Compared to San Junipero, all other TV this year is garbage. From the first beautiful shot of the waves illuminated by vibrant and beautiful colours, you know this episode is going to be something special.
In fact, this barely feels like BLACK MIRRORÂ at all. For the second episode this series, this episode, in particular, the prevalent emotion isn’t crushing sadness, it’s hope.
Well, that depends on your viewpoint. In a way, this episode could end on a slightly depressing note if you think about it but why would you when this is perhaps the most joyous episode since BLACK MIRRORÂ began (which to be honest isn’t saying much).
I won’t say much about the plot because it’s gentle unravelling is one of its many joys, but the story, set in San Junipero in the 80’s centres around the nerdy Yorkie (Mackenzie Davis) who falls for the bright and confident Kelly (Gugu Mbatha-Raw).
What unfolds over the course of the hour is a tender, powerful, beautiful tale of love that may stretch across time and space in ways you won’t expect. It’s got a bit of pathos and darkness, yes, but at its heart is a tale of universal love and the memories we obtain over our lifetime.
As Charlie Brooker’s first sole script for series three, he proves that he can turn his hand to pretty much anything, even colourful romance. Whereas my previous favourite BM episode was the sublime Fifteen Million Merits, in which Brooker co-wrote with his wife Konnie Huq, San Junipero is also as indebted to cheesy romances.
This isn’t just reflected in the gorgeous cinematography of Gustav Danielsson but in the romantic back and forth of the two leads. It must be noted that Brooker chooses to write the two romantic leads as women, one of whom isn’t just a person of colour but is also openly bi-sexual.
Ironically as the most cynically sarcastic writer on TV, Brooker is also one of the most progressive and most episodes of BLACK MIRROR series three reflect this.
Yet, of course, though this is a massive plus and proof that some of the most diverse shows aren’t on major networks, San Junipero is also startlingly well crafted.
Apart from the aforementioned visual style, there’s a fantastic soundtrack to accompany it which blends 80’s music with the standard BLACK MIRROR techno themes.
As the most expensive and lavish episode of the show to date, every shot is covered in wonderful detail and such a rich 80’s aesthetic that it makes you want a spin-off series of just this one episode.
Luckily the story matches the mood and by the end, if you haven’t cried, you must not be human. There’s a complexity to the plot and for a small amount of time you wish it was all a bit simpler, yet, by the end, you’re fully won over by the nature of the characters wonderfully realised relationship.
For the first time, this feels like BLACK MIRRORÂ is stretching its legs and trying its hand with different types of story instead of dark and depressing. It feels like a delicate evolution for the show that could live longer if it embraced some happier emotions.
As I’ve said, the ending could be interpreted differently and I do feel like the hope that it gives us does come with a few addendums. However, stacked up to episodes such as Shut Up and Dance, San Junipero is positively sunshine and daisies.
In the end, this is an episode that is up there with the best of them and in a year of such individually superb episodes such as Battle of the Bastards and Fish Out of Water, it stands on its own as the finest of the bunch.
Verdict
