Netflix’s Black Mirror
Season 3, Episode 4: “San Junipero”
Directed by Owen Harris
Written by Charlie Brooker

* For a review of Episode 3, “Shut Up and Dance” – click hereclick here
* For a review of Episode 5, “Men Against Fire” – click here
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In the 1980s, or somewhere reminiscent of it, Yorkie (Mackenzie Davis) wanders a city. She stops in front of a bunch of TVs playing Max Headroom. Everywhere around her people seem to be having fun. She follow some people into a big club. She doesn’t exactly look like she belongs, though pushes on through the crowd as the rock to old tunes, some play arcade games – and that’s exactly where Yorkie ends up, playing Bubble Bobble. A fellow nerd talks her up, but she replies she needs to get her “bearings” for the place. What does that mean: a simple social term, or a more broad meaning? I bet the latter.
This is only proved more when a woman named Kelly (Gugu Mbatha-Raw) uses Yorkie to help her out with a lurking dude. He talks about last week, et cetera, and it seems like this place it’s… temporary. Or something similar. Anyways, Yorkie and Kelly go have a bit of fun, a few drinks, in the background The Bangles ring loud through the club speakers. The ladies chat and get to know one another. Kelly admires Yorkie’s “authentic” look and that other people are only imitating what they think they should look like, not how they want. When the ladies step on the dance floor things feel strange, almost robotic and choreographed. This drives Yorkie outside. She’s like a foreigner in a distant land, unaware of the customs, the culture. Everything is nearly dream-like.
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Yorkie has a semi-romantic encounter with Kelly, then rushes off into the night. We skip to one week later, as Yorkie dresses, listening to mixtapes of ’80s music and posing in the mirror. She goes back to the trusty ole stuff she wore last time. At the club already Kelly finds herself accosted by the creeper Wes (Gavin Stenhouse) again, as people start flooding in to dance and drink and party all over again. She rejects Wes, having previously had a night of sexy fun together. He isn’t happy. Too bad, dude!
Later on Yorkie shows up. She’s clearly attracted to and interested in Kelly. Plenty of quality music with INXS rocking. But Yorkie, she keeps on staring until she and Kelly meet eyes, over and over, across the room. In the bathroom they meet, which they follow with a nighttime drive. The city where they are – San Junipero – isn’t one we know as real. What kind of destination is it, really? For now, we see Yorkie and Kelly come together beautifully in each other’s arms. It’s actually the first time for Yorkie, in any way, with anyone. Strange, seeing as how she has a fiancee. The two women lay in bed, they talk, bond. Kelly talks of her bisexuality, stemming from conversation concerning her onetime husband. She also mentions just “passing through” San Junipero, only there for having a good time.
Is the city of San Junipero a place that exists solely for people to live out the fantasies they can’t in real life? Well, it’s very Cinderella-ish in that at 12 AM, things seem to stop. Or, they end. Until one week later, all over.
Back at the club after a week, Yorkie doesn’t find Kelly anywhere. The bartender suggests checking the Quagmire. It’s a nasty sort of punk-like club on the outskirts of town, like the refuge of people literally on the fringe in every way. Poor little Yorkie looks crazily out of place walking in, looking for her friend. There’s music, strange cages, BDSM, fights in a caged ring, hands groping in the dark. Yorkie runs into Wes, dressed much differently than last we saw him. And he doesn’t know where Kelly is either.
Finally, the revelation: Wes says he saw her in a “different time” like “2002” or the ’80s, the ’90s. Whoa.

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This time, one week later is the ’80s, then the ’90s. Yorkie starts searching all the places they went together, looking for where the girl of her dreams went. She goes to 2002 specifically. Each time, the world changes accordingly, as we see different places and times and how things have changed, how they haven’t in some respects. Then Yorkie runs into Kelly, who isn’t so thrilled to see her. She only wanted to have fun. Yorkie wants something lasting, not a fling. It hurts her to understand this about Kelly: “Maybe you should feel bad, or at least feel something,” Yorkie tells her. Perfectly, after she leaves Kelly punches a mirror – not hurting her hand, or the mirror which goes back to normal almost immediately. Is there something further we don’t know about this woman?
Everything gets scary when Kelly sees Yorkie sitting on the roof’s ledge of the club outside. We find out that 80% of the “fulltimers” in San Junipero are dead. Say whaaat, girl? Ah well. At least Yorkie gets laid again.
But she’s getting married in a week. And Kelly, she’s probably only got months to live. So, is San Junipero the afterlife? Sort of, like a digital age invention to help people ease into the concept of death.
When 12 AM hits, San Junipero is no more. An older version of Kelly goes to a facility where she visits an older, incapacitated Yorkie lying in a bed, hooked to a breathing tube and machinery. We discover Yorkie is “passing over” soon. All turns out that she came out to her parents at 21, then after a fight with them crashed a car, rendering her paralysed.

