“Cupertino,” a new legal drama set in Silicon Valley, is set to premiere on CBS on October 8, offering a fresh perspective on the intersection of law and technology. Created by Robert and Michelle King, the prolific showrunners known for series such as “The Good Wife,” “The Good Fight,” and “Evil,” the show explores the complexities and ethical dilemmas posed by the digital age through the lens of a law firm representing individuals harmed by major tech companies.
Although the series is set in Cupertino, California—home to Apple and emblematic of the tech industry—it is filmed in a warehouse district in Kearny, New Jersey. The choice of location was influenced by tax incentives and the proximity to a pool of New York theater actors. The set design emphasizes a deliberately unfinished aesthetic, reflecting the “fake-it-till-you-make-it” culture often associated with Silicon Valley startups.
The narrative centers on two attorneys with contrasting outlooks: Olivia, portrayed by Rachel Keller, who is depicted as somewhat idealistic; and Michael, played by Mike Colter, who brings a more cynical perspective. Their firm handles cases involving emerging technologies such as drones, chatbots, and artificial intelligence, often delving into the murky ethical terrain surrounding these innovations.
The Kings aim to differentiate “Cupertino” from other portrayals of the tech world, which frequently focus on the stereotypical “tech bro” culture. Instead, this series spotlights the legal battles waged against powerful digital entities. Robert King dismissed the typical tech protagonists as uninteresting, stating they intended to focus on the human intellect and empathy that challenge technological dominance.
Throughout the production, the Kings have integrated contemporary methods, such as remote tours and virtual writers’ meetings, while expressing reservations about artificial intelligence’s growing influence on creative industries. Michelle King voiced concerns about AI’s impact on jobs within the entertainment sector, describing it as “regurgitated machine learning” that undercuts creative professionals.
The show's tone balances lightness and depth, incorporating inventive storytelling elements and humor to avoid becoming a grim legal procedural. The Kings and cast emphasize the importance of maintaining a human touch in portraying AI, a deliberate ironic contrast given the show's focus on digital technology.
“Cupertino” was originally conceived during the concluding seasons of “The Good Wife,” although its development accelerated following the cancellation of “Evil,” another King project starring Colter. The timing aligns with heightened public awareness of AI’s expanding role in everyday life.
The production design complements the series’ themes by using large windows, diffuse lighting, and minimalist spaces to evoke the startup atmosphere, including a fictional law office housed in an unfinished tech headquarters. This visual approach underscores the juxtaposition between shiny technological façades and the less polished human realities beneath.
Cast members describe the creative process as both challenging and enjoyable. Keller noted that the show subverts expectations of conventional legal dramas by embracing moral complexity and character contradictions. The Kings intend the series not only to entertain but also to provoke reflection on how digital technologies shape society and challenge traditional notions of intelligence and justice.