You don't have the economy of scale of building a set once and casting once. You blow up the world, basically, at the end of each episode.

If technology is a drug – and it does feel like a drug – then what, precisely, are the side-effects?

Creationists reject Darwin's theory of evolution on the grounds that it is "just a theory". This is a valid criticism: evolution is indeed merely "a theory", albeit one with ten billion times more credence than the theory of creationism - although, to be fair, the theory of creationism is more than just a theory. It's also a fairy story. And children love fairy stories, which is presumably why so many creationists are keen to have their whimsical gibberish taught in schools.

I think somebody's marketing a thing that Hoovers up your Twitter and it will continue tweeting for you after you're dead. I have no idea whether they saw "Be Right Back" or not.

We've got characters in the UK like Boris Johnson, who's kind of like a proto Trump in many ways even down to the crazy blonde hair. Then Mayor of London, now Foreign Secretary, Boris Johnson was widely seen as a cartoonish oaf and that made him strangely undentable as a politician. No one could land a blow on him because he was already ridiculous.

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.

[British television series] Hammer House of Horror. I used to really enjoy these one-off stories where often there would be an incredibly cruel twist. A good example is the episode with Burgess Meredith and there's a nuclear war and he drops his glasses. To this day, you can show that to anyone and they'll go "Bwrrrrrrrr!" You know, sort of wander away shuddering.