White Christmas: Black Mirror, Did it Age Well?

Before we discuss White Christmas, let’s take a trip back to the past, all the way to when this episode was first released: December 16, 2014. 

In 2014, with over 70% of all internet using Facebook, it was the most popular social media platform. However, it was also reaching its peak as other platforms such as Instagram, LinkedIn, Twitter, and even Pinterest saw significant growth in the past few years.  

On May 15, 2014, Google Glass and its $1,500 price tag were introduced to the world. With cost and privacy regulations in question, the consumer market simply wasn’t ready for such a “cool” piece of technology. 

On November 6, 2014, the first generation of the Amazon Echo was released. This voice-activated device was anticipated to change how we interact with our homes and all the technology in them, and not merely be a glorified speaker system. 

2014 was the year Kanye West and Kim Kardashian married. The wedding cost $12 million, which included a Bespoke Calacatta Vaticano marble table worth $478,000 for the reception

In October, comedian Hannibal Burress called out Bill Cosby on stage for not only being smug but also being a rapist. That act opened the door for a slew of victims to accuse Cosby of drugging and sexually assaulting them. 

8 months earlier, 15-year-old, Breck Bednar was murdered by 18-year-old, Lewis Daynes, a boy he met playing online video games. Breck’s family claimed he was a victim of grooming — how his personality changed over the last few months — before he traveled to Daynes’ flat. There he was stabbed in the neck, and the photos of his death were shared in a gaming group on social media. 

In 2014, abortion was a key issue in American politics. Republicans began to shift their focus from implementing outright bans to attacking the resources. These initiatives include limiting health coverage for abortions and driving clinics out of business. 

Now that we recall the state of the world during Christmas 2014, we can start our discussion on Black Mirror, episode 4 of season 2: White Christmas. 

How did this episode age? Are the themes still relevant? Have any of the predictions come true? And if they haven’t, are they still plausible?

Let’s find out. 

Bad Conversations 

White Christmas is an anthology within an anthology: three separate tales loosely tied together with one central storyline. In the first, we hear Matt’s story about his former role as an online consultant, who used a live streaming technology called Z-Eyes that allowed him to see and hear everything his client was experiencing. 

On this night, he followed the POV of an insecure man named Harry as he searched for a date at a work party. Matt’s advice to Harry reminded me of The Game by Neil Strauss (Amazon) and the techniques that pick-up artists would use to seduce women. One approach was to pay attention to the less attractive individual or the person you’re not as interested in. In doing so, you appear more appealing to your “target,” thus making it easier for you to seduce them later. Published in 2005, The Game is still regarded as a reliable resource for 17-year-old bros and the desperately hopeful. 

Only in 2019, did the rise of the term “toxic masculinity” reach the mainstream, and cis-gendered straight men had to relearn proper etiquette, including the need to stop negging and gaslighting women. Rather than manipulation and dominance, this new education was focused on respect.

In 2017, Alyssa Milano shared a tweet encouraging all women who have been sexually harassed or assaulted to post “Me Too” as their status on social media, in an effort to end the stigma and silence. This act led to The Me Too Movement, which raised awareness of sexual assault and brought down powerful offenders: Harvey Weinstein, R Kelly, Kevin Spacey, and many others. 

However, while the waves were crashing around all the rapists and our beloved idols were getting canceled, a few incidents made us question the severity of each individual accusation. Every case is unique, and therefore, the level of outrage and condemnation must be determined after we hear both sides of the story and carefully assess the evidence. The allegation around Aziz Ansari is a good example.

In a blog post titled, “I went on a date with Aziz Ansari. It turned into the worst night of my life”, posted on Babe.net, a woman with the alias “Grace” allegedly went on a date with the actor from Parks and Rec. During the course of the night, she felt forced into having sex. According to Ansari, it was all consensual, and there wasn’t much to prove otherwise. 

This incident fueled debate: while many women could relate to what Grace had gone through — interacting with a man who was only in tune with his own desires — many also wondered if attempting to destroy someone publically was the proper way to respond to an uncomfortable date.  

With the change in the technological landscape, dating was evolving as well. In a way, it was becoming dangerous: more automated, addicting, and riskier. In the summer of 2018, Danueal Drayton used Tinder to lure Samantha Stewart on a date to the race track and eventually to her apartment, where he sexually assaulted and then strangled her to death. After his arrest, the authorities linked Drayton to at least 6 other murders, where he also used the dating platform to prey on women expecting to find love. 

One core theme of this episode is the challenge we have with communication. While it’s not easy speaking from our hearts — or with our minds — we are called to raise our voices more than ever these days. Whether trying to seduce, convince, or condemn, we must speak up. But how will these new methods of communication change the things we say and the way we say it?

A Copy of You for You

The second act in this episode follows Matt as he describes his former role as a technician that instructs digital clones called “cookies”. Like having presets for every household technology, these digital copies are designed to help the original humans live more convenient lives by understanding them without any instructions. Gone are the days of machine learning; your clone already knows. 

However, this episode brings up some old philosophical questions: what is consciousness, and what does it means to be alive? When our minds are replicated and transferred into strings of code, does that constitute creating life? Do the “cookies” have a say in how they should live? 

The Internet of Things is a concept that describes physical objects with the ability to connect and exchange data via sensors, enabling them to gather information from a network and provide a wide range of services. The Internet of Things has already revolutionized the commercial, healthcare, and transportation industries. 

For wealthy consumers, one area that has benefited from the Internet of Things is recurring tasks like grocery shopping. Samsung recently released the Family Hub refrigerators that recognize when you’re running low on an item and order it for you before you are out. Imagine all the arguments you’ve had in the past about dinner; wouldn’t it be great if all your appliances knew what you were craving and ordered it for you?

Currently, all the data collected are stored in a network and require the devices to pull it out when necessary. But what if the network is just a clone of you? 

There are two major steps to the process known as mind transfer, where we reproduce the contents of our brains onto computers. That’s turning 86 billion neurons interconnected by 100 trillion synapses into code. 

