An urban Gothic about Miles (Clark Freeman), a traumatised man searching for a proof of life after death. At any cost.
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
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.
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.
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 “full–timers” 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.
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?
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.
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.
Beetlejuice. 1988. Directed by Tim Burton. Screenplay by Michael McDowell & Warren Skaaren.
Starring Alec Baldwin, Geena Davis, Michael Keaton, Catherine O’Hara, Jeffrey Jones, Winona Ryder, Annie McEnroe, Glenn Shadix, Patrice Martinez, Sylvia Sidney, Robert Goulet, Dick Cavett, and Susan Kellermann. The Geffen Company. PG. 92 minutes.
Tim Burton doesn’t always appeal to everyone. His style, as far as I’m concerned, makes him an auteur. Even in his less cartoony, gothic-styled films, there is always an ever present sense of Burton and his unflinching vision of the stories he tells. Most of his movies I do enjoy, though, some I’m not huge on. Either way I can’t help deny my major love for a few of his movies.
One such title is the 1988 fantasy, quasi-horror, full-on comedy Beetlejuice, which later toned down into the 1989-1991 cartoon series of the same name. This is one strange piece of work, at the same time it’s amazingly near perfect in other ways. With a refreshingly innovative take on the afterlife, hauntings, the “life” of ghosts on the other side and tons of fun Burton-like imagery and makeup effects, this is one hell of a fun film. Beetlejuice has a bit of everything: death, suicide, laughs, calypso music and dancing, and Micheal Keaton.
After a tragic car accident, Adam and Barbara Maitland (Alec Baldwin/Geena Davis) find themselves back at their house… only a little removed from reality. They find a book in their attic – The Handbook for the Recently Deceased – and then eventually discover a way into the waiting room of the afterlife, where a case worker named Juno (Sylvia Sidney) explains they’ve died and are contracted to remain in their old home for many, many years. Tasked with scaring out the new owners – Charles and Delia Deetz (Jeffrey Jones/Catherine O’Hara) along with their young daughter Lydia (Winona Ryder) – Adam and Barbara eventually come across an unethical ghost named Betelgeuse (Michael Keaton) who would much rather kill the new owners than just scare them out. And once Betelgeuse sets his sight on Lydia to be his wife, the newly deceased couple have to decide whether they’re ready to give up their home, or give up the life of an innocent young girl.
So much to enjoy about this slice of Burton work.
One of my favourite sequences of the film happens early on when Adam (Baldwin) and Barbara (Davis) try to scare the new owners, before they’re initiated into the world of being dead. First, Barbara hangs herself in the closet, then rips the skin off her skull when Otho (Shadix) and Delia Deetz (O’Hara) look inside, yet to no avail. Then, Barbara stands – knife in hand – with Adam’s bloody, decapitated head in the other, trying to look sinister. Nothing works! But the kicker is when Adam tries to run up and lock the attic door, with no head, and he’s banging into things, bumping every object nearby. Riot, love it. Awesome few scenes here, especially in terms of makeup effects and horror imagery; the skin off skull bit is nasty and cool.
The waiting room scene is another perfect bit. We see the various dead people sitting around until their name is called: one man is a hunter of sorts, his head shrunken to a prune; another merely charred remains of a man smoking a cigarette; a guy who choked to death, chicken bone still sticking through both sides of his neck; an attendant showing patients in whose body is hung on strings, flattened out from tire tracks; and a man hung by the neck, on the same track as the other attendant, passing files off to a secretary while he’s carted about the office building. What a great and also tragic sequence. This is also part of why I’m so in love with Beetlejuice; because of its unique charm in the face of death.
Lydia: “My whole life is a dark room; one… big… dark… room.”
What I dig most about Beetlejuice overall is its take on the afterlife. On one hand, you’ve got all the “regular” ghosts who are merely regular people moving onto another plane. On the other hand, there’s Beetlejuice himself. But it’s the little handbook, for the recently deceased, the waiting room, the giant sandworms, and so on, which intrigues me. Such a neatly cartoonish and macabre world for Burton to play around in. At the same time, I find the way it portrays ghosts pretty unique. So underneath all Beetlejuice’s gnarly exterior and vulgarity, beneath the story of a haunting, there’s a genuine attempt here to dissect what a true afterlife might be – instead of the idealized heaven or hell, Burton’s film taps into a more satirical approach to being dead and trying to move on. Plus, seeing things from the side of the deceased doesn’t hurt either. While we’re right alongside the Deetz family, even in the scarier moments after the Juice runs loose, much of our perspective comes from Adam and Barbara, as well as later a similar yet different perspective from the still-living Lydia. All in all, the way this movie presents death and the afterlife is both hilarious and fresh.
There’s plenty of creepy horror stuff going on, but the dark and sometimes raunchy comedy is very much happening here. For instance, even in the morbid scene where Lydia (Ryder) contemplates her suicide writing a note for her family to find later, there’s a downright funny, laugh out loud moment as she rearranges the words, choosing better ones to put in place to make the note sound more appealing. The whole character of Lydia is fun and funny at once. She’s simultaneously deep and gothic while also playfully satirizing the whole goth lifestyle.
When it comes to comedy, though, obviously Michael Keaton as Beetlejuice is the centrepiece of this entire thing. Clearly, right? Even more than you think. For those who don’t remember properly, Beetlejuice is a dirty dude, both physically and in his speech. In the original screenplay, the character was much darker and more violent; he wanted to rape Lydia, here it’s toned down slightly to a creepy crush. But the darkness all around, from his actions to his comedy, is still quite present. Keaton brings Beetlejuice to life from one moment to the next. He’s mostly hilarious, yet always with the chilling side directly under the surface, every now and then coming out into the open fully. Some of my favourite bits are when Beetlejuice is still stuck in the tiny model town, in its cemetery; Keaton did a nice bit of improvisation, if I’m not mistaken, which is awesome because he did a great job with the character.
Beetlejuice: “I’m the ghost with the most, babe.”
Even with the changes inflicted upon the original screenplay, the toning down, the film’s finale remains pretty dark. Regardless of the cartoon-ish, at times, quality Burton gives the story and its visuals, there are equal amounts of very macabre and eerie sequences. When Beetlejuice is called back into reality by Lydia the final time, in order to try and save Adam/Barbara, the movie turns into a dark carnival. This section starts out in a sort of lighthearted horror-comedy way. Then, slowly, it moves towards treacherous territory, as Beetlejuice attempts to take Lydia as his bride. I mean, it’s sketchy! Very creepy, unsettling stuff. Delia’s sculptures come alive to hold the witnesses in place for their impromptu ceremony, which are super weird and gothic through Burton’s eyes. Just cannot get enough of this effective finale. Also, the very last couple scenes are a whole ton of fun capping things off on a more lighthearted ghost story note.
Totally a 4.5 out of 5 star film for me. Always loved this and truly feel it’s an effectively dark comedy using shades of horror in the best way. Plus, it’s a satirical look at the traditional ghost, which makes the comedy work that much better. Combining the eccentric talent of Tim Burton with a couple of great performances, namely Michael Keaton as the titular ghost with the most, Beetlejuice elevates itself from just another comedy to something near legendary.
I’m beyond excited there’s going to, hopefully, be a sequel with Burton, Keaton, and Ryder all supposedly onboard for the ride! With that team, as well as the spirit of the original at heart, I bet a sequel could be almost as spectacular this time around as it was the first. Watch this for Halloween; great to put on any time, but even better around the fall season as the 31st approaches on the calendar.