There’s Always Enough Nightmare Fuel to Power the Black Mirror Universe

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Spoilers follow for all of Black Mirror season seven.

Black Mirror, a series focusing on near-future technology as a mirror for human anxieties about tech, has remarkably mirrored our growing unease with technology since its debut in 2011. Initially seen as emblems of optimistic futurism, technologies like social media and iPhones have now become an integral part of our lives. In many respects, the seventh season encapsulates the essence of Black Mirror. The latest six episodes, all penned or co-written by Charlie Brooker, demonstrate how the show has adapted to new styles — a blend of horror, comedy, hope, and despair, British and American influences, and discussions on gaslighting, the degradation of biomedical ethics, and the legitimacy of artificial consciousness. This season also introduces a new type of Black Mirror episode: its first sequel, “USS Callister: Into Infinity,” which continues the acclaimed season-four story about a man with questionable social attitudes who creates a sci-fi virtual world based on his colleagues. According to Brooker, all these elements are integral parts of the Black Mirror universe. However, he acknowledges that being eclectic makes the show susceptible to criticism, such as preferences for earlier episodes featuring British people with poor dental hygiene and tearful moments.

It’s hard to believe that it’s been almost 15 years since the debut of Black Mirror’s first season. That’s a long time in the world of entertainment and technology – it feels like an eternity!

Have your methods for creating the show deviated significantly over the past 2,000 years? That’s quite unusual. You see, “Black Mirror” was born due to the success of a U.K. show I did called “Dead Set”, which was well-received by Channel 4. They asked me what else I wanted to do, and my goal was to create a thought-provoking show like “The Twilight Zone”. I had learned about Rod Serling and how he used allegory to discuss the concerns of the ’50s and ’60s – psychology, space race, nuclear weapons, McCarthyism. So I wondered, what would you do if you were creating it now? The answer was technology. This was around the time of the Arab Spring and when the common joke about Twitter was that it was mundane with people sharing their daily meals. It was filled with uninteresting narcissists posting pictures of their breakfasts.

The issue is, it’s filled with captivating individuals who are self-centered. It’s enticing yet unsettling, like seeing advertisements for perfect iPhones, showcasing flawless people grinning while holding these gleaming gadgets. Such perfection makes me uneasy because I’m naturally cautious and suspicious of things that appear too good to be true. I don’t necessarily view technology as inherently harmful, but I enjoy contemplating potential issues in a thought-provoking manner. While “Black Mirror” might not be about technology being evil per se, it offers a platform for me to explore such concerns in an engaging way.

I’ve come across that perspective before. Initially, when we started, we never imagined it would gain such a broad audience beyond the UK. After all, our first episode featured the Prime Minister having an intimate moment with a pig! We did have some well-known British actors like Rupert Everett, Lindsay Duncan, Rory Kinnear, and Jodie Whittaker, but perhaps they weren’t as recognized internationally at the time. By the time we made “White Christmas” with Jon Hamm, the show had already evolved. So, I guess it could be argued that it’s becoming more associated with big Hollywood talent. What are your thoughts on this?

In our initial Netflix series, the debut episode I penned was titled “San Junipero.” Unlike other productions, they didn’t ask us to make it more American. Such requests are uncommon. Previously, we hadn’t filmed in America, and we discussed whether this could be set in Britain. However, since our aim was to evoke a John Hughes-inspired fantasy California from the ’80s, it seemed fitting to create that atmosphere. Consequently, the show gained an international appeal. Yet, within the same season, there was an episode focusing on blackmail incidents in Croydon.

As a movie connoisseur, I’d like to emphasize that while famous faces undeniably draw attention, it’s the exceptional acting skills that truly matter when casting characters. Sometimes, lesser-known actors shine particularly bright in leading roles, or when we delve into distinctly British narratives. I acknowledge the perspective of those who might question the setting choices, but I firmly believe in placing stories where they feel most authentic.

