{"product_id":"inside-black-mirrorisbn-9781984823489","title":"Inside Black Mirror","description":"\u003cb\u003eThe first official companion to the Emmy-winning Netflix cult-hit sci-fi television series that's fascinated millions of fans worldwide, with stunning visuals and never before seen behind-the-scenes content\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eWhat becomes of humanity when it's fed into the jaws of a hungry new digital machine? Discover the world of\u003ci\u003e Black Mirror\u003c\/i\u003e in this immersive, illustrated, oral history.\u003cbr\u003e\u003cbr\u003eThis first official book logs the entire \u003ci\u003eBlack Mirror\u003c\/i\u003e journey, from its origins in creator Charlie Brooker's mind to its current status as one of the biggest cult TV shows to emerge from the UK. Alongside a collection of astonishing behind-the-scenes imagery and ephemera, Brooker and producer Annabel Jones will detail the creative genesis, inspiration, and thought process behind each film for the first time, while key actors, directors and other creative talents relive their own involvement.\u003cb\u003ePraise for \u003ci\u003eInside Black Mirror\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\"Highly recommended...A great read for fans of the show.\" --\u003cb\u003eDen of Geek\u003cbr\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\"As making-of books go, a flawless exemplar.\"\u003ci\u003e \u003cb\u003e--\u003c\/b\u003e\u003c\/i\u003e\u003cb\u003eSFX\u003c\/b\u003e\u003ci\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/i\u003e\"A gorgeous book.\" \u003cb\u003e--Bustle\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePraise for \u003c\/b\u003e\u003ci\u003e\u003cb\u003eBlack Mirror\u003c\/b\u003e\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e\"Terrifying, funny, intelligent. It's like the 'Twilight Zone,' only rated R.\" \u003cb\u003e\u003ci\u003e--\u003c\/i\u003eStephen King\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"\u003ci\u003eBlack Mirror\u003c\/i\u003e is hands down the most relevant program of our time, if for no other reason than how often it can make you wonder if we're all living in an episode of it.\" \u003cb\u003e\u003ci\u003e--The New York Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"Brooker continues to solidify himself as one of the most creative writers in the medium. Even when the unfair creep of expectations rears up, \u003ci\u003eBlack Mirror\u003c\/i\u003e and Brooker deliver.\" \u003cb\u003e\u003ci\u003e--The Hollywood Reporter\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eCharlie Brooker (Author) \u003c\/b\u003e\u003cbr\u003e Charlie Brooker is an award-winning writer, producer and broadcaster whose career has spanned television, radio, print, and online media.\u003cbr\u003e\u003cbr\u003e Brooker is the creator and writer of \u003ci\u003eBlack Mirror\u003c\/i\u003e, whose fourth season launched on Netflix at the end of 2017 and won a BAFTA Craft Award and has recently picked up three BAFTA TV Awards nominations. The critically acclaimed, mind-bending anthology series originally launched on Channel 4 in 2011 and over its four seasons has collected awards including Primetime Emmys® for Outstanding TV Movie and Outstanding Writing for a TV Movie, Producers Guild of America, Rose D'or, BAFTA, International Emmy® and Peabody. \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eAnnabel Jones (Author)\u003c\/b\u003e\u003cbr\u003e Annabel Jones is a long-term collaborator of Charlie Brooker’s. She serves as co-show runner and executive producer on\u003ci\u003e Black Mirror. \u003c\/i\u003ePreviously Jones executive produced a number of shows presented by Charlie Brooker including three series of the BAFTA-nominated BBC Two satirical review \u003ci\u003eWeekly Wipe\u003c\/i\u003e; all seven editions of the annual shindig\u003ci\u003e Charlie Brooker’s End of Year Wipe,\u003c\/i\u003e which won a BAFTA for its 2016 edition; \u003ci\u003eHow Video Games Changed the World;\u003c\/i\u003e \u003ci\u003eNewswipe, \u003c\/i\u003ewhich won the 2009 Royal Television Society Award for Best Entertainment Programme; \u003ci\u003eGameswipe;\u003c\/i\u003e and the \u003ci\u003eHow TV Ruined Your Life\u003c\/i\u003e series