Dystopian Fiction Research Analysis

Vincent Mallardi, Henry Basilica, and Bryce Matthews

The genre of dystopian fiction in novels and television continues to be widely popular

since its inception in the early 20th century. Dystopian means, “A state in which the conditions

of human life are extremely bad as from deprivation or oppression or terror (or all three)”

(Green, 2021). Some modern examples include Aldous Huxley’s Brave New World and HW

Wells' The Way of the Worlds. Prior to the 20th century, there was a more positive outlook on

faith in human progress. But at the beginning of the 20th century, this perspective about human

nature began to change and was amplified with the destruction of World War I and World War II

(Baldwin, 2019). One of the reasons for the success of the genre in The West is because of the

culturally related representation lacking Anglo-American values such as freedom and individual

liberty (Zumbansen, 2020). Now, different countries have begun exploring the concept of

dystopian novels. Our analysis will be if there are significant differences among different

cultures' views on what is to be considered bad societal human conditions. The television shows

that have been selected are Black Mirror, created in the United Kingdom, and Squid Game,

created in South Korea.

Black Mirror, is a five-season television show that explores a diversity of genres but

mostly revolves around dystopian. “This sci-fi anthology series explores a twisted, high-tech

future where humanity’s greatest innovations and darkest instincts collide” (Netflix, n.d.). The

first two series aired on British Network Channel 4, and then the series moved over to Netflix in

2016.
 The other show that was examined is Squid Game. In only one of the seasons so far,

Squid Game has already become the most-watched Netflix series globally and was the top-

viewed program in 94 countries (Pallotta & Kang, 2021). Squid Game’s dystopian premise is

that 456 players compete against one another for a large sum of money by playing childhood

games. The spin is, that if they lose a game then they are killed. Netflix has announced that there

will be a second season of Squid Game, but the date has not been announced yet (Spranger,

2022).

Methodology

The data that was analyzed for this study consisted of two initial episodes. The first two

initial episodes were located on the streaming platform, Netflix, and the episodes were called,

“One Lucky Day'', and “Smithereens”. The episode, “One Lucky Day”, was episode nine of the

series called, “Squid Game”. The second episode, “Smithereens”, was season five, episode two

of the series called, “Black Mirror”. For both of these episodes, they were both analyzed on a

deeper level relating to six different categories. Each episode was analyzed critically by each

group member (3) and placed into a category based on the following: structure of the narrative,

the credibility of characters, the believability of the story, the importance of the story, conflict,

and class system(s). The data collection took place on March 26th and 27th of 2022, for the first

two initial episodes. All three group members watched and critiqued each individual episode and

identified what each episode was based on the categories listed above.

After the first initial codebook testing, the intercoder reliability score of each variable is

as follows: Structure of narrative (V1) equaled a 66.667%, the credibility of characters (V2)

equaled a 66.67%, and lastly class system(s) equaled a 66.67%. However, the believability of the

story (V3) equaled 33.33%, the importance of the story (V4) equaled 33.33%, conflict(s) (V5)
equaled 33.33%, which are all below the main intercoder reliability score of a medium at 60%,

and Class System(s) (V6) equaled out to be 66.69%. Therefore, our group made some very small

changes in order to come to a mutual consensus in order for those scores that were below the

agreed-upon medium, to reflect at the medium or higher. The changes that were made following

in the categories relating to V3, V4, and V5. The changes included miscommunication, typing

wrong numbers, and putting numbers in the wrong category initially. However, after the group

came together and collaborated on the low scores, and came to a consensual agreement on what

exactly was wrong and identified what was wrong according to our codebook, the initial

numbers were identified and put in the correct category. At this point, the believability of the

story (V3) equaled 66.67%, the importance of the story (V4) equaled 66.67%, and conflict(s)

(V5) equaled 66.67% overall. The intercoder reliability for all six variables had a moderate

agreement with a Kappa of 66.67%.

The work that went into (V5) Conflict(s), looks at conflicts and these conflicts are based

on Literature conflicts. Those examples are the following, man versus man, man versus nature,

man versus self, and man versus fate. The background of the creation behind Conflict(s) was

confirmed by the individual conflicts that are present within each character that is being

represented in each film series that was chosen. It is present that each main protagonist in each

chosen series has developed some form of conflict within the society that each character lives in.

