Overall, looking at the stories [Black Mirror], almost every story we've ever done is concerned with authenticity or reality in some way.

If love were a product, the queue at the faulty goods desk would stretch right round the universe and back. It doesn't work properly. The seams come apart and it's full of powdered glass.

It's a barrel of laughs, isn't it? It makes The Day After look like friggin'...insert name of cheerful thing here. It was one of the things that made me really worry about worst-case scenarios. There's something impish and probably somewhat therapeutic about thinking about those things.

I think overseas viewers assume that Black Mirror is written by the Unabomber, essentially - a Ludd­ite, technology-hating, angry old man waving his fist at the App Store.

The biggest teenage taboo is being strait-laced. It's easy to tell a researcher you went to a house party that turned into an orgy. It's less easy to say you like eating toast and watching QI.

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

It's interesting, in the U.K., I'm known for doing comedy things, which often doesn't translate to the U.S.