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In "Universe," Mr. Richter plays Andy, a shy technical writer with an over-amped imagination.
In Universe A, most of the relevant ethical decisions about when it is justifiable to breach someone's privacy were effectively subcontracted to editors.
In universe two, external factors intercede to give the characters more pressing dilemmas: enter hospitals (ER, Casualty, Holby City), aliens (The X-Files), leading the free world (The West Wing), people with supernatural monkey powers (Monkey), any life 'n' death stuff.
In universe one, mainly populated by political leaders in electoral mode and many commentators, the assumption is that unemployment is a temporary accident which will be resolved when growth returns.
In universe two, inhabited by innovators, computer scientists and entrepreneurs, the goal is to look for labor-saving devices, replace humans by machines and cut payroll to a minimum for better profits.
It's an original story by the Wachowskis — an elaborate, quasi-Shakespearean effort in universe building and infighting.
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Production was greatly aided by concept art, which was intended to visually bridge the two Star Wars trilogies, convey the impression of a "lived-in" universe, show how the galaxy changes under Imperial rule, and to seem familiar yet new.
A post on the in-universe Daily Bugle website hints that it's more of the same in the sequel.
"We look for something that has a good legal hook and a good in-universe hook" and then rev up the cultural blender, Mr. Daily explained.
The time shown is the in-universe time of the story.
The plot events and characters are described, below, using in-universe tone.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com