Algorithmic Intimacy, Prosthetic Memory, and Gamification in Black Mirror PDF

Journal of Popular Film and Television ISSN: (Print) (Online) Journal homepage: www.tandfonline.com/journals/vjpf20 Algorithmic Intimacy, Prosthetic Memory, and Gamification in Black Mirror Jin Kim To cite this article: Jin Kim (2021) Algorithmic Intimacy, Prosthetic Memory, and Gamification...

Journal of Popular Film and Television ISSN: (Print) (Online) Journal homepage: www.tandfonline.com/journals/vjpf20 Algorithmic Intimacy, Prosthetic Memory, and Gamification in Black Mirror Jin Kim To cite this article: Jin Kim (2021) Algorithmic Intimacy, Prosthetic Memory, and Gamification in Black Mirror, Journal of Popular Film and Television, 49:2, 109-118, DOI: 10.1080/01956051.2021.1871584 To link to this article: https://doi.org/10.1080/01956051.2021.1871584 Published online: 13 Aug 2021. Submit your article to this journal Article views: 1186 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=vjpf20 Black Mirror (Netflix) Season 3, 2016. Episode: Nosedive. Shown: Bryce Dallas Howard. Photo courtesy of Netflix/Photofest. Algori t h m i c Int i m acy , Prosthetic Memory, and Gamification in  By Jin Kim 109 110 JPF&T—Journal of Popular Film and Television Abstract: Black Mirror (2011–current), an anthology science-fiction television se- Black Mirror reflects and shapes our ries, portrays how digital technologies reflect and shape our dreams and night- fascinations and frustrations with the mares about the current media environment. The ways in which Black Mirror digital media environment. More spe- depicts the world where digital devices are strongly tied to human conscious- cifically, the distinction between the ness and bodies can be elaborated by focusing on three keywords: algorithmic real and the artificial is blurred, and ac- intimacy, prosthetic memory, and gamification. There are two major arguments cordingly it affects human conditions in presented. First, Black Mirror provides critical perspectives on quantified rela- the science-fiction show. The reversal tionships, artificial memory, and social ratings. Second, at the same time, the of the genuine and the fake has been ways in which this science fiction text portrays current media environments ren- observed in numerous cultural, artistic, ders these critical representations of digital technologies ironically normalized. and theoretical tropes, from Plato’s cave metaphor to Marx’s use-value theory to Keywords: Algorithmic intimacy, Black Mirror, gamification, prosthetic memory, Walter Benjamin’s aura to Borges’ fic- science-fiction television tions to Baudrillard’s simulacra. Digital S simulations force us to revisit this old question about authenticity, and Black cience fiction can be a barom- Loop, The Man in the High Castle, The Mirror portrays how the real-genuine eter of social-cultural-political Handmaid’s Tale, etc.). experiences are transformed by the Praised as Twilight Zone for the fake-artificial simulations. environments, addressing our digital age (Nussbaum), Black Mirror Of the twenty-three episodes in Black fascinations and anxieties about the (2011–current) is an anthology science- Mirror, three episodes were chosen unknown, the Other, and new tech- fiction television series that portrays the for critical analysis based on their ex- nologies (Bould; Sobchack). Since the lures and perils of artificial intelligence, amination of the real-fake boundary in early 1950s, science-fiction television wearable devices, virtual lives, video notably realistic settings with ordinary series have continuously garnered criti- games, social media, surveillance, pre- characters. Episodes about intelligent cal evaluations and market success with dictive analytics, quantified life, and machines (e.g., “Be Right Back”) and such shows as Twilight Zone (1959–cur- toxic communication. As of 2020, a to- virtual reality (e.g., “San Junipero,” rent) and The Quatermass Experiment tal of twenty-three episodes (in five sea- “Striking Vipers”) were excluded from (1953). Early science-fiction television sons and two specials) have been made this analysis due to the overly futuristic often portrayed images of monsters, under Charlie Brooker’s production.1 assumptions about technologies and the aliens, and robots that could be read as Many works of science fiction offer supernatural-fantastical tone. The three metaphors of inhumane agencies, racial fantastical depictions of a distant future episodes chosen for analysis were “The differences, and bureaucracy (Janco- (Westworld, Electric Dreams), super- Entire History of You” (season 1, epi- vich and Johnson). During the 1960s natural settings (Sense8, Tales from the sode 3; “History”), “Nosedive” (season and the 1970s, science fiction in tele- Loop), or alternate histories (The Man in 3, episode 1; “Nosedive”), and “Hang vision became more stabilized, with the High Castle, The Handmaid’s Tale), the DJ” (season 4, episode 4; “DJ”). ideologically convoluted liberal and all of which speculate