After endearing herself to the audience, watching her get closer and closer to Mia and her crimes, after we’re introduced to her husband, child, and new pet, Mia brutally murders the insurance agent, but first uses the memory device to learn if she told anyone about her whereabouts. Donning the detective role in this noirish tale, the audience waits for the agent and Mia to intersect and for the agent to discover Mia’s secret and bring her to justice, but that’s what a normal show would do. The insurance agent, played with a bright, plucky determinism by Kiran Sonia Sawar, uses the aforementioned device to back up insurance claims. Things get complicated for Mia when an insurance agent comes calling to inquire about an accident that Mia just happens to witness minutes after murdering Rob.
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Unforgiving crimes in an unforgiven setting is a staple of the euro noir genre, and it continues to be interesting to see the show tackle new tones. Surrounded by the barren snowy hills of Iceland, Mia, with her friend Rob, accidently strike and kill a man on his bike with their vehicle, then proceed to throw his body into a nearby icy lake.
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The episode begins with a strong euro noir setting and premise. The only surprise that comes from this episode is how relentlessly it keeps pushing into more cruel, sadistic waters. Mia (Andrea Riseborough) has her dark secrets revealed by the machine exactly in the way you’d expect. Nothing clever ever comes from a distortion of one’s memory. Maybe it’s because the show already spotlighted a memory device in season 1’s far superior “The Entire History of You.” This episode’s memory technology isn’t as sophisticated, allowing our natural biases and distortions of recalled events to impact visual recreations of our memories, a nice little twist on something that we’ve already seen, but one which the episode never really takes advantage.
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Easily the bleakest entry in the series so far, “Crocodile” also reveals itself to be the most mean-spirited, grossly over the top, and unoriginal, featuring the least interesting piece of Tomorrowland tech that creator Charlie Brooker has dreamed up.
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Black Mirror is typically not a feel good show, which is fine, but “Crocodile” takes its nihilism a step too far. I like “dark.” Part of the fun of a good Black Mirror episode is that creeping sense of dread that it supplies, that feeling you get in the pit of your stomach, then laughing at your own discomfort. If I hadn’t figured that out by now, if I had a real issue with it, I doubt I would have been selected to write this review.