The presence of the remote control made human life easier, and this device took the center of the stage in one of the cinematic films when Chance, who loved watching television in the movie Being There, left his master’s palace and entered the world for the first time with nothing but his clothes and a remote control. This occurred in the year 1979 in a film, expressing the power of this device within the home and its loss of magic outside of it.
The Beginnings
The Netflix network has permeated numerous households, extending its reach to people’s palms through smart devices, both inside and outside the home, as control devices. A technical paradox emerged four days before the end of 2018 when the movie Black Mirror: Bandersnatch was released, introducing a novel element to the world of cinema: viewer participation in the protagonist’s choices. Director David Slade harnessed a familiar technology from the gaming world and applied it to the world of movies. From its inception, the Netflix network has championed a new form of cinema, establishing its presence within viewers’ homes and providing a convenient home service that eliminates the need to venture out to traditional movie theaters. This endeavor, perceived by cinema purists and group viewing enthusiasts as a desperate attempt to overshadow movie theaters and vie for acquiring a similar position.
With the interactive viewing experience offered by Netflix and its remote control, does it seem that the platform has surpassed the limitations of traditional movie theaters in terms of group viewing? While in a cinema setting, the viewer has little control over the narrative, Netflix empowers them to make choices that influence the story’s direction. This sense of ownership and agency transforms the viewing experience, allowing individuals to feel immersed in the comfort of their own homes, akin to the character of Chance residing in the palace of his master, without the need to leave home. This shift is reminiscent with the Gulf proverb, “Whoever leaves his home, his worth decreases,” (من خرج من داره؛ قلَّ مقداره).
The capabilities and advantages that Netflix has possessed since its inception, which cinemas have lacked, have transformed Netflix into a superior realm. As cinemas continue to lose their allure, they are compelled to yield without viable alternatives, gradually succumbing to their rivals. They helplessly witness the escalating subscriber counts of streaming services, leaving cinemas to grapple with their waning appeal.
This concession did not emerge recently. Since the beginning of 2004, technological advancements have compelled cinemas to transition from celluloid film to digital cinema, prompting Hassan Al-Hujaili to herald the arrival of New Cinema in his book of the same name and contemplate the demise of cinema as we know it in the face of the digital revolution. This shift initially led to the rise of digital films vying for and winning awards, starting with Slumdog Millionaire, an Indian production that employed digital technology in place of traditional filmmaking tools and secured an Oscar win in 2009. This opened the floodgates to technology’s influence, reaching its pinnacle with Netflix’s Roma, which was awarded the Oscar for Best Foreign Language Film in 2019. This is undoubtedly not the end, as technology continues to make significant strides, relentlessly challenging and even eliminating those options that fail to adapt.
The Way Back
The Black Mirror series leans towards the future in the events of its episodes, drawing upon the science fiction genre to explore the potential impact of technological advancements and their consequences for humanity, the inventors.
Consideration must be given to a particular return. The viewer is taken aback by the uniqueness of this series, particularly due to a significantly longer episode that defies the conventional definition of an episode. While each episode of the series typically lasts around forty minutes, this particular episode extends to an hour and a half, effectively transforming into a distinct film in terms of its duration. This is a departure from the series’ typical forward-looking depictions of the future, which Black Mirror viewers have come to expect. Instead, this film takes a step back in time to the year 1984, offering a contrasting portrayal to the futuristic science fiction narratives typically explored in the series. It presents an alternative imagination for younger generations who did not experience that era. As an example, the microwave in the film is depicted as a peculiar invention through the eyes of the father character.
What is writer Charlie Brooker’s intention in reverting to longer formats after establishing a preference for brevity in the age of speed? Wasn’t he the one who delved into the future of technology and explored its intricacies? So why did he choose to transport us more than thirty years back in time to captivate us with something as minor as a microwave?
It comes as no great surprise to discover that the film’s screenwriter, Charlie Brooker, is still under fifty years old. It appears that his return signifies a nostalgic journey back to his youth. Prior to his work in film, Brooker was a writer for the computer games magazine PC Zone. The gaming industry, much like cinema, is characterized by rapid advancement, yet it also pays homage to its history by frequently revisiting and updating older games. This parallel can be seen in the reintroduction of iconic characters from the 80s, like the Green Man, in a fresh context.
Therefore, it comes as no surprise that this particular episode goes back in time through the life of game programmer Stefan Butler, portrayed by actor Fionn Whitehead. Stefan, a young man living with his father, introduces an intriguing element by incorporating a daily choice that resonates with all of us: what shall we have for breakfast today?
