Black Mirror has always been a series that provokes thought, often leaving viewers in a state of introspection about the modern world and the role of technology within society. However, Demon 79, the final episode of Season 6, diverges from this path, presenting a story that demands less intellectual engagement and more emotional and cultural reflection. This episode has sparked mixed reactions, with some praising its homage to past eras and others critiquing its lack of depth and innovation. As a fan of Boney M, my critique will explore how the music and the figure of Bobby Farrell enrich the episode, alongside examining Boney M’s controversial history and Farrell’s life and untimely death. Additionally, I will share a little about the pervasive fear of nuclear war during the late 1970s and early 1980s, providing context for the episode’s apocalyptic themes. By weaving these elements together, we can better understand the cultural and historical layers that make Demon 79 a unique, albeit flawed, installment of Black Mirror.
Demon 79 abandons the traditional Black Mirror opening, setting the stage for an unusual narrative. The episode is set in 1979, a time rich with cultural and political upheavals. It opens with “Bright Eyes” by Art Garfunkel, a song that sets a surreal and dreamlike tone. The protagonist, Nida, faces intense racism at work, a stark reminder of the societal challenges for people of color in many work settings even today. Her encounters with Gaap, visualized as Bobby Farrell of Boney M, blend reality and fantasy, raising questions about her sanity and moral compass. This unusual setup diverges from the series’ usual tech-centric themes, focusing instead on the personal and societal struggles of the late 70s. The episode’s aesthetic, filled with period-specific details, immerses the viewer in a time when global cultural expression and social tensions peaked.
The choice to visualize Gaap as Bobby Farrell from Boney M is fascinating. Boney M’s music, characterized by its infectious rhythms and disco flair, contrasts the dark themes of the episode. Their hit songs, such as “Rasputin” and “Daddy Cool,” are emblematic of the late 70s disco era. This juxtaposition highlights the episode’s theme of duality: the bright, lively exterior masking the underlying darkness. Music in this context is a background element and a critical narrative device that echoes Nida’s internal conflict and the era’s socio-political dynamics. By integrating Boney M’s vibrant tracks, the episode underscores how the escapism provided by music contrasts with the harsh realities of everyday life, thus enhancing the emotional impact of Nida’s journey.
Boney M, created by German record producer Frank Farian, is a band shrouded in controversy. Farian’s decision to use session musicians for recordings while the group performed live led to accusations of inauthenticity. The group’s success, particularly in Europe, was marred by revelations that Farrell did not sing on their records, which only came to light much later. This controversy underscores the theme of deception and reality, paralleling Nida’s struggle to discern truth from illusion. The group’s rise and fall reflect broader issues within the music industry, such as the exploitation of artists and the commodification of music. Understanding Boney M’s history adds a layer of complexity to the episode, as it mirrors the deceptive appearances and hidden truths that Nida grapples with, making her story resonate on a deeper cultural level.
Bobby Farrell, the charismatic male singer and dancer of Boney M, was born in Aruba in 1949. His energetic performances and flamboyant style made him a standout figure in the group. Despite his public persona, Farrell’s life was fraught with challenges. His role in Boney M was primarily as a performer, with Farian handling the vocal recordings. This dynamic led to tensions within the group and contributed to its eventual decline. Farrell’s life after personal and financial difficulties marked Boney M. He struggled with health issues and faced the harsh realities of fame’s fleeting nature. On December 30, 2010, Farrell passed away in a hotel room in Saint Petersburg, Russia. His death, eerily occurring on the anniversary of Rasputin’s assassination (a subject of one of Boney M’s most famous songs), adds a layer of tragic irony to his life story. Farrell’s personal story, filled with highs and lows, underscores the fleeting nature of fame and the individual costs of public life, mirroring Nida’s descent into her inner turmoil. This biographical context enriches the narrative of Demon 79, providing a poignant backdrop to the character of Gaap.
