Something different from a gig review this time round (although will have another one of those up very soon) I’ve instead decided to take a philosophical and personal response to Charlie Brooker’s recent 3 part TV ‘drama’ Black Mirror.
For those of you unaware, Black Mirror was a series of 3 stand alone dramas created by cynical favourite Charlie Brooker showcasing stories as a response to contemporary issues. More specifically the series addresses technophobia, the connected community and the consequences of our actions and the cyber world we have created. Each episode appeared in a different world with different locations, characters, plotlines and one common factor: Each set of events, whilst often incorporating fantastic elements, was very very close to home and a chilling portrayal of what could be if we are not careful.
So that’s the introduction done, I should warn you that, rom now on, there’s going to be some SPOILERS…
Episode One: The National Anthem
Written by: Charlie Brooker
Directed by: Otto Bathurst
Of the three dramas, The National Anthem is the one which is closest to inhabiting ‘the real world’ as it the the only one not including some form of technology which the world does not currently possess; whilst the subsequent two dramas take place in bleak futures, The National Anthem is firmly entrenched in the present day.
The story follows Prime Minister Michael Callow (Rory Kinnear) as he is plunged into a hostage situation revolving around the kidnapping of the much loved Princess Susannah (Lydia Wilson). The kidnapper makes his demands throught the princess in the opening scenes and Callow faces a dilemma no leader in history has ever gone through: Allow the people’s beloved princess to be murdered or, in front of cameras transmitting to every television in the country, have unsimulated and uncensored sexual intercourse with a pig.
The first time you hear this your mind can’t help but laugh a little. Sex with a pig? I thought this was a drama. The sheer grotesquery of it does make the concept somewhat laughable and indeed Callow does react in a similar way, insisting to his colleagues that it must be a joke until they look back at him with stern faces. It’s all true, Susannah is missing and, to make matters worse, the ransom video is not a personal delivery but rather a direct upload to youtube where it can be seen by the entire discerning public.
What follows is an hour long thrillride where it’s difficult to take your eyes of the screen. Surely it’s a joke, surely it can’t happen. They’ll get her out. At each turn the government is greeted by a kidnapper who is one step ahead of them and when an attempted double-cross (involving a porn star and some technical wizardry) by Callow’s aides without his knowledge goes wrong a package is delivered and a new video is uploaded. Princess Susannah has painfully lost a finger and the package is proof of this.
Of course the frantic race against time for Callow and his associates is the main plotline in this episode but interspersed we have the pervasive and insidious news media, the onlooking public and the ever present watching a judging eye of social networking at first ensuring Callow’s non compliance would be met with understanding but, after the finger, it is clear that such an act would be seen by the public as betrayal at least and murder at most. This is where the dramatic crux of the story lies; there is no privacy and no hiding for people in the public eye. Not while Twitter is watching. The world’s largest focus group judging you on your every decision, whether you’re the one who made them or not.
The final moments of this hour long drama are painful to watch as, out of options, Callow enters a room with two cameras, televisions displaying pornographic aides…and a pig on a chain, enjoying a nice meal in blissful ignorance. The public who you have been watching and who have been watching the whole time tune in gleefully, the rooms dripping with schaudenfreude but the smiles are soon wiped off their faces as it dawns on them what they are seeing, what they have become, what a man has been reduced to. Possibly the most soul shatteringly bleak line in television history is uttered in this scene as one man refuses to switch it off and a colleague queasily responds: “it’s been going for nearly an hour”.
This episode is a joke, an hour long joke without a punchline – just a punch. That’s the best way I can describe it. Out of context fucking a pig sounds funny but when you deconstruct it, pull apart the consequences and actually watch it happening the reality is horrifying. Its an exaggeration and a metaphor admittedly, but this is what we are desensitising ourselves to. The rich and famous are often hanging on public approval and with information travelling as fast as it does the public’s opinion of you can change in a heartbeat until eventually you do things you had not even dreamed of doing. This episode does not ask you to relate to Callow, although you do feel his pain as he sobs through the thrusts of his duty, but to see yourself in the public consciousness and no that all it would take to make this situationa reality is one man trying to make a statement. Youtube, Facebook and Twitter exist alongside a dozen others. If he’s out there he has his platform.