Because there are so many different conflicts throughout the episodes of each film with each

individual, a category had to be created specifically for this phenomenon to be represented

within the codebook and methodology.

 The category (V6), analyzes the Class System(s) that are represented in each specific film

series and episode. In each chosen episode, there is an obvious presence of class system(s) being

portrayed throughout each episode. It is important to consider class system(s) when analyzing a

film, series, or individual episode in order to find other specific chosen variables within the

product for content analysis. Class system(s) are a current infrastructure that is currently still

being used within today’s society in the United States, and in countries all around the world.

Class system(s) are not necessarily brought to attention in most modern films and media

production within today’s society as well. Therefore, when a class system is portrayed through

any kind of media production, it is important to recognize it as well as analyze it from a different

perspective in order to bring it to attention so that others can educate themselves on the topic.

Results

For research V1, we decided to analyze the structure of the narrative. This followed on

the premise of a traditional and conventional story narrative, based upon Joseph Campbell’s

Heroes Journey (Schriever, 2021). With that in mind, we primarily focused on the narrative

consisting of a beginning, middle, and end. Following that, all researchers reached a consensus

on definitions for beginning, middle, and end. For the beginning, we determined that there must

be context given for what is happening at the beginning. For the middle, there must be a build-up

to the climax. In the end, there needed to be a resolution to the problem or conflict.

Our results for V1 showed that the overwhelming majority of episodes from both Squid

Game and Black Mirror (7 out of 8 episodes) did possess a structure of the narrative. The only

outlier was one episode from Squid Game, which did not have a structure of the narrative.
 For our research V2, we decided to investigate the credibility of characters. The premise

of this was based on if the characters fit in according to the context of the show and if they

seemed to fit in by interacting with other characters. All researchers reached a consensus on this

definition.

The results for V2 showed that every episode reviewed from both Squid Game and Black

Mirror did possess the credibility of characters (8 out of 8 episodes). Each episode that was

reviewed for character credibility matched our definition.

 For our research V3, we examined the believability of the story. Our consensus reached

was if the story is rooted in reality and is believable. This was more focused on the overall

narrative, compared to specifics such as characters.

Our research findings were that Black Mirror had the most episodes that were believable

(3 out of 4 episodes), contrasted with Squid Game which only had one believable episode. This

is related to the overall narrative differences between the two dystopian shows. Squid Game had

two episodes that were not believable, and one episode was labeled not sure. The researchers all

agreed that the single episode ought to be labeled as not sure.

 For our V4, we analyzed the overall importance of the study. The consensus reached was

based on if the episode conveys a specific and meaningful message.

The results were that all of Black Mirror (4 out of 4 episodes) fit into the category of

having an important story. Squid Game only had two episodes that fit into the category of having

an important story, while two other episodes did not fit into that category.
 For our V5, we examined overall character conflict. The consensus reached was that a

character must represent some form of conflict. Our premise for conflict included character vs.

character, character vs. self, character vs. society, character vs. nature, and character vs.

supernatural. As long as one of these conflicts was present, we agreed to accept it as a conflict.

Every episode from both Black Mirror and Squid Game (8 out of 8 episodes) did have a

form of conflict in them. Each character faced a form of conflict with one of the five that we

listed.
 For our V6, we decided to look into the class system. The consensus reached regarding

class was that if it’s visible that any of the characters who were a part of an episode belong to a

particular class that is known in the episode.

Contrary to all of our previous findings, all Squid Game episodes fit into the category of

having a class system (4 out of 4 episodes). Meanwhile, only three episodes from Black Mirror

fit into the category of having a class system. One of the episodes did not fit into the category of

class systems.
 Discussion

(All) Our research study consisted of consuming a total of eight episodes, split evenly between

four episodes of Squid Game and Black Mirror. At the time of selecting the two shows, we were

unaware of what our results would find based on comparing and contrasting a Western dystopian

show with an Eastern dystopian show. Surprisingly, there was a balanced mix of similarities and

differences.

As seen from charts 1, 2, 5, and 6, there were lots of similarities in our analysis. Both

shows from different sides of the hemisphere with different cultures still had commonalities

related to the structure of the narrative, the credibility of characters, conflict, and class systems.

Our findings suggest that these are universal themes across the globe, hence why they are present

in two different dystopian shows. Meanwhile, based on charts 3 and 4, there is also a good

amount of variation between the shows. Particularly highlighted were the believability of the

story and the importance of the story.

