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This Black Mirror review contains spoilers Black Mirror Season 4 Episode 4 Nearly every episode of Black Mirror faces a challenge inherent to its sci-fi shorty story genre. Not every episode of Black Mirror features a twist of course. We are presented with the seeming beginnings of a love story. Frank and Amy sit down at the table nervously and chit-chat about what to order.

M etalhead is the first Black Mirror episode to be shot entirely in black and white, appropriately for the most minimal plot in the series. As it opens, Maxine Peake, Jake Davies and Clint Dyer.

Black Mirror It is astonishing Black Mirror gets reviewed at all when you remember its creator, Charlie Brooker, was once a television critic. He has gone from spewing invective about the state of the culture to being one of its leading exponents, weighed down with prizes, plaudits and, we can bitterly presume, a terrific amount of money. On the arrival of its fourth series, there are other pressures on Black Mirror, too. Having moved from Channel 4 to Netflix in , Brooker has near-total creative freedom and a budget to match.

Black Mirror has never felt as if it were made by drama students, exactly, but now there is no excuse for anything to be less than polished. The programme also bears the burden of prescience. Being proved right is double-edged for sci-fi. The purpose of the fiction is not to throw darts at an obscure future board but to skewer the way we live now.

Metalhead is the first Black Mirror episode to be shot entirely in black and white, appropriately for the most minimal plot in the series. Inside the building, however, the situation rapidly deteriorates. The horror is merciless, and the CGI monster horribly believable. One strength of having a robot hunter, rather than an animal, is that it gives us access to its reasoning. When the dog is confronted by a problem, it improvises.

In a broader sense, Metalhead explores the classic AI debate about the unintended consequences of design.