The first challenge is building an artificial brain that can simulate neurons, and the second is to scan the brain, measure all the neurons and how they are connected, and then copy the patterns to the aforementioned artificial brain. 

The first step is achievable today. We have built artificial neurons connected through synapses before; tools like Siri and self-driving cars already operate on this system, but Siri does not have 86 billion neurons. In fact, Siri only has an IQ of 23.9, which is well below a human toddler. 

The second step in mind transfer is still decades, if not centuries away. The ability to extract the contents of someone’s brain without possibly killing them is not currently available. Unlike software like Siri, our brains have amazing plasticity. 

Consider the cocktail party effect where you enter a noisy party: everything sounds chaotic, and then after a moment, your brain rewires to focus on individual voices and sounds. This plasticity is where voice-activated technology still has trouble. How many times has Siri registered the wrong sounds? How many times has Siri not understood the context of our request? 

I found this segment of the episode fascinating and relevant today. How do you punish someone with infinite time? How do you motivate someone who has a slave to operate everything? What kind of heaven will we create with convenience? What kind of inescapable hell are we constructing? Much like how religion can motivate us to be kind, can this alternate reality motivate us to be better humans? Or would it lead us to corruption, cruelty, and hunger to control what we can? Us.

Blocking and Confessing

A major conflict in the episode is Joe’s argument with his fiancee, Beth, regarding her pregnancy. While at first Joe was excited to be a father, Beth insisted that she wanted an abortion. 

The two go back and forth, and eventually, Beth blocks him, turning him into a grey, static distortion, unable for him to see or hear her. Estranged, Joe discovered that Beth had gone ahead with her pregnancy and ended up giving birth to a baby girl. But because he was still blocked, he couldn’t see Beth or the baby. 

After spying on the family for a few years, Joe learned that Beth had died in a train accident. Her death lifted the block, and Joe attempted to reconnect with his child — only to find out that she was Asian and Beth had an affair. 

Enraged, Joe killed Beth’s father, leading to the little girl dying in the snow. In a twist ending, we learn that Matt had been manipulating Joe so that he would confess to his crime; and that all this time, Joe was a digital clone, a cookie. 

The right to have an abortion is a political fault line in America, splitting Republicans and Democrats. While it may seem like society was moving towards respect and understanding, the unwavering force of the religious rallied on and on, preaching morality while overlooking women’s rights. Persistent and relentless, the conservatives knocked a progressive future two steps back on June 2022, when the Supreme Court of America overturned Roe v Wade, a landmark case that had set precedence since 1973. 

This push and shove showed how fragile our rights actually are. As of summer 2022, abortion is now illegal in 11 states, including Texas, Tennessee, and Idaho. These laws mean any person who gets an abortion or helps someone get an abortion could be criminally charged and face jail time. The loss of the right to choose puts the lens on other brittle regulations including same-sex marriages and contraceptives. 

As soon as a child is involved in a couple’s dispute, the complexity increases tenfold, often extending the length of the conflict and leaving one party at the mercy of another, whether by withholding the right to see their child or financial repercussions. 

Take, for example, the ongoing Brangelina saga. In September 2016, Angelina Jolie filed for divorce from Brad Pitt after two years of marriage, alleging that Pitt had assaulted her. They have six children together. As of the fall of 2022, the custody battle continues as Jolie demands sole custody, while Pitt is unwilling to give up the fight. 

The rise in social media has also led to an increase in abuse. In a study conducted by Pew Research Center, 41% of US adults have experienced online harassment, and half of those groups have experienced more severe behaviors. 

Since its inception, social media platforms have been figuring out how to effectively ban users that violate their terms. Hate speech, bullying, and threats are as hard to eliminate as cockroaches; when they remove one account, two more take its place. 

Twitter has been a prime example of a platform struggling to balance freedom of speech and the toxicity of a branch of users. From shadow-banning an individual to flat-out blocking the whole account, Twitter experimented with many forms of moderation. But the questions persist: What does it even mean to block someone? Does it block them from seeing your content? You from seeing their content? Can they not send you messages but still see your account? Does limiting amplification mean the same thing as censoring? 

A few high-profile blocks have included Donald Trump, Kanye West, and the misogynistic kickboxer, Andrew Tate. But since Elon Musk took over Twitter in the fall of 2022, those bans have been lifted, and all three returned to the platform in varying degrees. As of December, Kanye West is the only one to be banned again for his anti-Semitic comments.

Should you ever find yourself in a scenario where someone accuses you of doing wrong, you may discover that evidence doesn’t truly matter and that it all comes down to your confession. The world is always looking for a scapegoat. That is why you see police officers forcing people to make false confessions through tactics such as those Matt used on Joe, including isolation and wearing the subject down through lies, intimidation, and trust-building stories. 

While fingerprints and DNA have been reliable evidence in trials, our digital footprint may be more damning. One day when our minds are transferred onto computers, we might not only need to protect our physical beings but also our separate digital entities. 

In 2020, weeks before the US presidential election, the New York Post reported that a laptop allegedly belonging to Joe Biden’s son, Hunter contained emails with evidence of corruption. As of spring 2022, the details of the computer’s content are still unclear. But consider this, what if Hunter Biden’s computer could speak on its behalf? What if Hunter Biden’s computer was actually a clone of Hunter Biden? 

Black Mirror episodes are already loaded with many concepts to discuss, but this one was definitely a stocking full of mind-bending ideas. The twist and turns this episode takes us on is still a fun ride. With references to prior episodes, these easter eggs and callbacks make it feel that all of Black Mirror is taking place in one universe. 

As we approach this holiday season, coming close to the end of a pandemic, and emerging from nearly three years of trauma, White Christmas is as comforting as looking at an old album of friends and families. While we may often recall details through rose-tinted glasses, we also remember the arguments we had back then are very much the same ones we are having now. Like days and years in a cookie, time will pass, the world will change, but the holiday season will still feel the same. Cold. 

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The Waldo Moment: Black Mirror, Did it Age Well?

Before we discuss The Waldo Moment, let’s take a trip back, about a decade ago, to when this episode was first released: February 25, 2013. 

