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.
If you're going to tread this thematic ground, you have to put in more effort. 'Westworld' starts off pretty strong, but the Nolan gene is unshakable, resulting in sleek, 'mind-bending' twists for gotcha's sake. The past two decades of television are scattered with a few brilliant gems, but overall the blight of American 'prestige TV' is merely expensive-looking candy masquerading as philosophy.
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...
"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 got so excited in the beginning, even thought about writing a short story with a character named Dolores. Then I got really bored and I wanted to kill Dolores and fucking Teddy. Ed Harris is the best character along with Bernard. Anyone thought about BRAVE NEW WORLD by Huxley?
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.
Return to formulaic genre tropes is what narratives are, but what if the characters/robots had their own volition. What if the show/movie could look back at its gazing spectator? The effort taken to figuring out what happens next doesn't take you to the center of the maze, you've already been to the center of the maze and then you tried to forget.