Both emphasize among Westworld's most upsetting details: virtually every female host was supposed to be some type of whore. Another, which I will not spoil, is this type of pointed dream of white male empowerment it directs the viewer to observe all Westworld's illusions as dreams made for this specific audience. The playground is presumed to become a hermetically sealed park which permits participants to securely pursue anything without any consequence, however, the show itself highlights that this thought is really not possible. Westworld this year is a narrative about matches. Often it feels like Westworld works backward - presenting a situation, then spending boundless future scenes describing how that situation came to exist. It is dedicated to this endpoint of its own fantasies, and surprisingly obscure on procedure, which can be just one reason Season 1 may be so irritating. If a prestige play is a intricate machine, what is special about Westworld is how ready the series is to portray that machine without describing the procedures that include it. They're also, in Season two, sprinkled across space and time, divided into contingents of improbable pairings and shaky alliances, trying to live inside the parameters of their sandbox created last year. Since the hosts gained sentience and discovered a route to liberation, they became stand-ins for individual anxieties: the hushed omnipresence of technology, the manipulation of the oppressed, the battle for self-actualization, and the dreadful immortality of production.
At the first season, the crowd was introduced into an adult park, populated with fleshy androids made for human satisfaction. Yes, it is clear - except for the audience, his words have deeper consequences than they perform to ol' Black-Hat Bill. The first period of Westworld, and perhaps the second, could be redeemed by an exasperation-inducing market in Sunday night's premiere, where William experiences an android boy modeled after Ford.
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