Episode Two: Fifteen Million Merits
Written by: Charlie Brooker and Kanak Huq
Directed by: Euros Lyn
If you needed proof that these dramas don’t relate just look at the difference between this and The National Anthem. We’re not in the present anymore but rather in a future world where people live their whole lives exposed to adverts, games, television and activities spurred on by the aquisition of ‘merits’, the world’s equivalent of currency. Merits are aquired by cycling, constantly, day after day just to accumulate so that you can afford to eat, add features and costumes to your online doppel (a clear parallel to the Nintendo Mii) and, if you dare to do so, skip the adverts.
The opening minutes of this episode take a much more considered and slow approach to establishing this world as we observe protagonist Bing (Daniel Kaluuya) going through his mundane day to day activities, using his vast stockpile of 15,000,000 merits to skip the various porn adverts and cycling to a calm countryside instead of the game show humiliating the overweight like the arsehole on the bike next to him. Bing barely speaks for most of the opening of this episodes and seems ironically detached from the interconnected world around him constantly bombarding all its inhabitants with excess, degredation and the promise of a better life through X Factor styled talent show ‘Hot Shot’.
Of course, much like everything else in this world, Bing is disinterested when it comes to Hot Shot. That is until he meets fellow cyclist Abi (Jessica Brown Findlay) singing in the toilets. Her voice is amazing, touching and beautiful and, desperate to find something real in this synthetic world, Bing volunteers to get her on the show for a chance to escape, even if it does mean sacrificing the 15 million merits he inherited from a deceased relative. Abi sings for Judges Hope (a brilliant Rupert Everett) Charity (Julia Davis) and, head of the porn industry, Wraith (Ashley Thomas). The judges are impressed but it’s not what they’re looking for until Wraith pipes up saying he might have a job for her. Under the influence of ‘Cuppliance’ (a drink given before the show) Abi cannot hear Bing’s screams of protest as he is dragged away and agrees to be one of the Wraith babes and her new life begins.
Up until this point we’ve been shown the mundane and familiar side of our present culture of distraction and celebrity and visual parallels to break out of our own jobs cycling towards nothing. This is where Fifteen Million Merits turns on its head and shows the dark side that, secretly, everybody knows about but straight up doesn’t want to admit to. In an attempt to have some lasting fame (admittedly under the influence of a drug, helpful visual metaphor as it is) Abi has literally had to prostitute herself and Bing is left broke and alone.
He carries on his life as normal except now he doesn’t have the merits to skip the constant advertising, not even when that advertising is a painful reminder in the form of Abi’s face all over his walls degraded as a Wraith Babe. He attempts to skip, he can’t. He turns away, the screen follows. He closes his eyes, the walls go red and a noise proclaims that he cannot see it, refusing him access to anything beyond his room until he complies. This is the horror of aquisition culture. Watch it. Don’t stop watching. Never stop watching. Nobody is allowed a single moment to themselves ever, god forbid anybody should ever be allowed to think freely when there’s work to be done and celebrities to be worshipped. Bing’s personal torture is so horrific that he literally draws blood as he attempts to smash his way out of this prison cell, succeeding only in breaking off a shard of glass.
Eventually Bing amounts enough merits, through starving himself and cowering through every Wraith Babes advert, to appear on Hot Shot and uses the opportunity to get his message across. With the shard of glass to his throat he makes a passionate speech about how the shows has ruined everything true and pure. Of course the judges take a moment to process this but eventually Hope responds with a statement which resonates through to our world and their’s.
Guess what, everybody knows this. Everybody feels like this, the thing is that nobody actually cares. People don’t care as long as they can get what they want and watch something so that they don’t have to think. I didn’t really know how to take the ending of this episode (And to be honest I still don’t) as Bing makes his speeches about the state of the world through a channel to the people as they buy his glass shard as a doppel accessory. Even something like this can be packaged and sold. It’s bleak as fuck. People lap it up pretending that it means something to them and they care whilst still watching humiliating game shows (let’s face it, X Factor viewing figures plummet after the first couple of weeks when the freak shows have left) and souping up their synthetic online prescence. People are vicarious animals lapping up the misforunte of others and constantly dreaming of a different life no matter what it costs, whether it be money, dignity or a dear friend sacrificed to the sex industry as a stepping stone. Maybe that’s why I didn’t know how to take the ending, because after all the sweet feeling and real emotion of the opening to this episode, all the shit turns out to be all too real.
