That's not something that we've gone in thinking 'Right! How are we going to examine that now?' It's just when you take a step back you see that they're actually all sort of in that mode.

The logic for me, in writing it is that the different areas or different years are almost like different rooms.

Your grades are not your destiny: they're just letters and numbers which rate how well you performed in one artificial arena, once.

I could worry about pretty much anything you put in front of me, so I'm not actually sort of anti-technology. So it doesn't sort of come out of that. It's not like a fear of the future. It's a fear of everything.

What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.

In comedy writing, a sitcom plot is basically the same thing: What's the worst thing that could happen? But you're playing it for comic effect. It's a similar muscle being used with Black Mirror.

Am I living in a simulation?