I’ve
received quite a few e-mails lately suggesting that I screen the British genre anthology
series, Black Mirror (2011 - ), which concerns the dangerous nexus of
mankind and his developing technology.
Well,
I’ve taken up those reader suggestions and I’m glad I did, because this series
is sharply-written, imaginative, and at times downright terrifying. Every
segment -- and I’ve now seen all but the Christmas special -- is remarkably
thoughtful and intelligent. Frankly, we haven’t had an anthology this good in a
while.
Already,
comparisons have been made to The Twilight Zone (1959 – 1964) and
I understand why that is the case. Rod Serling gazed long and hard at the human
condition during the sixties and focused, often, on issues of Civil Rights,
conformity, class, and race.
Black
Mirror chooses
instead another topic upon which to obsess: the “black screen” of technology,
an iPhone or laptop computer for instance. The screen or monitor itself is the crack’d
mirror through which we view ourselves and our 21st century times.
It’s an appropriate selection from creator Charlie Brooker, because I believe
that every individual of my age group, at the very least has experienced some
second thoughts about the infiltration of such devices (and social media
platforms) into the home, school, and work place.
Sometimes,
you can’t help but to take a look around you and see that everyone is paying
attention to their separate screens or monitors, even on family holidays. My
generation is the one that bridges the technological divide; having lived
probably twenty or so years pre-internet, and twenty-five years post-Internet.
This
is not to suggest that such technology is intrinsically bad, or a negative a
force in society. In purely selfish terms, my writing career would not exist at
all without the Internet. My first few books about classic sci-fi TV (Space:
1999, Battlestar Galactica, One Step Beyond) took off at precisely
the same time that the Internet ascended. The reach of those books went far
beyond any I could have imagined when I wrote them in the mid-1990s. If you had
told me back then that those books (some in dire need of updates…) would still
be in print and still selling copies -- in electronic format, no less -- in twenty
years, I would have said you were crazy.
But clearly, my audience is on the Net and a lot of my work -- here, at
Flashbak, and elsewhere -- is on the Net too. The Net has connected me to a
community of like-minded fans and scholars in a remarkable and historically
unprecedented way.
But
still, I sometimes get that nagging feeling that the ever-present nature of technology
is fraying the social contract and somehow separating people from their immediate
communities and neighbors. Also, it is much
harder to erase a mistake in this day and age because of technology, than it
was when I was young, and that makes me worry for up-and-coming generations,
including my son’s. The world doesn’t
need access to every youthful indiscretion ever committed.
Although
Black
Mirror has only produced a half-dozen or so episodes at this juncture
(over a three season span), it has craftily studied the way technology impacts all
aspects of public and private life. It
has examined technology in regards to the government and the press (“The
National Anthem,” “The Waldo Moment,”) and in light of personal relationships (“The
Entire History of Me,” “Be Right Back.”)
The series has also demonstrated how reality
TV turns everybody into commodities (“Fifteen Million Merits”) and even how the
justice system could change because of bystanders filming crimes rather than
intervening to stop them (“White Bear.”)
I’ll
make no bones about it, either, Black Mirror starts out with its best
episode. The inaugural segment, “The
National Anthem,” concerns a terrorist threat to a princess in England’s Royal
Family, and a demand of the Prime Minister that at first seems absurd, then
disgusting, and finally inevitable. In particular, the hostage-taker demands
the P.M. engage in….sexual congress with a pig on live TV, or the princess will
die. The P.M (Rory Kinnear) thinks the demand is a joke, and his advisors
prepare a CGI fake, but the arrival of the hostage’s severed finger changes
everything.
“The
National Anthem” contends with issues like the irresponsibility of the modern
mainstream press, the fickle nature of the public (and public polling), and
more. In the story, technology -- in the hands of the press -- makes it
virtually impossible for the P.M. to avoid his date with destiny, and with the
pig. The story sounds strange and in bad taste, but the opposite is true. The episode raises profound questions about the
way we live now. I’m thinking about
asking my mass media class to watch it because I have never seen a better
exploration of the pitfalls of the modern media.
The
second Black Mirror story, concerning contestants in a seemingly
eternal, society-wide reality TV show, didn’t work quite as well for me. The tale’s
message -- that everybody has a price, and is willing to sell out -- is valid,
if cynical, and yet I must confess that aspects of the episode’s dystopian
society were not entirely clear to me. The episode seems to take place at an
industrial human farm devoted to the physical nurturing of reality TV show
contestants. The episode makes some relevant points about how business intervenes
in art, particularly in its idea that you have to “pay” to skip certain content
that is less desirable (like commercials.)