To fully appreciate Demon 79, it is essential to understand the pervasive fear of nuclear war that loomed over the late 1970s and early 1980s. This period was marked by heightened tensions between the United States and the Soviet Union, leading to an era often referred to as the Second Cold War. The SALT II (Strategic Arms Limitation Talks) negotiations, which aimed to curtail the arms race, ultimately failed, exacerbating fears of an imminent nuclear conflict. The deployment of SS-20 missiles by the Soviet Union in Europe and the subsequent NATO decision to deploy Pershing II and cruise missiles as a countermeasure intensified these fears. The concept of mutually assured destruction (MAD) became a terrifying reality for many as the world grappled with the possibility that any misstep could lead to a catastrophic nuclear war. Popular culture of the time reflected this anxiety. Films like “The Day After” (1983) and “Threads” (1984) depicted the horrifying aftermath of nuclear war, while songs like “99 Luftballons” by Nena expressed the fragile state of peace.
“99 Luftballons” is a song by the German New Wave pop band Nena, released in 1983. The song is about the release of 99 balloons that are mistaken for unidentified flying objects (UFOs) by military radar, triggering a nuclear holocaust and apocalyptic war. The song is a protest against any sort of nuclear war.
This cultural backdrop provides a deeper understanding of the stakes in Demon 79. The episode’s looming threat of global annihilation taps into the existential dread that defined this era. This context illuminates Nida’s apocalyptic visions, showing how the era’s pervasive fear of nuclear annihilation shapes her reality and heightens the episode’s tension. Embedding this historical anxiety into its narrative, Demon 79 connects personal despair with global fear, enriching its thematic depth.
Demon 79 explores numerous social issues, from racism to the banality of retail work. The episode’s setting and aesthetic are meticulously crafted, capturing the drabness of 1979 England. Nida’s surroundings’ brown and beige hues mirror her feelings of invisibility and entrapment. However, the episode’s heavy reliance on nostalgia and homage to past genres detracts from its narrative potency. The portrayal of Nida as both a victim and a potential perpetrator of violence adds complexity to her character. Her interactions with Gaap, particularly his manipulation, highlight the malleability of human morality under duress. Yet, despite these intriguing elements, the episode falters in its execution. The plot, while engaging, feels disjointed and lacks the intellectual rigor typical of Black Mirror episodes. The episode’s climax, featuring Nida’s spree of violence under Gaap’s influence, is thrilling and unsettling. Using Boney M’s “Ma Baker” during a murder scene is a masterstroke of editing, aligning the song’s beat with the act of violence. However, this moment of brilliance is overshadowed by the episode’s failure to delve deeper into the consequences of Nida’s actions and the broader societal implications. The critique lies in the episode’s inability to fully integrate its rich historical and cultural elements into a cohesive narrative, leaving it feeling like a patchwork of fascinating ideas rather than a unified story.
Demon 79 is an episode that evokes mixed feelings. It creates a visually and aurally captivating experience, enhanced by the nostalgic allure of Boney M’s music. Yet, it falls short of delivering the profound commentary expected of Black Mirror. The episode’s exploration of moral ambiguity and the influence of societal pressures is commendable, but it lacks the depth and innovation that define the series. For fans of Boney M, the episode offers a delightful nod to the disco era and the enigmatic figure of Bobby Farrell. However, as a standalone narrative, Demon 79 is a reminder that while homage can enrich a story, it cannot substitute for original thought and substantive critique. At its best, Black Mirror challenges us to confront uncomfortable truths about technology and society. Demon 79 invites us to reflect on the past but leaves us yearning for the intellectual stimulation the series is known for. In revisiting Bobby Farrell’s life and Boney M’s history, we gain a deeper appreciation for the cultural context that Demon 79 attempts to capture. Farrell’s life, marked by triumph and tragedy, mirrors the episode’s themes of illusion and reality. As we remember Farrell and the legacy of Boney M, we are reminded of the enduring power of music to evoke emotion and reflect the human condition, even within the darkest corners of our imagination.
Understanding the pervasive fear of nuclear war overshadowing the late 1970s and early 1980s enriches our perception of Demon 79. The episode’s apocalyptic stakes are not merely a plot device but a reflection of a historical period fraught with anxiety and uncertainty. This context adds depth to the narrative, emphasizing the timeless nature of human fears and how they shape our actions and perceptions. By considering these multifaceted elements, we can see how Demon 79 serves as a cultural artifact that, while imperfect, offers valuable insights into a specific moment in history and its lasting impact on the collective psyche.
Ángel Rafael Vázquez-Concepción 