Warning: The following contains spoilers from the episode “Black Mirror”Uss Callister: Into Infinity. “”
There is a reason “Black mirror” is not known for his current stories, says her British creator Charlie Brooker. “I tend to kill everyone or leave them too depressed to work at the end of my story,” he said. “The suites can be difficult.”
But in the seven years that followed the anthology series' Episode of season 4 Winner of Emmy “USS Callister” Galvanized fans with its funny, exciting and winding rendering of double digital humans trapped in a universe of “Star Trek” type game, Brooker and its collaborators knew that its history could be extended, beyond the point where the Sweet Nanette programmer (Cristin Milioti) helped save her cloned ego from the sadistic game designer Robert Daly (Jesse Plemons), left for dead. Ideas have percolated, but the traps too. As Brooker recalled, “there are a lot of corners in which you have painted and the logic of the story that you must navigate.” But perhaps more emergency, he said, “If we killed Dark Vader, what are we doing?”
What occurred was a follow -up of feature film, “USS Callister: Into Infinity”, first Thursday on Netflix as part of The seventh season “Black Mirror”. Taking the crew of the spaceship in a new adventure of real death and playing game, the episode is built around a new test of the virtual nanette captain, and a nasty turn for the odious trading partner of Daly Walton (Jimmi Simpson). In addition, adds Brooker: “We know that we know, because of what is unique in our premise of video games, we must have the real world and the virtual world.” He estimated that these narrative subtleties required a very first play of “Black Mirror” writers to settle everything. “It was a different, quite complicated beast. So much pleasure but a headache to write.”
Milioti compared the separate me to face “see yourself on video or hear a vocal messaging that you left. I find it really shocking.” Nanette Cole, real, still underestimated from 9 to 5 years old, is impressed by the version of her which manages a ship, but it is not mutual for Captain Cole. “The other is so disappointed!”
If the pleasure of returning to sets and familiar costumes after years has come with a kind of “existential transport evil”, the Milioti jokes, sailing in the precise choreography to act against itself with specialized cameras presented its own challenge. “You really feel crazy trying to stay present with a memory of yourself, where your hand was, the eyelids. It was fascinating and intense, like a dance. For two days, my brain was like an overheated modem.”
The Virtual Walton of Simpson (The Nice) also returns, but in the loincloth of a cave man, who required prefilming training. “I had turned into a full dad bod,” explains Simpson, who calls for double spinning days between the looks “a full wedding of performance and technique. Television is not a film calendar. It is designed to take as little time as possible. ” But the energy, he says, with a large part of the original crew, was “addictive”.
He also liked the turn of Walton's megalomaniac technology in the real world. “Absence and greed are turned around 11, and it was fun,” explains Simpson. “People said he seems that I am always up to the task, so I can play bad guys. My mother doesn't understand at all.”
Cristin Milioti, on the left, and Jimmi Simpson in “USS Callister: Into Infinity”.
(Nick Wall / Netflix)
The director of the return, Toby Haynes, calls the original “a perfect script, a neat potboiler”, but describes “Into infinity” as “perhaps the episode of the” most ambitious black mirror ever made “. If the cheeky replication of the original “Star Trek” was its aesthetic definition, this faster and action-acting peril stimulated visual language made from the game. “Firearms, design elements and visual effects when people fragrant, it was fun to explore,” he said. The classic science fiction clues were still there – including Nanette's clothes deliberately evoking Ripley in “Aliens” and Space Combat evoking “Star Wars” – but Haynes also wanted to rely on what makes these stories original. “It is no longer a pastiche; This is his own thing, “he notes,” what is really exciting. “
The most tense confrontation of the suite inside the match takes place in a virtual suburban garage, this legendary place of technological origin, where a more wise and harder nanette meets a younger and more innocent daly (a plemons of return). Said Brooker: “We always wanted this juxtaposition, with the slightly modified dynamics. She needs her help, and it's a complex figure. If we had not done a good job, he would have been atrocious to move from a space battle to two speaking people. ”
Cue Haynes, who knew how to present the opening moment of the door with a suspense of another world: light, mist, a nanette silhouetted. “I wanted it to be my Spielberg moment, based on this divine flucture, and Nanette in front of its attacker.”
The meeting with Pantmons was a favorite scene from Milioti. “I like things that explore different facets of people,” she says. “She is a different person, exhausted and incredulous that he is back with this person, and you are devastated by his loneliness, how it wants to connect and how it twisted. There was so much to search. We pulled for four days in a room.
With a drama, a comedy and an action amplified this time, Brooker knows that he did something “completely general public” for his often dark and beloved narration. “It's almost family, apart from language,” he jokes. “But it always has the distilled essence of” Black Mirror “, these elements and ingredients. I hope people feel that we made the first proud. ”
