Black Mirror Season 6 Fails to Impress with Shift in Genre
Charlie Brooker, creator and writer of Black Mirror, had ambitious plans for the anthology show’s sixth season. However, the attempt to transition from suspenseful science-fiction to horror and bleak drama falls short. Only one episode stands out among the five, and interestingly, it wasn’t entirely written by Brooker himself. This demonstrates that if he wants Black Mirror to explore new directions, he should continue collaborating with partners to bring his vision to life.
Three episodes of this season take place in some form of the past, one in the present, and only the premiere, “Joan Is Awful,” feels like a traditional Black Mirror episode. It delves into the potential dangers of new technology and successfully targets Netflix itself, referred to as “Streamberry” in the show, and its addiction to true crime stories that exploit real people without their consent.
The episode follows Joan (played by Annie Murphy), who discovers that she is being portrayed by Salma Hayek Pinault in a streaming show that somehow has access to her most private moments. It serves as a scathing critique of the entertainment industry that profits from the exploitation of personal stories and images, while also warning about the use of AI to generate personalized narratives. Despite its dark themes, the episode is also hilariously exaggerated, with Joan’s story taking absurd turns as she tries to regain control of her life. The inclusion of Michael Cera’s cameo adds an extra layer of meta humor.
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Continuing his scrutiny of true crime, Brooker explores the topic in “Loch Henry.” The episode follows a couple attempting to film a documentary about a serial killer who once haunted a small Scottish town. Directed by Sam Miller, known for his work on Luther and I May Destroy You, the episode has a David Fincher-esque feel, but set two decades after the central players have met their demise and the town has become a ghostly shell. While the premise has potential, the episode suffers from a slow pace leading up to a predictable twist that drags on unnecessarily. Its purpose seems solely to emphasize Brooker’s critique of who truly benefits from this type of entertainment.
“Mazey Day” takes aim at the paparazzi, although it feels somewhat pointless in its execution. The episode, set in 2006, centers around Bo (played by Zazie Beetz of Atlanta), a photographer who questions the negative impact of her work on the celebrities she pursues but can’t resist the lucrative payday offered for capturing pictures of the missing starlett Mazey Day (Clara Rugaard). The episode attempts a sudden tonal shift reminiscent of From Dusk Till Dawn, but ultimately diminishes the inherent silliness of its plot twist with an attempt at emotional resonance in its final moments. One redeeming aspect of “Mazey Day” is the amusingly remorseless competitors who relentlessly hound Bo and seamlessly fit into the story.
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The biggest letdown of the season is the longest episode, “Beyond the Sea,” which wastes the talents of Aaron Paul, Josh Hartnett, and Kate Mara. It is set in an alternate version of 1969 where astronauts are connected to robot replicas, enabling them to communicate with their loved ones while on space missions. The episode had the potential to delve into themes of isolation and identity, but instead, it falls flat with underdeveloped characters and a focus solely on male pain and desire. It also falls into the trap of the “women in refrigerators” cliche. For a more engaging astronaut drama set in an alternate history that explores remote tragedy, AppleTV+’s exceptional series, For All Mankind, is the superior choice.
I would have considered this season a near-total failure if not for “Demon 79,” which Brooker co-wrote with Bisha K. Ali, the head writer of Ms. Marvel. It is introduced as “A Red Mirror Film,” presented by Black Mirror as a way to signal that this episode is venturing into new territory. It fully lives up to expectations, drawing connections to the interactive special Bandersnatch through symbolic Easter eggs and a protagonist teetering on the edge of insanity.
“Demon 79” takes viewers on a bizarre journey following a mild-mannered shoe seller (played by Anjana Vasan) as she navigates microaggressions and blatant anti-immigrant hostility in Northern England in 1979. She discovers a shocking outlet for her violent fantasies, with Paapa Essiedu delivering a captivating performance as her disco-fabulous homicidal guide and tormentor. The episode becomes a dark amalgamation of Good Omens and It’s a Wonderful Life, blending humor with emotional surprises until its final moments.