In the review of the season opener ‘Joan is Awful,’ I noted that this was not the Black Mirror I knew. This is even more evident in episode two. For the first time, there is absolutely no science-fiction or advanced sort of technology to be found, and that is at the very least remarkable. But the most important question remains: was it nevertheless a good hour of television?
This article is not only a review, but also a recap. Therefore, it contains big spoilers.
Stunning Opening Shots and an Awkward First Meeting
If the opening shots are any indication, we are in for a treat. We follow the main duo of this episode, Davis (Samuel Blenkin) and his girlfriend Pia (Myha’la Herrold), as they drive through the beautiful Loch Henry. Loch Henry is the fictional place where the second episode takes place, but for enthusiasts: the beautiful scenes were actually filmed in the Scottish town of Arrochar.
The opening scene is not only visually delightful; in the background, we hear ‘Give it Up’ by KC & The Sunshine Band. What more could one ask for?
We witness a typical, somewhat uncomfortable first encounter between Pia and Davis’ mother, Janet (Monica Dolan). Pia is a Black girl, and to Davis’ dismay, his mother chooses to ask the loaded question: “Did you grow up in America?” It’s like asking a woman who appears to have gained weight if she’s pregnant—risky and rarely a good idea.
An even worse idea is hanging a creepy red mask on your wall. Janet’s interior design choice leaves much to be desired in that regard. Just like Davis’ fashion choice, as wearing that fuzzy sweater is the absolute worst idea of the three. Loch Henry revolves around true crime, but one could argue that wearing that sweater is the biggest crime of the episode.
Upon further inspection of the house, we discover that Davis’ father, Kenneth, has passed away, and that he used to be a police officer. And that brings us to the core of the episode: the couple are filmmakers, and they plan to make a documentary about someone who protects rare eggs. Not a documentary I would tune in for, and mama Janet feels the same way.
There is an uncomfortable scene where our Davis gets an stiffy while discussing his deceased father with Pia. Whatever floats his boat, I’d say.
Speaking of stiffies, remember Podrick from Game of Thrones? Actor Daniel Portman, who plays Davis’ old friend Daniel, is a welcome addition to the cast. His outspoken personality, including a strong Scottish accent, brought some levity to the otherwise grim episode (unlike its colorful predecessor, “Joan is Awful”).
Loch Henry Harbours a Gruesome Past
Daniel works at a café that is far from lively. The reason: a local and café regular, Iain Adair, tortured and killed eight people in the past. When Davis’ father, Kenneth, came to investigate, Iain also shot him. This eventually led to his death. Iain then proceeded to end the lives of his own parents and himself.
There’s an interesting piece of foreshadowing when Davis mentions that the countryside can be dangerous. “Deep water and all that, you know?” Something that Pia will be well aware of in half an hour. Or rather… no longer aware of.
In any case, Davis’ point was that the police didn’t pay much attention to missing people, as it was considered quite ‘normal’.
This is where the episode becomes interesting. Davis’ monologue is supported by old-fashioned flashbacks, reminiscent of those we know from real true-crime documentaries. Fun fact: Kirsh (from the previous episode) wanted to stream the series ‘Loch Henry’ from Streamberry. Joan responded that she couldn’t handle another true-crime.
The Setup is Intriguing, but Rather Run-of-the-mill
The tension and mystery rise. I don’t mind a good crime series, but I find myself curious about what the sci-fi element will be here. Spoiler: it doesn’t come. Loch Henry is an episode that Netflix could have easily turned into a full-fledged crime series. The setup is intriguing but rather run-of-the-mill. We’ve seen this ort of storyline many times before. That’s something we can usually not say about Black Mirror episodes, which have always been rather unique. I can’t help but feel that this episode somehow got lost on the streaming service and decided to make itself at home in Black Mirror.
Pia is intrigued by the ominous story and suggests making a film about that, instead of about the egg protector. The proteggtor, if you will. It’s a good idea, if we momentarily forget how insensitive it is towards her boyfriend. Davis hesitates for a moment, but quickly gives in.