upon the condi- Three keywords were chosen for the conservative discourses. The Star Trek tions of a dystopian world. Compared depth of analysis: prosthetic memory, (1966–current) and Doctor Who (1963– with other series, Black Mirror takes a gamification, and algorithmic intimacy. current) franchises continue to embrace realistic approach to dystopic themes Previous scholarly works on “History” cultural diversity and political tolerance, with a more focused angle. Specifically, episode highlight an issue of organic- despite somewhat incoherently also re- it is concerned with media and depicts inforcing other values more in line with how digital technologies are saturated a sense of authoritarianism, patriarchy, and imperialism (Wright). Recently, science fiction as a genre has become and weaponized in mundane lives. Its portrayal of social-media addiction, Compared with other microchip implants and tracking, and mainstream, enjoying both market suc- cess and awards and nominations at the algorithm-based apps is familiar to a contemporary society. One particular series, Black Mirror Oscars (Arrival, Blade Runner 2049, Her, Inception, Interstellar, etc.), Em- mys, and Golden Globes (Westworld, episode (“Nosedive”) on citizen rating and self-surveillance was released be- takes a realistic fore China’s Social Rating became an Electric Dreams, Sense8, Tales from the international issue (CBS; Hvistendhal). As a fable and a critique of the contem- approach to dystopic porary media milieu, the series touches Copyright © 2021 Taylor & Francis Group, LLC DOI: 10.1080/01956051.2021.1871584 on timely issues about the ways in which human relationships and consciousness themes with a more Color versions of one or more of the figures in the article can be found online at www.tandfonline. com/vjpf. are conditioned by digital devices and technological environments. focused angle.  Black Mirror 111 synthetic memory (Jenkins; Opaza & Faure), which deserves further inquiry. The Truth of Feeling” is also examined as a site for discussion about prosthetic This is a hyperreal and “Nosedive” is similar to “Fifteen Mil- memory and China’s Social Rating case lion Merits” (season 1, episode 2; “Fif- teen”) in that they both satirize media for gamification. postmodern moment, user labor, which has been discussed Algorithmic Intimacy in a using the theoretical lenses of gamifi- cation (Dragona; Woodcock, and John- Preemptive World “DJ” is a parable about dating apps where a copy could be son) and neoliberalism (Elias, Gill, and Scharff; Gill and Kanai). “Fifteen” and algorithmic relationships. Frank and Amy live in a world of algorithmic codes. more desirable, and has been explored using those theories Everyone meets other people, spends a (Johnson), but “Nosedive” has been uniquely studied drawing on panopti- designated time with them, and eventu- ally is assigned a final partner from the thus more “real” than cism (Allard-Huver and Escurignan) recommendations through Coach, a por- and simulacra (Thomas and Rajan). Critically examining “Nosedive” would table matching gadget. Amy and Frank find themselves attracted to one another, the real thing. facilitate discussions on gamification but the dating device assigns a different and neoliberalism with supplementary partner to Amy. Nevertheless, Amy and triumph of human free will or the fatal- comments on “Fifteen.” Likewise, the Frank decide to believe in intuition, not istic determinism of statistical simula- episode “DJ” portrays algorithmic cal- in numbers, and choose to escape from tion. In the simulation, we see emotional culation as a new condition in relation- the world they live in. When they arrive rollercoasters and powerful romances ships (Abad-Santos; Gilbert), and this at the end of the world, it is found that that look vivid and vigorous. In fact, trope can be more effectively examined they are avatars in one of a thousand they are constructed fictions generated using recent scholarly literature on algo- simulations to test their matching, and from metadata (i.e., data about data) rithmic culture. the avatars visually dissolve into the from anonymous users who share the While discussing the ideologies and percentage “99.9%,” suggesting a suc- same categories of habits, likes, and styles that often appear in the Black Mir- cessful matching probability. In the end, fears with Amy and Frank. This is an ex- ror universe, each episode is closely tied the real-life versions of Frank and Amy ample of measurable types, a sum of “a to memory (“History”), gamification are in a bar. They check their almost nexus of different datafied elements that (“Nosedive”), and relationships (“DJ”), perfect matching rate and approach each construct a new, transcoded interpreta- but they commonly reflect the ways in other more or less hesitatingly. tion of the world” (Cheney-Lippold 47). which qualitative human conditions are Except for the ending sequence, Here is one whimsical interpreta- replaced by quantitative measures in a “DJ” only shows