Yes, this is the seventh batch of episodes from Charlie Brooker and friends, since that first series way back in 2011 that I couldn't figure out how to watch legally in the U.S. As always, I'm reviewing each episode separately below in the format of a "Rank 'Em" post. This was a very good year, despite the larger episode count, and I liked nearly every installment. Minor spoilers ahead, including for previous "Black Mirror" episodes.
Common People - Probably the most nerve-wracking and bleakly devastating thing I've seen all year. Brooker is taking aim at subscription based services and the healthcare industry, but the reason it hits so close to home is because Chris O'Dowd and Rashida Jones do such a great job of playing an average couple who are so normal and easy to relate to. So when things get dark, it's truly gutting, and as we all know "Black Mirror" is not afraid of getting very, very dark. Special kudos to Tracee Ellis Ross for making me want to wring her neck by her final appearance.
Bete Noir - This one seems to be divisive, and I'm with the critics who have pointed out that this is more of a "Twilight Zone" story than the typical "Black Mirror" story. However, the level of anxiety achieved here means it fits right in with the rest of the season. Why this one worked so well for me is a combination of two things. One, the dark humor is very mean and borderline absurd, culminating in a wild ending that is very old-school science-fiction in the best way. Two, our protagonist is not a heroine, and it's genuinely difficult to know whether to root for her.
Eulogy - I mean, it's Paul Giamatti. How could a "Black Mirror" episode starring him not be great? "Eulogy" has similarities to several other "Black Mirror" episodes in the way that the use of technology inadvertently captures parts of the past, but the writing is pretty solid and Giamatti sells it. The tech visualizations are also novel and interesting, especially the way that the characters are able to climb into and explore old photographs. I also appreciate that the ending, while far from happy, is fairly restrained and allows everyone involved a measure of closure.
USS Callister: Into Infinity - The first real sequel in "Black Mirror" definitely chose the right universe to come revisit. There's plenty more to see and do in the online game Infinity, where our main characters are now stranded and running low on resources. While "Into Infinity" doesn't have the existential horror of the original, it was great to catch up with this set of characters and some of their counterparts. I missed Michaela Coel, but the rest of the cast was firing on all cylinders, especially Cristin Miloti, Jimmi Simpson, and a special guest star. It felt like no time had passed at all.
Playthings - I'll never say no to an episode starring Peter Capaldi with Will Poulter reprising his role from "Bandersnatch." However, this is a very old science-fiction plot that I've seen done before, and there isn't much new or innovative here. The thronglets aren't visually interesting. Capaldi narrating in flashback felt too removed from the story. The minor characters, particularly the cops, are very thinly drawn for "Black Mirror." I wonder if this got edited down from something longer and more involved, since this is the shortest episode of the season.
Hotel Reverie - Emma Corrin's performance is excellent. And that's about the end of the nice things I can say about this episode. There's simply too much contrivance here that doesn't hold up under the slightest scrutiny. Who on earth would make a movie in this convoluted, ridiculous way? The idea of a film remake being warped out of shape by AI characters holds some promise, but trying to shoehorn an earnest romance into the works just didn't work. And I'm sorry to say that Issa Rae as the lead was a terrible bit of miscasting that I can't get my head around.
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