Robert McKee’s WORKS / DOESN’T WORK TV Review:
Black Mirror (2011 – ) | Created by Charlie Brooker
McKee Says: It Works (Spoiler Alert!)
HIGH RISK ANTHOLOGY:
Long-form series, like BREAKING BAD and GAME OF THRONES, unfold their stories, season after season, from a foundation of perpetual characters and settings. But an anthology series works from scratch to invent a new cast, a new world, and, most importantly, a new story, episode after episode. Some anthologies, such as LAW & ORDER and THE X-FILES, lighten the load with continuing characters, but not BLACK MIRROR. Like its famous predecessor, THE TWILIGHT ZONE, not all BLACK MIRROR episodes are equally excellent, but then that’s true of any series. Overall, the uniqueness of this tour de force’s episodes rocks the mind.
Unlike the last century’s uncanny monsters (ALIEN) and gothic supernaturals (NIGHTMARE ON ELM STREET), the genius of BLACK MIRROR seeps unseen horrors out of the kitchen sink realities of our techno-world, which then slowly infiltrate our everyday life, until the world spins like a tornado. From NATIONAL ANTHEM (S.1 – E.1) to PLAYTEST (S. 3 – E. 2), with each episode, BLACK MIRROR unleashes a chilling, too-real fear of what hides inside the gismos we hold in our hand.
Suspense merges curiosity with emotion. The question “What’s going to happen next?” fills with the dread of “Please don’t let it happen to me.” The tensions in BLACK MIRROR rack our nerves because, although we hope for a happy ending, we know it’s not gonna happen. Early episodes established the series’ storytelling style and warned us that all tales will end in a monsoon of irony: If it’s a downer, the protagonist’s fate will spread a dark smile across his face. If it’s an upper, the protagonist may get what she wants, but she’ll pay a hell of a price for it—probably her soul.