On January 21, 2013, the United States inaugurated Barack Obama for his second term as President. In March, China appointed to power Xi Jinping, who was set to turn the page and regain a sense of national greatest. 

Donald Trump was only speculating about running for the 2016 election. And in the coming weeks, The Apprentice season 13 would air on NBC. 

A year prior, Sasha Baron Cohen released his political satire The Dictator. And in 2013, the first Netflix hit, House of Cards proved original series created by streaming services could succeed. Kevin Spacey wasn’t canceled yet for sexual assault but rather acclaimed for his role as the power-hungry Frank Underwood. 

Jon Stewart was reaching the end of his tenure as the host of the Daily Show. In June 2013, he stepped away from the desk to direct a political drama, Rosewater, allowing John Oliver to fill in for a couple of months.

In January 2013, the first video episodes of the Joe Rogan Experience were uploaded onto YouTube. These videos would get hundred of thousand to a million of views regularly. 

While it may have felt like it was all fun and games, someone was bound to get hurt. The Kony 2012 online campaign fooled many. Cyberbullying became ever more prominent in the news, including the story of Amanda Todd’s death in October 2012. Eight months earlier, Trayvon Martin’s fatal shooting by vigilante George Zimmerman, fueled tribalism and demonstrated the ineffectiveness of social media as a communication tool. 

The flowery utopia we were hoping for was wilting. The joke was over. The systems were breaking, and no one was capable of fixing them. According to the political online magazine AlterNet, 1.4 million Americans voted for Jesus Christ as the president in the 2012 write-in ballot to show their displeasure for both Obama and Mitt Romney. 

So that’s where we were in February of 2013. A simpler time, when we have only started to divide, forced to pick between two unsatisfactory options on all levels. With all that said, let’s get into our discussion of Black Mirror episode 3 of season 2: The Waldo Moment. 

Did this episode age well? Are the themes still relevant? Did any of the predictions come to fruition, and if not, is it still plausible? 

Let’s find out. 

The Jester King

The Waldo Moment follows Jamie, a comedian who plays Waldo, an animated blue bear that makes vulgar jokes on television. Set during a political campaign, his opportunistic producer, Jack, convinces him to run as a member of parliament under the guise of Waldo. This episode mirrors modern political satire and its power to reflect important talking points in an approachable way, while being implicit in sparking its own misinformation. 

Satire can be used to raise awareness without the drabness of journalism and public records, and it’s an effective method to criticize factors in a society without applying the full weight of the problem. In another word, satire is the sugar that helps the medicine go down. 

Many young people of my generation got news from comedians as opposed to reporters. There was often more truth in the comedy, and that’s what made The Daily Show with Jon Stewart and The Colbert Report so influential. 

Recently, satire and the freedom of speech in these realms have been under attack. With the rise of fake news, including the Russian-backed stories shared all over Facebook during the 2016 election, the role of satirical publications was placed under the microscope. A rising concern occurred when various third parties began citing The Onion as a real news source, including such gems as “Kim Jong-Un Named The Onion’s Sexiest Man Alive For 2012″ and “Planned Parenthood Opens $8 Billion Abortionplex.” 

On January 2015, two Islamic terrorists stormed into the French satirical newspaper, Charlie Hebdo and killed 12 people and injured 11 for publishing a cartoon of the prophet Muhammad. 

Our trust in politicians and the press were decreasing, and we wondered if we could reign in satire without limiting freedom of speech. And that’s what makes The Waldo Moment so interesting. This episode shows that given the right circumstances a joke can take a life of its own. 

Comedians running for government is not a new concept even during this episode’s time. In 2007, Stephen Colbert, playing the role of his well-intentioned, poorly-informed character, ran for office during the 2008 Presidential Election. Although Colbert ended up dropping out, the Facebook group “1,000,000 Strong for Stephen T Colbert” surpassed its one million member mark in less than ten days, making it the fastest-growing Facebook group in the site’s history. Did Colbert ever intend on becoming President or was it all for the show? 

Comedy and politics share a lot in common; they’re show businesses. While both may seem like it’s a one-person performance, there are many behind the scene pulling the strings. The figurehead ends up being the puppet that protects the party. 

Jamie can make Waldo say whatever he wants because the blue cartoon bear protects him. Characters and personas can create invisible shields. A politician can protect himself as long as he plays himself up as a character that’s defending a group of people or an ideology. 

Donald Trump did that during his first impeachment, which incidentally involved an allegation that he withheld military aid from Ukraine, attempting to influence them to investigate Joe Biden. Of course, we are now familiar with Ukrainian President Volodymyr Zelensky. So in that exchange, we had Trump, a former reality television star in negotiation with Zelensky, a former comedic actor. 

See the wild ride we’ve been on this past decade? You’d think we’ve learned our lesson, but no. Voting an animated blue bear to a leadership role seems plausible, and the scary thing is that it might not even be the worst option. 

Democracy is a Joke

A key marker in this episode was when candidate Liam Munroe explained why he wanted to run for the position. He answered that he wanted to make the world a fairer place, and that’s the role of a politician. 

This brings up the question, why do people want to run for office? While they might say all the right things in front of the voters, we can sometimes see their underlying reasons. 

In 2011, during the White House Correspondents’ Association dinner, Barack Obama gave a speech commenting on the “birther” movement, a conspiracy theory where Donald Trump, along with other Republicans, demanded to see the President’s birth certificate to prove he was actually born in America. In a mic-drop moment on stage, Obama roasted Trump, bringing all the influential people in the room together with laughter. 

Trump’s anger likely fueled his campaign in 2016, and the rest is history. 

While a grudge can be one reason to run for government, another reason is for fame and notoriety. Munroe’s competitor, Gwendolyn Harris was using the campaign as a “stepping stone” to build her showreel. 

This is a common practice in politics these days. Running for the government doesn’t need to pay off in having a seat in the House, because public appearances, keynote speeches, and book deals can make up for that investment over time. Not all the numbers are disclosed, but according to a report by Insider, members of the US Congress earned $1.8 million in 2020 from book advances and royalties, with at least 26 members earning a large amount in their side projects. 

