The two main ideas ‘Black Mirror’ hinges on this season are psychological warfare and nostalgia.
Benedict Cumberbatch-inspired title aside, this summarized the bleak and the bereft seventh season of dystopian anthology series Black Mirror. Though I have always admired the earlier releases more (remember the episodes Nosedive, Hang the DJ, and 15 Million Miles?), there is a lot of material worth exploring with this one.
Black Mirror is broken down into six universally separate episodes, and most critics claim that there is not much existential crises woven in the stories of showrunner Charlie Brooker. Most claim that they miss the old series, maybe because it was more gut-wrenching or so mind-blowing, one could actually lose sleep for days over a single episode or two. Have people forgotten the sick prelude to the series — The National Anthem, where Prime Minister Callow effs a pig on national television. Enough said.
More than commentary, Black Mirror aims to always elicit an instant reaction with its never-ending twists, near-future explorations and dark humor — and now, there is (supposedly) none of that. But I beg to differ.
The two main ideas Black Mirror hinges on in this season are psychological warfare and nostalgia. Diving into the episodes gets you a trip on one or both at the same time. It is tinker, because the characters try to bend reality, some for the ones they love and others for themselves. It is voyeur, because there is an opportunity to go from the outside within. It is soldier, because a path to world domination presents itself through a singular protector. Lastly, it is cry, because, well, you’ll see.
I volunteered to write this piece because I needed to defend this season for some reason, which one can find out as we break each episode down.
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Episode 1: Common People
Summary: Working class couple Mike (Chris O’ Dowd) and Amanda (Rashida Jones) find their peaceful lives upturned when a parietal lobe growth renders the latter unconscious. Distraught, Mike turns to Gaynor (Tracee Ellis Ross), the chirpy CEO of startup Rivermind Technologies, for a chance at a second life for Amanda.
Review: This is a strong season opener for Black Mirror, and the performances of O’Dowd, Ellis Ross, and Jones are spectacular. I especially like the stark differences among the packages of Rivermind, and the shade towards services that sell you a whole world, only for it to require an upgrade that costs so much more. It is also a depressing commentary on the ways companies (big or small) greedily possess souls in exchange for a sliver of hope, and it just all goes downhill from the moment Mike signs up.
Episode 2: Bete Noire
Summary: Research and development food scientist Maria (Siena Kelly) finds her corporate (and entire) world upturned when old schoolmate Verity (Rose McEwen) applies for a position in the chocolate company she works for.
Review: Consider this your primary warning already — if gaslighting is not something you can stomach, watch with caution. I had to skip some parts because watching Maria look paranoid in front of her workmates as Verity worms her way up the ladder is sickening. It’s like watching Veruca Salt and Violet Beauregarde fighting, only with no squirrels and more gum chewing (from tension, care of the audience). However, a good background story reveals that Maria is also not what she seems, and you cannot help but rethink sides. On another note, you could consider this as the battle for who wins the title of Miss Universe. Literally.
Episode 3: Hotel Reverie
Summary: Bored of her leading lady roles, A-List actor Brandy Friday (Issa Rae) signs up to take part in a re-imagined take on motion picture classic Hotel Reverie with AI versions of the actors, including beloved film actress Dorothy Chambers (Emma Corrin).
Review: The word for Rae’s performance is dissonant, not terrible, as most reviews would say. I believe that Brandy Friday is a caricature of modern-day blockbuster actors who want to try out something different. Think Melissa McCarthy in Pride and Prejudice or Tiffany Haddish in Jane Eyre — though they could be able to deliver, there may still be a little comic slip here and there. Also, Emma Corrin’s performance is breathtaking. It feels like an escape seeing her perform on screen juxtaposed to Rae’s modern take.
This also had one of the best flashback montages ever — especially when Dorothy Chambers enters the vacuum during the pause. Awkwafina is also a great support as Kimmy, the owner behind ReDream.
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Episode 4: Plaything
Summary: Touted as a continuation to the interactive standalone episode Bandersnatch, Peter Capaldi stars as gaming journalist Cameron Walker, who is caught shoplifting in 2034. During interrogation, he is asked about a murder he is accused of committing in the 1990s, and the connection between that and a life simulation game Thronglets.
Review: I’m not one for gore, but Black Mirror purists (and The Sims players too!) can find existential solace in this episode. Lewis Gribben plays the young Walker very well, and he captures the isolated loner character in his essence. It is perfectly dystopian and scarily manic, much like the older episodes in the series. Take this as a lesson never to engage in drugs, lest you become a pawn in a world domination plot by a couple of monosyllabic Tamagotchi-inspired creatures.
Episode 5: Eulogy
Summary: A lonely man Phillip (Paul Giamatti) revisits a past relationship through an immersive program called Eulogy, where he re-discovers truths (and lies) about his ex-girlfriend Carol (Hazel Monaghan).
Review: This is the best episode for me, hands down. It didn’t have the unsettling tone we have all been used to, but it is a comprehensive exploration into grief and regret in the worst (best) way possible. Giamatti, as usual, gives a powerhouse performance as the depressed older shell of his past self, and his range of emotions from stoic to sentimental is nothing short of brilliant. The two twists are equally gut-wrenching, and the moment where he tries to pick up the object in one of the immersions is so painful to watch.
I have to dedicate another paragraph just to talk about the graphics and the way immersing into photos (literally) is an experience by itself. It feels like a physical manifestation of nostalgia in its most flawed form, and you can get swept up in sentiment or seethe for both Phillip and Carol. The ending is a masterpiece — it left me with a weight that settled for a while, even if I didn’t shed a tear.
Episode 6: USS Callister: Into Infinity
Summary: Eight years after the events of USS Callister take place, Nanette Cole (Cristin Milioti) and the Callister crew are in Infinity, an immersive multiplayer version of Callister. To survive the realm, they’ve become space pirates robbing different players. It is there that they realize they need to create another universe where they are free to roam, but not without securing the digital clone of CEO James Walton (Jimmi Simpson) first.
Review: Don’t hate me, but I just caught USS Callister an hour before I watched the sequel. The first episode, for me, didn’t need a sequel because it was masterfully written and could stand alone already. However, the Season 7 episode is a great way to close out the Callister-verse — plus, I get to see Robert Daly (Jesse Plemons) suffer again. Yes, he is alive, but not in the way you think he is. Both episodes are a great exploration of what transpires when players exit their respective games, and it is such a satisfying way to end the season — a touch of hope, and an opportunity for the Callister crew to watch reality television.
Black Mirror Season 7 is currently streaming on Netflix.
