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probably just getting a little more used to the trick, but I felt the show was already trending in this direction with the first Netflix series. In the BBC episodes, each season had an episode that felt like it was taking place in our current moment, but each of them were such a mind fuck in their own ways that it didn't feel like sort of a budget thing. it's not hurting the show, just something I noticed, because it leads me to one of my comments on the first three episodes.
USS Callister: This was a fun episode, but I hate to admit I have a hard time feeling sympathy for sentient AI. I completely get that that reality seems like it'd really, really suck, but we've seen sentient AI go so wrong in fiction for so long, and the world seems so ready for war, that I'm not sure I like the idea of AI smart enough that it can kill its creator, even if that creator was using it to play Star Trek with his pizza box (and torture all his employees). Still, like I said, it was a fun episode, it was nice to see Jesse Plemons and Cristin Millioti in the same show again and acting their asses off, and it was neat to see a Black Mirror episode that wasn't afraid to be hilarious if there was a joke in there.
Arkangel: Again, quality short film making, basically, this was like Boyhood mixed with two other Black Mirror episodes (White Christmas and The Entire History of You) so I felt like I knew where it was going from the moment I realized what the titular Arkangel was about. I couldn't help but picturing all the suburban moms watching this episode because everyone at work was talking about it and coming away from it thinking, "well, that'd never happen if I'd had that with MY daughter, and I wish I had." The episode sort of felt like another show attempting to do Black Mirror, to be honest, but I enjoyed it through Foster's direction and its specific take on parental anxiety. (Also, sidebar: I'd love to see an iPad sit uncharged for that long in a dusty box upstairs and work just fine 15 years later.)
Crocodile: Seems like this is one of the lesser received ones so far, and I get it. The tech angle is very shoehorned in just to make the ending happen, and if Black Mirror has ever felt like magical realism then this was it. That said, Andrea Riseborough delivered one of my favorite performances of the entire series, and I have to admit I'm simply fascinated by the concept in general. The Fall is a great BBC show IMO for similar reasons, and when I wind up stumbling onto a random serial killer's wikipedia page late at night, it's usually due to some reference about how they were such a nice guy or a minister or had a family of five or something. So this ticked all my boxes and really didn't even need the memory machine stuff; if anything, that was the only downside. It wasn't as specifically weird as Blade Runne's Voigt-Kampf test and we got it the first time, so seeing it used so often just felt like padding past a point.
One last note on the 1st and 3rd episodes is that for how long they are, I feel like they earned us seeing how the antagonists are treated by the wider world when they're found out. I didn't want Daly to die, I wanted him to have to go in to work the next morning. To me, THAT'S Black Mirror, not him just dying at his computer (again, a bit like a "Black Mirror is always about death, right?" thing) And I'd have at least liked to have seen Mia have to react to somebody looking at her like they know she's a murderer while she knows she can't do anything about it. Her conversation in the shed was difficult, but I think Riseborough would've really brought it if she had to have a sit down with her husband.
~~~~~~~~~ "This is the streets, and I am the trap." � Jay Bilas http://www.popmatters.com/pm/archive/contributor/517 Hip Hop Handbook: http://tinyurl.com/ll4kzz
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