We can often feel cynical looking at the democratic process. Gerrymandering, the electoral college, and other nonsensical procedures can make one feel like their votes don’t matter. 

Trash votes have long been a protest against a dysfunctional system. This act of wasting votes can take form in two ways. It can be a high-profile celebrity running to steal votes from a challenging party, like in 2020 when Kanye “Ye” West ran for president as an independent. What caused suspicion was that he was getting support from former Republican Party operatives. Who knows what Ye’s real reason for running was? But if nothing more, it distracted us from real talking points and swayed a few undecided voters to waste their votes for a laugh. 

The other way is by spoiling their votes right in the ballot or not filling it out at all. In a primary election in Finland and Sweden, Donald Duck earned a significant amount of votes. In Ukraine, the Internet Party nominated Darth Vadar. In the 2017 French presidential election, 4 million blank or spoiled ballots and 12 million abstentions won Emmanuel Macron the position. Protest or absenteeism in voting are symptoms of dissatisfaction with the political system. When society sees a rise in this, they must question their candidates and their processes. 

The responsibility of a politician is to make the world a fairer place. That’s a tough order. And we no longer believe that is something our leaderships are capable of, not with the system in place at least. While it may be scary, many are choosing instead to tear it all down. In 2019, Joaquin Phoenix played Joker, a character that encapsulated that feeling. It makes us all feel like clowns when, in reality, it’s the ones in power that are jokes. 

The Vote for Violence 

At the end of the episode, Jamie abandons his role as Waldo. As he doesn’t own the right to the character, his boss, Jack ends up taking over. When Jamie tries to destroy what he’d built, under Jack’s control, Waldo incites the public to attack Jamie. This type of violence occurs again when Munroe wins and Waldo tells the crowd to riot and strike Munroe. 

This call to violence brings back recent memories, most notably the January 6 incident on Capitol Hill. On the day Joe Biden’s presidency was to be certified, in an attempt to overturn the election, more than 2000 Trump supporters broke into the Capitol Building. The result was five deaths and a black eye for democracy visible around the world. 

This event was not spontaneous. For a few months, Trump stoked his loyalists, sowing mistrust, and giving permission to prepare an insurrection. 

Politicians have the power to embolden people, giving them a sense of righteousness and a feeling of immunity if they take action into their own hands. Much like how people listened to Waldo, people listened to Trump. All they needed was a symbol to band together on. 

But this amplification of violence is not only available to politicians anymore. Misinformation and validation for hate can come from anyone who has a platform. Take, for example, the criticism against Joe Rogan these past few years. With the largest podcast in the world, millions of people hear his words. That’s why when he questions vaccination or repeats conspiracy theories, even with a frame of innocent curiosity, he divides people. Despite claiming, on multiple occasions, that he’s not a doctor and he’s a “fucking moron”, his words can rouse other morons to act dangerously. 

A repercussive example was on July 14, 2022. On his podcast, Rogan joked about shooting homeless people in LA. The joke itself wasn’t particularly funny, but what was most surprising was that it came during a time of crisis. In 2020, over half a million Americans were unhoused. While we can all defend a joke in a society where everyone is of sound mind, we, unfortunately, live in a world where all a crazy person needs is a spark to unleash violence on others. Therefore, we, like Rogan, must examine whether there is a relation between crimes around us and what high-profile individuals say. 

Six days after Rogan’s joke about homeless people, I woke up to an emergency alert on my phone. The message warned me that a shooter killed three homeless people in my neighboring city of Langley, BC. Whether Rogan’s words had any influence we will never know for the suspect was shot dead by the police, but the fact remains. 

Recently, the news has been about “Ye” and his antisemitic comments on social media. When one of the loudest voices of our generation starts spewing hate, the world notices. Many condemned the message, while some flew banners on the Los Angeles freeway saying, “Kanye is right about the Jews”.

Violence does not begin with gas chambers. That’s where the story ends. Violence begins with hate speech and blame aimed at a group of people. Whether we are trying to bring down a government or clear out vermins, violence has always been effective. But what happens after? What happens when a government is overthrown and the so-called vermins are gone? 

At the end of The Waldo Moment, we find Jamie homeless in an Orwellian world ruled by Waldo. Out of all the episodes I have rewatched so far, this episode felt real, almost cutting too close to home. 

The ridiculous theater of politics is more ineffective than ever. Any attempt to improve it creates more risks of having it crumble completely. In many ways, we are already living with the consequences portrayed in the conclusion of The Waldo Moment. Many are already worshiping a cartoon character and will act violently if called upon. 

So how did this episode age? Like the previous political episode, The National Anthem, what seemed to have been preposterous a decade ago had already come true. That is why when watching this episode, we can only laugh and shake our heads. How innocent it must have felt for the Black Mirror creators when conceiving this concept. 

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White Bear: Black Mirror, Did it Age Well?

Before we discuss White Bear, let’s rewind to when this episode was first released: February 18, 2013. 

Four months earlier, Apple introduced the iPhone 5, the thinnest, lightest iPhone ever built. This new model has a stunning 4-inch retina display, a necessary upgrade as we were watching more HD videos on our phones. 

In 2012, social media took a leap from being a place to share text-based posts to a place to share graphics, videos, and other image-based content. Instagram hits 50 million monthly active users, and the short-form video-sharing platform, Vine was acquired by Twitter. 

With more bandwidth than we knew how to use, we posted some of the most unhinged content during that period. By 2012, user-generated live video streaming service, Justin.tv rebranded as Twitch and reached 20 million visitors, well on its way to becoming one of the most popular websites on the Internet.  

Conversations about cults and extremists were bubbling under the surface of our consciousness. In 2012, Paul Thomas Anderson’s The Master, starring Joaquin Phoenix and Philip Seymour Hoffman, told the fictionalized story of Scientology founder L. Ron Hubbard. This movie demonstrated the process similar to the “Auditing” used by Scientologists, where a cult leader breaks down their followers. In the movie the exercise is referred to by a rather mechanical term “Processing”. 

On Dec 14, 2012, 26 people were killed in The Sandy Hook Elementary School shooting, marking the deadliest mass shooting at an elementary school in US history. 

