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It’s not solely a matter of distance, but also of what one is willing to do to bridge that distance, that causes the series’ small, fertile tragedies. What at first feels like a twisted fairytale slowly unravels into a vision of the quotidian, as if Brooker is saying: our emerging reality is much more unnerving than pure fiction.įor all its technological sprawl, Black Mirror is a show about the flesh and bone of human suffering: the different ways individuals hurt and grieve, the way human innovation expands the distance between people, communities, and ideologies. His stories are of a world in the throes of madness-be it dread brought on by devices that govern human emotion (“Nosedive” “The Entire History of You”) or the mayhem that arises out of one’s inability to access, or sustain, a particular social standing (“The National Anthem” “Shut Up and Dance”). What one is willing to give up for it-either to create the gulf or to clear it-is the source of all the sad chaos that outlines his futurescape. In Brooker’s inverted paradise, proximity comes at a price. But what if we can’t? What if we’re stuck in a loop, slave to new innovations that only amplify hate, human flaw, and social fragility? In the techno-dystopian wheelhouse that is Charlie Brooker’s darkly imaginative anthology series, Black Mirror, that is often the case at hand. Utopianism rests upon a single, fundamental truth: that we can be better than we were before.