the online doubles of tion of the ending scene: Frank might world of automatic calculations. For the “Frank” and “Amy,”2 who are quanti- not necessarily need Amy if he finds a depth of analysis of scenes, characters, fied and simulated versions of the of- 100% match with another woman. It’s dialogues, ideologies, and styles, Ted fline Frank and Amy. This final scene a classic “boy meets girl” scenario, but Chiang’s short story “The Truth of Fact, can be interpreted openly: the optimistic in this case what the boy wants is a sta- tistically datafied version of the real girl. For Frank, as long as the date has characteristics of Amy, the actual part- ner does not matter. This is a hyperreal and postmodern moment, where a copy could be more desirable, and thus more “real” than the real thing. Although the two lovers overcome a harsh test, this humane triumph is conditioned by sta- tistical design. Furthermore, it seems needless to ask why the couple fit as long as their data are matched well. Dating apps are less about understanding how matching oc- curs and more about producing good matching outcomes. Hence, predic- tive analysis is a key component to the matching business, where causality is Back Mirror (Netflix) Season 4, 2017. Episode: Hang the DJ. Shown from left: Joe Cole, replaced by correlations in a preemptive Georgina Campbell. Photo courtesy of Netflix/Photofest. condition. The metadata measured by 112 JPF&T—Journal of Popular Film and Television were allegedly ‘already there’” (29). This is similar to what “DJ” portrays as the end of human desire: Coach knows me better than I do, expresses what I am before I feel, and fulfills my desire be- fore I dream. Knowing the simulation result, the real Frank and Amy conveniently ac- cepted a preemptive result, an algorith- mically perfect matching. The matching app in Black Mirror, similar to real apps such as Tinder and eHarmony, is a relief for those with “optional paralysis,” who are afraid of “[t]oo many choices… [t] oo many variables. Too many unpleas- antries if things go wrong” (Gilbert). As Black Mirror (Netflix) Season 4, 2017. Episode: Hang the DJ. Photo courtesy of Netflix/ an information filter, those relationship Photofest. apps predict outcomes, and in doing so the spontaneous and ubiquitous moni- (Andrejevic, Infoglut 50–53). In other outcomes are effected. toring of human behaviors and emotions words, sentiment analysis means a shift In “DJ,” the reality-representation re- is more central to this process than the from qualitative human conditions to lationship is circular. Vivid and concrete knowledge or wisdom based on direct quantitative measures. details of reality are translated into data, experience and observations about indi- Frank’s decision to meet Amy is in- which is then made to correlate with viduals. The categorical sums of Amy’s formed by 1,000 simulated tests based reality. At the same time, the real vs. and Frank’s characteristics match ac- on the virtual “Frank,” which is a sum of data relationship reflects what Andre- cording to the algorithmic codes in recorded, categorized, and repurposed jevic (“Reflexivity”) calls “the logic of Coach, and that result is accepted sans parts of the real Frank. Thus, the per- pre-emption,” which means experience explanation. This statistical matching sonal narrative driving the offline Frank and narratives are displaced by a data- works similarly to sentiment analysis, is shadowed by the calculated simu- fied and automated response. That is, which is often applied in customer ser- lations of a thousand virtual Franks. “Frank”’ (a measurable type of the real vice and user analysis. The strategies While the real narrative is silenced, the Frank) sees and imagines, even desires, of sentiment analysis are based on “the constructed one is detailed. The young before the real Frank does. displacement of representation by cor- couple’s love matters in a strategic fic- “DJ” portrays an algorithmic society, relation” by “relying on instantaneous tion so that they are only “narrativized where people stop desiring before they and ongoing mechanized monitoring when [their] data is algorithmically spo- desire. The end-of-desire logic applies of aggregate flow rather than on dis- ken for” (Cheney-Lippold 41). Conse- not only to romance but also to revolt. crete analysis of individual responses” quently, calculating emotions does not The main characters resist Coach, but only feign vivid experiences but also their rebellions are scripted, can be skipped, and thus can be institutional- Knowing the empty genuine desire. The preemptively destined couple in ized. While the climactic scene is a mo- this episode of Black Mirror are like ment of protest, it also confirms what simulation result, the nowadays consumers who are able to express what they do, feel, and desire Coach prophesizes. In a preemptive world, people can know and imagine, through automated algorithms more but they cannot desire and act. real Frank and Amy clearly than ever. Andrejevic (Auto- mated) hypothesizes that Amazon can Memory Overdose conveniently accepted deliver a commodity to one’s front door “History” takes place in a world even before that consumer feels a real where people implant Grain behind their desire, and the logic behind this pre- ear that allows people to record, browse, a preemptive result, an emptive consumption resonates with that of recommendation in the recent replay, edit, and delete what they see and hear. Grain functions like a synthetic ex- algorithmic milieu. Drawing on Lacan tension of organic memory, a personal algorithmically perfect and Zizek, Andrejevic (Infoglut) argues that algorithmic devices “anticipate de- digital video recorder with a streaming service in one’s brain. In the episode, a matching. sire before it happens—to precipitate an husband (Liam) suspects that his wife’s accelerating range of latent desires that (Ffion) behavior toward a man named  Black Mirror 113 In an early scene, Liam where Plato writes in the Phaedrus that a prosthetic memory device (writing) was with Jonas when he was attacked by Liam. When she called the police to hurts our organic memory. As the size report the incident, they hung up when is asked by security and speed of digital storage devices has increased in recent years, the paradox she said she does not have Grain. As Jenkins writes, individuals may “gain of prosthetic memory, which enhances control over [their] own memories at whether he did any yet collapses minds, has become more pertinent. “History” looks like a digital the expense of being taken seriously as a citizen” (49). In a world of prosthetic illegal activities version of Funes in Borges’ short story, where Funes fails to think because he memory, seeing is not believing—resee- ing is. can remember everything he sees, hears, Discussing the issue of memory, Chi- recently, and he allows and experiences. Borges writes “[t] o think is to forget differences, to gen- ang differentiates “the truth of fact” and “the truth of feeling.” The former is ex- eralize, and to abstract” (137). Under ternal; the latter is cognitive. The former his Grain to be scanned the legacy of Plato and Borges, recent science-fiction texts have continued to relies on the accurate representation of what actually happened with details as rather than tell his own question whether memory can be a hu- man condition. In his short story, “The in photorealism; the latter depends on contextual understanding and relational Truth of Fact, the Truth of Feeling,” Ted interpretations. “The truth of fact” is narrative. Chiang introduces the Remem, a device integrated into consciousness. It moni- about preciseness; “the truth of feeling” is about righteousness. In the end, Liam tors, records, and replays one’s experi- loses his wife and baby because he was Jonas at a dinner party is flirtatious. ences. With Remem, we become cogni- obsessed with precise facts. He earns When the couple return home, Ffion tive cyborgs who cannot misremember. “the truth of fact,”’ but loses “the truth admits she and Jonas briefly dated, but “History” portrays several cases in of feeling.” the husband thinks there is more than which digital memory replaces organic What is stake is a paradox of mem- that. Becoming paranoiac and drunken, memory. In an early scene, Liam is ory: our obsession with perfect memory Liam scrutinizes Ffion’s and Jonas’s be- asked by security whether he did any meets its emptiness. As Chiang writes, havior by Grain redos, demanding Ffion illegal activities recently, and he allows “a perfect memory couldn’t be a narra- provide more answers. When she denies his Grain to be scanned rather than tell tive any more than unedited security- this, Liam heads to Jonas’s house, forces his own narrative. At the dinner party, cam footage could be a feature film” him to replay his memories of Ffion, and there is a woman who decides not to (209), and Andrejevic (Automated) finds Jonas’s memory of sex with Ffion implant the prosthetic memory device writes that “a story about everything… about 18 months ago, which was about in order to live in her own memory. She would tell us nothing” (34). As fables of when the couple had a daughter. Back at home, Liam demands that his wife re- play the sex with Jonas in their home, finding they did not use a condom. At the ending, left alone in the house, Liam plays back happier redos of the couple, following which he surgically removes the Grain from his ear by himself. Jenkins examines this episode by in- corporating fictional and nonfictional narratives (Strange Days and Cyborg) in terms of prosthetic memory and wearable computers. Based on McLu- han’s notion of the narcissus narcosis, Jenkins claims that “History” questions our fascination with our own mechani- cally enhanced memory. In this section, Jenkin’s arguments and his method of using narratives are extended to reflect on meanings of prosthetic memory from “History.” Criticism of tools replacing organic Black Mirror (Netflix) Season 1, 2011. Episode: The Entire History of You. Directed by Brian memory traces back to Ancient Greece, Welsh. Shown: Toby Kebbell. Photo courtesy of Netflix/Photofest. 