for BBC Two. \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eJason Arnopp (Co-author) \u003c\/b\u003e\u003cbr\u003e Jason Arnopp is a novelist and scriptwriter, with a background in journalism for such titles as \u003ci\u003eHeat\u003c\/i\u003e, \u003ci\u003eQ\u003c\/i\u003e, \u003ci\u003eKerrang!,\u003c\/i\u003e \u003ci\u003eSFX\u003c\/i\u003e and \u003ci\u003eDoctor Who Magazine\u003c\/i\u003e. He wrote the terrifying 2016 Orbit Books novel \u003ci\u003eThe Last Days Of Jack Sparks\u003c\/i\u003e, acclaimed by the likes of Ron Howard, Sarah Lotz and Alan Moore. Arnopp’s previous works include official Doctor Who and Friday The 13th tie-in fiction, \u003ci\u003eBeast in the Basement\u003c\/i\u003e: \u003ci\u003eA Sincere Warning About the Entity in Your Home \u003c\/i\u003eand the non-fiction title \u003ci\u003eHow To Interview Doctor Who, Ozzy Osbourne and Everyone Else\u003c\/i\u003e. He lives in Brighton, UK, and can be found on Twitter as @jasonarnopp.\u003cb\u003eCharlie Brooker: \u003c\/b\u003eSo, how did Annabel and I meet? This is like the scene in \u003ci\u003eWhen Harry Met Sally\u003c\/i\u003e, when they interview those couples.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnnabel Jones: \u003c\/b\u003eYes. Old people who wish they’d never met.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker: \u003c\/b\u003eMy first memory of Annabel is her mocking me. I was in the [TV production Company] Endemol building on Bedford Square in London, playing the video game \u003ci\u003eCounter-Strike\u003c\/i\u003e with three other comedy writers, when Annabel came up and took the piss out of us all, for being grown men pretending to be counter-terrorists.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnnabel Jones: \u003c\/b\u003eAt Endemol, my job was to look after its smaller companies, including the comedy label Zeppotron. Sharing a love for counter-terrorism, we all got on and I became managing director. We were making it all up as we went along of course, and then Charlie and I started working together on the \u003ci\u003eWipe\u003c\/i\u003e shows that he presented for the BBC.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker: \u003c\/b\u003eWhile working on Channel 4’s \u003ci\u003eThe 11 O’Clock Show\u003c\/i\u003e, I met Shane Allen, who would eventually commission \u003ci\u003eBlack Mirror.\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003cb\u003eShane Allen (then Channel 4 Head of Comedy):\u003c\/b\u003e Charlie was one of \u003ci\u003eThe 11 O’Clock Show‘s\u003c\/i\u003e topical writers and I was a producer on the topical footage team, so we’d cross paths. He was chosen for his work on the website \u003ci\u003eTV Go Home\u003c\/i\u003e which enjoyed an early following. I got to know Annabel around this time as part of the same social group. Charlie and I worked together on Chris Morris’s 2001 \u003ci\u003eBrass Eye \u003c\/i\u003especial again after that and kept crossing paths. I got the job as Channel 4’s comedy commissioner in 2004.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker:\u003c\/b\u003e I wrote a 2005 Channel 4 sitcom called Nathan Barley with Chris Morris, which had a really long gestation period. It would also inspire a \u003ci\u003eBlack Mirror \u003c\/i\u003eepisode, but we’ll cover that later…    \u003cbr\u003e\u003cbr\u003e\u003ci\u003eCharlie and Annabel’s transition from comedy to drama began with 2008’s \u003c\/i\u003eDead Set\u003ci\u003e, which saw a fictional \u003c\/i\u003eBig Brother\u003ci\u003e house invaded by zombies. \u003c\/i\u003e   \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker:\u003c\/b\u003e Conceptually, \u003ci\u003eDead Set \u003c\/i\u003esounded like a comedy, with its preposterous conceit. But despite that, we were keen to impress on people that we were going to play it straight.