What was fascinating as a general takeaway was that both shows approached the

dystopian genre much differently, even though there were similar films. Honing in on charts 3

and 4, Black Mirror focused on a more realistic approach compared to Squid Game. Black

Mirror’s episodes were more believable and conveyed specific messages which related to the

importance of the story. Conversely, Squid Game focused on a more extreme approach. The

episodes were less believable and there was somewhat of a lack in the messages being conveyed.

Nonetheless, both shows took different approaches to reach similar conclusions. Overall, both

shows did have an overarching theme.

 Our research suggests that both Black Mirror and Squid Game used the dystopian genre

to spotlight the importance of such overarching themes. We believe that Black Mirror focused on

more technological aspects, while Squid Game focused on the class system.

Fears of Technology

from Google images

(Henry Bascilia) Black Mirror episodes primarily deal with technology going wrong.

That was the case for the episodes that I watched, which was Black Mirror Metalhead, revolving

around robotic dogs. In a post-apocalyptic world, these robotic dogs with thermal vision chase

after human beings and try to kill them. The fear of Technology becomes very surreal. When

you look at the image above and you watch the episode of Black Mirror, you can see there is a

true fear of technology because the dog that is being used in Black Mirror is very similar to the

real product that Boston Dynamics has designed. The other episode that my partner watched

revolved around a virus infecting a teenager's laptop. The teenager ends up facing a daunting

choice of deciding to listen to the virus that's on his laptop or face the computer exposing his
most sensitive and private secrets. The fear of technology is very simple in this episode because

computer viruses are something that can happen anytime and anywhere and expose our most

personal information. We know this episode is very technologically surreal because we've seen

multiple cyber-attacks here in the US. They can impact a major company or our everyday way

of life. Who didn’t feel the rise in gas prices when that major gas line was hit with ransomware?

It impacted everybody who drives a car and the cost of everything that is shipped on the road. In

this computer virus episode of Black Mirror, the virus impacted how this person operated their

life and day-to-day activities. The fear of Technology became surreal to my group who can

relate to Twitter and other major social media companies. When we Watched Black Mirror

Smithereens, it dealt with a Rideshare driver taking a hostage, who is a social media intern

working for a big social media company. The scene takes place in a car in a field with police

surrounding the vehicle while the Rideshare driver holds the intern at gunpoint in hopes of

speaking to the CEO over the phone. Eventually, the Rideshare driver explains his emotional

backstory, after he finally can get in contact with a CEO. The climatic end of the scene comes

by cutting to Black and hearing a gunshot, suggesting someone dies.

Class System Relevance

Variable six on our code sheet is class systems and is very significant to the shows we

chose to watch. Squid Game dealt with upper-class and one-percenters betting on lower-class

citizens to kill each other by showing the upper-class exerting power. We do not see a change for

the lower class until the final episode when one of the characters gets his hands on the game

show money but decides to stay in the middle class. Then we see the main character go through a
slight change. The character moves up to the middle class. But if you pay attention to Black

Mirror, each character represents one of the class systems that makes where-as Squid seem to

focus more on the lower-class upper class. However, both these shows do help with exploring

the class system variable.

Plot and Cast

So, the difference is that the two tv shows that our group watched this semester back,

Mirror and Squid Game, is that when watching these shows, you can notice in these shows are

that Black Mirror is entirely science fiction, while Squid Game is horror fiction. When taking a

deeper look at the plot, Squid Game revolves around people competing for money in a violent

game show, whereas in Black Mirror, each episode plots. Changes. The cast for Black Mirror

consists of a variety of genders and races, while Squid Game are primarily Asian male and

female genders.

Narrative Paradigm Theory

(Bryce Matthews) Our results connect to the Narrative Paradigm theory in multiple different

ways regarding each of the variables that were set into place. With the structure of the narrative,

society is developing films regarding dystopian themes and settings in very similar ways.

Throughout both series of Black Mirror and Squid Game, the structure of the narrative seemed to

be misrepresented more frequently revolving around the beginning, middle, and end. Although

the structure of the narrative is present throughout the Squid Game series, it is more common to

find a lack of structure of narrative in the Black Mirror series. As the results show, an average

percent agreement of 66.667% was made based upon the amount of ‘yes’ and ‘no’ responses. For
example, throughout the Squid Game series, an anti-hero was presented and while the anti-hero

was presented, the entire story plot regarding the beginning, middle, and end revolved around

that anti-hero. As for Black Mirror, each episode is different, some episodes lack a complete

storyline and just present bits and pieces of the core information that may confuse the audience

in perpetuating a beginning, middle, and end.

