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Black Mirror – Black Museum (Review)

One of the more interesting aspects of Black Mirror‘s migration from Channel 4 to Netflix has been the subtle shift from British science-fiction horror towards American science-fiction horror.

The two episodes bookending the fourth season – USS Callister and Black Museum – exemplify this trend, episodes that would seemed very out of place when Black Mirror was “just” a quirky British anthology. USS Callister is obviously steeped in the iconography of a very American science-fiction institution, and while its male entitlement is not a uniquely American experience, that attitude has been more firmly tied into modern American politics than to  contemporary British politics.

Black Museum is even more overtly American, to the point that even the lead character’s British accent is revealed as a sham. The episode opens with a montage that practically screams “Americana!”, a big American car driving through a big American desert, a long stretch of road dwarfed by a seemingly infinite stretch of nothing, where even the jutting mountains provide a sense of impressive scale. Black Museum is set in the mythological America, a country so large that it occasionally seems to be nothing but nooks and crannies, populated with curiousities and eccentricities.

Black Museum unfolds within one such curiousity, a macabre collection of the grotesque and the ghoulish, a twenty-first century freak show run by a twenty-first century P.T. Barnum. However, over the course of the hour, the shape of Black Museum comes into focus. This is not merely a story embracing American trappings, it is also engaging with a distinctly American horror. Slowly, over the course of seventy minutes, Black Museum reveals itself as a science-fiction allegory about the exploitation of African American bodies and African American suffering; one of America’s original sins.

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