Since capital punishment was reinstated in 1976, 2012 had the second lowest number of death sentences with 78, representing a 75% decline since 1996 when there were 315. 

Now that we’re refreshed on the bleak months leading up to the release, let’s jump into Black Mirror, episode 2 of season 2: White Bear. 

Did this episode age well? Are the themes still relevant? Has any of the predictions in this episode come true as of 2022? And if it hasn’t, is it still plausible? 

Let’s find out. 

Memory and the Need to Film

The episode opens with Victoria waking up without any memory, greeted by a symbol on the television screen, pills scattered on the ground, and her wrists bandaged. As she explores the environment, she starts piecing together her reality, reminding us of our mental fragility and how our inability to recognize our surroundings can leave us vulnerable. 

As she explores, she discovers that people are filming her every movement, stealing her privacy, and exposing her even more. Only when a masked man started hunting her down in front of all the spectators did she finally reach her lowest point: an animal. 

Today, we’re obsessed with filming everything we do. Instagram, Snapchat, TikTok, YouTube, and many other options allow us to share an unlimited amount of content: dramatic stunts to sex trafficking to calls for justice. The range of content we create goes from mundane to messed up. 

In 2019, the first of two mass shootings in Christchurch, New Zealand was streamed on Facebook Live for 17 minutes by the shooter. In 2021, a portion of the shooting in Boulder, Colorado was available to YouTube viewers. 

The ability to film everything is a double-edged sword, a weapon to harm, harass, and exploit while also being a tool to expose cruelty and corruption. This brings to mind the death of George Floyd. On May 25, 2020, a teenager, Darnella Frazier filmed police officer Derek Chauvin with his knees on Floyd’s neck for 9 minutes and 29 seconds. If Frazier didn’t upload the video to social media, there might never have been justice for Floyd or fire to ignite the Black Lives Matter movement. 

The repercussion of filming violence and reliving traumatic moments may lead to us being desensitized to the horrors and with a sickening feeling of involvement. How do we wash the sin off of us for helplessly watching a person die? We cannot step through the screens, so like a prisoner, we are held captive. 

Hope, Symbols, and Cults

The red herring in White Bear is that the symbol caused the population to become consumed by their devices, so much so that they can’t stop dangerous people from taking over. 

Today we’re suffocating under all the information and attempting to break out of our passive state. In doing so, we act dramatically, sometimes following others that can lead us astray. 

Jem may be telling Victoria that she needs to destroy the transmitter to save everyone, but in fact, she’s playing a character and guiding her through a tortuous punishment. This heroic quest is also how cults manipulate new followers, how adults can lure children, and how psychopaths can acquire accomplices. As the group starts to form around an idea, like a multi-level marketing scheme, we no longer need to think for ourselves. We follow a symbol and a dogmatic belief. 

Whether pressured to commit crimes or to gather and condemn, we are influenced by those around us. In 2022, mob mentality is stronger than ever. Take a look at all the riots and collective rage in the world, physical and virtual, from Capitol Hill to Twitter. 

The murder in White Bear was inspired by the Moors murders in the 1960s, however, the satanic sacrifice reminded me a lot of the disappearance of Tylee Ryan and JJ Vallow in 2019. Lori Vallow, the mother of the two children, is currently being charged with first-degree murder, in addition to desertion and nonsupport of her dependent children. Manipulated by a man obsessed with certain apocalyptic beliefs named Chad Daybell, Vallow was brainwashed to think that she was saving the world from “dark spirits”, her own children, in preparation for a doomsday.

In this episode, the white bear symbolizes the hope of recovering the little girl and the justification for Victoria’s punishment. This point brings to mind all the symbols that have opposing purposes. The Swastika was highjacked from Asian scripture, and the OK sign turned into a white power salute. Today tech companies are becoming symbols of free speech and oppression. Communities online are forming around ideologies that start with hope and evolve into hostility.  

More than ever, we must be conscious of how our desires are manipulated, how symbols are twisted, and how groupthink and mob mentality drives us down a path of destruction.

The Morality of Punishment

At the end of the episode, we discover that Victoria and her fiance had abducted a young girl, crucified her, and filmed it all in progress. After their arrest, her fiance committed suicide in prison, and Victoria was sentenced to daily psychological punishment where she had to face the same cruelty and humiliation that her victim had experienced. 

Does this sentence match our modern theories of punishment? Does it act as a deterrent? Is it retributive? Does it reform the prisoner? 

There is a belief that the punishment should fit the crime, but in the modern day, we often find that the judicial system is inconsistent. Some punishments are too harsh, while some are too lax, with criminals going through a lengthy legal process to only serve a short sentence and return to society. But shouldn’t the goal be to have them return and act as model citizens? How can we know if punishment is ever fully served? 

In North America, an eye-for-an-eye punishment is no longer believed to be effective, as it could cause an endless chain of victims. Yet, all types of punishment are affected by the force of momentum. The more death sentences we give, the more we would continue giving. In a world where execution is the optimal choice, we see all criminals are irredeemably evil. 

A common misnomer is that the death penalty is the cheaper option. It’s understandable, after all, we just kill them. We don’t have to pay to feed and house them for years. But a single death penalty trial can cost millions — or even billions — of government dollars. Once that is understood, then perhaps the immersive Justice Park experience is not that crazy of an idea. After all, since so much taxpayer money is already wasted trying to understand the moral thing to do, maybe charging admission can help relieve the budget. 

When something upsetting happens, the court of public opinion is quick to suggest the worst form of punishment. We relish it. Given the chance, we’d treat criminals like animals because, to many, they are worse than animals. 

Every few years, trophy hunting would spark a debate online. In 2015, American dentist and recreational game hunter, Walter J. Palmer, paid $50,000 to go to Zimbabwe and kill a lion. That lion was named Cecil. This killing went viral and fueled outrage among animal rights activists. The Internet aimed to destroy Palmer, vandalizing his home and sending death threats, claiming they wanted to turn him into a trophy. 