In this instance, the viewer actively participates alongside the film’s protagonist in making a choice between two types of cornflakes within a strict 10-second timeframe. Should the viewer fail to make a decision, one of the options will be randomly selected. This time constraint mirrors the time-sensitive nature of certain decisions we encounter in real life. Consequently, the film progresses by presenting a series of choices, leading to a pivotal moment involving two cassette tapes. The viewer has the authority to choose what the film’s hero listens to, effectively assuming a co-starring role and experiencing the weight of consequential decisions. This gradual escalation of choices conveys the concept of decision-making and transforms the narrative into an interactive experience, resembling a starting game.
Dead End
The film Black Mirror: Bandersnatch masterfully employs the technique of repetition, utilizing quick rewinds to revisit previous events with slight variations in scenes and offering a line of choices. It skillfully changes visuals to trigger memories of past occurrences, seamlessly transitioning from one location to another, where a choice can be made.
At times, the roles of the hero characters in a story can interchange, such as when the same conversation is relayed from one hero to another. In the first instance, knowledge is gained, leading one to believe that a person would not fall into the same trap twice. Isn’t that right?
However, the film takes it a step further by placing Stefan Butler in a situation where he cannot refuse the chosen option. It compels the hero and, by extension, you as the viewer, to make a decision under duress. Failing to select the alternative option will prevent the storyline from progressing. At times, the film does not provide any flattering choices; it presents only one option without any alternatives. This is exemplified in the scene where the hero refuses to accompany his mother as a child without his beloved doll, ultimately leading to her tragic death in a train accident. In this instance, it appears that the narrative road is blocked, leaving no path forward.
The blocked roads have something behind them, but there is no way to know what is behind them, and you should not commit to an opinion whenever the controller is forcing you to do something else, because sometimes making that choice is the only way for you to continue the journey.
At first glance, this is how the film presents its narrative paths, compelling you to deviate from your preferred timeline. The trains adhere to their schedules, giving you the option to board one or wait for another train that will take you to a different destination. While you have the freedom to pause and contemplate your choices, once you decide to continue your journey, there is no opportunity to disembark the train and explore an alternative route on foot. The absence of windows or doors leaves you with no choice but to follow the predetermined path set before you.
At Crossroads
This remains a pioneering experience, as is often the case with first-time encounters. It falls upon individuals to either embrace the novelty in filmmaking or initially enjoy it only to later critique it. Like any new innovation, there exists a group of enthusiasts who appreciate this form and eagerly anticipate future developments. We are still awaiting what lies ahead, as one instance does not determine the entire landscape. As Aristotle wisely stated, “One swallow does not make a summer,” implying that it is premature to pass judgment based on a single occurrence. Furthermore, I believe this film will not stand alone, unless Netflix decides to expand upon it further.
Those who have faced and overcome various struggles and challenges are unlikely to grow weary of innovation and updates. The conflict between the Netflix streaming platform and traditional cinema signifies an ongoing competition, with no indication of it being the final round. As long as the film industry continues to evolve, the competition will persist, albeit with differences in viewing channels. This pause in the competition merely represents a temporary moment, as audiences eagerly await new updates and developments from both sides. It is not merely a competition between two entities but rather a larger competition resembling a league, with dedicated followers eagerly anticipating its outcome. This is what has transpired, turning the competition into one between cinemas and home viewing networks in general, with Netflix occupying a notable position in particular.
In this competition, Netflix presents a game of two options, with no third alternative. It allows the viewer to choose between watching content on its platform or going to the movie theater, granting the freedom to opt for the latter without any coercion. This decision may lead the viewer to venture out, enjoying an evening at the cinema, and eventually returning home. However, given the ample time available, the viewer may find themselves once again faced with the game of two options, whether after a short or long period of time. Netflix continues to play its game, providing the remaining option that the viewer must consider and embark on a journey from one station to another, bypassing the remaining time of the movie. The choice may appear straightforward, allowing the viewer to assume the role of Chance, who is perplexed to discover that the remote control in his hand fails to alter what he sees. Pressing the buttons of the device proves futile in changing the channel or even adjusting the volume. This game has evolved since the release of that movie in 1979. Can it truly change the world today?
Netflix starts its game by positioning its viewers, including the character of Chance, at the crossroads of two centuries. Regardless of whether one opts to move towards the right or left, they find themselves cyclically returning to the starting point. The viewer may feel a sense of contentment, grateful for the opportunity to make a choice. However, there is a realization, whether conscious or unconscious, that these choices are illusory, merely smoke and mirrors that ultimately lead them back to square two. In this game, there is no third option available on the board.
This approach bears resemblance to the application of Law 31 from Robert Greene’s Laws. It involves presenting the spectator with two playing cards, enticing them willingly and granting them the authority to choose between the two options. The illusion is further enhanced by emphasizing the availability of both cards. The spectator is made to believe that they are the ones in control, dictating the rules of the game, yet unbeknownst to them, they are merely holding the two cards that were deliberately placed in their hands.