Last season, we crafted an episode titled “Demon 79,” a quintessentially British production that I hold in high regard. This current season offers “Bête Noire” and “Plaything,” both richly infused with the unique charm of British storytelling. “Hotel Reverie” takes a different turn, exploring a struggling British film studio’s attempts to appeal to American streaming platforms.

Throughout our series, we’ve consistently incorporated British tales into each season, so I find it puzzling that calls for the return of Black Mirror to its British roots persist.

I’m sounding very defensive, aren’t I?

In a different yet understandable phrasing:

The general impression people have about Black Mirror is that it’s inherently bleak and sharp. However, “San Junipero” marked a significant shift towards more compassionate storytelling. The opening episode of this season, titled “Common People,” focuses on a couple portrayed by Rashida Jones and Chris O’Dowd who are bound financially to a biotech startup. Tragedy strikes when one of them suffers an aneurysm and becomes reliant on technology for survival. Was there a particular concept that sparked its creation?

This episode might seem like it’s going to be a light-hearted indie comedy initially, but the underlying narrative is classic Black Mirror in its ruthless treatment of characters. It was a fusion of multiple ideas that came together. I’ve been pondering over a story idea where someone is either deceased or on the brink of death and a loved one brings them back to life using cloud-based technology. Additionally, I found myself intrigued by the seamless transition from serious podcast discussions to advertisements, such as hearing about a grisly murder followed immediately by a pitch for vegetable delivery service. This observation has stayed with me, and it’s something you can’t help but notice in everyday life.

For me, having no driving skills, Uber’s arrival was nothing short of miraculous. However, it’s evident that it significantly impacted the entire taxi industry, eventually transforming the app into something almost unrecognizable. Now, there are five distinct types of Uber you can request, but they often fail to arrive when promised. Furthermore, I have an Amazon Alexa device at home, primarily used as a kitchen intercom. It even displays a slide show of my family photos on its screen. However, it recently started displaying ads, and unfortunately, there’s no way to turn them off, leaving you with a sense of privacy invasion and service degradation. This inspired me to write an episode that I hope captures the universal feeling of being gradually pressured or compromised.

As a passionate movie-goer, Rashida’s character in the series resonated deeply with me. It served as a powerful symbol for individuals who are compelled to pay exorbitant prices for life-sustaining treatment. This thought-provoking portrayal led me down a path of contemplation, particularly regarding Luigi Mangione and forms of resistance. The relentless grip of corporate power is undeniably a recurring motif throughout the show; however, it’s intriguing that Black Mirror characters seldom opt for radical action to dismantle the system.

I find myself pondering the reasons behind this. Perhaps it’s inherent in the very essence of Black Mirror. There’s a lingering sense of melancholy, even during humorous episodes. Maybe it’s because I don’t subscribe to the fairy tales and comforting narratives that others embrace. Or maybe, just maybe, it’s a reflection of my own limitations in envisioning alternative realities.

In essence, the episode “Bête Noire” can be seen as a unique blend of suspenseful and comedic elements. While it does touch upon the concept of parallel universes, what particularly intrigued me was the sequence where Kelly’s character struggles to verify facts online, only to discover that the truth has been erased. This idea is quite chilling, considering our reliance on search engines like Google for fact-checking and validation of reality. To me, it feels like a modern depiction of gaslighting – the unsettling, disorienting, and mind-bending experience of being made to question one’s own perception of truth and reality.

Intriguingly, this game presents an exhilarating experience, yet it stirs within me a profound feeling that our collective understanding of truth is under siege. Today, we find ourselves in a world where multiple perspectives on reality coexist, and we’re often asked to choose allegiance. It leaves me pondering, how does one navigate this complex maze?

The series “Hotel Reverie” shares a thematic connection with the previous season’s show, “Joan Is Awful,” as both explore potential transformations in traditional Hollywood filmmaking due to artificial intelligence. While “Joan Is Awful” expresses skepticism towards AI and digital acting, “Hotel Reverie” presents a more optimistic perspective. The narrative of “Hotel Reverie” can be seen as a blend of “The Matrix” and experiential theater, featuring Issa Rae and Emma Corrin as modern-day and early-Hollywood stars, respectively, in a virtual world. The concept for “Hotel Reverie” emerged from two initial ideas: one was a comedy about someone taking over the role of James Bond; the other was a horror story involving a character who revives old film and communicates with its subject. These ideas merged to create a romantic series that delves into peculiar existential landscapes.