The popularity of Tiger King in 2020 reminded us of our curiosity for dangerous animals. How far away are we from putting dangerous people into an interactive environment for us to feel the rush of fear and superiority? Perhaps we would never go that far? Or if we do, we would be able to justify it just like how we’ve justified all the other shitty things we’ve done in the past. Feeling the temperature, we may be one violent mob away. What hot-button issue will push us over the edge? 

Cults catch us at our moments of weakness and vulnerability, often at a transition when the world is uncertain. They lead with hope and opportunity, and they make us feel righteous. We see the leader as our savior like how Baxter is celebrated for conducting torture. 

So I ask again, can the events of White Bear happen? While logistical and technological advancement needs to take place first, I believe our human psyche is already starving for it. We are seeking someone to blame all our problems on, we are looking for a way to express our rage, and countless events have made us view each other as less than humans.

White Bear was an episode that I didn’t think much about the first time I watched it, but this time, after all the turmoil that happened in the world, and with awareness of the twist at the end, I appreciated the simple theme: Beware of what you film or you might become a part of the show.

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Too epic for words

Image via forbes.com

How I feel about the ‘Game of Thrones’ television series surpassing the novel saga

By Elliot Chan, Opinions Editor
Formerly published in The Other Press. March 31, 2015

As season five of Game of Thrones commences, show runner David Benioff and D.B. Weiss revealed that the adaptation will indeed surpass the books.

The anticipated sixth part of Song of Ice and Fire saga by George R. R. Martin, Winds of Winter, has been one of the most anticipated novels of our generation. The reason is because many who enjoyed the books two decades ago were able to relive the journey of war, love, and betrayal through the HBO series. Many more discovered the books through the show and have spent off-seasons catching up on their reading, comparing it with the on-screen version. However, it appears as though the television show will have its finale before the last novel is published. This is ultimately going to leave many book lovers like me forlorn.

I’m a big believer in reading the books first and then watching the adapted version. There is an intimacy to reading that cannot be translated on screen. True, many movies and television shows have done terrific jobs giving life to words. Game of Thrones is definitely one of them and I have little doubt that the ending will surely be epic. Needless to say, I wanted to read the grand conclusion first, soak it in, indulge in the details, and feel the pages transfer from my right hand to the left as characters perish. Of course, I can stop watching the show, hold off, and wait patiently for the books. But knowing Martin’s process, I could wait a lifetime.

As a viewer, I have always separated the novels from the show. Many of the details get lost in the recollection, but the framework is what matters. When the show concludes and all those who are reading the novels see the winners of the game of thrones, will they return to the books and finish it? Will the ending be significantly different? I believe those are now the questions for viewers going into the next season. For a while, those who had caught up on the novels have been keeping their lips shut, limiting their chances of spoiling the story; but now, every viewer will be on the same page. For a story of such magnitude, I think that is fitting.

I like the idea of a series of books having a longer lifespan than a television show. To me it proves how challenging it is to write, edit, and publish a novel. Martin’s tale of Westeros is a feat that will go down in storytelling history. There will come a day when the show ends and the last novel in the seven-part series, A Dream of Spring, is available in stores. On that day, all the true fanatics will relive the experience again through the written words. When the show ends, the story will continue.

Don’t tease me

Opinions_trailersWhy I prefer to not see trailers, previews, or teasers

By Elliot Chan, Opinions Editor
Formerly published in The Other Press. Sept. 9, 2014

First things first: I understand that movie trailers and television previews are marketing tools, used to create hype, excitement, and anticipation. They’re a hook to get viewers like yourself to engage with the entertainment, to let it into your home, and allow it to consume anywhere from 30 minutes to three hours of your life. Movie trailers are essential to the industry, but I don’t care for them.

How many times have I been suckered into watching a movie strictly based on the appeal of the movie trailer? I’m looking at you, Cloverfield,and every Superman movie ever. You got me! And how many times have I disregarded a movie based on its uneventful, lacklustre trailer—or one that essentially gave away the whole story.

But how will I know what the story is if I don’t watch the trailer or see the preview? My answer: a movie or television show should unravel as you watch it—you don’t need snippets here and there to propel the plot forward. The plot can do that all by itself. If you are engaged in a show, say, The Walking Dead, I don’t need to know which characters’ lives are jeopardized in the next episode. I can naturally assume that they are all in danger. The same way I would not want someone telling me the ending to a book, I don’t need someone highlighting aspects of the movie for me before I even grab the popcorn.

I get it. Your time is valuable and you want to be in control of your entertainment. Fine. But know this: some of the best movie/television experiences of my life began with absolute unfamiliarity—no hype involved, just brilliant storytelling. Trailers are misleading. They sell celebrities, special effects, and dramatic performances, but they don’t prove the worth of the movie, the same way a commercial does not prove the worth of a product.

For comedies, trailers ruin the jokes. For romance, trailers cram the key relationship into two minutes. For action flicks, trailers showcase spurts of explosions, car chases, and fight scenes that only someone with severe attention deficit disorder would find alluring. For dramas, trailers present a potential Oscar nominee crying out of context over a soft melancholy soundtrack. Gee, I wonder what to expect. Commonly the trailers tell you how to feel before you even buy the ticket. And I believe it’s that no-surprise marketing philosophy that is hindering the movie experience.

The fewer trailers you see, the less likely your perception will be altered when you watch the movie or show. You’ll be surprised to see a familiar actor appear on the screen. You’ll be surprised by the plot twists as the story unfolds before you. You wouldn’t want a magician describing the result of their magic trick before it’s performed, right? So don’t be angry because the theatre experience lacks the movie magic you expected. It might be impossible to avoid trailers altogether, but don’t get too hyped or disenchanted by them.

The boob tube

 Opinions_Boob-Tube

Television’s bait and switch tactics are working too well

By Elliot Chan, Opinions Editor
Formerly published in The Other Press. March 19, 2014

Any good salesperson knows that in order to sell a product, they first need to catch the consumer’s attention. Television, for lack of a better word, is a marketplace and you’re the customer who’s passing through. Since you’re just passing through, or channel surfing if I may, you don’t have time to linger and enjoy six seasons of anything, let alone one with multiple character arcs and complicated plot twists. Solution: nudity!

