Warning: The following contains spoilers from the “Black Mirror” episode “USS Callister: In the end. “
There is a reason “Black Mirror” Its British creator Charlie Brocker says it is unknown to continuous stories. He says: “I tend to kill everyone or leave them very depressed until they work at the end of my story.” “Sequences can be difficult.”
But in the seven years that have passed on a chain of anthology The fourth season episode of Amy “Uss Callister” The galvanized fans presented it funny, exciting, and solid to the human digital marriage trapped in the world of “Star Trek”, as it looks like, Broker and his collaborators know that his story has been extended, after the point where the programmer extends meek nanette (Christine MiliotiShe helped save herself cloned from the designer of the sadistic game Robert Dali (Jesse Plamonz) The left to die. Ideas slip, but so did the pitfalls. “There are a lot of angles that you drew yourself, and the logic of the story in which you must move.” But perhaps more urgent, he said: “If we kill Dartheh Vader, what do we do?”
What arose is to follow the length of the feature, “Uss Callister: Infinity”, the first show on Thursday on Netflix as part of “The Seventh of Lions” Season 7. With the spacecraft crew took a new adventure of real death and death in the game, this episode was built on a new test for the virtual leadership of Nanit, and a evil spin of the Jimmi Simpson business partner. In addition, Brooker adds, “We only knew, because of what is unique in our video games hypothesis, we must meet the real world and the virtual world.” He felt that these narrative complications require the first “Black Mirror” book room to sort everything. “This was a different monster, completely complicated. A lot of fun but headache to write.”
The separate Meliti, which faces each other “to see yourself on the video or hear an audio mail that you left. I find it great.” Nanette Cole in the real world, which is still based on less than 9 to 5 years, admires the same release that runs a ship, but it is not mutual for Captain Cole. “The other is very disappointed!”
If the pleasure of returning to familiar collections and costumes came years later with a kind of “existential action disease”, Milioti slides, and transmits accurate dance to act against themselves with specialized cameras that presented their own challenge. “You really feel that the nuts are trying to remain present with a memory for yourself, where it was your hand, the okes. It was wonderful and intense, like dance. For two days, my mind was like a feverish modem.”
The virtual watton of Simpson (The Nice One) also returns, but in Loincloth the cave man, which requires some pre -training. “I have turned into Bod Full Dad Bod,” says Simpson, who is called the double days.
He enjoyed the turn of technology technology in the real world. “Thought and greed turned into 11, and that was fun,” said Simpson. “People said it seems that I always reach something, so I get to play the bad guys. My mother does not get it at all.”
Christine Milioti, left, and Jimmy Simpson at “Uss Callister: in Linfinity”.
(Netflix)
The returning director Toby Heinz calls “the ideal scenario, which is the elegant Potboiler”, but it describes “Infinity” as “perhaps the” black mirror “episode of the most ambitious ever. If the “Star Trek” symmetry is its specific aesthetic, then it raised the fastest risk of actions, a visual language made of games. “Guns, design elements and visual effects when people exploded, all of this was fun to explore,” he says. The sermon of classic science fiction was still present-including Nanite clothes that deliberately raises Republic in “foreigners”, and the space fighting that evokes the “stars war”-but Heinz also wanted to tend to make these stories original. “It is no longer the case, it’s its own thing,” he noticed, “which is really exciting.”
The confrontation of the most tense completion within the game occurs in the virtual suburban garage, which is the legendary place of the technological origin, where Nanite faces more wise and more difficult than Dali is the smaller and more innocent (Plammons Return). “We have always wanted this approximation, with a slightly dynamic change. She needs to help him, a complicated person. If we don’t do a good job, it would have been certain that we would cut from a space battle to two people talking,” says Brucker.
Cue haynes, who knew how to present the moment of opening doors with suspense in the other world: light, fog, nanit silhouette. “I wanted this to be the moment of my Spielberg, where you accumulate on this similar crawl, and Nanite faces its aggressors.”
The reunification with PleMons was a preferred scene for Milioti. “I love things that explore different aspects of people,” she says. “She is a different person, exhausted and in the disbelief that you return to dealing with this person, you are devastating from his unit, how bad he calls him, and how it became twisted. There was a lot for drilling. We shot for four days in a room. It looked like two play.
Through the drama, comedy and movement this time, Bocker knows that he made something “very prevalent” for its dark parking often. “She is almost friendly to the family, regardless of the language,” he said jokingly. “But he still has the essence of the” black mirror “, those elements and components. We hope that people feel that we did the first one proud.”