Episode Three: The Entire History of You
Written by: Jesse Armstrong
Directed by: Brian Welsh
Of the three episodes, The Entire History of You was the one I found easiest to relate to. It is set in a world not to far removed from our own and addresses the issues of ‘regular’ people, setting it away from the futuristic dystopia of the second episode or the political thriller of the first. Following young lawyer, husband and father Liam Foxwell (Tom Cullen), the episode traces a series of events which tear his life to shreds as he slowly becomes a slave of the world’s favourite technology: ‘The Grain’.
In short, ‘grains’ exist as tiny little pods in the brain (hence their name) and act as a personal mix of Sky+ and Facebook, recording and cataloguing everything a person sees or does to be viewed later (known as a ‘redo’) complete with cataloguing of places and people and wireless technology so that redos can be viewed on screens by groups. Now of course we’ve pretty much all engaged in a spot of reminiscing on Facebook or, in our lonelier moments, a touch of Facebook stalking, but imagine if the information available wasn’t just shoddily posed drunken photos on a night out or wall posts between friends but rather every single look, every single intonation, every single gesture or every single change in posture. Combine these things together with the jealous mind of Liam and you have this portrait of a man going insane, you have The Entire History of You.
This is a much more self contained story than the others and follows Liam’s relationship with his wife Ffion (Jodie Whittaker) following the appearance of an old friend Jonas (Toby Kebbell). At a dinner Liam is introduced to Jonas and, as the evening progresses, becomes increasingly paranoid about how Ffion seems to react to him. The looks, the smiles, even a laugh at an unfunny joke as Jonas candidly recounts his sexual endeavours, commenting that it’s perfectly natural to masturbate to a redo of a previous fling.
Returning home Liam questions Ffion about Jonas and she admits they had a fling for a week whilst on holiday. Liam keeps digging and soon the week becomes a month and, before long, six months. As Ffion gets more and more uncomfortable Liam is forced to apologise for his jealousy and the two reconcile by having sex. Well, I say they reconcile, they definitely have sex but both lie there in the spooning position, cold and emotionless with eyes wide open as they engage in personal redoes of earlier, more passionate sex. This is one of the most disturbing images I have ever seen on TV and made everybody in the room who was watching with me make an audible noise of discomfort. The eyes open were creepy, but the underlying meaning and (sorry to say) familiarity for most of us was what really dug the knife in.
Of course Liam, as a bit of a jealous prick, is not satisfied with Ffion’s apologies and spends the rest of his night watching redoes and necking whiskey, focussing particularly on Jonas’ claims of masturbatory aids. It slowly dawns that Ffion could be one of them and, as a sane and rational human being, Liam decides to drive to Jonas’ pissed. He arrives, slurs drunkenly and confronts Jonas, a confrontation culminating in him pinning Jonas to the floor and making him delete the grain files of Ffion on the screen so that he’s sure it is done.
The next we see of Liam he has driven his car into a tree and a hazily goes over what he did through redoes. At first he is quite rightly horrified at his behaviour but notices a detail which gets his blood boiling again. In Jonas’ memories of Ffion on the screen, ready to delete, was an entry for 18 months previously, in his house, around the time his daughter was conceived.
Again, we are treated to an angry exchange between Liam and Ffion as he questions whether or not he is the father of his own child. Ffion insists he is, the memory took place the last time he stormed out in a jealous rage (of course), they did have sex but it was only once and she made sure he used a condom, or at least he said he did. Liam is unwilling to believe her and demands to see the redo. There is lots of shouting and the scene cuts out.
We don’t know if Liam’s the father or how the argument ends because the closing scenes depict Liam alone, wandering his empty house tortured by happy memories in each room. Not wanting them anymore, Liam looks in the mirror and uses a razor to messily cut out his grain. We are told this could potentially kill him if not done properly. Again, the outcome is left obscure.
