Black Mirror premiered on Apr. 10 on Netflix, and had two days to make an impression for the week between Apr. 7 and 13. In its short time, the series debuted in fourth place with 7.1 million views and 43.7 million hours viewed.
Black Mirror is a British anthology television series created by Charlie Brooker that explores speculative fiction, often set in near-future dystopian worlds shaped by advanced sci-fi technology. Inspired by The Twilight Zone, the series uses themes of media and technology to provide thought-provoking social commentary.
Most episodes are written by Brooker, with Annabel Jones serving as executive producer. Over time, Black Mirror has grown into a vast collection, featuring 33 episodes across seven series and one special, along with the interactive film Bandersnatch (2018).
The first two series launched on the British network Channel 4 [Channel 4 is a British free-to-air public broadcast television channel owned and operated by Channel Four Television Corporation. It is publicly owned but, unlike the BBC, it receives no public funding and is funded entirely by its commercial activities, including advertising] in 2011 and 2013, as did the 2014 special “White Christmas”.
The programme then moved to Netflix. Where it produced four additional series between 2016 and 2023, and finally releasing the seventh series on 10 April 2025. Inside Black Mirror, a companion book, was released in 2018, and Netflix produced two related web series. Many episodes’ soundtracks have also been made available as albums.
The show won the Primetime Emmy Award [The Primetime Emmy Awards are annual awards that recognize and celebrate excellence in American primetime television programming. They are presented by the Television Academy. The awards ceremonies typically take place in mid-September, on the Sunday before the start of the fall television season] for Outstanding Television Movie three times in a row for “San Junipero,” “USS Callister,” and Bandersnatch.
It has also been credited, alongside American Horror Story and Inside No. 9, with reviving the anthology television format. Several episodes have been recognized as remarkably prognostic, reflecting real-world technological advancements and societal concerns.
Its first-ever episode premiere in December 2011, on Channel 4 followed by a second series in 2013. When Netflix took over the rights in 2015, it initially commissioned 12 episodes, later divided into two seasons of six episodes each. From there, the series continued to evolve:
Black Mirror Series Timeline
| Series | Episodes | First Released | Last Released | Network |
|---|---|---|---|---|
| 1 | 3 | 4 December 2011 | 18 December 2011 | Channel 4 |
| 2 | 3 | 11 February 2013 | 25 February 2013 | Channel 4 |
| Special | 1 | 16 December 2014 | – | Channel 4 |
| 3 | 6 | 21 October 2016 | – | Netflix |
| 4 | 6 | 29 December 2017 | – | Netflix |
| Interactive Film | 1 | 28 December 2018 | – | Netflix |
| 5 | 3 | 5 June 2019 | – | Netflix |
| 6 | 5 | 15 June 2023 | – | Netflix |
| 7 | 6 | 10 April 2025 | – | Netflix |
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“Black Mirror” is a contemporary reworking of “The Twilight Zone” with stories that tap into the collective unease about the modern world. Each story features its own cast of unique characters, including stars like Bryce Dallas Howard (“The Help”), Alice Eve, Gugu Mbatha-Raw, Tom Cullen and Jerome Flynn (“Game of Thrones”). Joe Wright, Dan Trachtenberg, and James Watkins are among the featured directors.
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Black Mirror Season 7 Episodes, Ranked from Best to Worst
No. 6 | Episode 2, “Bête Noir”
“Bête Noire” discovers the power of technology to manipulate reality, taking inspiration from Arthur C. Clarke’s famous idea that advanced technology can feel like magic. The episode, which is a workplace thriller, centres on Maria (Siena Kelley), a product developer for the international candy company Ditta. Concern arises when she re-connects with her old schoolmate Verity (Rosy McEwan), who quickly gains favour and lands a junior job at the company.
Soon, Maria’s work life spirals into chaos—petty disputes escalate, miscommunications worsen, and disturbing digital manipulations shake her perception of reality. Verity appears capable of altering emails, security footage, and even Google search results, distorting what Maria knows to be true.