114 JPF&T—Journal of Popular Film and Television “History” delivers a flections. Selective and partial memory is not necessarily a weakness. Consequently, she ends up in jail where she enjoys the feeling of liberation from “History” can be read as a moral fable worrying about her rating. timely lesson given for contemporary people who are overly reliant on prosthetic memories rather “Nosedive” is a satire about gamifica- tion, “the process of turning something than organic ones. Series producer that is not a game into a game” (Drag- recent discussions Charlie Brooker mentions how the im- portance of remembering goes together ona 2) to change individual behaviors to be productive and efficient. Another ep- over the “right to be with the importance of forgetting as the initial idea of “History,” which portrays isode of Black Mirror, “Fifteen Million Merits” (season 1, episode 2), also uses a man slowly killing himself with an ob- gamified lifestyle and reality TV as key forgotten” in Europe session with the past, aided by a gadget (Brooker, Jones, and Arnopp). Memory tropes. In this other episode, people earn virtual credits by watching commer- overdosed people are keen at the details, while also discussing cials when their media consumption is but blind to the big picture. This Black translated into currency. Whereas “Fif- Mirror episode is a variation of bounded teen Million Merits” portrays a world of a “future where you rationality, in which people are too in- formed to miss values from imperfect audience labor (i.e., watching as labor), “Nosedive” depicts a world of aesthetic human nature, such as empathy and labor (i.e., social-media posting as la- don’t forget anything,” forgiving. “History” delivers a timely lesson given recent discussions over the bor), but both Black Mirror episodes imagine conditions of living where our “right to be forgotten” in Europe while a world that a Google mundane media consumption turns into also discussing a “future where you value creation. don’t forget anything,” a world that a “Nosedive” draws on a digital version executive imagines. Google executive imagines. In this con- text, obsessions with perfect memory of respectability politics, which “rein- force designations of appropriate or in- must meet the virtues of obsolescence, appropriate behavior rooted in structural curses and blessings of perfect memory, “the solace of oblivion” (Toobin). Those inequality” (Pitcan, Marwick, and boyd “History,” Borges’s and Chiang’s stories who remember everything cannot think. 164–65). The main character of the epi- commonly touch on total-surveillance sode embodies strategies of digital re- Neoliberal Subjects in a spectability politics, such as adapting society, where everything can be re- corded, categorized, and interpreted but Gamified Society to what counts as normative in a world omnipresent information fails to deliver Lacie, the main character in “Nose- of social-media influencers. Lacie is al- meaningful experiences to individual dive,” lives in a world where people ways vigilant to how her neighborhood, and society. The main characters in the evaluate each other using a social rat- colleagues, and social-media friends three fables come to have accurate in- ing system. Personal interactions are see her. She never stops smiling, laugh- formation with a perfect memory (de- streamlined in a five-star scale, and the ing, and complimenting others, and she vice). The problem is that they are so ratings affect people’s socioeconomic consistently posts peppy images and trapped by details as not to have abstract status, including employment, housing, messages on her social-media account and critical thinking. Perfect memory transportation, and other socioeconomic (e.g., the picture of her teddy bear doll). is earned by sacrificing sensory expe- conditions. Lacie hopes to improve her It is amazing to see how she can spare riences, and thinking is hindered by 4.2 score to 4.5 to qualify for a luxury her time for her work and house chores “memory overdose” (Opaza & Faure). apartment. When Lacie is invited to if one sees her series of overly posi- Andrejevic (Automated) argues that the wedding of her childhood friend tive phatic communications. It is also “complete specification does not en- (Naomi), who has a 4.9, she finds an questionable how genuine her smiles hance the subject, it liquidates it” (8). opportunity to boost her score. Unfor- and compliments are; remarking on the Google has imagined the future of tunately, her rating plummets when a character’s laugh, Bryce Dallas Howard, not forgetting everything (Silverman), series of mishaps occur and, due to her who plays Lacie, says she “added 15 per and this belief is imbued with a value reduced score, Lacie is unable to board cent fear, 30 per cent disingenuousness, judgment that accurate and automated the airplane or use a rental car. Knowing and 