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Kelly wants to go back in for a minute, to confront Yorkie about her passing. And then she decides to ask Yorkie to marry her instead. A truly gorgeous and tender moment between the two women. Tear worthy, indeed. Whereas so many Black Mirror episodes are often totally grim, which I dig, it’s actually nice to see something hopeful. Even if Yorkie is passing over into death, there’s still a beauty to it with how Kelly insisted on going back, to give her a real, genuine marriage with someone she loved. Heartbreaking and loving all at once.
After death, young Yorkie sits on the beach. She lets the tide wash up on her feet and rubs her toes, her fingers in the sand. Out in the real world, older Kelly heads back home to the facility where she stays. But not long goes by before Kelly’s out on the beach with her wife, the two of them together awhile. However, at 12 AM things are over for another week. Yorkie is lonely in San Junipero without her other half. Things break down when she belittles Kelly’s former marriage to her dead husband Richard. Suddenly, things aren’t so lovely or romantic. San Junipero isn’t as idyllic when put in context with Kelly and her loss. “You wanna spend forever somewhere where nothing matters?” she asks Yorkie.
This is a question about heaven, the afterlife: if death isn’t the end, then what the hell is death, actually? If there’s no end, there’s no meaning. If this is just one life before another, especially a fake one, then what are the stakes?

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When she’s ready to go, Kelly heads to San Junipero after all. She and Yorkie drive off into the sunset together. Out in the real world, it’s all a bunch of machines with flash drive-like systems running different scenarios, as there are a ton of San Juniperos with different names, each one a place all of its own. Ah, the future of death and the afterlife! Behold its splendour.

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Charlie Brooker is an impressive writer. His imagination never ceases to amaze me and for someone who isn’t huge on science fiction – though I do love to READ sci-fi more than watch – he sucks me into each new world he chooses to bring to life. This was another solid episode, one of the few with hints of hope at the edges. A solid rumination on the meaning of life, death, as well as how we deal with passing over to whatever comes after.

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I'm a Bachelor of Arts (Hons.) graduate and a Master's student with a concentration in early modern literature and print culture. Although I've studied everything from Medieval literature onward, also spending an extensive time studying post-modern critical theory; I have a large interest in both Marshall McLuhan and Jean Baudrillard. I completed my Honours thesis on John Milton's Paradise Lost + the communal aspects of its conception, writing, and its later printing/publication. This thesis will serve as the basis for a book about Milton's authorship and his influence on pop culture (that continues to this day). My Master's program involves a Creative Thesis, which will be a full-length, semi-autobiographical novel. Author Lisa Moore is supervising the writing of this thesis. I'm already looking towards doing a dissertation for a PhD in 2019, focusing on early modern print culture in Europe and the constructions of gender identities. - I'm a film writer, author, and a freelance editor. My short stories have been printed in Canada and the U.S. I edited Newfoundland author Earl B. Pilgrim's latest novel The Adventures of Ernest Doane Volume I. Aside from that I have a short screenplay titled "New Woman" that went into post-production during early 2018. I was part of a pilot episode for "The Ship" on CBC; I told a non-fiction story of mine about my own addiction/alcoholism live for an audience with nine other storytellers. - Meanwhile, I'm writing more screenplays, working on editing a couple novels I've finished, and running this website/writing all of its content. I used to write for Film Inquiry frequently during 2016-17. I'm currently contributing to a new website launching in May 2018, Scriptophobic; my column is titled Serial Killer Celluloid. Contact me at u39cjhn@mun.ca or hit me up on Twitter (@fathergore) if you want to chat, collaborate, or have any questions for me. I'm also on Facebook at www.facebook.com/fathersonholygore. Cheers!

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