The episode had the potential to explore digital fraud, false information, and the openness of online data, but instead introduces an overpowered plot device that leans heavily into soft sci-fi with little justification. While Brooker focus more psychological horror over scientific realism, some viewers may find the tech logic too convenient, undermining what could have been a tense, surreal story.
No. 5 | Episode 3, “Hotel Reverie”
“Hotel Reverie” blends Black Mirror’s signature futuristic tech with old Hollywood charm, making it one of the season’s most visually stunning episodes. The episode introduces ReDream, an AI-driven tool that allows actors to immerse themselves into classic films, performing alongside digital recreations of original cast members.
The story follows Brandy Friday (Issa Rae), who takes on the lead role in a remake of a 1940s melodrama, with Kimmy (Awkwafina) overseeing the project. However, as expected in Black Mirror, the technology malfunctions, leading to a race against time—Brandy must follow the film’s script to completion or risk being trapped forever within the simulation.
While the romance between Brandy and Clara (Emma Corrin) is touching, the episode’s message is unclear. Does it serve as a warning against the commercialisation of art or as a poignant tragicomedy? The script misses opportunities to address themes like colorblind casting and gender-swapped characters briefly touching on these issues without exploring deeply into them.
Corrin effortlessly and authentically plays a remarkable performance in 1940s movie star. Thought-provoking issues of the morality of keeping sentient digital beings trapped in artificial environments and the ethics of postmortem picture use are brought up by their character’s increasing awareness of their digital existence.
No. 4 | Episode 4, “Plaything”
The Black Mirror episode “Plaything” is fuelled by an intriguing retro-tech concept and slow, organic storytelling. The main character, Cameron (Peter Capaldi), is a quirky man who was arrested for shoplifting and whose genetic markers connect him to an unidentified body.
His transformation from an awkward young man to a charismatic figure, influenced by hallucinogens and an experimental video game from the 1990s called Thronglets, is demonstrated as he narrates his life story in an interrogation room.
More than just nostalgic fun, Thronglets, which are modelled after Lemmings or Age of Empires, have a sinister undertone that exposes Cameron’s ambitious scheme to dominate the world. The episode’s real strength is in its simplicity—avoiding superfluous exposition and concentrating on tight, captivating storytelling—even though it builds towards a predictable but terrifying climax.
Embracing the tragic, terrifying, and humorous elements of his role, Capaldi gives an exceptional performance. The design of Thronglets reflects Brooker’s passion for video game culture, which deepens the themes of control and obsession in the narrative.
No. 3 | Episode 6, “USS Callister: Into Infinity”
The story of Robert Daly’s stranded digital crew from the first USS Callister episode is continued in “USS Callister: Into Infinity,” Black Mirror’s first-ever direct sequel. The crew, now surrounded by 30 million other players, enters the mass-online platform after leaving his in-game pocket universe. They prioritise survival because death is permanent for them, unlike regular players who can respawn.
Their real-world counterparts are engaged in combat with the crew as they fight to survive in the virtual world; some are attempting to aid them, while others are attempting to destroy them. The episode skilfully combines existential horror and comedy, alternating between dark meditations on the agony of imprisoning sentient clones indefinitely and humorous scenes, such as stranded astronauts discussing survival strategies.
Characters are forced to make morally impossible decisions in a cosmic-scale version of the “trolley dilemma,” which is introduced in a crucial final confrontation. Although the episode feels a bit crowded at times because Brooker includes so many conflicting thought experiments, it successfully conveys its intricate themes despite its lengthy duration.
The conclusion can be interpreted as either a disturbing psychological nightmare, reminiscent of a twisted version of Pixar’s Inside Out, or as an oddly wholesome family dynamic.