The chilling thing about this episode was the sheer reality of it. These are all human conditions, human arguments and very human responses. The grains only make matters worse, compounding fears and jealousies that everybody has the potential to feel. Liam was right to not trust Jonas, clearly, but pursuing it in the way he did ruined his life. If you’ve ever used Facebook to check out your partner’s history, stalk an old flame, the one that got away or the one that never was then you know exactly the sort of emotions this process can bring up. You know how it can make you feel and, given a bottle of whiskey and the directions to some guys house, how different would you do things?
I’ve missed out a lot of the subplots and supporting characters for these episodes so that you have something to take in should you decide to watch them. I personally think they were all brilliant. The National Anthem stopped your heart with tension and dread, Fifteen Million Merits broke your heart as you saw the people you cared about whore and sell themselves out for fame and The Entire History of You ripped your heart out and trod on it as The Black Mirror reared itself up and showed you exactly who you’d been watching this whole time.
As I said each episode comes with its disturbing and horrifying scenes, whether they be conceptual ones like sex to a memory, emotional ones like never being alone or free from painful memories or straight up pig fucking. The pervasive chord that resonates through each episode, regardless of their reality, is just how much of yourself you can see in it. Judging from your twitter account, laughing at the freaks of X-Factor and keeping an eye on the ones you love through Facebook. This is The Black Mirror, the screen of the smartphone.
Look into it and see yourself.
Now I’m going to take a slightly different tract with this blog. Ordinarily before I’ve flitted between reviews and philosophy but I’ve been watching a few movies recently and I got myself a different idea. In amongst the great movies out in the world there are some truly breathtaking moments of cinematic brilliance just nestled away. I’m not talking about the best movies, the best actors or the best directors. I’m talking about specific scenes, speeches and moments that stay with you long after the end credits have rolled. So now, in no particular order, are my 4 greatest movie scenes of all time:
The Interrogation – The Dark Knight (2008)
Now this clip comes from one of my personal favourite movies of all time and epotimses for me exactly why the movie is as good as it is. It’s been quite some time since the start of the movie and we are treated to the first face-to-face encounter between The Dark Knight and The Clown Prince of Crime. With all the bad blood boiling between the yin and yang of the plot this was always going to be a pivotal point in the emotional and dramatic journey of the script and rests largely upon the skill of the actors and the quality of the writing. With the tension in crescendo since the start of the movie this is where it all comes to a peak, let me tell you, it does not disappoint. Heath Ledger and Christian Bale are perfectly pitched against one another and give such conviction to their diametrically opposed characters that you can feel the underlying aggression and psychoses coarsing through the screen. Bale as the crucially restrained upholder of the law and Ledger as the frenetically brilliant sociopath interplay so well until the breaking point of sudden violence that it genuinely does keep you on the edge of your seat, unsure as to what the hell they are going to do next, and whether The Joker really does have the ace to break Batman’s one rule. Arming them to add to this powerhouse of drama is Nolan’s brilliant script, epitomised in this scene summing up what the movie is really about. Are we all just slaves to social rules? Is morality a bad joke? Given the chance and that ‘one bad day’ would we truly just end up eating each other? The fact of the matter is we would have to wait until later in the movie to find out the real answers to these questions as, after a savage beating, The Joker poses his one last question to Batman – what choice will you make?
The Death of Oogway – Kung Fu Panda (2008)
Admitedly this is a totally different track from the other movie of 2008 on this list but this movie stands as a personal favourite of mine for asimple combination of factors: The jokes are funny and the action sequences are fucking awesome. However, despite this reason it is neither a hilariously funny nor an impressively action-packed scene that I have chosen. This is the single most heartfelt and beautiful scene in the whole damn film. For the entire narrative we are shown Oogway, this wise yet slightly mental turtle and the respect he commands from his pupil Master Shifu. Despite all the chaos, the danger and the hilarity Oogway remains calm and collected, having faith that fate has chosen the right path for them. Oogway is the sure thing, the last bastion and the levellng force that serves as the manic Shifu’s rudder. His death is such a pivotal point of this movie and is played brilliantly, not least by impressive voice performances (often difficult) from Dustin Hoffman and Randall Duk Kim, but mainly from the beauty of the score and the imagery. You do not expect him to die even as the lotus petals wash over him. One minute he is there and the next he is gone, leaving Shifu to wonder what happens next with only one piece of advice: “You must believe”.
