Review: ‘Westworld’ Has Entered the New, Better Frontier of Sci-Fi


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When it premiered six years ago, Westworld it represented the prestigious science-fiction in its apogee. An expensive HBO series with an old-school Michael Crichton pedigree, featured a stellar cast and a baffling premise: what if all the sensitive robots, or “hosts,” of a Western theme park decided that had they had enough of being? kicks and drags? Subsequent seasons revealed the influence of artificial intelligence and went far beyond the boundaries of the Westworld attraction, a global mess of money, corruption and manipulation of consciousness that was a nightmare fuel for viewers. who watched at home as they traveled on Twitter. It was a success, albeit a modest one.

But, as many popular shows do when they spend their second season, it deviated a bit. For season 3, Westworld it had become exhausting, a spectacle with perhaps too many good ideas and there are not enough places to put them. When host Dolores (Evan Rachel Wood) left Westworld and tried to destroy and / or save the humanity that enslaved her, she inspired a revolution that led to the destruction of the reality-manipulating AI known as Roboam. It was revealed that the man in black was William, son-in-law of the founder of Delos, who built Westworld. Everyone had a role to play, a lot of people (and androids) died and in the end keeping track of everyone, or anyone, seemed like a chore.

For the first two episodes of season 4, which aired on June 26, things have changed, and for the better. Caleb (Aaron Paul), once a soldier of resistance to machines, now has a stable family and job and, although he also has a post-traumatic stress disorder, is not as prone to histrionics as before. . He is once again called upon to join Maeve (Thandie Newton) as they are both again hunted down by gloomy hosts, but now their search has the feel of a thoughtful character drama, rather than a scene of the third act in a Terminator film. May be Westworld goes to a slow burn during the first half of its current season. Regardless, it seems that creators Lisa Joy and Jonathan Nolan had the clue that with modern science fiction, sometimes less is more.

The best shows and movies are often character dramas; even Westworld it was in its first season. But as we enter the new golden age of television, the more focused direction of the show indicates a change that is fortunately taking place for a long time. Instead of science fiction with some interesting characters, the best shows are now political thrillers or dramas with a science fiction backdrop. Is For all humanity playing as Crazy men in space. O After YangThe family drama about the persistence of memory wrapped in a story about a deceased droid.

Or, perhaps in its best incarnation today, Dismissal. The success of Apple TV + works primarily as a labor thriller about how to deal with loss, but it is based on genre premises like “Should we fork our brains?” and “What if I lived in a business city where business was extremely dark and perhaps a cult?” Futuristic science fiction can often seem cold, which works when a dystopian vibration is sown, but it can also be kind of nasty. As shown Dismissal i Westworld What you are doing is burying philosophical dilemmas under this elegant sheet. The inner construction of the world is as strong as the outer. It is an ideal that has been at the heart of science fiction for decades, but that can be lost in the pursuit of qualifications and dazzle.

Per Westworld, the move has paid off. During the weeks following the premiere of the show’s new season, Vanity Fair he wrote that the latest deliveries were “an updated model.” The Daily Beast said it was “worth seeing again.” This also feels right. Gender franchises often lose their way and then run their course. WestworldLast season is the reboot I needed.



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