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Metalhead: Critical Analysis Assignment Help

Critical summary eassy on netflix series episode "metal head".

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Black mirror is an original Netflix first interactive movie and a British science fiction anthology made by Charlie Brooker. These television series try to portray modern world society, specifically emphasising on the unexpected costs of the latest technologies (Bishop, 2018). Through this television series, viewers can select their adventurous plat by identifying many transformations, which can alter the way the story will go. This Netflix original series was influenced by an older anthological art piece and series "The Twilight Zone" that was capable of dealing with fundamental, modern topics without worrying about censorship (Bishop, 2018). The fourth season of this anthological science fiction is framed as "Metalhead" can be addressed as the main series' take on "The Terminator" purified down to its most simple form. This study will also indulge in identifying impacts of AI on modern society. This study will be devoted to the season four, "Metalhead" by trying to unveil facts on how individuals are falling into traps of destruction and thinking themselves intelligent enough to make Artificial Intelligence for ensuring their lives better.

The fourth season of the television series "Black Mirror" was written by Brooker and directed by David Slade, which is a modish visual artist who has been behind some of the unique looking television of current memory, involving "Hannibal and American Gods" (SIMS, 2017). The director got his hitch in music videos, and it portrays in the crusty black-and-white photographic plot of "Metalhead" as well as its spare, alarming world design. This story is based on a "post-apocalyptic Britain", majorly achieving a place on the far-reaching Scottish moors (SIMS, 2017). The viewers are not revealed to the causes of the ruined world or reasons behind its current stature, now do people required to know. It is just a fascinating tale of survival, opposing a hollo handed women named Bella, against some haunting remnant of a technological police state. The nominal "Metalhead" presented as a "dog", a "terrier-sized cybernetic drone", which moves around on little feet and kill anyone who comes around without remorse. This technological creature or moving and living artificial intelligence technology has the power of hacking any computer or door through a USB key (SIMS, 2017). Additionally, it does not have any apparent motivation, just a cruel enemy for the hero to do battle with.

It could be said that this season is a forbidding "Black Mirror" episode, which is entirely referring to the suspense and mood to one like "Crocodile" that is trying hard to ensure a large point but never comes to close to the target. This helps that the ferocity in "Metalhead" is concise, yet shocking, approaching in short sprays any time the drone comes around an entity (SIMS, 2017). Most of the series is covered up in wondering what would happen next, rather than pointing out the level of some current living allegory that makes the negative mood easy to be put up with.

The projected horror is harsh, and the computer-generated image of the technology monster is made its existence in front of the audience. One forte of having a robot hunter as presented in this series as an animal is that it offers to the audience access to its reasoning. According to Cumming (2019), the current world is at a time presented through the concept and technical eyes of the "dog", as a sequence of points of interests enlightens against the symbolic grey landscape; "homing beacons, noises, footprints". The machine's designs are effective enough to portray the extent human beings have gone to ensure their lives' betterment through technology. However, these artefacts are only making sense by its criteria along with bearing the cruel traces of its human makers. It has been seen that when complexities face the robotic dog, it improvises. Comparing its level of cruelty, it can be placed closer to the "Anton Chigurh", a "psychopathic killer in No Country for Old Men, than to Jurassic Park's velociraptors" (Cumming, 2019). On a wider scale, "Metalhead" has explored the fundamental Artificial Intelligence related arguments regarding the unplanned consequences of design. This series has shown all its audience the fact that if one program a modern machine to ensure nails, how does one stop it deciding the most excellent way to do this is to repurpose all the metallic elements around the globe? Another question that has been put forward to the audience is that if one makes a single-minded robot watchdog, how does one set its limitations on its ruthlessness?

The ending scene, in which Peake's beaten character selects to take own life instead than waiting for the technological villain to take it from her reveals how unsuitable the penalty has become for the transgression. According to the critics of drone, combat has long discussed, eliminating individuals from procedures may reduce errors and unpredictability; however at the expense of compassion and intelligence of proportion (McNutt, 2016). At this juncture, it could be said that the contentious point of human survival in the hand of technology and falling into the trap of destruction thinking themselves as the most superior is still during wilderness. This television series though projected the plot of human extinction in the age of Artificial Intelligence beautifully, however, fails in revealing an end to the confusion regarding whether human beings are making themselves as fools or are they really intelligence and have the power to stop the technologies from destroying their lives (Huber, 2017).

"Metalhead", for all its evocative violence and logical dichotomy (individuals rule as they like matters that are not originally optimised for perfection such as candy and others), ends in a dorkier way that anything expected. Its lingering image is a "knife-wielding Poo-Chi hobbling" to the audience. While its thinness is an apparent attempt for the entire series "Black Mirror" is going to have to constrict its aim, if it hopes to search outside of it's talky "bread-and-butter" (Oller, 2018). Moreover, many things remain unrevealed at the end of this television series; this season is worthy in the perspective that it has tried its best to project a possible end of the human world in the hand of its technological wonderings if not checked as soon as possible (Lopera Marmol, 2018).

To be precise, "Metalhead" does not act up the gore, contrasting various one-person narratives regarding survival in the wasteland (though there is single gothic sequence including the elimination of a chasing bug). All the visuals and their representation were carried out through the quiet moments, with the director ensuring each portrayal of the empty moors in contrasting prior black and white photography that jumps up to the audience. This television series is justifiable with the point that human beings are trying to suggest their follies by projecting them as intellectuals in putting Artificial Intelligence into life. Technology and breathing human beings were put face to face in combat where humans only can observe their faith and visualise their probable ending in the hands of their creation. In a nutshell, it could be said that in a clear way "Metalhead" has presented modern-day "Frankenstein" where companionship, better lives, technology and human intelligence are mixed up to reveal a world where technology has the ultimate power and do not wait for the permission.

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