I don’t watch many television shows, so I was surprised that I recently become addicted to a new HBO series: “Westworld”.
When I first heard that HBO was making a series based on the original concept of the Westworld film (the earlier version was written by sci-fi writer Michael Crichton), I’ll admit that I was skeptical. The original Westworld was one of the worst movies of all time, surpassed in its hideousness (despite a bravura performance by actor Yul Brynner) only by its lamentable sequel, “Futureworld”.
The premise is simple: “Westworld” is a recreation of a 19th century western town, staffed by android “hosts”, where vacationers can act out their fantasies about living in the old West. The paying guests of Westworld are told that they can live out their Wild West fantasies in complete safety. “Nothing can go wrong,” the tourists are told. Which means, of course, that everything certainly will go wrong, and fast.
Fortunately for viewers, the new HBO series far surpasses the original film. It explores issues such as the nature of consciousness, the relationship between humans and robots, and the stories we invent about our lives.
Here is the trailer for the original 1973 movie:
And here is the trailer for the 2016 HBO series.
Same premise, much more effective execution. The HBO version of Westworld is a great show for writers to watch, in particular. At its heart, Westworld is a show about storytelling. Each episode explores an aspect of telling stories, positing the notion that our memories are nothing more than the narratives we select to anchor our identities as human beings. My favorite character in the show is the writer, Lee Sizemore, a profane, alcoholic hack who is charged with writing the “depraved little fantasies” that entertain the tourists at Westworld. Sizemore’s hapless, comedic character offers a refreshing contrast to the polished perfection of the androids and robotic-seeming humans of Westworld.
Have you been watching the Westworld series on HBO? Here is a New York Times article recapping this week’s penultimate show, Episode 9. But if you haven’t been watching the series, I wouldn’t jump into one of the later episodes. Multiple timelines and unreliable narrators abound in this ambitious show, so it’s essential to watch it from the beginning. Next Sunday is the finale, and fans of Westworld are eager to know: is Arnold really dead?
Fun aspect of the new Westworld: the integration of contemporary rock music as the musical score. Here’s a clip as an example (strong language, violence advisory).