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnnabel Jones: \u003c\/b\u003eWe wanted it to be an uncompromising and credible TV horror show\u003ci\u003e. Big Brother\u003c\/i\u003e was Endemol’s biggest show and, being part of Endemol, we hoped we could make \u003ci\u003eDead Set \u003c\/i\u003ein an authentic way, with access to the presenter Davina McCall, the\u003ci\u003e Big Brother \u003c\/i\u003ehouse, the branding…    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eShane Allen:\u003c\/b\u003e In about 2006, Charlie and Annabel had pitched \u003ci\u003eDead Set\u003c\/i\u003e to Channel 4 drama, who ultimately passed. So Charlie and Annabel brought it to my attention with a first episode script and series treatment. It was instantly gripping: the core concept was brilliantly irreverent in taking this huge Channel 4 pop culture brand and rooting a genre thriller at the heart of it. Beyond that, the writing was pin-sharp in how it set up the world, nailed the characters and rattled through a page-turning narrative.    \u003cbr\u003e\u003cbr\u003eI connected with it immediately and was beguiled with the notion of it as a smart contemporary satire on reality TV, as well as a zombie thriller in its own right. Charlie and Annabel had such a clear vision and went to great pains to explain that it wasn’t a comedy and it wouldn’t be funny. It had to work as a piece of credible and rooted real-life drama and they set me homework to get a sense of tone. I had to watch the 2004 \u003ci\u003eDawn of the Dead\u003c\/i\u003e remake, read Cormac McCarthy’s novel \u003ci\u003eThe Road\u003c\/i\u003e and see [photographer] Gregory Crewdson’s profound stills. To this day \u003ci\u003eThe Road\u003c\/i\u003e remains the most affecting and haunting book I’ve read–thanks for f***ing up my world view so fundamentally. \u003cbr\u003e\u003cbr\u003eDead Set \u003ci\u003ebecame a piece of event television, stripped across a week on Channel 4’s younger-skewing offshoot E4.    \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnnabel Jones: \u003c\/b\u003eShane said, “Okay, what next?” because it had gone down really well and was BAFTA-nominated. It was a real surprise hit for Channel 4.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker:\u003c\/b\u003e I’d been writing TV criticism for quite a while, and was still doing it then. So I’d see lots of shows that maybe otherwise I wouldn’t have watched, such as the \u003ci\u003eBattlestar Galactica\u003c\/i\u003e reboot. But that show was actually really good and I wondered why we weren’t doing things like that here in Britain. I miss all those silly US shows like \u003ci\u003eManimal, Automan\u003c\/i\u003e and \u003ci\u003eKnight Rider.\u003c\/i\u003e At the time, everything on British TV was a detective drama or a costume drama, and it felt like there wasn’t much in between. But \u003ci\u003eDoctor Who\u003c\/i\u003e was huge, having come back and been an enormous hit, so you knew there was an appetite for something else.    \u003cbr\u003e\u003cb\u003e\u003cbr\u003eAnnabel Jones\u003c\/b\u003e: Charlie wanted to do an anthology show. He was familiar with T\u003ci\u003ehe Twilight Zone \u003c\/i\u003eand I was familiar with \u003ci\u003eTales of the Unexpected,\u003c\/i\u003e and that all felt something that was really missing in the TV landscape at the time. There were no ideas-driven single dramas.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCharlie Brooker: \u003c\/b\u003eI didn’t like the idea of doing something where it’s the same thing all the time, partly because I find it hard to work out how that would stay interesting over weeks and weeks and weeks. I also don’t tend to have ideas that last beyond an hour.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eShane Allen: \u003c\/b\u003eEnter Charlie and Annabel’s \u003ci\u003eBlack Mirror \u003c\/i\u003epitch, about doing modern parable stories around the theme of social media, technology and AI advances. By this point I’d been made head of comedy, so was drunk on ego and power.    \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnnabel Jones:\u003c\/b\u003e We pitched \u003ci\u003eBlack Mirror \u003c\/i\u003eas the fears of the day. Things that hadn’t been dramatised. Things that people didn’t quite realise were unsettling them.","brand":"Crown","offers":[{"title":"Default Title","offer_id":46303021891813,"sku":"NP9781984823489","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781984823489_77a92b95-8cb5-472f-8152-4e4f6cb9818d.jpg?v=1730752769","url":"https:\/\/k12savings.com\/es\/products\/inside-black-mirrorisbn-9781984823489","provider":"K12savings","version":"1.0","type":"link"}