as Hazel Green, a woman who discovers that her controlling tech billionaire husband, Byron Gogol , has implanted a chip in her brain that tracks her whereabouts and her emotions. The technology visualized on-screen seems at once futuristic — the Gogol complex is a series of virtual reality cubical hubs, and Byron can see everything Hazel sees through the chip in her brain — and yet not quite so far off in an age of smart speakers and remote workplaces.
The novel was heavily centered on Hazel’s perspective, but the TV adaptation had to get out of her head — a little ironic, given that the implanted chip allows a direct view into her brain. While the eccentric, domineering Byron is mostly seen through flashback in the book, his character is brought to the forefront for the series, a decision meant to add complexity to his villainy.
In developing the series, Lee and Nutting shaped a narrative around the ways that modern technology can seem like an answer to loneliness, albeit an imperfect one. Hazel’s father, played by Ray Romano, finds companionship in a sex doll. Byron never leaves the Gogol complex. That their protagonist, Hazel, feels not just trapped in her marriage but literally trapped in her luxurious, AI-powered home seemed prescient, as the production filmed some of its episodes in the midst of the pandemic.
Echoed Nutting: “Byron’s whole thing is that a simulation can be just as good, or that if you have a simulated experience, you have no need for the real thing. And that came to mean something different, I think, for all of us, post-lockdown.”
Emmy worthy performances! My take for Forbes
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