No. 2 | Episode 5, “Eulogy”
“Eulogy” stands out as the quietest and most emotionally resonant episode of Black Mirror Season 7, offering a raw, introspective look at human memory and regret.
This story explores the duality of the Eulogy memory aid, a device that both enables Philip (Paul Giamatti) to relive moments with a lost love and compels him to face painful truths, in contrast to most Black Mirror episodes that portray technology as intrinsically dangerous.
As the illusion starts to fall apart, Philip is confronted with fabricated stories, overlooked facts, and personal shortcomings. Philip enters old photographs, reliving cherished memories with wonder and nostalgia. The episode raises the question of whether having perfect recall is a true blessing or a drawback that makes regret worse.
The episode’s emotional depth is truly moving because of Giamatti’s strong, subtle performance, which embodies sorrow without resorting to theatrics. While Eulogy and “The Entire History of You” from Season 1 have similar themes, Eulogy tends to be more contemplative and less paranoid.
No. 1 | Episode 1, “Common People”
Opening Black Mirror Season 7, “Common People” is an ambitious and disturbing work that sharply criticises subscription-based businesses and the commodification of human life.
The episode centres on Mike (Chris O’Dowd) and Amanda (Rashida Jones), a loving couple whose world is turned upside down when Amanda falls from an undiagnosed brain tumour. Desperate to save her, Mike turns to Gaynor (Tracee Ellis Ross), a sales rep for Rivermind, an experimental tech firm promising an impossible solution—upload Amanda’s damaged brain section to the cloud, letting doctors remove it while preserving her consciousness. Initially, it appears to be a miracle; but, as Rivermind increases its subscription costs, Amanda starts to suffer. Low-tier members like her are pushed into unnatural sleep, their brainpower used to benefit more affluent consumers.
Even more troubling, advertisers invade her mind, disturbing corporate control superseding her speech. From the shortcomings of private healthcare to the harshness of technology startups, from the hazards of influencer-driven platforms to the traps of contemporary wellness culture, Brooker’s satire spares no one. Much like Season 6’s “Joan is Awful,” the episode targets streaming services and reveals the harsh truth of subscription addiction.
Gaynor, who is eager to sell hope but not ready to provide genuine relief when it counts, shows himself as a disturbing antagonist representing capitalist greed hidden under human appeal.
More About Black Mirror
Themes and Genre
Black Mirror is an anthology series, that means each episode is a standalone story that can be watched in any order. The show is a blend of speculative and science fiction, often displaying dystopian near-futures where advanced technology enhances real-life behaviors, particularly those related to the internet and digital society. A notable example is “Crocodile,” where the Recaller device, used to access people’s memories, represents the only major shift from present-day reality. Number of such technologies in the show alter human consciousness or the body, often without concern for ethical aspects. While they offer mobility or freedom, they also amplify dangerous personality traits.
The series is known for its retrofuturistic aesthetic, showcases environments that lack comfort, emotional depth, or personalization. Many settings reflects capitalist and patriarchal societies, by promoting themes of data privacy, surveillance, virtual reality, individualism, and materialism. Twisting narratives are common throughout, leading to unexpected plot twists.
Despite concentrating it’s focus on future, Black Mirror covers multiple genres:
- Crime fiction is seen in episodes like “Hated in the Nation,” “Smithereens,” and “Crocodile”.
- Horror elements feature in “Black Museum” and “Playtest”.
- Political satire and black comedy shape “The National Anthem”.
- Romantic themes appear in “San Junipero,” “Striking Vipers,” and “Hang the DJ”.
- Space opera influences drive “USS Callister”.
- Each season is distinctively varied, with additional episodes delving into post-apocalyptic fiction, drama, war movies, and psychological thrillers.
The show often represent scientific and technological advancements in a negative way, with most episodes concluding unhappily. However, characters who approach technology responsibly can experience positive outcomes, as seen in “San Junipero.” Scholars have connected Black Mirror to Guy Debord’s concept of the spectacle, which suggests that mass media creates alienation and an unachievable utopia. This idea plays out in “Nosedive,” where the main character chases a superficial, status-driven life propelled by approval from social media.
