The opening episode of the sixth season of "Black Mirror" presents a familiar scene to its viewers—a couple sitting on their couc...
The opening episode of the sixth season of "Black Mirror" presents a familiar scene to its viewers—a couple sitting on their couch, deliberating over what to stream for the evening. True to the nature of "Black Mirror," their choice of programming carries mind-altering consequences, while also serving as a reflexive commentary on the medium itself.
In "Joan Is Awful," a woman named Joan (played by Annie Murphy) watches a series that eerily mirrors her own life, with Salma Hayek Pinault portraying her character. Every interaction Joan has is magnified to showcase her in the worst possible light. The fictional streaming service called "Streamberry" holds immense power, attracting a vast audience with its Netflix-like aesthetic, global reach, and ambition to dominate the industry.
It's fitting that streaming has become an integral part of "Black Mirror" beyond mere distribution. Since its move to Netflix in 2016, the show has embraced the technological advancements offered by the platform. The introduction of Netflix technology gave rise to the interactive film "Bandersnatch" in 2018. The unique culture of Netflix also allows for extended gaps between seasons, with the four-year hiatus being the longest break the series has ever taken. Notably, this break seems to have benefited the show, as the previous three-episode outing in 2019, which felt like an elongated bad joke, was widely considered the weakest of the series. The show thrives on exploring how technology has transformed human interaction, making the global distribution and algorithmic influence of Netflix a natural fit.
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Or at least, that's partially what the show is about. In "Joan Is Awful," Streamberry devastates Joan's life, but without any specific malice. She becomes a Warholian celebrity for the social media age, a universally reviled figure in the entertainment realm. However, the same fate could have easily befallen anyone else—Joan is just a disposable character. The remaining episodes of the season touch on the concept of fame, with technology taking a less prominent role in the narrative. In the chamber drama "Beyond the Sea," two astronauts, capable of briefly returning to Earth by transferring their consciousness, grapple with grim news due to the notoriety of their mission. In "Loch Henry," two filmmakers persistently pursue success and accolades for their documentary on the dark history of a Scottish town, even when common sense dictates they should redirect their efforts. Lastly, in "Mazey Day," set in the Peak Lohan media era, a young actress is chased by a paparazzo seeking answers for her disappearance from the limelight.
The latter two episodes, "Loch Henry" and "Mazey Day," rely on technology no more advanced than VHS tapes and telephoto lenses, respectively. They explore the inherent danger of human curiosity, featuring individuals professionally engaged in uncovering secrets—a documentarian (played by Samuel Blenkin and Myha'la Herrold) and a persistent photographer (played by Zazie Beetz). Both episodes emphasize our inability to resist the pursuit of knowledge and fame, even when ignorance and anonymity may be preferable.
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This approach suits a show that often portrays its protagonists as passive victims of their circumstances. Personally, I found myself more engrossed as the series delved into broader themes beyond metacommentary on Netflix. Evaluating an entire season as a whole is a challenge since the quality of episodes varies widely, with the weakest being "Mazey Day" and the strongest likely being "Beyond the Sea," driven by the exceptional performances of Aaron Paul, Josh Hartnett, and especially Kate Mara, who skillfully convey intense emotions with subtle restraint. The episodes prompt different opinions depending on the day. Nonetheless, this collection of episodes showcases creator Charlie Brooker's exploration of various possibilities within the anthology series format, with his involvement as a writer or co-writer for every episode this time around.
The most striking example of this creative exploration is "Demon 79," presented as "a 'Red Mirror' film" in the opening credits. As the final episode of the season, it deliberately represents a significant departure—an outright horror story where a shopgirl (played by Anjana Vasan) confronts a hellish entity (embodied by Paapa Essiedu) to prevent the apocalypse. The plot ventures into thrilling territory reminiscent of pulp thrillers (resembling recent films by M. Night Shyamalan). However, Brooker and episode co-writer Bisha K. Ali demonstrate the ability of pulp narratives to encompass a wide range of concerns, including prejudice in Thatcherite England, confronting personal and societal sins, and the question of justifiable actions in the face of imminent disaster.
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Despite its heavy themes, "Demon 79" effectively incorporates elements of hope. Within Brooker's universe, characters are often victims of shifting realities or succumb to their worst impulses. They become either the punchline or the aggressor. Although this cynical worldview persists throughout the season, there are moments of curiosity, amusement, and novelty that alleviate it. Brooker's experimentation with his art and characters shines through, allowing us to perceive their humanity, even when they are dreadful.
In conclusion, the sixth season of "Black Mirror" explores the evolving landscape of streaming and technology's impact on human interaction. While the series continues to offer thought-provoking and pessimistic perspectives, it also embraces new narratives and a flicker of hope. Brooker's creative choices and the exceptional performances by the cast make this season a compelling and worthwhile watch, leaving viewers contemplating the complexities of our relationship with technology and ourselves.
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