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Sizemore envisions a bigger and better ride than guests have ever experienced, like the new stand-up roller coaster at your local Six Flags. The guests will love it, Sizemore predicts, because “they will have the privilege of getting to know the character they’re most interested in - themselves.”īased on the first episode, and now Episode 2, Westworld has reached a crucial inflection point in its existence.
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Played by a cheerfully lusty Simon Quarterman, Sizemore announces a splashy new attraction, a story line that “will make Hieronymus Bosch look like he was doodling kittens.” Titled “Odyssey on Red River,” the story introduces an assortment of Wild West synthetics to the grounds, in support of a bloody cowboys-and-indians scenario that involves “self-cannibalism” and other such acts of depravity. Of the crew chiefs behind the scenes, Lee Sizemore, the park’s creative director, may be vulgar and narrow-minded, but his instinct to make Westworld more theme park-like seems wise with regard to its long-term viability.
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Here are some of the highlights selected by The Times’s TV critics: Television this year offered ingenuity, humor, defiance and hope. The host leads him into a gallery, where he can choose his custom-fitted Old West garments, his guns and, finally, the color of his hat. From the moment William shuttles to the park terminal, where he’s greeted by a beautiful woman in a skintight uniform (think the outfits in Robert Palmer’s “ Addicted to Love” video, but in white) he struggles to gain his bearings, as any normal person would. His noxious companion - he refuses to call him a friend - has been to Westworld many times and feasts heartily from its expansive buffet of violence and vice. Joy’s series, the ambiguity is unsettling, and the park’s creators are making it worse with each new upgrade.Īfter opening the series last week with an episode focused on Dolores, one of the hosts, “Westworld” wisely shifts focus in Episode 2 to a guest, William, as he visits the park for the first time. But this minor alteration pushes some important questions to the fore: What does the park reveal about the people who visit? And what do they learn about themselves in the process? In the Crichton version, those ridges on the hands marked the hosts as conspicuously artificial - enough that killing them could feel like little more than a sophisticated form of target practice. Otherwise, only those who recognize certain patterns of behavior can tell one from the other.Ĭreators Jonathan Nolan and Lisa Joy have made some big conceptual changes in adapting Crichton’s film for television, most notably the attention they’ve given to the androids’ perspective. If they shriek in agony and collapse in a pool of their own blood, they’re hosts if they continue to nurse their sarsaparilla, they’re guests. That one external flaw has been scrubbed away in the TV show, so there’s only one way to tell the difference: to shoot them with a gun. For all their scrupulous efforts to make the hosts seem as real as possible, it’s explained, the designers could never get the hands right, leaving conspicuous ridges around the joints.
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In the original Michael Crichton film “Westworld,” park guests who wanted to know the difference between an android host and their fellow human beings only had to look to the hands.
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You can stream it now on HBO Go and HBO Now. HBO has made this episode available in advance of its regular Sunday night slot.