Asking the Wrong Questions

It feels strange to talk about Black Mirror reinventing itself. Even if you leave aside the fact that this is a show in its fifth season (plus two specials), a point where habits tend to be firmly fixed, what would be the impetus for it? From its scandalous premiere in 2011, Black Mirror has always been lauded for being exactly what it is. Even the people who have criticized it—for its cynicism, for its nastiness, for its reflexive distrust of technology—have helped to cement its brand, our idea of what a Black Mirror story is like and can accomplish. And yet, when you finish watching the three episodes of the just-released fifth season, there is no other way to describe them than as a departure. It's probably the strongest season the show has fielded since its first, but it's also the least Black Mirror -ish. Some people might describe the season as optimistic. This isn't entirely inaccurate—the third episode, "Rachel, Jack and Ashley Too", is basically a YA...

After seven years, four seasons, eighteen episodes and two specials, the conversation around Black Mirror seems to have settled itself into distinct camps. There are those who see it as a meaningful commentary on the growing role of technology in modern society and the pitfalls of our growing dependence on it. And there are those who decry it as a cynical, reflexively anti-tech exercise in nastiness. I tend to think of myself as falling between the two extremes—there are a lot of ideas in Black Mirror that I find interesting and unique, especially when it comes to the intersection of technology and capitalism; but I often feel as if many of them have happened largely by accident. The show's latest foray, however, the interactive movie "Bandersnatch", written by series creator Charlie Brooker and directed by David Slade, has shaken my indulgence. Not only does it revel in some of Black Mirror 's worst excesses, it's also an extremely bad example of interactive fi...