Black Mirror Season Three, the first season to be produced exclusively for Netflix, exhibits a variety of achievements and missteps; and while there are some interesting concepts, its lukewarm delivery (despite one good episode and one particularly excellent episode) demonstrates that is has a ways to go to match the quality of other recent Netflix and horror/sci-fi television offerings.
Described by many as “The Twilight Zone for the tech generation,” Black Mirror dazzled British audiences in its first and second seasons, and then later picked up steam in the United States on Netflix. While loosely connected and existing in the same universe (with most episodes featuring a broken mirror or establishing shots focused on black mirror-like surfaces), each episode addresses an entirely different concept. This results in a wide spectrum of tones and atmospheres. The original episodes feature talented English actors and actresses known to American audiences, such as Hayley Atwell, Oona Chaplin, Domhnall Gleeson, and Jon Hamm, and Netflix chose to continue the tradition by hiring Alice Eve, Jerome Flynn, Bryce Dallas Howard, and Kelly Macdonald to fill important roles in the present season. Interestingly, despite featuring top talent, Black Mirror’s biggest issue so far seems to be a lack of characterization and character development. This stems from too much of a focus on the technology over the characters.