25 per cent depression!” (Brooker, recording-storage in machines are better Lacie’s lateness and low score, Naomi Jones, and Arnopp 137). than imperfect and slow human mem- asks her not to come, telling the truth As a low-status individual, the her- ory. The Black Mirror episode points that Lacie was invited as a symbol of or- oine does what Goffman means by out the limit of this futuristic version. dinariness, authentic friendship, a pure self-presentation, especially concern- When mechanical redos replace organic decoration. Frustrated but enlightened, ing how low-class individuals portray memory, there are repetitions but not re- Lacie makes a scene at the banquet. themselves (e.g., pretending to be high-  Black Mirror 115 culture consumers) in the hopes of being uplifted in a social ladder. Critical media scholars coined the term aesthetic labor to explore the ways in which online us- ers emphasize positive moods and opti- mistic attitudes, especially in the area of beauty products, fashion, food, decora- tion, and health (Elias, Gill, and Scharff; Gill & Kanai). The heroine of “Nosedive” engages in diverse forms of aesthetic labor as she spends her time and energy taking cute photos and uploading feel-good postings. In a café seen in the early part of the episode, she decorates her cof- fee and cookie to take a picture that her followers might like. She nibbles the cookie and sips the coffee, but she does not seem to enjoy them. Lacie is more Black Mirror (Netflix) Season 3, 2016. Episode: Nosedive. Shown: Bryce Dallas Howard. interested in presenting her experience Photo courtesy of Netflix/Photofest. than in cherishing it. Post first, experi- ence later (or never). Her aesthetic la- Authentic gesture, that’s the key.” His sentation and self-surveillance. Lacie is bor is mixed with self-presentation and advices sound contradictory in that the seemingly respectful to and observant authenticity. When Lacie posts a picture “authentic gestures” are to be performed about others, yet her attitudes and behav- of her teddy bear, the image is meant to to raise her credit scores by decorating iors are very much strategic in order to provoke a sense of childhood, and Lacie her life bigger than real, by boosting her impress herself on others effectively so successfully valorizes it when the post- social-media likes numbers, and by con- that she could climb up a social ladder. ing bumps up her scores. The teddy bear necting to high-rating people. She is an entrepreneur who sells exces- becomes a moment for Lacie to recon- Practices of self-transformation (e.g., sively optimistic, confident, and relat- nect with her old friend Naomi because makeover shows) align with neoliberal- able images of herself, which is noth- they both share keen interest in decora- ism, a systemic ideology that individual ing but a brand. Here, self-surveillance tion, diet, and healthy food. In a scene well-being and success can be best im- meets self-branding. Employing diverse where they have a video chat, Naomi proved by “liberating entrepreneurial tactics of impression management, the is doing yoga, and Lacie is cooking a freedoms and skills within an insti- heroine in “Nosedive” embodies a neo- healthy meal. When they begin to talk tutional framework characterized by liberal subject who is monitoring real about Naomi’s wedding, they never stop strong private property rights” (Harvey and imaginary eyes of the others. The 2). Female users often work under less mode of self-surveillance aims to opti- shouting, cheering, and laughing. Their or no pay with expectations to produce mize products of individuals’ aesthetic overjoy is strategic; Lacie needs Nao- social capital, the currency in emotional labor so that the neoliberal subjects mi’s invitation for boosting her rating, capitalism, which is coupled with ideas can construct their images to appeal to and the bride wants her old pal as a sym- bol of innocence, just like a teddy bear. of self-care, aesthetic labor, and “beauty Lacie is more interested Two of the key elements to social-me- politics in neoliberalism” (Elisa, Gill, dia posts are genuineness and authentic- and Scharff 22). Practices and strategies ity, and these qualities are unintuitively of aesthetic labor resonate with those often achieved through planning, stag- ing, and scripting. This seemingly ironic of neoliberal subjects, who are continu- ously advised, requested, and some- in presenting her but likely qualities of online presenta- times enforced to present themselves as tion fits with the nature of the heroine. Joe Wright, the writer of “Nosedive,” authentic, real, and ordinary (Duffy). Just like Grain, the memory device in experience than in imagines Lacie as a likable character who wants to be loved and, thus, au- “History,” an eye gadget is implanted in the citizens in “Nosedive,” and they can cherishing it. diences can easily identify with her see others’ ratings so that they are vigi- (Brooker, Jones, and Arnopp 143). She is genuine and vulnerable, but also