I’m drawn back to the ideas presented in ‘Hotel Reverie’, ‘San Junipero’, and ‘Striking Vipers’ because they all explore the concept of virtual worlds as spaces for self-discovery and expression, particularly within queer communities. My fascination with these episodes stems from a practical standpoint: I first wondered about a heterosexual couple in 1987, then pondered, ‘What if it was a same-sex couple who got married?’

In my role as a storyteller, I often write by saying, “Here’s what I imagine a person might do in this situation.” As a heterosexual white man from London, my experiences may differ greatly from those I aim to portray. Consequently, for each of these stories, my goal is to create content that resonates with a broad audience while maintaining specific details.

One recurring theme in Black Mirror this season revolves around the idea of whether digital entities can possess personhood. For instance, Corrin’s character in “Hotel Reverie” and the Thronglets from “Plaything” hint at this concept, but it’s most evident in “USS Callister: Into Infinity.” What draws me to this topic is my longstanding curiosity about what constitutes reality, truth, and genuine experiences. The way people argue that Robert Daly did no wrong because the characters are merely digital, as seen in “USS Callister,” intrigues me. I wonder if an AI could ever reach a level of consciousness where it can feel pain and sorrow. While I’m not an expert to answer definitively, I wouldn’t be shocked if someday we come to the conclusion that yes, digital entities can indeed experience such emotions.

It’s intriguing to ponder this question as a storyteller, since it involves characters often perceived as insignificant by the world due to their lack of awareness. However, they are very real to themselves. This is something we tend to do unknowingly towards those on the other side of the screen.

The original concept had a simpler and more heartwarming ending, similar to “The Wizard of Oz,” where Nanette (Cristin Milioti) would bid farewell to everyone before returning home. However, that would have been too sweet for our taste. Toby Haynes, the director, encouraged us to think more along the lines of “Black Mirror.” Instead, we chose to keep them in a challenging and distinctively dark “Black Mirror” scenario.

It was quite intriguing how you reintroduced Jesse Plemons, one of the most talented actors currently active in the industry, as Daly, only to brutally end his character with an ax.

Why did you decide to create “USS Callister: Into Infinity” as your first follow-up story? At the time we were planning the original, we hadn’t necessarily intended to make a sequel. However, after completing the episode, we found that there were enough elements set up that made us think, “This could be fun to expand upon.” We had developed a backstory where Walton (portrayed by Jimmi Simpson) was seen as having exploited Daly. In the first installment, Walton expresses remorse for this to everyone. What’s intriguing about Daly is that despite his weak and vulnerable state when we are introduced to him – he’s been mistreated and deceived – he doesn’t handle his predicament in a mature manner. Instead, he becomes an engaging antagonist due to his flawed response to the horrific situation he finds himself in.

In this episode, we aimed to explore the concept of dual personalities for our characters: Nanette, Walton, and Daly all have two versions. The in-game Nanette is bold, capable, and has shown her mettle, yet she’s also vulnerable, driven, and intelligent. However, when we first encounter her outside the game, she seems naive and unsure, even a bit jittery. As for Walton, his in-game persona is more humble and empathetic compared to the self-centered and arrogant version we meet initially who hasn’t faced his consequences yet. The third character, Daly, also has two versions, but their duality isn’t explicitly mentioned in this context.

Afterward, it’s Daly who appears. We didn’t merely want to bring him back for a redemptive storyline; instead, we portrayed him as a prequel character, a deeply lonely and desperate individual stuck in a challenging predicament. Nanette finds him untrustworthy. This approach of reintroducing the character was intriguing, avoiding the usual trope of him suddenly revealing himself as good-hearted or something similar. It seemed like we were preserving the original’s storyline while presenting a fresh perspective. In essence, it was almost like crafting an origin story.