Sloth – Se7en (1995)
Finally a release from outside of 2008. This is a scene I love to watch with other people who have not seen it before, purely for the look of shock on their faces. I won’t spoil it for anybody who has not seen it yet, suffice to say this is a moment, and a concept, which can haunt your dreams long after the big finale of this horror masterpiece. Pitt and Freeman have tailed the elusive killer for the past two murders (Gluttony and Greed) through days of rain and the cracks in their partnership are already beginning to show. Pitt’s anxious desperation to be one step ahead against Freeman’s more considered approach to detective work form the basis of most of the tension in this film but the sheer horror of this situation puts that to one side. They work together and pull focus onto their forensics. The photos, the samples, the reactions; all misdirection to that fateful moment when you realise just what this killer is capable of. Short of actually revealing the fate of the victim of Sloth I can’t really say much more about this clip, just know it is one of the only times I’ve ever been shocked watching a film (the other notable moment being the end of Saw) and still gets me every time.
Picard’s Speech – Star Trek: First Contact (1996)
It’s a good thing that a Shakespearean actor as renowned and talented as Patrick Stewart got the role of Picard because otherwise a) The series might not have made it this far an b) This particular scene would not be nearly as good. The raw passion, the sheer anger and the powerful elocution of Picard’s speech is played so beautifully, with each syllable spoken so pitch perfectly that you understand just why Picard made captain. For most of the film you have watched Picard slowly being driven to more and more desperate attempts to stop his White Whale, The Borg and when all hope is lost, so driven is he by his rage, that he would rather sacrifice his crew than admit defeat. The ordinarily calm, logical, reasoning and dignified Captain is reduced to a shallow maelstrom of vengance by his experience and, at this moment, he is forced to come face to face with that fact. From all encompassing shouts of wrath to the slower, more restrained venom with which he delivers his lines; Stewart occupies every single point on the emotional spectrum to perfectly portray a man in metldown. Unfortunately I couldn’t get the tail end of this scene where Picard realises the error of his ways but watch it if you get the chance, the poinancy with which he utters one of Moby Dick’s most beautfiul lines, ‘as if his chest had been a mortar, he burst his hot heart’s shell upon it’ is nothing short of beautiful, as his solemn redemption begins.
So there you have it: thriller, comedy, horror, sci fi. My four greatest movie moments and why I can watch them again and again. There would have been a list of five here and they would have been in order but they come around so fleetingly that I couldn’t possibly put them against one another and finding four was hard enough. Hope you’ve enjoyed reading and maybe it might make you think about your own movie moments and why they mean so much to you. Happy viewing.
As you may have guessed from my first blog post (so very long ago, admittedly this place has fallen into disuse somewhat) I’m a bit of a reader. In the case of my first post this was about The Catcher in the Rye, a book which is widely regarded as a ‘classic canonical text’ and so it became one which, naturally, I was drawn to. You see in 2008, as I was about to set off for University, I decided it was about time I got back into reading and thought I would check out many classic and cult texts to see if I believe them to be worthy of their reputation. This started with Frankenstein and since then I have managed to flick my way through American Psycho, Crime and Punishment, The Picture of Dorian Gray, Catcher, 200 pages of Moby Dick (when the characters in a sea-faring novel are not even on the boat by page 200 I give up) and, as hinted by the title; Nineteen Eighty Four.
Now, for those of you unaware I’ll have a brief explanation.
Nineteen Eighty Four is perhaps the most known work of author George Orwell. Published in 1949, it presents a dystopian future where the world is a constant war between three superpowers; Oceania, Eastasia and Eurasia and protagonist Winston Smith attempts to find his way to the ‘rebellion’ against the totalitarian, thought controlling Oceanic regime. Originally working for the Ministry of Truth (which concerns itself with rewriting history and thus is more concerned with Lies than Truth) Winston commits countless ‘thoughtcrimes’ as he holds a deep seated contempt for the regime, plans to join ‘The Brotherhood’ in rebellion, embarks in an illicit sexual affair with the character Julia and is eventually betrayed, captured and tortured at The Ministry of Love (again, the contradiction is self-evident).