During that period, he believed that having a sense of choice provided a certain satisfaction. The illusion of choice was deemed preferable to living without that perception, or so it seemed. The character of Chance, who went out in 1979 with his remote control, should once again experience that desired triumph, even if it is nothing more than a mere illusion.
The Compulsory Road
Indeed, this action can be seen as a strategic ploy employed by Netflix to entice individuals into its domain. The company lures its target audience through the offering of exclusives and convenient features. A prime example of this is when Netflix secured the rights to bring back acclaimed filmmaker Martin Scorsese with the movie The Irishman, effectively outmaneuvering Paramount, which had been indecisive and ultimately missed out on such a significant opportunity.
This film features an impressive ensemble cast including Anna Paquin, Robert De Niro, and Al Pacino. The film’s standout aspect lies not only in the unique opportunity to witness these esteemed figures collaborating, but also in the technological feat of de-aging Robert De Niro, a seventy-year-old actor, and rejuvenating him to portray his younger self. This demonstrates the relentless progression of modern technology, which continues to push boundaries. The reunion of De Niro and director Martin Scorsese in this film is a notable event, as they had not collaborated since their successful partnership in the 1995 film Casino. Their return through the platform of Netflix marks a compelling reunion that captivates audiences once again.
Netflix has evidently reached a point where it is able to sway others to align with its objectives. Its success in securing an Oscar has triggered criticism from those who held reservations, leading to calls for its removal from the competition and expulsion from the Oscars altogether. Esteemed director Steven Spielberg, recognizing potential harm to the film industry, has expressed a desire to preemptively exclude Netflix from the competition. He is not alone in this sentiment, as many who value the traditional movie theater experience are apprehensive about the potential decline of these establishments. The invasion of homes by streaming platforms, with the ability to deliver content directly to bedrooms or even the palms of viewers’ hands, poses a threat to these cinematic institutions. The networks strive to dismantle and uproot these traditional venues.
Undoubtedly, this fear also serves as a source of confidence. For a long time, there was hesitancy surrounding the adaptation of the renowned novel One Hundred Years of Solitude by the esteemed Mexican writer Gabriel García Márquez, published in 1967. Márquez was a writer who possessed a profound understanding of the distinction between the written and visual mediums. He recognized that this particular novel was better suited for the medium of literature during that era rather than being translated onto cinema screens. However, with the changing times and Márquez’s passing, Netflix entered the picture. The streaming platform managed to convince the writer’s family, as it had successfully done with others before, by showcasing confidence in its ability to adapt and by demonstrating the impact it had created on the global stage through visual storytelling. This was exemplified by the success of the film Roma and its numerous accolades, as well as the widespread viewership and acclaim garnered by exclusive series produced by Netflix. Furthermore, the popularity of series like Narcos, which focused on the South American continent, contributed to the growing subscriptions and financial success of streaming networks worldwide.
Confiscating Choices
In Black Mirror: Bandersnatch, the theme of the illusion of choice is prominently explored. The truth is laid bare for all to see; there are no hidden secrets. The game’s nature is unveiled from the very moment it is introduced to the investor. The ultimate challenge is to ensure its delivery before Christmas, and Netflix successfully achieved this by airing the film promptly and without any delays.
The dilemma of the two options was initially felt by the protagonist, and it is a central theme that is extensively explored in the film, where the character engages in dialogues with the programmer and undergoes psychological treatment, establishing this dilemma as a fundamental pillar of the story. The narrative progresses through the film, as it does through chapters of the book he acquires, accompanied by carefully selected music curated by his programmer friend, particularly for the chapter ‘Mind Control Conspiracies.’
The human mind is constantly faced with the choice between two paths: that of good and evil, or the dilemma of selecting between two goods or two evils. It functions as a variable machine, relying on cultural references and societal norms to determine what is considered good or evil, as aptly described by Saad Kammouni. The notion of goodness is defined from a social perspective, just as the concept of evil is.
The confusion arises when we actively engage with the two options presented, transcending the role of passive viewers and instead becoming participants in the film’s narrative. We find ourselves making choices that directly impact the fate of the characters, such as deciding whether one of them will commit suicide or choosing between the hero and their programmed sidekick. We navigate the complexities of these choices, considering what is easier or more preferable on a practical level, yet recognizing the moral implications they carry. For instance, we may lean towards the second option of avoiding conflict, like the hero not screaming at their father, or preventing a spill on the computer. However, the film compels us to return to the first option, as it is necessary for the completion of the story. This experience closely resembles the sensation of having our choices confiscated, forcing us to follow a predetermined path, regardless of our personal preferences.
Chance had never anticipated the possibility of revisiting the palace, only to discover that the remote control he possessed was not under his control.
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