10. Better Call Saul, “Winner”
9. Pose, “Love Is the Message”
8. Homecoming, “Protocol”
This is a middling episode of Black Mirror elevated by the Choose Your Own Adventure framework, one that can only really work on a one off basis before its inventiveness wears off. This applies to the episode itself as well; on the first go around, I was thoroughly enjoying the ability to make choices, but when I revisited the choices to gain a better understanding of the full picture, I found myself thoroughly bored and occasionally frustrated. I’m being a bit generous due to the time and skill that must have gone into the crafting of this episode, but repeat viewings further uncover a flimsiness in character and plot that lead to an underwhelming conclusion no matter what.
This is slick, provocative filmmaking that manages to avoid losing its positive qualities to pretension. The first half is a legitimately intriguing depiction of celebrity, violence, and trauma and the way all can become intertwined, and the second half simply just turns on the Natalie Portman jets and lets her go. Cassidy holds her own as well, anchoring that first half with just the right amount of vulnerability and complexity.
The central point about the definitional confines of family is hardly a new one, but the film succeeds because it is so clearly passionate about what matters most: the characters. The societal structures surrounding and confining the characters are certainly present, as they must be, but they are people first before they reflect anything about their society. There’s a delicate balance here throughout that imbues every single scene with both a sense of boundless humanity and helpless unease. You get to know these characters on an intimate level, but there are layers that you know are waiting to be unpeeled, whether for good or for bad. And when it all finally hits, it hits less like a crashing wave and more like a slow, crushing embrace.