Anyway, short English lesson aside the book is filled with very deliberate contradictions on the part of ‘The Party’ such as their slogan:
“War is Peace. Freedom is Slavery. Ignorance is Strength”
as well as the Ministries I have referred to (along with The Ministry of Peace concerned with War and The Ministry of Plenty concerned with Starvation). This is explained in the novel through the concept of ‘doublethink’, a psychological conditioning whereby a person simultaneously thinks, accepts and believes two contradictory statements and it is through this that the society continues to function, everybody in The Party accepts that their acts are evil things done purely to cling to power yet believes wholeheartedly in The Party’s pure, unequivocable leadership and unity.
It’s at this point that my title becomes relevant. Indeed it has been 27 years since 1984 (you see what I did there?) and recent conversations, books and all other things have got me thinking about thinking. Admittedly Nineteen Eighty Four is a fictitious text set in a dystopian reality far removed from any we have come to experience in our world (at least the developed, democratic world in which I live) but when you look at the psychology of the thing it goes a lot closer to home.
I realise I’m ranting, I’ll get to the point. Specifically recently I have been reading Stephen Fry’s latest autobiography ‘The Fry Chronicles’ and at one point he speaks candidly about the cult of celebrity. In the modern age with information pouring in from all sources we know that the whole celebrity lifestyle with the glitz, glamour, and priveledge is a con. Just take one look at the newspapers (unless there’s a superinjunction out) and we can see that these ‘idols’ fuck around, drink, smoke, party and vomit in hedges just as much as many of us may or may not have done in our less dignified moments. Not only that but their lives and any whiff of privacy are destroyed thanks to the very papers we read (again, unless the courts deem otherwise). Yet still, for some reason, we both idolise them and in many cases want to be part of this world. Part of the group of people who vomit their way into DUI charges, attempt to explain their behaviour with an Anti-Semitic rant and shout fuck loudly at a camera in full knowledge that children around the country are watching. Why do we accept this sort of thing? I’m starting to think doublethink may not just exist in fiction.
We know that Wayne Rooney is a gruff young man; pumping with enough hormones, vitality and monetary backing to have occassional lapses in judgement and make mistakes like the rest of us yet as soon as he does something slightly wrong we jump straight up and express our vitriolic condemnation. We are willing to accept his shortcomings as long as he is entertaining us yet at the same time are absolutely appalled by it and would want to have nothing to do with the man…
Lindsey Lohan falling out of a club at 3am blind stinking drunk. Raise your hands if you’ve done that…my that’s a lot of you. Oh look, my hand’s up too.
It’s not just individuals but programmes as well. Many of my friends religiously watch The X Factor and are absolutely in love with how entertaining, exciting and touching these talented people can be yet, when pressed, admit that Cowell and the judges are the ones making real money out of it, are only looking for good television and know that a malleable voice and personality with a suitably emotionally-blackmailing sob story wins out over a talented by dull individual any day.
People nowadays are a lot smarter than some media outlets would have us believe. They know it’s a con, they know these people are monsters and they know the lifestyle is as misleading as any sentence starting with the phrase “I’m not a racist but…”. It’s doublethink – these preconceptions about the horrific nature of this true reality are substituted with a distorted one where everything is entertaining and lovely whilst still gaining some smug satisfaction from secretly knowing how fake it all is.
So the question is not do people know about this but rather do they care? We are looking at this world as if it were a shining diamond but underneath we are safe in the knowledge that it is in fact plain old carbon, filled with ordinary people making ordinary mistakes but, ultimately, under the scrutiny of the barking hounds of the public. Sometimes we really do forget that the only thing seperating these people from our own mistakes and personal agendas is that they are being watched, and guess who’s doing the watching.
I feel I may have somewhat lost sight of what I was originally saying in this post but hopefully it makes sense to all of you. Doublethink is a tricky phrase at the best of times but hopefully your confusion resulting from this post may make you pick up Orwell’s masterpiece and give it a try. Once you’ve read into the psychological minefield like I have maybe this look at the world will make more sense. it is a classic for a reason you know.