For the credibility of characters, throughout both series, all individual characters

represented their roles correctly when contributing to the narrative paradigm theory. Throughout

each episode, every character, protagonist, and anti-hero fulfilled each role successfully when

fitting with each context of the story; in addition, represented the story thoroughly. As the results

show, an average percent agreement of 100% was made based upon the amount of ‘yes’

responses.

With the believability of the story, some present areas are unsure when trying to

accurately pinpoint the believability of a particular story considering the dystopian themes that

are being researched. Not every story that was being analyzed was exactly believable; however,

some areas within the story of the episode could be potentially believable if society was currently

living in a dystopian world. As the results show, an average percent agreement of 66.67% was

made based upon the amount of ‘yes’ (3), ‘no’ (2), and ‘unsure’ (1) responses. For example,

when focusing on the character(s) within Black Mirror, the character has fought with capitalism

beliefs and how the actual world works; however, this, in turn, has pushed the characters to fight

with the character’s very own character flaws. These emotions are depicted throughout the

episode to establish their tale and reflect it to others who are interacting with each character

within the episode, as well as the audience who is watching.

 For the importance of the story, the significance of the narrative is determined by its

topic. In the series Black Mirror, it was evident that there was an individual theme; in addition, it

was agreed upon the fact that the message was unique and entailed a particular overarching topic.

However, when analyzing certain episodes about Squid Game, it was evident throughout our

codebook analysis and results, that there was not a present topic that was relative to the overall

narrative. For example, several of the games just show people losing and ultimately being

murdered. This is primarily to set the scene for the series. Random children's activities that

culminate in death are less significant for a tale. Overall, this discussion provides how the results

connect to the Narrative Paradigm Theory when focusing on variables one through four.

(Vincent Mallardi)

The results of two dystopian films from different cultures are surprisingly similar. Most

relevant would be the class system, because that has been a continued theme throughout both

Black Mirror and Squid Game. Power, finances, and hierarchy are all related to the class system

and it’s something observed in every country. What is fascinating is that both Black Mirror and

Squid Game felt the need to include a major theme of the class system. Related to globalization,

this shows that even different cultures often share a lot in common. An example of this would be

the awareness of the class system and other related problems (money, power, government) in

movie and television themes. Along with that, countries worldwide can influence one another

regarding sensitive topics, universal themes, or articulate storytelling. Due to this new

phenomenon helped by the advancement of technology, countries now have instantaneous

connections with each other. Movements such as human rights, equitable treatment based on

color, and many more have become global phenomena rather than in single countries.
 One of the best examples of media globalization would be American studios premiering

their movies abroad before in America. This has broken the traditional thought that the U.S.

movie interest impacted global performance. One of the most well-known cases would be Steven

Spielberg releasing The Adventures of Tintin in Brussels and Paris roughly a month before it

premiered in the U.S. With the relationship between the U.S. and other countries media, there is

likely going to be an increase in universal themes between movies created from all over the

globe. This was witnessed in our study where both shows, even though from different

hemispheres, both brought the class system to the forefront of their episodes. While that is only

one universal theme, many more are coming to the forefront of media.

One of the major factors paired with globalization is the new phenomena of U.S. media

corporate activism. Recently, Disney took an active stance to broadcast that they are seeking to

help repeal Florida bill HB 1557, known by critics as the “Don’t Say Gay” bill. Disney is a

massive organization, with big ties in the media. Disney is a media conglomerate, owning Pixar,

Walt Disney Studios, Lucasfilm, ABC news, and ESPN (Lakritz, 2020). While our focus was

only on the genre of dystopian television, future research could easily expand on the topic of

genre and theme importance to analyze similarities and differences between genres.

Another important factor paired with globalization is the ambition of other countries to

export media. Specifically related to our research, South Korea which produced Squid Game has

been a recent dominating force in exported media. Its goal is to become the world’s leading

exporter and importer of entertainment and media (Department of Commerce, 2021). Their

ambition in the global media industry, along with others such as Bollywood and Nollywood,

continues to help the spread of media globalization. The Korean government is placing its bet on
entertainment and media to be a large industry and really impact the future growth of their

national economy. This has already begun to be seen with the massive export of South Korean

entertainment and media. Squid Game surpassed 111 million views on Netflix in just a month.

