The CBS drama “Cupertino,” created by showrunners Robert and Michelle King, offers a new exploration of Silicon Valley’s tech landscape through the lens of a legal drama. Set to premiere on October 8, the series focuses on a law firm representing individuals harmed by the powerful technology companies shaping contemporary society.
Though the series is situated in Cupertino, California — home to several major tech firms including Apple — filming takes place in a warehouse district in Kearny, New Jersey. The Kings cited tax incentives and proximity to New York theater talent as reasons for the location choice. The production design highlights a deliberately unfinished, open aesthetic meant to reflect the “fake-it-till-you-make-it” culture common in tech start-ups.
“Cupertino” centers on two attorneys, Olivia (played by Rachel Keller) and Michael (Mike Colter), who navigate legal battles against large tech interests involving issues like drones, chatbots, and artificial intelligence. Unlike many previous portrayals of Silicon Valley, which often focus on the so-called “tech bros,” the Kings opted to shift the narrative perspective to those confronting the tech industry’s excesses, depicting the young men behind the companies as relatively uninteresting and unlikable.
The series blends procedural storytelling with a broader examination of digital technology’s impact on personal lives and society. The Kings, known for their previous work on “The Good Wife,” “The Good Fight,” and “Evil,” employ stylistic experimentation alongside serialized narrative arcs, aiming to balance entertainment with timely social commentary.
Michelle King emphasized that humor is a key component of the show, warning that without it the subject matter might become overly bleak or moralizing. The creators also stressed the importance of portraying artificial intelligence and related technologies as human-adjacent rather than purely mechanical, instructing actors who voice various chatbots and avatars to imbue their performances with humanity.
The impetus for “Cupertino” stemmed from the Kings’ evolving interest in the intersection of law, technology, and power. Originally pitched during the closing phase of “The Good Wife,” the concept gained renewed urgency following developments in AI and the end of “Evil.” Despite some reservations about A.I.—particularly its effects on creative industries—the Kings acknowledge its potential benefits.
Supporting players, including Renée Elise Goldsberry, highlight a collaborative and positive atmosphere on set, aligning with the creators’ intention to produce a show that is both thoughtful and inviting. The design choices and narrative tone reflect a deliberate effort to distinguish “Cupertino” from standard legal dramas by embedding nuanced moral questions within accessible storytelling.
Early episodes focus on robust legal cases while also probing deeper questions about the boundary between artificial and human intelligence, especially in light of the ways human cognition is leveraged to develop machine learning. Through its combination of humor, character complexity, and contemporary relevance, “Cupertino” aims to offer both critique and affirmation of the evolving digital age.