Weller's micromultiverse 3World in 4Time
There are trillions of universes out there in imaginative cultures.
Star Wars, Startrek, or Marvel and DC comic book multiiverses are original fantasy universes—separate while developing crossover trends realtime, having become, like Buffyverse or Warcraft and Pokémon gaming universes, profitable commercial media franchises. Production of celebrity has turned brevity-based "twitterature" into Twitterverse along with Playbook Nation's zoomiverse (...imagined Earth region based on Tencent, tistak, wackchat, snapperchatter, Alibaba, Telegrim, DisCard to Pinter-esque and Meta's Fleecebook, Instapix, WhereitsApp...)
This & That's
Universes like Lord of the Rings, Game of Thrones, The Hunger Games, The Chronicles of Narnia and JK Rowling's Wizarding World have developed successful franchises from popular prose fiction. David Bowie fans have built BowieWorld. Duncan Jones has made filmic "Mooniverse" funded by a bunch of Kickstarter supporters. Jones is also guardian of Bowie75 and Moonage Bowieverse.
Margaret Atwood’s dystopian Gilead has become a universe and Irvine Welsh's Trainspotting is now a universe too. British public broadcasting successes include television's Dr Who and radio's The Archers. Shows running for over half a century after sound and screen first brought Shakespeare's Elizabethan playground, Austen's realm of sense and Dickens's London sketches of England to modern life.
Mike Weller's Space Opera and MJ Weller's Slow Fiction began as a series of pamphlets over twenty years ago. But Ambridge has a regular audience of five million like Joe Weller's YouTube universe and 19th century Wellerman sea shanties. This needless to say is less than the audience for 3World in 4Times' wellerversal smalltown Daggerton (formerly Dedbrickton) and ghost village of Addingcombe lost in the midst of a dual carriageway just outside Croydon.
Soon may the Wellerman come to bring us sugar & tea & rum
In this micromultiverse, a mysterious and unfathomable Earth Corporation has licensed its Entertainment Division's comedians and improvising performance artists: harbouring both malign and benign intentions; to enter a looking-glass reality of cartoon thought bubbles blown to rule the world through a bent plastic straw. Mike Weller's audience is also substantially less, at a guess, than Josh Weller's podcast subscibers or Paul Weller's fan club. But That's, in the words of Weller's outstanding Jam-age song, Entertainment (no full stop)