Black Mirror is back, but it’s different this time around. The writing is softer, and there’s a tinge of optimism, a nebulous (but growing) belief in the human spirit that runs the gamut in these three episodes.
The lack of bleak nihilism is keenly felt throughout the season; however, the show’s focus on human bonds (and human frailty) works well for the most part. In some ways, it’s similar to how Black Mirror was in its first two seasons, which were more about the characters than the twisted technology itself.
The first episode, “Striking Vipers”, explores how love works and evolves with the help of technology. It works in a similar vein to the ways “San Junipero” and “Hang the DJ” explored human tenderness in similar circumstances. Two friends, who reconnect after years by playing a VR fighting game, find themselves inexplicably attracted to each other within the confines of simulated worlds. Directed by Owen Harris (who also directed “San Junipero”), it feels like a mellowed take on mid life crises, spiced up by the presence of the VR technology. There’s lot of gender fluidity in play- while Daniel (Anthony Mackie) chooses Lance, Karl (Yahya Abdul Mateen II) chooses Roxette, a female avatar. At one point, Daniel asks Karl what having sex feels like as a woman, to which Karl aptly replies that it feels like he was playing the orchestra compared to when he was just playing a guitar solo.
The best thing about the episode is how it lavishly details what you would expect a VR Street Fighter game to look like, filled with poppy colors and scenic backgrounds. It ends in a sweet, surprisingly mature way where Danny and his wife, Theo, learn to compromise.
The second episode “Smithereens” is perhaps the most ‘normal’ of the three. A ridesharing driver kidnaps an intern from the world famous social media giant, Smithereens. The man (Andrew Scott) demands to speak to the CEO, Billy Bauer, who is at that moment busy with a retreat. Most of the episode takes place within the confines of a car, and although the way Smithereens mines information about the driver is very alarming, this is the least “Black Mirror” episode of the season.
The third episode “Rachel, Jack and Ashley Too” tells a timely tale about popstardom. Sisters Rachel and Jack are still dealing with their mother’s death; Rachel does it by obsessing over pop star Ashley O (Miley Cyrus), while Jack does it by taking refuge in goth makeup and old school songs. They soon find themselves embroiled in a plot that threatens both the life and career of Ashley O. Their companion? A pint-sized robot assistant called Ashley Too, who happens to have a fully functional copy of Ashley’s brain.
The third episode is entertaining for the most part, but at times it also feels a bit too conveniently structured. Still, it’s a fitting conclusion to a season that’s geared towards exploring human psyche than the disastrous effects technology can have.
Those who are expecting more malice and twists in their Black Mirror may be sorely disappointed, but the latest season still works on a fundamental level. It’s a return to smaller, more intimate stories after ambitious tales such as Bandersnatch. It doesn’t always work, but it’s still a robust, entertaining show that also makes you think.