Still, it didn’t quite come together for me at the end. It might be that I was spoiled. “The National Anthem” is the best thing I’ve
seen on television in the last six months or so.
Another
Black
Mirror story, “The Entire History of You,” rivals “The National Anthem”
for intelligence and imagination. The story concerns a future in which everyone
is installed with a storage device that records your vision. So you can go back in time with a remote
control and rewind every argument with your wife, or every moment of a job
interview, and so on. It’s like social media is now embedded in your head.
The story centers around a husband and wife
with a young baby, and the husband’s paranoid fear that his wife cheated on him
with another man they happen to encounter at a dinner party. Using the evidence of his recorded memory
(and hers), the husband, Liam (Toby Kebbell) makes an airtight case for
infidelity, but destroys his entire life – and family -- in the process.
If something happened
once, two years ago, was a terrible mistake, and has not been repeated, is it
truly worth it to sacrifice your future (and the future of a child…)?
I
know lots of folks will disagree with my assessment, but sometimes it’s better
not to know such things, and not to have evidence. Sometimes it is better to move forward and
re-build, and not wallow in the details of a mistake that is closed and gone. The episode reaches that conclusion in a
gut-punch kind of way with an act of cathartic excision that makes the bloody point.
Another
well-dramatized and emotionally-affecting story is “Be Right Back,” a story
about a young woman, Martha (Hayley Atwell), who can’t get over the grief associated
with the accidental death of her husband, Ash (Domnhall Gleson). She is unexpectedly given the opportunity to
reconnect with a facsimile of him courtesy of a computer program that can
sample all his online words and activities, and approximate a virtual version
of the man.
At
first, the program simply responds in written word, using Ash’s phrases and idioms.
But Martha wants to talk to him, and so an imitation voice is synthesized. And then the opportunity comes to house the
program in an ambulatory robot that can be made to exactly mimic Ash’s
appearance.
The
point -- as you can probably guess -- is that human beings are more than the
sum of their virtual activities. Martha
soon comes to realize that pieces of Ash are missing, and that the robot
duplicate can never embody the absent sectors.
Refreshingly, the robot is upfront about who he is, and what he is. He is a device to make the mourning process
easier. The episode becomes truly
clever, however, because the audience is left to decide whether Martha’s
interlude with the machine was helpful or not.
Did the machine aid Martha’s recovery?
Or did it delay her acceptance of reality?
“White
Bear” is the mostly overt “horror” episode of the series that I’ve seen thus
far, and it concerns a woman, Victoria (Lenora Crichlow) who wakes up with no
memories. When she leaves her apartment,
she is hunted by violent sadistic people in masks. Worse, people all around won’t stop filming Victoria
on their iPhones. They refuse to step in
to help. She pleads to be saved, and no
one answers.
I
will ruin no surprises, but this episode is structurally clever, boasts a a
hell of a reveal, and once more, the viewer is asked to reckon with what our
modern technology does to our traditions of society, in this case related to the
justice system. Again, there’s a
two-pronged approach here. The episode
discusses how technology can change crime and punishment, but how people -- and
their propensity for voyeurism – doesn’t change.
“The
Waldo Moment” is another solid installment, and it handles, explicitly, the
notion of a figure in entertainment becoming part of a news cycle. A
foul-mouthed cartoon character, Waldo, ends up running for political office,
taking a sledge-hammer to the conservative and labour candidates in the
process. But unlike either of those two politicians, Waldo is only interested
in taking a piss on the system, not improving it.
Once
again, there’s two ways of considering’s Waldo’s world. Either he is destroying a system that needs
to be destroyed, exposing its corruption.
Or he is wrecking the process and enhancing the people’s cynicism, and
therefore doing nothing good, for anyone. When we have no one and nothing to
believe in, society crumbles. Waldo is
not an adequate substitute for an advocate.
Black
Mirror
combines near-future speculation with riveting storytelling, and ironic, often
emotionally-shattering denouements. The
six episodes I watched are better-than-feature film quality, and remind us
again that we are now firmly ensconced in TV’s new golden age.
This has been a topic among my friends recently. Even people who are not that genre-aware have praised this series. -T.S.
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