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Black Mirror’s anthological style of storytelling allows for constant ingenuity and versatility. For those who haven’t seen the Netflix hit, every episode is its own self-contained story – though the showrunners have confirmed a shared and interactive televisual universe – about the dual potentialities of advanced technology. Each episode offers a glimpse of sleek alternate realities which are equally promising and devastating.

Striking Vipers:

Season five of Black Mirror as a whole represents a decline in terms of both the pacing of episodes and the sophistication of the show’s storytelling. The playfulness with the darker ethical boundaries of technology, which characterised the show in earlier seasons, feels increasingly less visible. The gaming technology of the episode ‘Striking Vipers’ provided full-body immersion in a VR universe and was not, in itself, particularly impressive. The premise was very similar to the tech shown in the ‘U.S.S. Callister’ and ‘Playtest’ episodes from seasons three and four. The constantly shifting, vivid graphics provided some visual padding to an episode otherwise lacking in narrative interest; the aesthetics were notably more impressive than any other element of the episode. Netflix’s efforts to include greater representation for the LGBT community and actors of colour in their programming is admirable, and a clear effort is reflected here. However, the stilted relationship between the two leads and the awkward male/ female sexual fantasy supplied by the gaming world feels clumsy at best. At worst, their VR sexual trysts seem to be a way of avoiding any sort of graphic sexual encounter on screen between two people of the same sex. This uncomfortable facet of the episode’s narrative aside, ‘Striking Vipers’ offers an all-too-familiar concept to the viewers without providing an engaging storyline as compensation and is a definitive waste of lead Anthony Mackie’s talent. One of its few redeeming elements is a potentially subversive commentary made on the effects of porn and simulated sex on modern relationships, as we see our two leads Danny (Mackie) and Karl (Yahya Abdul-Mateen II) navigate their romantic and dating lives against the backdrop of the appealing fantasy offered by a gaming platform. Little else about the episode feels particularly ‘striking’.

Smithereens:

‘Smithereens’ is the highlight of season five in terms of narrative strength. Writer Charlie Brooker and director James Hawes successfully delivered an engaging and creative episode, the tension-building and story-telling of which were exceptionally paced. Andrew Scott stars as the episode’s unstable lead, a taxi driver on a mission to speak to the CEO of social media giant ‘Smithereens’, whatever the cost. When a hostage situation arises, the viewer is served a minute-by-minute breakdown of the action. The emphasis on atmospheric uncertainty and a character-driven narrative means technology is forced to take an appropriate back seat, most of the drama unfolding within the four walls of a stranded car. Much of the work is left to leads Scott and Damson Idris, whose on-screen chemistry becomes increasingly compelling. ‘Smithereens’ is an episode lacking in technological allure;  the attention is instead given to interpersonal conflict, impelled by technology’s growing influence on our daily lives. By putting the fancy gadgets aside, the focus is returned to the people and stories behind technology, which is what Black Mirror does best.

Rachel, Jack and Ashley Too:

Miley Cyrus’ role as unenthused pop star Ashley O feels eerily biographical. Theories of the episode’s inspiration range from Cyrus’ own life to the early years of Britney Spears. It is the most accessible and enjoyable episode of the season, touching on darker themes but never crossing into the horror-sci-fi territory of foregoing episodes such as ‘Hated in the Nation’ or ‘The National Anthem’. The world-building and marketing of this episode provide a fitting sense of immersion, with Netflix setting up Ashley O’s very own Spotify artist’s page. Offering comment on the confining nature of record contracts for young stars, the episode’s two main tracks, ‘On A Roll’ and ‘Where I Belong’, (performed by Cyrus as the pink-wigged starlet) were chosen for commercial release. Cyrus’ performance was, unsurprisingly, authentic and convincing, though she was perhaps underused in a storyline focused largely on the life of a dedicated fangirl. Titular characters Rachel and Jack enjoy a wholesome narrative arc, but do provide the audience with a hackneyed character dynamic of the rebellious, punkish older sibling and their innocent and unassuming young counterpart. Miley Cyrus’ no-holds-barred vocal performance as A.I doll ‘Ashley Too’ served as one of the performative highpoints of an otherwise predictable, but still enjoyable, episode.

 

 

While all three episodes of the latest season of Black Mirror felt conceptually promising, each one fell a little  – or a lot – short of the glamorous cachet offered by the trailers and appealing cover-art . Smithereens’ was the obvious critical frontrunner, followed closely by ‘Rachel, Jack and Ashley Too’, which, though far from perfect, was entertaining in its own way. ‘Striking Vipers’ was a flop. With an international audience that grows exponentially with each renewed season, celebrity appearances and unfulfilling narrative blunders represent, perhaps, that Black Mirror’s own prestige has got the better of it.