Stuart’s father, Richard (John Hannah), is not pleased with it all. He believes the past should remain in the past. By taking that stance, he naturally makes himself the number one suspect. Or would that be too obvious? The most obvious suspect is rarely the one who actually did it. Or is Black Mirror employing reverse psychology here, and is he still the culprit after all? These are all questions I usually ask myself while watching BBC crime series. I rarely guess the outcome correctly, but that’s beside the point.
While Richard rants against Davis, I am once again reminded of how convincing the acting is. The genuine mix of shock, recognition, and guilt can be read on the face of Samuel Blenkin’s character, Davis, as Richard verbally assaults him.
There is also an interesting parallel to be drawn here with true-crime series that we can find on Netflix, such as Dahmer. It was a huge hit for the streaming service, but many of the victims’ families understandably weren’t happy about old wounds being reopened. Is writer Charlie Brooker taking aim at his own employer here?
Contrary to Stuart’s father, Davis’ mother surprisingly supports the initiative. She agrees to be interviewed for the film, and we again find interesting bits of foreshadowing here. When the camera is focused on her, Janet mentions that it has been years since she stood in front of one. The last camera that was pointed at her was her father’s, but that camera pales in comparison to Davis’ recording equipment. Davis counters that his father didn’t film for broadcast, to which his mother answers, “Can you imagine?” She seems to envision it with gleaming eyes.
Investigating the Killer’s Lair
During a pitch to producer Kate Cezar, the latter requests unseen footage. And so, Davis, Pia, and Stuart enter Iain Adair’s dungeon. In passing, we hear that the couple is going to record over the beloved tapes of Davis’ mom Janet. Earlier in the episode, we saw an extensive collection of ‘Bergerac’ tapes, an old detective show that Davis’ parents used to watch together. Something seemingly insignificant at first glance is now recurring a bit too often. It won’t come as a surprise that the tapes will play a significant role later on.
The trio enters the scene of the hideous crimes, which is naturally pitch-black, illuminated only by the flashlights of our thrill-seeking infiltrators. The well-known black light is brought out. You know, that thing that used to expose the most disgusting things in bedrooms on MTV’s ‘Room Raiders.’
In Loch Henry, the technique doesn’t miss its mark either: various filthy substances are revealed under the blacklight. Iain Adair has been up to no good. “Fucking creepy,” as Pia accurately describes it.
However, they don’t seem too impressed overall. On the way back, they cheerfully sing their own version of ‘In the Navy’ (In the Dungeon) until they collide head-on with an oncoming vehicle. That vehicle belongs to Stuart’s father, Richard. Is it a desperate attempt to stop the investigators? No, still too obvious. Right?
The outcome is that both Davis and Richard have to spend a night in the hospital. As a result, Pia has to stay alone with Janet. Awkward. But it’s about to get much worse.
Palpable Tension
While Janet prepares a meal for the two of them, Pia plays the recordings they made that day. Meanwhile, Richard joins Davis in the hospital. In the background, an ominous tune starts to bubble up, letting us as viewers know that the mystery is about to be solved any moment. This is very well done. The tension is palpable. Richard warns Davis one last time to stop his film. He has no proof but says he always felt like he knew. Known what? That’s the question on Davis’ lips, and on ours.
We switch back to Pia, and her laptop is zoomed in on. We’re waiting for their own recordings to finish, and we’re about to discover what’s on those original so-called Bergerac tapes.
The revelation is nothing short of creepy. Videotapes, in general, have a high creepiness factor. Not only is it eerie how they remind me of how old I am, but also the static and the overall outdated quality have something chilling about them.
On the original tape, we see a missing couple trapped in Iain’s dungeon, bound and gagged. The big reveal: Davis’ parents are the actual perpetrators! Kenneth proudly speaks into the camera about his victims. He announces that “the mistress” will have a lot of fun with the couple today. Then a young Janet enters, wearing a sort of latex nurse outfit. As if that sight wasn’t scary enough, she puts on the red mask, which she still so proudly displays on her wall. She approaches the terrified couple with a drill. So that’s what Janet meant when she mentioned her last time in front of the camera, and when she imagined how her atrocities would end up on the big screen.
