Black Mirror is often at its best when it throws off the shackles and embraces the pulpier side of writer Charlie Brooker’s muse. Recall that relentless series four episode in which an android dog pursued Maxine Peake’s character. At one level, it was a commentary on the creepy, giant-insect vibes of modern robots. But it was, above all, an infusion of pedal-to-the-metal binge-watch adrenaline.
Season six has such a moment with Mazey Day. It opens as a snapshot of celebrity culture in the maniacal early 21st century – the paparazzi-swamped heyday of Britney Spears, Paris Hilton and Lindsay Lohan. But then it thrillingly gear-shifts into something else entirely. Netflix has asked reviewers to keep what happens under wraps so the audience is caught unawares. I’m not even allowed to tell you if the twist is funny or scary, wholesome or gory.
What can be said is that this is Black Mirror chugging on all pistons. Brooker has served up an unselfconscious love letter to the ripe entertainments of the VHS era. He also reveals himself to be a fan of Muse’s 2006 goth-funk stomper Supermassive Black Hole, championed throughout the instalment in the style of Stranger Things cheerleading Kate Bush.
The story starts with Bo (Atlanta’s Zazie Beetz), a ruthless pap surprised to discover she possesses a conscience when an actor she snaps with a male lover kills himself. Stricken with guilt, she takes up a job in a coffee shop. But then a contact asks her to help sniff out Mazey Day (Clara Rugaard), a party-happy starlet who has gone missing from a movie shoot in Central Europe.
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