The program takes place in fictional Westworld, a technologically advanced, Western-themed amusement park populated completely by synthetic androids dubbed “hosts”. Westworld caters to high-paying visitors dubbed “newcomers” (or just “guests”), who can do whatever they wish within the park.
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This has more humanity than INCEPTION and is probably the greatest conceptual remake since Cronenberg's THE FLY. This uses the expansive running time to explore the "GROUnDHoG DAY goes to Hell' ramifications in a a way that makes comparisons to all other recent cyborg movies seem trivial. Just see it!
I still think you have to be somewhat stupid to go all like "omfg american tv series are so intelligent these days" without feeling at least a tad embarrassed about yourself, but that's just me. I see more brilliance in Michael Bay productions than I see in this pretentious piece of crap lol, whtvr..
"Westworld" possesses the beauty and the brains that so many TV shows can only aspire to have. The final episodes of the first season are filled with twists and turns, some of them manage to really surprise you. With a strong cast and the network's usual top-notch production values, season two promises to be even more unpredictable with the expansion of this universe. Despite some excesses in dialogue, it's riveting.
I think other films have dealt with similar subjects better. It's always good to have high-production values and character development, but I kept seeing opportunities that they passed up. They played it a bit too safe. They kept restraining themselves as if to save it for later.
A beautiful musing on human conscience, resorting to a twisted game in which all possible sides to the story are explored. The character arcs are delightful and intricate, bringing out the best in them and giving us amazing scenes, such as Maeve's realization. The show can be a bit too repetitive and overly dramatic, but I guess it's all part of the epic narrative.
Can I call this the viewer-friendly reflection of Twin Peaks: The Return? Both overflow with doublings, repetitions and time loops, the dead made living, and nightmares more real than reality. WW also offers a powerful critique of the commodification of all facets of human life - our thoughts, dreams, bodies. As drama it's far from perfect, but great for thinking through the techno-capitalism that's taken hold of us.
There are some interesting explorations here of the nature of identity, conditioning, free will, and the essence of consciousness, that too often get drowned out by the bang-bang violence, which is necessary to the plot, I suppose, but which can wear on one's patience, after awhile...look forward to seeing how season two unfolds, after the season ending Big Twist...