“This is virgin territory Prime Minister, there is no textbook…”
Black Mirror is the unholy trinity drama mini-series, from the ever-controversial Charlie Brooker.
The first of the three installments, subtitled The National Anthem, is satire in its devoid, most brilliant form.
Black Mirror lives up to it’s title, as it is a dark reflection of the society that is watching it. Much like the screen of a TV, or a mobile phone that is switched off.
For 60 minutes, it’s as if The Twilight Zone came back darker and more bizarre than ever. And who wouldn’t want that?
The story surrounds the main character, rather than follows him.
Prime Minister Michael Callow, played by Rory Kinnear, battles an unknown enemy, along with his pride, in order to save the life of the countries Princess. Princess Susannah, depicted very much as a modern day, young Diana, with references to her being the ‘Princess of Facebook’ after she announced her engagement online, has been kidnapped and held hostage, with a demand video uploaded to Youtube.
The kidnapper has only one demand – for Prime Minister Callow to appear live on every TV station in Britain at 4pm, and have sexual intercourse with a pig. And not an undesirable woman, a literal, squealing, pig.
This brilliantly absurd plot is like a sketch that only Brookers friend and former writing partner Chris Morris could dream up.
The main focus of the story, is less about Callow, and more about the media. Social media at that. The demand video was uploaded to Youtube, rather than conventionally delivered, and a million miles away from the much less chosen method these days of cutting letters from a newspaper and Pritt-Sticking them to a piece of paper and popping it through the letter box.
The press have a ban on breaking the story, yet the whole country, and world, know what is going on. It trends on Twitter and overloads Facebook.
Is this reflective of reality?
How many of us FIRST heard of Michael Jacksons death by seeing it on the news or in the morning paper?
Throughout the entire 60 minute show, there is very rarely a shot that doesn’t include a screen of some sort. Be it a TV, computer, phone, we are looking at a screen, that is looking at a lot more screens. It’s impossible to avoid them. You’re reading this on one now. And you just looked at one a few minutes ago to see what time it is, but read a text message instead, then had to look again because you forgot to actually check the time.
The art aspect to the programme (I’m tip-toeing to avoid spoilers), has been compared by many to Damien Hurst. This seems to be the first name on the publics lips when ‘contemporary art’ is mentioned. Personally I first thought of Guillermo Habacuc Vargas and his dying dog. Brooker however, rather enjoys Caitlin Morans likening of it to the KLF.
In all, the programme is set in a present dystopia, and while grim, is gripping viewing. The reactions of the public on screen, are exactly what we are watching them… laughing and recoiling in horror in equal measure.
The National Anthem is well made, well acted, and very well written, and it may leave the audience to think about the way that modern technology can remove direct control from society, and create a form of ‘cyber-anarchy’.
That is of course if they’re not too busy re-Tweeting their opinions on their smart phone.