stra- lant about rating control. In a world of “ubiquitous personal rating” (Third and Post first, experience Domingue), people are automatically later (or never). tegic and ambitious. Lacie is consulted by an expert, who says “Just be you. interpellated and engaged in self-pre- 116 JPF&T—Journal of Popular Film and Television The score increases as a user performs “good” behaviors (e.g., buying diapers, disposing of garbage properly), and decreases as the user performs “‘bad” behaviors (e.g., jaywalking, littering, spreading unchecked rumors) (Hvis- tendhal; Mitchell and Diamond). As a surveillance technique, this gamification system benefits those with high scores via rewards such as hous- ing loans, travel, school, jobs, and util- ity billing. People with high scores can check into hotels and rent cars without a deposit. One Shanghai hospital allows users with a score above 650 to see a doctor without waiting. Online dating venues give better visibility to users with higher scores, and on Circles, Ali- pay’s dating app, only male users with Black Mirror (Netflix) Season 4, 2017. Shown: Cristin Milioti. Photo courtesy of Netflix/ 750 or higher scores can comment on Photofest. women’s posts (Rollet). However, there imaginary audiences, like family, peers, ing section will discuss how gamifica- are also more serious concerns. Those and employers (Duffy and Chan). tion affects our lifestyles with a recent with low scores are limited in using The main character’s journey can be Chinese social rating system. planes, trains, real estate, cars, and even read as an allegory about neoliberal sub- high-speed Internet (CBS). In the city of jects in a gamified society. By commit- China’s Social Credit System Suzhou, 200 points are deducted when ting herself to consistent self-branding When the main character of “Nose- users are found to have posted false and mutual rating, Lacie becomes a dive” could not purchase a plane ticket product reviews, evaded utility bills, or brand “to maximize the self as a project” due to her low rating, it was not just a missed a hotel booking (Rollet). (Weber 227). “Nosedive” seems realis- fictional situation. In 2018, four million Sesame Credit is computed using not tic not only because it depicts how our people in China were blocked from pur- only users’ behaviors, but also those lives are gamified so as to be translated chasing high-speed train tickets due to of their friends. One can lose points in in to a measurable type or a data tem- low social scores (VICE news). Using their rating due to a friend’s low score. plate (Cheney-Lippold) but because its total surveillance tools such as facial Likewise, in “Nosedive,” one of Lacie’s plot is based on technologies, which are recognition and behavior monitoring, colleagues is bullied and struggled with available or in use now. Watching this the Chinese government introduced the a plummeted score. When she feels bad episode even seems surrealistic in that Social Credit System (Zhima) in 2014, for him and gives him a positive rating it looks similar to what has been already aiming to collect searchable data from out of pity, she is not just warned by her occurring: a rating society. The follow- 1.4 billion citizens in the near future colleague, but she also receives negative (Mitchell and Diamond). As of 2020, lo- ratings. The side effects of a rating sys- cal governments manage their own sys- tem as a digital social ladder could thus When the main tems, and there is no centralized system. There are, nevertheless, fears of a police be social segregation, increasing exclu- siveness and promoting a new digital state and an authoritarian turn in China divide. character of “Nosedive” (Mozur and Krolik) as the government and private institutions have linked up, Combining financial and political metadata into a super app could deepen could not purchase a and a networked and nationwide data- a government’s control over its citi- base is expected in the future (Kobie). zens, thereby weakening civil society. Of many systems, the Zhima (= Ses- The Chinese government published the plane ticket due to her ame) credit score is noticeable. Devel- oped by Ant Financial in 2015, Sesame names of political activists, and as a result, they came to be restricted in pri- Credit (ranging from 350 to 950) was vate and public services. One Chinese low rating, it was not adopted by Alipay and WeChat, two major Chinese apps. Just like the rat- journalist was banned from traveling and using hotels after reporting on sus- just a fictional situation. ing in “Nosedive,” this credit is calcu- picious dealings by Chinese politicians lated using people’s everyday routines. (Hvistendhal). The Chinese government  Black Mirror 117 also announced a measure to ban the blacklisted citizens from social gather- ditions as forgetting, genuineness, and vivid relationships. Experiences of watching ings (Rollet). Black Mirror simultaneously criti- Notably, other user rating systems that are limited to one app (e.g., Uber, cizes