That’s the kind of jolt to the system that a 12-year-old project needs at this point. The resulting message from these first two chapters: Netflix is not your friend, and the very platform you’re watching might be the biggest force for what the early seasons of the show warned against. By the time it ends, “Loch Henry” has managed to implicate people and institutions at every level, especially those who seek to profit off the trauma of others. It uses a pair of young documentary filmmakers (Myha’la Herrold and Samuel Blenkin) as proxies for the thorny questions around true crime storytelling. It’s also messy in its execution, true to recent “Black Mirror” form, capped off by twist that works better as a germ of an idea (and one that ultimately gives way to a sense of security, however false it may be).Įpisode 2 “Loch Henry” might be the season’s high-water mark. It’s a potent idea for a changing age, one now filled with massive sectors of the entertainment industry undergoing a work stoppage to fight the very trends that this episode puts forth as a potential reality. After a relatively long time away, its welcome back message boils down to the idea that anyone can be content, with or without their permission. “Joan is Awful” is another in the show’s “ripped from the WIRED headlines” approach to technology. The first episode of the anthology series’ new, long-gestating batch puts Netflix in its sights from the outset, using the platform’s typeface and interface to tell a story about, well, faces. For a moment, it looked like “Black Mirror” Season 6 was going to douse its Trojan Horse in gasoline and drop a match.
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