Experts have categorized Black Mirror within the “mind-game film” genre, where narratives are non-linear and shattered—similar to films like Inception and Eternal Sunshine of the Spotless Mind. These works often depict the fragile nature of society and the fallibility of institutions, technology, or family structures.
Critics note that episodes produced under Channel 4 carried a distinctly British tone, which shifted after Black Mirror moved to Netflix. Later episodes—such as “Nosedive,” “San Junipero,” “USS Callister,” and “Hang the DJ”—exhibit pastel aesthetics, nostalgia-driven themes, and a more optimistic tone compared to the earlier seasons. This trend continues in season six, which introduced supernatural horror elements in “Mazey Day” and “Demon 79,” while lowering technology’s role in the storytelling.
What are the connection between Episodes?
Earlier episodes of Black Mirror are filled with Easter egg allusions, subtly woven nods to previous episodes into the fabric of the series. A recurring example is the fictional news channel UKN, which recurs frequently in several stories, while Fence’s Pizza, a company featured in “USS Callister” and “Crocodile”, serves as another small but key connection.
Many hidden details can be found in news tickers and social media feeds within different episodes, that offers devoted fans with intriguing links throughout the series’ timeline. One of the most noteworthy examples comes in “Black Museum,” the final episode of season four, which is full with connections to the series’ earlier episodes.
One particularly notable musical Easter egg is the song “Anyone Who Knows What Love Is (Will Understand)” by Irma Thomas, which appears in seven different episodes, including “Fifteen Million Merits,” “White Christmas,” “Men Against Fire,” “Crocodile,” “Rachel, Jack and Ashley Too,” “Joan Is Awful,” and “Common People.”
Another symbol that appears frequently in Black Mirror was first used in “White Bear.” Originally created by Charlie Brooker, it later serving as a branching path symbol in Bandersnatch and as a talisman in “Demon 79,” reinforcing the show’s thematic connections.
There are a few noteworthy exceptions to the rule that Black Mirror casts different actors for each episode, with some actors playing several unrelated characters.
- Aaron Paul, known for his cameo in “USS Callister,” later starred in “Beyond the Sea,” a space-themed episode.
- Hannah John-Kamen played Selma in “Fifteen Million Merits” and Sonja in “Playtest.”
- Michaela Coel appeared as an airline check-in worker in “Nosedive” and a space crew member in “USS Callister.”
- Monica Dolan had roles as a police officer in “Smithereens” and as a protagonist’s mother in “Loch Henry.”
- Daniel Lapaine appeared as Max in “The Entire History of You” and later as Dr. Daniel in “Black Museum.”
- Anjana Vasan and Paapa Essiedu, both seen in “Demon 79,” made cameo appearances in “USS Callister: Into Infinity.”
Given the numerous Easter eggs, related themes, and subtle hints throughout episodes, many fans and journalists have conjectured that Black Mirror functions inside a shared universe. In an effort to determine the actual chronology of events, some have even tried to construct chronologies between various installments.
Series creator Charlie Brooker has offered different perspectives on the topic. Initially, he described the world of Black Mirror as an “artistic universe” or a “psychologically shared universe.” However, after season three, he admitted that a line in “Hated in the Nation” refrencing the crime in “White Bear” established a “canonical” connection between the two.
Brooker later stated that “Black Museum” seems to strongly suggest that all episodes share the same universe. Yet in 2018, he clarified that these connections are “extra texture for fans” rather than limiting restrictions that determine the show’s fromat.
After the sixth season, Brooker offered an alternative viewpoint, arguing that viewers might think of every Black Mirror episode as a Streamberry show—a reference to the Netflix spoof in “Joan Is Awful,” where episode titles obliquely reference previous seasons.
