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Black Mirror – Bandersnatch (Review)

What exactly is Bandersnatch?

In narrative terms, it is very difficult to describe Bandersnatch, given the structure and format of the latest installment of Black Mirror. After all, two people consuming Bandersnatch might have very different experiences of it. It is possible for certain audience members to experience the narrative fundamentally different ways. Conversing about Bandersnatch largely involves defining what each participant experienced of the narrative, establishing a frame of reference for discussion. It is fascinating in this regard.

However, that is arguably an even bigger question. Is Bandersnatch an episode of television, given that it is being released under the Black Mirror brand by Netflix, even though it is being released on its own terms? Is Bandersnatch a film, given that it is a self-contained narrative? Is Bandersnatch just a video game, given how much it relies on audience participation? These are three very different classifications, and Bandersnatch blurs the line between each of the three.

Marshall McLuhan famously argued that “the medium is the message”, but Bandersnatch takes that a little further. What if we’re not sure what the medium is at all?

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Farewell to Nerds: The Big Studios & Comic Con…

Last year, around this time, I was discussing how great it was to be a nerd or a geek. Hell, Comic Con in San Diego seemed like an obligatory stop-off point for the major studios promoting their latest blockbusters to an overly geeky crowd, debuting the trailer for Tron: Legacy or announcing the cast of The Avengers, not to mention footage and panels based around any number of big-screen blockbusters designed to cater towards the geeks and nerds in the movie-going audience. So it feels like a rather dramatic shift that very few of the major movie studios appear to be planning much for the iconic (or, at least, briefly iconic) Hall H in San Diego this year.

Does this mean that the era of the geek is over?

Will Stars stop Trekking to Hall H?

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Straight Up, With A Twist…

In the run-up to Inception, I got thinking about Christopher Nolan’s extensive filmography, and how many movies of his involve massive twists in the last third (The Dark Knight is arguably the exception, unless you consider the addition of a second villain to be a ‘twist’). It got me thinking about the nature of plot twists and how they can essentially harm and help a movie.

Yes, this would be the best twist ending ever...

Note: This article is going to discuss twists on the ends of movies and – as such – might be fairly heavy on the old spoilers. Consider yourself warned.

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G.I. Joe teams up with Uncle Sam…

I’ll admit it. In my defense, I’m suitably ashamed. But I am a little bit interested in G.I. Joe: The Rise of Cobra. Yes, I know – deep down in my heart – that it will be terrible. No, I was not a fan of the television show, nor the toys – so I have no defense. I am a fan of Christopher Eccleston and I always have been, so my faith in him is on the line. And Stephen Sommers is the guy behind the two really good Mummy films, right? Still, the most interesting aspect of the production (amid all the rumours and gossip, the leaked reviews – both good and bad) is the approach that the studio is taking to marketing. Some movies – like The Dark Knight or Tron: Legacy or Cloverfield – go the subtle, nuanced approach of viral marketing. They create an emersive, engaging experience. G.I. Joe, on the other hand, is not subtle. The marketing team seems to be hammering home on single message: if you don’t dig this movie, you just ain’t patriotic enough.

No Dennis Quaid, you can't out act him... He's Christopher Eccleston!

No Dennis Quaid, you can't out act him... He's Christopher Eccleston!

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