Sex sells. It’s not just a phrase used in advertising, but a legitimate formula for commercial success. But by applying this tactic repeatedly, like so many independent broadcasting networks and entertainment providers are choosing to do, the content itself turns into one of two things: pornography or satire.

Don’t get me wrong, I love nudity. I can appreciate a well-photographed love scene and smut on different levels. But I also believe there is a time and place for it. The audience should be able to control their own intake of controversial images. Once I’m hooked to the storyline, there is no reason to overindulge me with unrelated nude scenes. I care more about the progression of the storyline, the plot, and the characters’ expositions, than some attractive female lusciously draped over the screen—at least for now.

No, I’m not a prude or immature, but we all have a perv-side to us—that’s why sex sells. We have all experienced sitting down as a collective to enjoy a show with explicit nudity peppered throughout. When nipples appear on the screen, a few things could happen: either the room hushes up with slight discomfort, or someone will break the silence with a blatant statement addressing said nipples, and laughter might or might not ensue. Regardless, that little pulse of misplaced horniness is harmful to the storytelling.

Sure, it might be the artistic direction to include sensible nude scenes; there are many reasonable situations to showcase boobs, etc. But it’s clear that certain producers, with the intention of getting the largest viewing audience possible, are jeopardizing the artistic craft of filmmaking by pumping more nudity into the shows, thus turning an adult drama into soft-core porn.

Naked women should not be used as props to engage an audience. They should not be strategically placed in the background, while main characters discuss betrayal. They should not appear randomly to seduce the leading man only to disappear, never to be seen again. They should not be used to arouse or tease an audience without justified reasons. Am I angry that sometimes they are? No, not that angry, but when I see some of my favourite shows subjected to these low level bait-and-switch tactics to garner more viewers, I feel ashamed to like the show—and I know that true fans are not watching to see Lena Dunham naked or the next Westeros femme fatale.

We love the stories, we love the characters, and we love the fact that the show isn’t some homogenized Canadian show about life in the Prairies. Television producers should understand that by using nudity as a lure for viewers, they are only misguiding people, offering them something that is unsustainable on television and that there is already so much of on the Internet.

How the Sacred Movie-watching Experience Survived the First Round of Extinction

When I graduated from film school in 2008, the landscape of the entertainment industry was changing, morphing with the technology and trying to catch up to new innovations.

Young filmmakers, like myself, anticipated the expiration of television and were just starting to accept all that YouTube had to offer. Meanwhile, grand cinematic spectacles were calling attention, i.e. Avatar in 3D. Yes, it seems as though there was going to be a whole spectrum of viewing habits.

But will movie watching experience be as sacred as church? Or was it going to be a secular pastime, one we try to catch up on like talking to an old friend at a party or a novel on our nightstand?

Inspired by the recent Oscars, I give you the five nominated movie-watching experiences as voted by me—nope, not movies, but movie watching experiences.

NETFLIX

For a while Canadians were reluctant to subscribe to Netflix, mostly out of envy—subscribers from the States were getting more than three times the content—but the on-demand-movie-and-television service suggested that if more people join Netflix, the more content it can generate, both by hammering out legalities through traditional licensing models and by producing their own shows.

House of Cards, Orange is the New Black and Arrested Development won many viewers over, and once they got hooked to the binge watching lure of Netflix—it’s not so easy to quit.

TORRENT/STREAMING

The pirated movie and television distribution market is competitive market, albeit an illegal and risky market. With memories of Megaupload still fresh in many downloaders and streamers’ mind, this well-known paradigm is still one that most are treading lightly on.

While many consider this method to be a hassle, others consider it the most reasonable. Viewers are paying by sending traffic to the hosting sites, dealing with pop-up ads and the occasional glitches in download and streams. “Just let it buffer!”

The “no honour among thieves” mentality lives on in this movie watching experience that have existed since the dawn of the digital era. As long as the leaches and seeders continue feeding off of each other, this category will not disappear anytime soon to the chagrin of the big media companies.

APPLE TV and WEB-ENABLED TELEVISION

Bridging the gap from your phone and computer to the television—this relatively new all-in-one model is bringing viewers back to the couch. At least that was the plan.

Unfortunately I don’t know many people who use Apple TV, or even consider getting it. The living room battleground is a tough one to win, even for a trusted brand like Apple. After all, just look at all the different boxes and consoles you have under the television. Needless to say, there is still a lot of convincing needed to prove that cable is obsolete and that the video game consoles won’t suffice. But I think that is just a matter of time.

REDBOX

Since the closure of many video rental stores, Redbox have been the alternative. Standing tall, proud and unobtrusively at a grocery store, the video vending machine offers hot new DVD releases the same way ol’ Blockbuster used to. Comforting to many and laughable to some, Redbox fulfills a service that is still in demand.

As a result of having a secret Santa that no longer cared for the physical medium, I received an arm full of DVDs and BluRay last Christmas. I still relish the nostalgia of DVDs. Seems like just yesterday my family was arguing whether to buy a HD DVD player or a BluRay player, I’m still not sure if we made the right decision. Unlike VHS, DVDs have a bit more to offer in terms of bonus features. And they are compatible enough to remain an impulse buy. But being compared to VHS is never a good thing.

MOBILE

We watch movies everywhere: in bed, at work, on the bus, at a coffee shop, on the john and even in the movie theatre waiting for the movie to start. Personally, I can’t watch a three-hour movie the same way I check my Tweets. But content on the go is what the public wants.

Last year’s study by Motorola Mobility’s Fourth Annual Media Engagement Barometer showed that 55% of smartphone or tablet owners have downloaded and stored movies and TV shows onto their devices. There is so much content in the world that if we were to spend every living moment watching something new, we would not do anything else. Mobile devices are fostering that challenge and allowing people to consume on the go, in addition to hoarding content.

As much as filmmakers want to get people into the theatre, they must also consider the other audiences, and choose to whether nurture the new platforms or not. We’ve come a long way in five years—who knows where we’ll be in another.

Android Users Can Now Channel Surf with Telus’ New Optik TV Remote App

Formerly published in Techvibes. 

