way that we understand. The story of AI in this series isn't just about technol- ogy — it’s about trust; about wheth- er we can believe what we see and hear. And that’s also scary, because we’re get- ting to the point when people no longer know what’s real. As a mother, I also consider how today’s children experience the world. I read that your brain creates images when you read something in a book. But when you’ve already been giv- en everything on the screen, that part of the brain is used less. Your imagination doesn’t develop in the same way. And, in my opinion, that’s as important as any debate on technology. Deborah Vance is a character who came across as being fully formed from the start, yet she still changes throughout the series. Did anything surprise you in her arc? - Frankly, I felt like it was complete- ly clear from the moment I first read it.
That was a real actor’s gift. It’s rare to re- ceive a character that’s so well defined and yet still leaves room for develop- ment. Of course, she has become more layered over the years. Her relationships, especially with Ava, change her. They in- fluence each other in a way that perhaps neither of them expected. You’re returning to more distinct humour this season, following the darker tones of the previous season? - Season Four was quite heavy, and although I think we deserved that as a story, there was a fear over how the au- dience would react. But the audience was willing to take that journey with us, be- cause they cared about those characters. Season Five sees us return to something that represents the essence of the series for me: an absurd and sometimes com- pletely nonsensical comedy that’s simul- taneously deeply emotional. I think we all enjoyed being able to be completely silly
again. Humour has a special function to- day. It opens people up. When you laugh, you become more receptive and more willing to change your perspective. And that’s perhaps the most important thing art can do. This series actually created a new phase in your career. How do you view that in the context of the industry and the position of women? - I can’t explain exactly when that turnaround happened, but I’m infinitely grateful that it did. The industry didn’t know for a long time what to do with women who aren’t young. Stories were written about men. That’s changing to- day. Not fast enough, but it is changing. Older women are getting more complex roles, those of characters who have de- sires, conflicts, ambitions. And that’s a huge change. And I hope it’s one that will continue, because audiences want such stories.
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