-powerful resentful sociopath. The sequel is more of an action, a space blockbuster, if you will. But the humor remains the same.
*The LGBT movement has been recognized as extremist, and its activities are prohibited in the Russian Federation.