# The Psychological Insights of Black Mirror's "Joan is Awful"
Written on
Chapter 1: The Uncanny Experience
Season Six of Charlie Brooker’s Black Mirror begins with a bang, fulfilling all our expectations from the series while adding a few surprises. If you haven't watched it yet, now's the time to look away. For those who have, you’re likely grappling with that signature Black Mirror sensation—being thrust into a bizarre reality that feels eerily familiar, making you think, “that could easily be me.” The episode "Joan is Awful" encapsulates the uncanny experience through three distinct lenses: technological, philosophical, and psychological. We will delve into these aspects, focusing primarily on the psychological dimension.
This paragraph will result in an indented block of text, typically used for quoting other text.
Section 1.1: Technological Concerns
At the technological level, Black Mirror has unleashed a barrage of our contemporary fears regarding technology, merging them in a way that profoundly shakes our sense of safety in an ever-evolving world. In "Joan is Awful," we confront issues such as quantum computing, artificial intelligence, deep fakes, and pervasive surveillance, all contributing to a form of "entertainment" that exploits our private lives in real-time for mass consumption. The episode highlights how we have forfeited control over our personal information by agreeing to the terms set by media conglomerate Streamberry.
Section 1.2: Philosophical Dilemmas
Philosophically, the episode raises the question of whether our existence is merely a simulation. This serious inquiry has been thoroughly examined by philosopher David Chalmers in his book Reality Plus, where he posits that it is more probable we are living in a simulation than not. "Joan is Awful" serves as a compelling illustration of Chalmers' perspective, as the math reveals a striking reality: the number of virtual Joans greatly exceeds the singular, actual Joan. Quantum computing may well facilitate such complex simulations. Chalmers argues that existing within a simulation does not diminish our reality, leaving us to ponder if this realization brings comfort or dread.
Chapter 2: The Psychological Landscape
The psychological dimension of Black Mirror is arguably the most engaging. When we relate to Joan, we are invited to navigate an uncanny environment where technological advancements and philosophical uncertainties intertwine, stirring our deepest psychological fears. Each one of us feels like the lead character in our life story. Our innate tendency for self-absorption, combined with our concern for others' opinions, is central to our lived experiences, especially in a time when technology has blurred the lines between our private and public selves.
The first video titled "Joan is Awful [Black Mirror Season 6 Episode 1 Review]" offers an analysis of the episode's themes, emphasizing how it reflects our societal anxieties and personal struggles.
Section 2.1: The Every-Joan
Joan (Annie Murphy) embodies the average person—making questionable fashion choices, opting for the easier path over morally sound decisions, and grappling with relationship honesty while fearing exposure. These relatable insecurities are heightened by our current state of surveillance and social media, amplified in this near-future setting where our lives are on display for all.
The second video, "Black Mirror - Joan Is Awful - 6x1 Opening Scene," showcases the beginning of this unsettling narrative, setting the tone for the psychological exploration that follows.
Section 2.2: The Fragility of Identity
The humor in "Joan is Awful" lies in the fact that most people skim through the terms and conditions of daily interactions. However, a more pressing concern is the implications of being human in the 21st century: balancing our individuality with the need for community in a globalized world. Nature has endowed us with psychological tools to cope, yet it couldn’t have predicted the complexities of contemporary life.
Chapter 3: The Role of the Ego
The ego mediates between our internal thoughts and external reality, helping us discern what to share with others and what to keep private. It allows us to identify socially unacceptable feelings, enabling us to maintain a semblance of social balance. This results in the creation of a “false self” (a concept by psychoanalyst Donald Winnicott) or “persona” (as identified by Jung)—the masks we wear in public.
Section 3.1: The Terror of Exposure
What makes "Joan is Awful" particularly harrowing is the total erasure of the boundary between our inner and outer selves. The ego, which previously maintained some control, watches helplessly as a lifetime of curated experiences unravels in just a few episodes. We not only craft narratives for others to hear but also create stories for ourselves to maintain a coherent self-image. This leaves us questioning, “Am I really that awful?”
Section 3.2: The Paradox of Visibility
The paradox lies in that being perceived as "awful" can feel better than being invisible. Joan's reaction upon hearing the Streamberry CEO state they sought out a "totally average nobody" is devastating. This exemplifies a core truth about the ego: it yearns for validation while simultaneously fearing inadequacy. As Donald Winnicott aptly puts it, “It is a joy to be hidden and a disaster not to be found.” We long to be recognized by those we care about, but the fear of being found lacking, as Joan experiences, complicates this desire.
Chapter 4: Engagement through Tragedy
Joan's designation as "awful" rather than "wonderful" speaks volumes. The CEO of Streamberry explains the strategy behind their content:
"We did try for more affirmative content. We found that our subjects didn’t buy it; it didn’t resonate with their neurotic self-image...when we focused on their more selfish moments, it confirmed their deepest fears and captivated their attention, making them unable to look away."
This highlights the long-explored role of tragedy in psychology. We continue to engage with timeless narratives because they reflect archetypal conflicts we recognize in ourselves.
The final takeaway from "Joan is Awful" is that the psychological release often found in narratives is only accessible because we are not the characters within them. The intimacy of the story blurs the lines, leaving us feeling trapped rather than liberated. On a somewhat ironic note, there’s a glimmer of hope: once Streamberry begins to release everyone’s personal stories, people may become so engrossed in their own narratives that they won’t pay much attention to yours.
This article was initially published on aaronbalick.com.
Aaron Balick, Ph.D., is a psychotherapist and author, with expertise in the psychological dynamics of social media and modern life.