Why wasn’t Electric Dreams as popular as Black Mirror?

electric dreams black mirror amazon netflix channel 4 charlie brooker

In almost every respect, Electric Dreams seems poised as a response to Black Mirror. There are surface similarities, obviously – both are high concept science fiction anthology programmes, after all – but it’s more illustrative to look at who was behind Electric Dreams; when you consider that it was co-produced by Amazon and Channel 4, the intent becomes obvious. Both had reason to want a drama similar to Black Mirror – Amazon to compete with Netflix, and Channel 4, as the latter programme’s original home before it was moved to Netflix, as a replacement.

In the lead up to Electric Dreams’ release, it seemed more than likely that the series would see equivalent success to Black Mirror. And yet, ultimately, Electric Dreams failed to replicate the success of Black Mirror. Which begs the question: why?

I was generally pretty fond of Electric Dreams, if admittedly frustrated by a lot of it. Across the ten episodes of its first season, there were some genuinely quite impressive hours of television; I think if I were inclined to isolate one particular flaw above all others, though, it’d be that sometimes Electric Dreams felt a little scared of subtlety and ambiguity. There were a couple of different episodes where the conclusion of the episode went to great lengths to explain things as much as possible, often unnecessarily, and sometimes to the detriment of the piece as a whole.

Still, though, there was a lot to like from Electric Dreams – it assembled some really quite impressive creative talents, arguably functioning better as an anthology series in that regard than Black Mirror. And yet Black Mirror still remained the more popular series, with Electric Dreams seemingly struggling to make much of an impact. This article, then, was an attempt to get to grips with that.

As an article, it’s probably not as analytical as it should be, nor evidence-based enough – really, what I needed was a lot of statistics and viewer data, and probably quotes from lots of different reviewers, AI numbers, that sort of thing. I did not have that. What it ended up as, then, was some speculation as to why Electric Dreams didn’t quite work in the UK. Even then, mind you, I might not have been correct in that speculation – just typing this up now it occurred to me that Electric Dreams might have been “too sci-fi” in a way that Black Mirror isn’t, for lack of a better way of putting it. So who knows really.

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Black Mirror’s USS Callister is a perfect metaphor for nerd culture in 2017

black mirror charlie brooker uss callister star trek jesse plemons cristin milioti jimmi simpson michaela coel netflix toby haynes nerd culture 2017

The escapist fantasy is based on a slavish adherence to the idiosyncrasies of the original, yes – but, crucially, an unthinking and uncritical adherence, without acknowledgement of the flaws inherent to the premise. It’s the same fundamental mentality that prompts outrage and fury at the inclusion of women or people of colour in Star Trek, Star Wars, or Doctor Who; the impulse to curate rather than create, the desire to maintain a static and staid world. Shaped around the ego of a single white man, this is of course a world that equates foreign with alien, dehumanises people of colour, and never lives up the ethos and code of conduct it claims to assert.

USS Callister continues to advance its metaphor, though, and in turn posits a solution of its own. And, in turn, of course said solution comes from a woman.

A piece about Black Mirror I was quite pleased with. (So pleased with it, in fact, I put it into my portfolio, if that’s something you’re going to want to check out.)

Something I didn’t mention at the time, but find interesting, is the fact that this episode is about exorcising toxic masculinity, and then the subsequent five episodes are all very female-oriented. You can see how the order of the anthology shapes the broader meaning of the series, which is neat.

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