The way this is filmed is spot-on. Janet comes across as a completely deranged maniac, which immediately raises the tension as Pia is now alone with the aging psychopath. I want to shout at the TV for her to immediately turn off that tape and pretend she saw nothing. Just have a pleasant little chat with that creepy witch.
But, of course, that’s too much to ask. Every TV character who has ever found themselves in this situation immediately makes themselves too suspicious. But staying calm with this newfound information is easier said than done. Personally, I would probably run screaming like a banshee towards the nearest exit.
Too Many Stereotype Decisions
Pia joins the older lady and does something that should be at the bottom of the ‘things to do when accompanying an unaware serial killer’ list: she conspicuously stares at the red mask on the wall. I had hoped that writer Charlie Brooker wouldn’t stoop to this level, but it seems even he is embracing the stereotypes of the horror genre.
Janet follows Pia’s gaze to the mask and explains that her husband gave it to her. “We had such fun together,” she chuckles mischievously.
Pia excuses herself to go to the bathroom and tries to call Davis. No service. She tells Janet she’s going out for some fresh air. As Janet enters Davis’ bedroom, she notices the Bergerac tape still in the recorder.
A chase between potential victim and maniac is a necessary ingredient to complete the stereotype party. Janet goes after Pia, but the girl manages to escape. Or so the former murderer thinks. We witness a callback to Davis’ earlier ominous words about deep rivers and treacherous terrain when Pia trips and hits her head on a rock. It’s the end of the line for Pia.
Just like that. Okay, at least that’s not a stereotype, that must be said. But I wasn’t a fan of Pia’s quick and what feels like an “easy” death. It felt a bit anticlimactic. We’ve been watching Myha’la Herrold’s adventurous and energetic character for almost three-quarters of an hour, and this is how she meets her end. The fact that there is a connection to Davis’ earlier description of the countryside is worth some bonus points, but other than that, it was a letdown.
It is essential for the continuation of the episode, though. We witness Janet, who has been playing it cool so far, explode when she realizes that her secret past is about to become public knowledge. And so, she decides to make one last victim: herself. But not before she lays out her dark past. Photos of victims (which she looks back on nostalgically, with a smile and a tear), more videotapes, and a note to her son Davis. “For your film.” What a loving, caring mother she was… Janet hangs herself, concealed behind that eerie, blood-red mask. Her haunting past has finally caught up with her.
Some Stones are Best Left Unturned
We are then shown a trailer for Streamberry. The documentary has been completed, and the trailer gives us an additional glimpse into some loose ends. We see that it was actually Kenneth who murdered Iain and his parents, and then shot himself in the shoulder to deflect suspicion from his role.
We also find out why Richard always had his doubts about the couple. He reveals in the documentary that one evening, he and his wife engaged in sex games with the twisted couple. The murderers behaved strangely, which gave Richard the doubts he subsequently tried to suppress for the rest of his life.
Poor Davis sees his documentary, “Loch Henry: Truth will out,” gaining a lot of popularity and he receives a prestigious award for it. But the film has cost him both his mother and his girlfriend. Undoubtedly, Davis will find himself contemplating what could have been if they had only chosen to film the egg man instead. Some stones are best left unturned, seems to be the moral of the story.
Conclusion
Loch Henry tells an intriguing crime story, albeit one we’ve seen many times before. Fans have waited four years for a new season, but that clock appears to continue ticking. Despite its well-acted and engaging hour of television, it’s difficult to label this as a ‘Black Mirror’ experience.
Loch Henry is definitely a decent watch, but it draws from a pond that has been nearly depleted. As we’re already nearing the halfway point of the new season, I eagerly anticipate the return of the old-school Black Mirror.
Enjoyed this review? All Black Mirror Season 6 episode reviews can be found here.
