In Communication, Lex Brown assumes multiple characters as parodic renderings of the telecommunications company Omnesia and its next residential target for development, New Greater Framingham.

In homage to Mystery Science Theater, this story begins in darkness, where the audience watches a presentation at the planetarium about what happened to the stars – that is, the people of earth. At the head of Omnesia are Aspen Van Der Baas (a gen-something girlboss), Jordie (her tech bro analyst), and Sylvie (an impassive and sentient AI). They use their extensive technological powers to displace the consumer-citizens of New Greater Framingham. Finding their strategies insufficient, they enlist the help of B. Marbels, a fast-talking, ambivalent film director who is tasked with creating plot holes to further manipulate the historical narrative in the minds of New Greater Framingham's citizens, who are being pushed out for the sake of a bigger city skyline. To Omnesia's chagrin, one such consumer-citizen, Marie, discovers the power of her inner voice to interfere with the algorithmic forces of Omnesia. Questioning the way that speculation (as capital) and fiction (as a constructed narrative) work, Communication suggests the many ways that we are drawn, cajoled, and coerced into ‘the future’, at the expense of what (and who) exists here and now.