Now I’ve called this post a season one review because, as we all know, Westworld has been renewed for a second go round. Hardly a surprise, given it’s a flagship show on Sky Atlantic, it’s got a sickeningly talented cast (Anthony Hopkins, Ed Harris, Thandie Newton, Evan Rachel Wood etc), clever, tricksy writers (Jonathan Nolan and Lisa Joy), strong concept (sci-fi meets Western) and has been a storming hit with audiences (89% fresh on Rotten Tomatoes).
It’s also fresh because it bucks the modern trend of drowning us in nudity and violence (Game of Thrones we’re looking at you) and doesn’t serve up that much story in one go. That’s not to say it’s light on story and character. In fact it’s quite the opposite. This is a slow burn, but one that’s worth your time. And it’s also somewhat rare for a show to start with the number of characters that it does. In that at least four or five of them have key storylines. (So maybe it’s a little like Game of Thrones.)
For the uninitiated though, at its basic level, Westworld is a theme park, albeit a giant one, where the population are made up of ‘hosts’ (synthetic robots) that are so lifelike that you cannot tell them apart from humans. The park’s purpose is for humans to visit to get away from the world, to fight and have sex and enjoy the wild west. And the series starts with The Man in Black (Ed Harris), who’s been coming to the park for years. He’s no longer interested in the park’s base attractions, but is searching for its centre, the centre of the maze, as he calls it. To give his life meaning and purpose.
We also have various hosts who evolve throughout the story, becoming more human as they go. In particular both Thandie Newton and Evan Rachel Wood’s characters are searching for who they really are. Their purpose.
In fact, most characters are searching for meaning, trying to discover who they really are and why they’re here. Why are they a part of this world? What makes them who they truly are? What makes humans real and hosts not? Tugging the strings and playing God with barely concealed glee is Dr Ford (Anthony Hopkins), who’s treading a fine line between villian and a mysteriously benevolent creator. It would be easy to play him as a straight up bad guy, but Hopkins gives us more, adding layers and nuance to Ford. And by the end of the season you’re still not sure of his motives and whether he’s playing a trick on everyone, as all the best magicians do.
So this show has laid down a big and bold marker; in that it’s fairly different from a lot out there. A bit more thinky thinky and less smashy smashy. But it gets the balance right and answers enough questions to keep season one satisfying, but holds enough back so that season two promises to be worth waiting for.