This has surpassed the previous record held by Bridgerton (Ioannou, 2021). During the Academy

Awards in 2020, the movie, Parasite, came into the international spotlight. Winning four Oscars

including the Best Picture Award, it marked the first time that a non-English language movie

won the award (Wang, 2020).

With an increasingly globalized media, our findings suggest that universal themes are not

limited to any particular country. Along with that, there might even be an acceptance of themes

valued higher in other countries. For instance, support for LGBT+ rights in the U.S. is high. In

other countries, there is still a significant amount of pushback regarding LGBT rights.

According to an international Pew Research Center poll, people in the U.S., India, South Africa,

Japan, South Korea, and Mexico have had the largest gains in public acceptance of gay rights

(Bhatia, 2020). Although this would need to be studied more in-depth, a possible correlation

could be that these countries consume a significant amount of U.S. media. While the U.S. leads

at the forefront of media, other countries’ media is rapidly advancing and improving. This

potentially could lead to more massive shifts regarding certain topics or themes, all based on the

globalized media’s influence.

Based on our dystopian theme, the genre provides a dramatic highlight of fears,

problems, and even solutions. According to Pew Research, the top perceived threats by

continents are disease, pollution/environment, inequality, nuclear weapons, and religious/ethnic

hatred (Desjardins, 2015). Interestingly enough, each of these perceived threats has been
incorporated into popular dystopian films or television show themes. This highlights the global

fears while also raising awareness of the issues, potentially in the hopes that resolution follows.

In conclusion, some of the most popular films internationally are associated with

universal fears. With global widespread fears such as nuclear warfare during the Cold War and

disease due to the global pandemic of COVID-19, the world oftentimes witnesses fear

coherently. Not only does fear scare us, but in a sense, it stimulates us. As witnessed through our

research, vastly different countries share universal themes. While the dystopian genre aims at the

extreme, usually to highlight a fear or problem, there is a great insight into the themes portrayed.

With increasingly globalized media, universal fears and problems portrayed can potentially

create an informed global public, which would possess the potential to create global solutions.
 References

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https://www.usnews.com/news/best-countries/articles/2020-06-25/lgbtq-acceptance-

growing-in-us-and-other-countries-over-time

Black Mirror. (n.d.). Netflix. https://www.netflix.com/title/7026488

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Galloway, S. (2012, October 8). Hollywood. Foreign Policy.

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est
 CODEBOOK

Unit of Analysis: Squid Game and Black Mirror

1. Speak to and reach consensus with partners if any sort of comment, questions, or
concerns arises.

2. Locate specific websites for each individual theme for questions or a further explanation
of content regarding each episode.

V1. Structure of Narrative

Does the episode follow a classic narrative structure?
Description: A classic narrative structure is based upon Joseph Campbell’s “Heroes Journey.”
With that used as our website reference, we will determine whether or not the episodes follow a
classic narrative structure. While we will monitor to see whether each step in the journey is
completed, the main rule for the narrative is if there is a beginning, middle, and end. That means
there is a beginning that provides context for what is happening. Then, the middle is where it
builds up to the climax. And lastly, the end in that whatever problem was present has ceased.

1. Yes
Squid Game Episode 9 is a good example of what is a classic narrative structure. At the
beginning of the episode, the 5 W’s are answered (Who, what, where, when, why). Following,
the episode builds up throughout to the climax. The climax is where two characters dual to
become the winner of the Squid Game. In the end, the resolution is that the main character wins
the Squid Game.

2. No
In Black Mirror Season 3 “Shut Up and Dance,” the episode does not follow a classic narrative
structure. At the beginning of the episode, there are many questions as to what is going on. While
the middle does build-up to the climax, the ending does not give a resolution. It ends on a
cliffhanger which traditionally doesn’t belong in a classic narrative.

V2. Credibility of Characters

Do the characters fit within the context of the story?
Description: If the characters act accordingly to the context of the narrative. This will also be
based on our experience of interacting with people. Do the characters act normally and respond
how the typical human would act?

