Netflix is not making any predictions. Quite the contrary.
“In five years, 10 years, we’ll either say, ‘Wow, “Black Mirror” was a real turning point for interactive content,’ or we’ll be going, ‘That was another false start,’ ” said Yellin, the Netflix executive.
Still, he has great hopes. “We have our eyes and ears wide open to the creative community — writers, producers, directors — for more ideas that would leverage this art form,” he said. “What are the new storytelling conventions that can be invented? We’re meeting with people now.”
Netflix, which has 137 million worldwide subscribers, says “Bandersnatch” is available across “most” newer devices, including TVs, game consoles, web browsers and Android and iOS devices running the latest version of the Netflix app. It won’t work on Chromecast, Apple TV and some legacy devices.
Since “Black Mirror” is always full of tricks, it’s perhaps inevitable that “Bandersnatch” undermines the whole notion of interactivity. The viewer is asked whether a murder should be committed, and if the answer is yes, there is a further decision: Bury the body or chop it up? It’s not much of a choice, which is of course the joke.
“I’m not in control!” Stefan rages to his therapist. One path the viewer can take develops into a mocking plug for Netflix, which did not exist in 1984. This is about the fourth meta level “Bandersnatch” ascends, or descends, to.
“You think you’re choosing your ending, but are you?” said Russell McLean, a “Bandersnatch” producer. “‘Black Mirror’ is choosing your ending.”