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We also never learn which elements play a role in their relationship: the secrecy, the escapism, the novelty, the role-play, their yearslong friendship, the safety of a game world free from prying eyes, the fluidity between homosociality and homoeroticism, the uncertainty of the genders, races, sexual orientations involved, and/or the ability to blur any and all categories. Foremost, it’s unclear whether the pals have sublimated their homosexual desire for one another into more socially acceptable targets (i.e., Danny’s wife, Theo, and Lance’s eyebrow-raisingly younger girlfriend, Daisy, played by Nicole Beharie and Monique Cynthia Brown, respectively), or whether the two men are only into each other as a (Asian, accented, athletic, aggressive, hella cheesy-looking) straight couple. We’re never quite sure what exactly the nature of Danny and Karl’s attraction is, for instance, or how the former’s differs from the latter’s. In contrast with most of the series, this installment resists giving us too many answers. Until its surprisingly unromantic resolution, “Striking Vipers” is one of the most ambitious and intriguingly enigmatic stories Black Mirror has ever told. (The game, we’re told when they start throwing punches, “replicates all physical sensation.”)
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In the digital guises of Lance (Ludi Lin), a Ryu-like martial artist with a hairless chest and bulging muscles on every surface of his compact body, and Roxette (Pom Klementieff), a Cammy-esque kickboxer with a platinum bob and black underwear peeking out of her short red dress, Danny and Karl find that their digital duels keep turning into mind-blowing sexual trysts. The standout episode is meant to be “Striking Vipers,” named after a Street Fighter–esque VR game in which two longtime but now-distant friends-family man Danny (Anthony Mackie) and perma-bachelor Karl (Yahya Abdul-Mateen II)-consummate an attraction to one another that neither man seems to realize he had harbored. Much more fun-but irrefutably silly and melodramatic-is “Rachel, Jack and Ashley Too,” starring Miley Cyrus as a pop star whose exploitation by a family member is aided by gizmos too theoretical to strike genuine fear. Andrew “ Hot Priest” Scott is betrayed by a particularly weak script in “Smithereens,” which doesn’t divulge its rather mundane tech phobia until the episode’s final minutes. The episode’s most startling reveal was how little Brooker seemed to understand what made the love story tick.īlack Mirror’s three-episode fifth season, which is now available, is its shortest of the Netflix seasons, not counting one-offs like December’s interactive “ Bandersnatch.” Overall, the new entries are an underwhelming lot. But creator Charlie Brooker, who has written or co-written every episode since the series’ sophomore year, whiffed his intended follow-up to “San Junipero.” In Season 4’s “Hang the DJ,” a romance pitted against a dating algorithm abruptly gave way to the deflating twist that we should’ve trusted the algorithm all along.
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The Season 3 episode, which starred Mackenzie Davis and Gugu Mbatha-Raw as a queer couple who could’ve only found each other in cyberspace, was the first in the series to give its characters a happy ending, imparting a much-needed dose of tonal unpredictability to a show notorious for its dystopian paranoia and despair about technology.
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It’s easy to imagine a grim near-future in which Black Mirror perpetually chases the high of “San Junipero,” with diminishing returns.