And that is just the trailer that promises more by flaunting the series's credentials: “From the mind-bending creators of Westworld” and “Based on the visionary novel by William Gibson.”įlynne Fisher (Chloe Grace Moretz) lives in the rural American South, working at the local 3D printing shop, while earning much needed extra money playing VR games for rich people. As dangerous as it is wondrous - with a faceless robot cab driver, a goth-like woman with a moving tattoo, a car cloaked in invisibility, a Michikoid robot serving sushi, a sonic blasting gun, and mysterious villains.
It just hasn’t happened yet.” Flynne soon learns just how real and thrilling this future world is. “You think this is a game, but it’s real. “You’re inside what we call a Peripheral,” Flynne is told by the beleaguered PR man Wilf Netherton ( Gary Carr) who reaches out to Flynne from the future. “Holy Sh*!” Flynn exclaims after trying on the headset, believing she’s just played a mind-blowing game. One day, Burton shows her a cyberpunk-inspired headset which he says is “the future.” When Flynne puts it on and shuts her eyes, she is transported to the dystopian London of the 22nd century, its streets and buildings sleek but empty, crumbling, and full of danger. “Like it or not, this here’s the only world that I’ve got,” Flynne answers.įlynne’s small world includes her military veteran brother Burton who lives in a trailer park van. “Your skills and personality are being sadly wasted in this den of imbecility,” says her co-worker. As a mystery character operating out of a "peripheral"-a sort of android body that can be inhabited via digital presence-says, the plan is to save "the world." It's just that the world isn't their own.The trailer begins with Flynne Fisher living in a small town where she works in a small 3D printing shop.
But a new Amazon Prime Video adaptation of the book makes the primary motivation more clear: altruism, of an essentially political nature. Why meddle? The novel is somewhat coy, suggesting a mix of amusement, curiosity, sadism, and even good intentions.
Instead, their connection to the pre-Jackpot world creates a "stub"-a timeline that departs from their own, just a few years into something like our own future-set in a hillbilly enclave on the hard edge of a decaying American society. In his 2014 novel The Peripheral, science fiction writer William Gibson told the story of a distant future set in the aftermath of a slow-rolling climate-disease-and-politics apocalypse known as the Jackpot, where rich, sad, often vaguely criminal denizens meddle in the affairs of the past.
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