In a twist from a traditional sequel, the episode titled “Plaything” shares some characters with “Bandersnatch,” but offers a more conventional Black Mirror experience for this season. The concept behind it was to explore the life of an intelligent creature within a video game, left to run for years at a time. This idea stemmed from reading about games like SimCity or Civilization being left on computers for extended periods. As a video-game journalist in the ’90s, I was familiar with this world and found it fascinating.

One memory that stood out was when I received a game called Creatures to review, which was marketed as an artificial life simulator. I also spent time playing The Sims, as many others did during that era. Developing attachments to these virtual beings is surprisingly easy, and the guilt one feels when something unfortunate happens can be quite intense.

I still remember a Tamagotchi I owned, which tragically met its end in a washing machine. The emotional toll of losing it due to my negligence was real, as I had grown attached to this small digital pet.

In a different wording: I too found intriguing the concept of a human-scale upgrade akin to an iOS update, which is meant to be released globally. Initially, there was another scene where you see a police officer waking up and he’s smiling, but I decided against including it at the last second as I felt it made the message too clear-cut. Perhaps I erred in this decision, but I remain uncertain. However, I’m unsure if ambiguity is beneficial or not. Everything that Peter Capaldi’s character explains is considered accurate within the episode. He says, “This upgrade will enable us to evolve into a highly interconnected and super-communicative benevolent superintelligence without altering our internal selves.” He also describes this as a blissful transformation. So, that was the idea I had in mind. Essentially, I was pondering, “Would such an offer be a blessing or a curse? Would we risk losing our humanity?” I’m still unsure about the answer.

Among the episodes from this season, ‘Eulogy’ starring Paul Giamatti, where a man revisits old photographs to relive memories of a past lover, is my personal favorite. Being in my mid-50s, I often find myself reflecting on the sum of my life, but my affinity for nostalgia may also be playing a part.

In a rather unexpected turn of events, my father recently passed away, leaving me with the sobering task of delivering his eulogy at his wake shortly after recording this episode. We gathered a multitude of photographs for a slideshow presentation at this event, and it’s fascinating to observe the scarcity of pre-2010 images. Even if one was an enthusiastic photographer, you’d be fortunate to have three, four, or five photos at best. It’s quite rare. The pictures that do exist are often out of focus, with people’s eyes closed, awkwardly framed, or overexposed. One thing I found myself reflecting on was the Get Back documentary, where Peter Jackson and his team utilized technology to revitalize the past in a remarkable way.

Stepping back into the hazy recollections feels like a journey, blending modern technology with nostalgic, tangible media that’s deeply intertwined with my memories and tunes. The thought then crossed my mind: What if those precious memories no longer exist for him? What if, in a fit of rage, he had essentially erased her presence from his mind by defacing the photos?

In that particular episode, there are events that wouldn’t occur as they once did. Maintaining a disconnect, something challenging in today’s era, was a recurring theme. She penned him a letter on paper, yet it remained unread by him. It leans towards romance, but with a slightly altered tone. He rekindles his love for her, only to discover by the end that he had been subconsciously meting out punishment, which is heartbreaking given his role in the destruction of their relationship.

I have some reservations about how the latest Black Mirror episode might be received by the audience, but I genuinely enjoy it. It’s just that I sense a bit of unease because people often expect the characters to end up in extreme states, like being utterly devastated or dead or imprisoned. However, there isn’t a traditional villain in this episode. Yet, I’m relieved to hear you find it appealing.

How many more episodes of Black Mirror do you believe you’ll produce? As long as the world continues, and I remain fascinated by the subject matter, and audiences continue to enjoy it, I’ll create more until the world ends – or I decide to stop.

The 2014 special was the last episode of Black Mirror on Channel 4.
Set in 1979 London, “Demon 79” explored racial anti-immigration politics in the U.K. and was released under the “Red Mirror” label, a kind of imprint for Brooker to play around with supernatural horror.

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2025-04-10 14:56