Season 6 could start off with a happy episode, a dark episode, or anywhere in between. I thought, what's a more hopeful take?"Īnd with real life being a waking nightmare, it should be nice to be able to go into a "Black Mirror" episode with hope that it won't leave you feeling total despair about the state of the world. One thing people said about the show was that they liked it, but it was so f**king depressing: every week a guy finds an app that kills him. "That was the first one written for this season, so I was thinking: what are people going to expect? I've also become a bit more confident about writing. But instead of delving into whether the show does a good or bad job handling these themes, a lot of the discourse seemed more content to joke around and talk about whether or not the two main characters technically qualify as gay. The critique of the capitalist pulling-yourself-up-by-your-bootstraps narrative in "Nosedive" gets reduced to " social media bad," just as the contemplations on gender, sexuality, cheating and monogamy in "Striking Vipers" is reduced to " no homo." The season 5 opening episode is all about embracing the messy, complicated realities of being human and how advancing technology will allow us to explore a major aspect of human nature on a whole new level - for better or worse. It's not uncommon to see people take that episode - which critiques the blurred line between enacting justice and engaging in socially acceptable sadism, as well as questioning how much of a person remains when you take away their memory - and reduces it to "good guy bad."īut it's the later, post-Netflix seasons in particular that seem to be most subjected to this kind of lazy-feeling criticism. It's not until they get rid of the filter on the robot that either of them start to see Ashley as she really is. The first half of the episode features both Jack (Madison Davenport) and Rachel (Angourie Rice) dehumanizing Ashley ( Miley Cyrus) in two different ways Jack dismisses her as a corny sell-out while Rachel idolizes her to God-like status, to the point where she's basing her real-life decisions on what the corporate-sanitized Ashley O robot tells her to do. This episode isn't subtle about critiquing the way the music industry eats young stars alive, but it also serves as a larger examination of the way we think about artists of any sort. On one hand, it's clear why this episode has drawn so much ire: with its parodying of Disney teen dramas and its perhaps-too-easily-accomplished happy ending, it doesn't really feel like "Black Mirror." Tonally it lacks that familiar stomach-sinking feeling we've all come to expect, but the common refrain that the episode has no substance, that it lacks anything to say beyond "music industry bad," feels strange. Whether it was worth it or not is up to you. Chris' self-destructive quest may have cost him (or Jaden) his life and he didn't make a meaningful impact on the larger world, but he did manage to help this one person.
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This is shown when Chris manages to get Hayley (Amanda Drew) the password to her deceased daughter's Smithereen account, to help her find some closure. Rather, the episode's about accepting that you as an individual can't fix a systemic problem alone, but you can make a difference to those close to you.
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Because honestly, what were those people shrugging at the news update on their phone supposed to do instead? Something horrible on this scale (or worse) happens in the world multiple times a day you can't realistically expect people to cry or spur into action that often. Critics and fans often point to this ending as being a commentary on society's collective apathy, but I think that's selling the episode short.
This event that seemed so important to us is just another thing to scroll through on these people's social media feeds. At first glance, it seems like a simple commentary on how social media desensitizes us to real-life tragedy.