I would say the thing you can still see in Black Mirror is that I was probably traumatized by the specter of nuclear war. I was born in 1971, and in the '80s I came to understand that I was inevitably going to be frazzled to death in the nuclear apocalypse.

I kept saying I want to do an episode that's set in the past, how do we do a period episode of Black Mirror? And simultaneously there was another idea we were thinking about and the two things sort of gelled and became San Junipero.

As long as we've still got crazy "what if" ideas, we can continue [Black Mirror]. It's outpacing reality that's probably the challenge.

I saw The Twilight Zone for the first time when I was 12 or 13. I used to stay up late to watch.

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.

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.

The difference between smartphones and cigarettes is this: a cigarette robs 10 minutes from your lifespan, but at least has the decency to wait and withdraw all that time in bulk as you near the end of your life - whereas a smartphone steals your time in the present moment, by degrees. Five minutes here. Five minutes there. Then you look up and you're 85 years old.