Will Poulter on ‘Black Mirror’ Episode ‘Plaything,’ Its Key ‘Bandersnatch-y’ Moment and Bringing Back Gaming Legend Colin Ritman for a Story in Which the ‘Future of Humanity Is at Stake’

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CAUTION: PLOT SPOILERS AHEAD: The following narrative delves into crucial events unfolding in the “Black Mirror” series, specifically the episode titled “Plaything,” which is now available on Netflix.

It’s been suggested that the character of Colin Ritman, portrayed by Will Poulter as the ’80s games designer genius in the interactive 2018 “Black Mirror” episode titled “Bandersnatch,” might not have permanently left Charlie Brooker’s darkly satirical universe.

I stumbled upon an interview where Charlie hinted that Colin’s role in ‘Black Mirror’ might have been due to him being somewhat of a time-traveler, which seemed to be suggested in the episode. This idea really intrigued me, just thinking about it made me quite enthusiastic.

In fact, the multiple plotlines viewers can select within “Bandersnatch” have Colin moving between different points in time (all set in 1983), and even resurrecting after jumping off a balcony in London and seemingly dying.

Or:

The different storylines that viewers decide in “Bandersnatch” involve Colin going back and forth through time within the year of 1983, including coming back to life after falling from a balcony in London.

Or:

In “Bandersnatch”, viewers can choose their own storyline, which includes Colin moving between different times in 1983, and even returning to life following a fall from a London balcony.

To clarify, I saw it as nothing beyond a promising possibility – an intriguing what-if scenario, sparking my imagination.

Of course, “Black Mirror” typically avoids sequels, but that changed with its seventh season. While the continuation of Season 4’s popular episode “USS Callister,” featuring another voyage through virtual space, has been generating much attention, “Plaything” also returns, marking the triumphant comeback of Ritman.

10 years following the events of “Bandersnatch”, we find ourselves in a more refined version of the 1994 video game world. This episode serves as a sequel, revolving around a new venture by Ritman titled “Thronglets”. In this project, you’ll need to care for a constantly expanding horde of small creatures by providing them with food, water, and bathing facilities – think of it as a blend between Tamagotchi and Civilization.

Although it might seem like a game, Ritman clarifies to Cameron Walker (Lewis Gribben) that it’s not. Instead, it’s a sophisticated program intended for “enhancing us as human beings.” This unique creation is home to the first-ever entirely digital lifeforms. There are no set objectives; these entities flourish through interaction, reproduce, and surpass their initial programming, transforming into a “harmonious multitude.

In the brief appearance of Ritman, though short, it carries significant impact. It’s important to note that the character is modeled after my uncle, Jon Ritman, a highly recognized video game designer from the 1980s, as acknowledged by Brooker.

Leaving “Thronglets” with Walker in his spacious red-lined office, he departs, giving the nervous critic the chance to snatch the CD and flee. Upon returning home, he starts caring for his personal group of digital creatures, eventually discovering how to communicate with them (thanks to a useful dose of LSD).

In the grimy, futuristic London of tomorrow, Walker – once a disheveled man with long grey hair (portrayed by Peter Capaldi) – has spent his entire life cultivating thronglets on an expanding network of computers, hoping to create a highly intelligent civilization linked to him. After purposefully getting himself detained, he leverages the police station’s camera connected to the powerful state computer, to scatter the throng globally and intertwine with mankind.

He declares it’s a progress for everyone, signifying the end of disputes, amidst the background din echoing globally.

The episode titled ‘Plaything’ in ‘Black Mirror’ is remarkably restricted, primarily taking place within the Walker’s bedroom and an interrogation room.

Indeed, it strikes a chord within me that our human future seems to hang in the balance,” I mused. “I admire how the essence of that narrative is about fostering a bit more compassion, even towards digital entities and technology. I believe there are profound, tangible lessons to be gleaned from this tale.

Regardless of his minor appearance, Ritman’s character was meticulously developed, taking into account the transformation he underwent since “Bandersnatch.” His struggle with mental health issues in the past decade is hinted at, as he’s depicted leaving his office to take his medication. This aspect was addressed by Poulter as something that would have been considered a sensitive topic and heavily stigmatized during that period.

Poulter believes there’s a deeper message concealed within the portrayal of Colin, stating it holds significant meaning for him. He goes on to question, in light of the narrative, what exactly does ‘mental health’ mean? Poulter wonders if perhaps Colin was showcasing a truth that others might be misinterpreting as a mental breakdown.”

(The goal here is to maintain the original meaning and tone while making it more accessible and easier to read.)

Although Ritman appeared as a divine character in the episode, he didn’t take the lead role in “Bandersnatch.” However, Poulter spent considerable time studying the early video game world of the 1980s for this role. To create Ritman’s voice, which was nasal, robotic, and somewhat condescending, Poulter drew inspiration from documentaries featuring game developers from that period. He also made an effort to learn coding himself.

As a cinephile, let me share my experience: Charlie generously handed me an extensive tome on coding, yet I’d recently purchased a slim guide barely 10 pages long. The irony was palpable – I was dreadfully inept with the subject matter. That’s where the real acting challenge lay; convincing everyone that I was fluent in this sea of numbers and symbols.

Although both stories take place in the same universe, “Plaything” differs significantly from “Bandersnatch.” Unlike “Bandersnatch,” there are no interactive elements. However, the scene where Ritman leaves the “Thronglets” CD for Walker to steal bears a strong resemblance to a crucial decision-making moment reminiscent of the 2018 standalone episode.

According to Poulter, Colin Ritman seemed to be suggesting, in an eccentric manner reminiscent of the character Bandersnatch, that he should be given the opportunity to choose his own path and establish a situation where he could independently decide matters himself. That’s my interpretation of it.

Poulter admits that he didn’t personally explore the multiple plotlines within “Bandersnatch,” instead, he observed others as they navigated through them.

He mentions that he sat with different friends and relatives who participated alongside him, and he found the encounter incredibly humbling, similar to being seated beside someone you cherish while they make a life-altering decision.

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2025-04-12 23:17