Black Mirror’s one off holiday special is a different kind of show: an interactive drama where you pick how you mess things up. Launching today on Netflix, Black Mirror: Bandersnatch.
That is fitting, for an independent entry of “Black Mirror,” a treasury series that blossoms with basic enough philosophical conundra. On the one hand, an expanding film with multiple endings, so formally dissimilar to what TV for the most part is, couldn’t be made and communicate to such a significant number of individuals without the imprimatur of a very much adored series.
On the other, “Bandersnatch,” as creative work and not as test, falls so short concerning the standard “Black Mirror” has set that to put it forward is to risk the credibility the series’s initial four seasons have earned.
The genuine plot of “Bandersnatch” isn’t too confounded at first glance: In the year 1984, Stefan (Whitehead) is a young aspiring video game designer whose fantasy is to adjust a gigantic Choose-Your-Own-Adventure paperback called “Bandersnatch” as a PC game.
He gets his shot affability of an established publisher (Asim Chaudhry), yet while Stefan’s adventure goes down a wide range of streets, one component stays consistent: Designing games like this is extremely diligent work. So hard, indeed, that it could make an individual crazy.
“Man driven mad by the technology he’s trying to control” is a pretty stock “Black Mirror” plotline. But “Bandersnatch” indicates how much execution matters in these circumstances, because of the shrewd manners by which author and series co-maker Charlie Brooker plays with the medium and message.
As it’s an exceptional kind of Netflix show, it’s not yet supported on Chromecast, Apple TV and some legacy devices. You can’t download it to watch offline either.