This week, the Optik Smart Remote app developed by Telus became available for Android devices.

Searching for quality television can often be an ordeal. You often leap from one channel to the next without ever settling on anything. You mash the buttons on your remote, scrolling down the guide hoping that something of quality would appear—maybe it does or maybe it doesn’t, but either way what was supposed to be a relaxing evening on the couch becomes a stressful, indecisive night.

Telus Opitk Smart Remote app will replace the traditional guide on the TV. Instead of using the remote control that came with the television or the digital box, you can simply swipe your Android phone and browse the guide and tap on your desired channel to watch your show.

Optik Smart Remote app allows you to track your favourite shows and see what is the most popular. You will also be able to navigate through the interactive program guide on your device, search IMDB, Wikipedia and Youtube without interruption.

SEE ALSO: Telus Brings TED Talks to Optik TV

“With Optik Smart Remote, it’s quick and easy to find the best thing to watch—and it’s now available for both Apple and Android devices,” said David Fuller, Telus’ chief marketing officer. “Our goal is to continue providing our Optik TV customers with a richer TV experience. Optik Smart Remote takes that experience to the next level. A tap or swipe of the fingers on your smartphone or tablet lets you control your TV without interrupting or missing a moment of your favourite program, plus you can easily set and manage your recordings at home or on the go, meaning you won’t miss out on any of your favourite shows even if you’re away from home.”

The free app is now available for Apple and Android devices and contains multiple enhancements, including new channel scroll bar, PVR recording enhancement that gives users the capability to filter and sort shows by dates, series or titles.

Currently Telus Optik TV offers over 620 channels, including 160 HD channels.

Canadians Surprisingly Satisfied with Their Phone and Internet Service, Study Suggests

J.D. Power Recently released their 2013 Canadian Television Provider Customer Satisfaction Study and the 2013 Canadian Internet Service Provider Customer Satisfaction Study. According to the findings, customers who bundle their television, Internet and telephone services with the same telecom provider have the highest percent of satisfaction.

The study for television providers used six factors to measure customers’ overall satisfaction, those were cost of service, programming, communication, customer service and billing. The study for Internet providers used five, performance and reliability, cost of service, communication, billing and customer service.

The key insight from the study was that 83% of customers bundle their TV and Internet service, while 17% only subscribe to TV with their provider. 59% of customers with a TV and Internet also have telephone service from the same provider, which is referred to as the triple-play package.

Customers who selected the triple-play package pay an average of $165 per month. TV and Internet bundle cost an average of $156, while TV-only subscriptions cost $89.

“Bundling typically provides discounts and has the added convenience of one bill with one provider,” said Adrian Chung, account director at J.D. Power. “These elements are key drivers of higher satisfaction and provide the stickiness that leads to long-term loyalty.”

Triple-play customers tend to have the highest overall satisfaction with 690 on a 1,000-point scale, while TV and Internet bundlers have 678 and TV-only with 658. And 19% of triple-play customers stated that they “definitely will” recommend their providers to others.

Customers who subscribe to premium TV packages are more loyal to the provider. Only 16% indicated they “will likely” switch to another provider in the next year. They are also more “likely” to purchase additional services, while 22% of basic TV subscribers will likely switch in the next 12 months.

The study also shows that 42% of customers view content on their smarphones or tablets, but satisfaction among these customers average at 661, 22 points lower than those who only watch on their television.

“Satisfaction for mobile users suffers because they tend to experience more problems with picture and download speed,” said Chung. “They expect their mobile device to have the same speed and quality as their home TV, and in many cases their expectations are not met.”

When it comes to Internet, speed is the determining factor. The study shows that 15% of Internet users with fibre optic had their expectations exceeded, while only 8% of DSL and cable users have the same response.

Satisfaction is highest for customers with fibre optic Internet service. Customers who choose this service will experience fewer problems, but issues with their connection often lead to a significant decline in satisfaction.

“While customers with fibre optic connections are very pleased with the speed and reliability of their Internet connection, they also have very high expectations,” said Chung.

29% of DSL customers and 31% of cable customers have experienced outage with their Internet connection, where as only 25% of customers with fibre optic have experienced problems with their Internet. But if a problem does arise, fibre optic users’ satisfaction drops 114 points, 15 more than DSL and 13 more than cable.

In the eastern region, Vidéotron ranks highest in both television customer satisfaction with 747 and Internet customer satisfaction with 755. In the western region, SaskTel ranks highest in customer service with 730 points for television customer satisfaction and 705 for Internet customer satisfaction.

More than 10,500 telecommunication customers responded to the study conducted in October 2012 and April 2013.

Distraction or Entertainment? Either Way, Second Screens are Changing the Way We Watch TV

Whether it is because of our shortened attention span or our heightened interest, second screens are becoming a common television viewing habit. Mobile devices are changing the way people watch and interact with TV.

Engaging with a show and other viewers can now be as simple as using a smartphone or a tablet. The latest Nielsen survey shows that 46% of smartphone owners and 43% of tablet owners are choosing to be connected with their devices while watching TV. During the first quarter of 2013 two-thirds of tablet and smartphone owners said they were using the second screens multiple times a week.

But what are viewers really doing on their devices while watching television? Well, everything really. Majority of tablet owners are simply making general web searches and browsing.

But the survey shows that people are also using the second screens for contents that are related to what they are viewing, 13% of tablet and smartphone owners use the device to interact with the show or post about it on social networking sites. About 15% of users admit to watching a show because of something they have read on social media. And 20% of viewers with tablets are shopping on their devices during advertisement on television.

According to the Q1 2013 Cross-Platform Report, smartphone users can spend up to nine hours each month using social media on their phone. Tablet users average around four hours each month.

Multi-screen entertainment is a product that both television producers and digital device marketers are expecting to grow. Whether we are using it out of boredom or curiosity, the fact is that more often than not we are engaging in the second screen experience. And as social networks sites such as Twitter and broadcast companies such as Bell and Shaw develop more avenues for second screen, viewers and device users alike will continue adapting to the changing world of entertainment.