1. Yes
In Squid Game, the series takes place in South Korea. All of the characters in the show are South
Korean. All of the signs in the cities are South Korean. The food that they eat is South Korean.
Because of this, the credibility of the characters related to the setting is perfect for the context.

*Have not seen an example of a lack of credibility of characters. In all of the episodes that we
have watched so far, each character fits in with the context of the story.

V3. Believability of Story

Is the story believable - is it rooted in reality?
Description: Given the pressures within today’s society concerning suicide and capitalism within
the United States of America, we see the main protagonist deal with these self internal character
defects both in Black Mirror and Squid Game. Integrated into both series, the main characters
create and build up their own individual story through the way they each act under certain
situations concerning both of these problems. The story is believable considering the internal and
superficial emotions that are expressed throughout each episode.

1. Yes

Ex.) Black Mirror (U.K.) The character has struggled with the ideologies of capitalism and with
the way the real world works; in addition, this pushes him to internally struggle with his
character defects. Throughout the episode, his emotions are portrayed to build his story to reflect
those who are interacting with him within the episode, and with the audience who is watching.

2. Unsure

Ex.) Squid Game (S. Korea) is focused on playing children’s games and losing results in death.
While this has not happened yet in the world, there is always a chance that something like this
could occur. During ancient Rome’s gladiatorial games, they would fight to the death will huge
crowds cheering them on.

V4. Importance of Story

Does the story convey a specific message?
Description: The importance of the story is based on its theme of it. What is the specific message
related to the show? Our rule for this is that we will watch an episode and think about if there is a
theme present. If the member believes it to be true, they will write that down and three pieces of
supporting evidence to back up the claim. Following that, they will share the information with
the other group members and a consensus must be reached.

1. Yes
Black Mirror Season 2 “Shut Up and Dance” reveals the dangers of getting cyber hacked. This is
something very real in modern society, as most people have some form of technology. Because
of this relevant threat, it is an important story.

2. No

Squid Game: In some of the games throughout the series, it just shows individuals losing and
then getting killed. This is more to build up context around the show. I would say that random
children’s games resulting in death are not as important for a story. But, by following our rule, so
long as we reach a consensus we will be fine to label it as whatever we all deem fit.

V5. 5 Conflicts
Does the character represent conflict within himself and express this conflict within society?
Description: In today’s society, character versus self-conflict is a form of internal conflict that
occurs within the individual psyche of a character. In this particular situation, it is shown within
an episode of Black Mirror, called “Smithereens”. Within this episode(s), the main character
portrays an inner fight with self-doubts, a moral problem, and within the nature of a typical
conflict.

The 5 Conflicts include:

● Man vs. man
● Man vs. self
● Man vs. society
● Man vs. nature
● Man vs. supernatural

1. Yes

Ex.) Black Mirror (U.K.) The character kidnaps an intern for a highly recognized company and
then holds him hostage with a gun to the male threatening him to get in contact with the head
CEO; in addition, if not in contact the character will then commit suicide.

*Cannot be any no’s in this. Every narrative must have one of these types of conflicts. What we
intend to do is measure how many we view. At the end of it, we will tally up and analyze what
conflicts were the most prevalent in the dystopian shows.

V6. Class System(s)

Is it visible that any of the characters who participated in this episode belong to a particular class
in this episode?
Description: When it comes to today's society, the Class system Plays a major role In
determining How people see you. In episode nine of squid game, we see the Class system
Playout throughout the entire episode via multiple characters and the setting of the interaction.
The way this will be examined is through the explicit use of characters discussing their class or
other classes and the apartment contrasts between different classes interacting. The system of
ordering a society in which people are divided into sets based on perceived social or economic
status.

1. Yes
Ex.) In Squid Game episode nine, Seong Gi-hun Can be seen receiving a call from an
unidentified voice Asking how his wife has not changed ever since he had won the money in
Squid game. This is a primary example of the class system Seong Gi-hun Is still living in the
lower class System. Eventually, towards the end of the episode, The audience can infer that he
has moved to Upper-middle-class but is not entirely super-wealthy as he has given away the
money to someone deeply in need of cash.

2. No

Ex.) In the Black Mirror season 2 episode “Shut up and Dance,” there are no class system
differences. The main character works in a restaurant, and almost everybody else in the episode
works there as well. Throughout the film, there is no highlighted interaction between people of
different classes.