This article won’t contain spoilers. I haven’t experienced Bandersnatch yet.
As 2018 came to a close, Netflix released Black Mirror: Bandersnatch, an interactive film exclusive to the platform. Black Mirror is our current time’s Twilight Zone where the genre allows for a deep dive into a single idea of fiction and allowing us to reexamine choices in our present time. And it’s time that the Interactive Fiction world to get their butts together and make pitches to Netflix.
In 2015, The Atlantic wrote about the process Netflix undergoes to improve the dataset for their recommendation engine. The company spent the resources to define every piece of media it could define, including media it hasn’t (or ever) released on the platform. Using this dataset, Netflix is able to obtain the value of the property by how many users the company believes will enjoy that content.
With that dataset and recommendation engine dialed in, Netflix knows the value of a piece of content. This dataset is absolutely instrumental to the development of self-published content. The pitch process for motion pictures is along the lines of tastemakers dictating if a project was financially viable. This was based more on subjective opinions of executives, mostly of white men.
What happens when you take a pitch, do the tagging work as if the piece existed, and see what potential viewership numbers come out? Now you have a more calculated guess to the financial viability of a project. This is how we got Orange is the New Black after their endless search and turndown across other media buyers.
I turn to the Interactive Fiction (IF) community and ask: Which of your works can be adapted to film and Netflix’s interactivity capabilities?
And if you have any recommendations for any IF I should read, reply to me on Twitter @TheSeg!