techno-utopianism and welcomes a world of gamification. The series is Black Mirror warn us a battleground between optimistic and against a ubiquitous Yelp) are becoming more common. The fictional and the nonfictional rating sys- skeptical perspectives in portraying tems are based on user aesthetic labor, problems, concerns, and challenges of expanding ideas and practices to diverse aspects of life. And although they are digital culture: that is, mostly on the the- matic level. On the stylistic level, how- and always-on media technically opt-in, they are admittedly, ever, the ways in which the episodes realistically mandatory. depict near future society are resonating taken-for-granted images about digital landscape and, at the Discussions and Conclusions media. This television series is timely There are two worlds that conflict and in touching on possible consequences of wearable technologies, neoliberal sub- same time, invite us to exist in parallel in these Black Mirror episodes. One is automatically recorded jects, and quantifiable relationships. But it is shy of questioning more fundamen- participate in the same (“History”), statistically rated (“Nose- tal assumptions behind infrastructure. dive”), and algorithmically simulated (“DJ”). The other is filled with specific The starting point of the show accepts rather than problematizes its very as- environment. human activities and existences in the sumptions. Consequently, the overall forms of organic memories (“History”), tone leans toward nihilism—the notion its thematic insights might be weakened diets and exercises (“Nosedive”), and that one cannot avoid technological by the very styles that depict it. Here, physical intimacy (“DJ”). The first type development. it would be worth reminding view- is measurable, with little room for the Another point worth noting is the dra- ers of Lazarsfeld and Merton’s notion messiness of lived experience; the sec- ma’s convoluted plot structure, which of the narcotizing dysfunction of mass ond type is unquantified, with ample is not exclusive to Black Mirror, rather media, whereby exposure to media con- room for human mistakes. Our current a cliché in recent science-fiction texts. tent may anesthetize rather than ener- society is experiencing the first type of Plot twists, reversals, conspiracy nar- gize audiences. Lazarsfeld and Merton lives (i.e., the fake) more and the second ratives, and counter narratives might warn against mass media because au- type (i.e., the genuine) less. be trapped by “the paradox of general- diences often mistake knowing as act- The transition to a more automated ized savviness: it is impossible to take a ing. Watching Black Mirror could be society must embrace ubiquitous sur- stance that debunks all representations” experiencing narcotizing dysfunction of veillance and complete databases of (Andrejevic, “Reflexivity” 170). The digital media, if tech-savvy audiences the “truth of fact,” which belittles vivid seduction of the science fiction genre acknowledge nightmares of current human experiences and memories be- lies at a double logic of debunking and technological environments, but their cause they are incomplete, partial, and endorsing myths of new technologies. novel insights end up with skepticism subjective. This bias of algorithm pre- Experiences of watching Black Mir- against any social-political-communal ror warn us against a ubiquitous and actions. These seemingly enlightened fers the metadata versions of everyday always-on media landscape and, at the citizens might accept algorithm, pros- life to representational narratives. What same time, invite us to participate in thetic memory, and gamification as new is expected to happen in the future is a the same environment. People are sup- digital destinies rather than avoidable society full of ratings and simulation, posed to be enlightened about dangers dystopias. not much of experiences and narratives. of “dataveillance” in most Black Mir- What is at stake here is that people are ror episodes, but what they remember NOTES deprived of the capacity to make sense is likely gadgets for perfect memory 1. In a 2020 interview, Brooker expressed of their lives. Experiences and narra- (“History”), peer rating systems (“Nose- his hesitation to continue the Black Mirror tives are by nature selective, framed, series, saying “I don’t know what stomach dive”), and relational matching (”DJ”). there would be for stories about societies and subjective. People can think deeply In other words, although the audiences falling apart” (Morris). in abstraction, which is to rule out spe- problematize these issues, they end up 2. The distinction between datafied and cifics and sensorium particular. Perils accepting these ideas. quantified “person” and genuine and natural occur when the dreams of full memory Black Mirror is a cultural barometer person is borrowed from Cheney-Lippold. (“History”), total gamification (“Nose- of the contemporary media landscape. 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