IIn the endless jungle of images from streaming providers, the Westworld (2016) series was not only a show worth paying attention to, but also one that audiences should take a closer look at. The first season, based on Michael Crichton’s 1973 film adaptation of the same name, is about an amusement park where the super-rich can discover through super-realistic human machines called hosts what binds or breaks them together, masterfully mastering the existential differences to celebrate in detail. Human or machine, life or death, fable or fact – all can be told by a fly walking in close-up across the wet, shiny surface of an unblinking eye.
Who watched the first season of “Westworld” with Anthony Hopkins as Dr. Robert Ford thought he could start to think: What if people made robots that looked more and more like them? At the end of evolution, is the human machine made of cellular tissue, of flesh and blood, with extraordinary computational power? Then machines would not be the best people, but man would be the best machine.
The possibility of “Terminator”
But in the following seasons, the series lost its subtle qualities in favor of a novel that was still very complex, but more coarse in dialogue and imagery, that is, reliance on blast effects and sayings. He asked for this less than what constitutes consciousness, but how much of a potential Terminator is in the Western World or humanity.
While the hosts in season two had to free themselves from pre-selecting their stories, in season three, the people who wrote the stories were who wrote the stories using extensive behavioral analysis (backed up by data from thousands of “Westworld” theme park visitors). Big Data had a hard time escaping. The realization of the watch machine, in the person of the robot rebel Dolores (Evan Rachel Wood) who escaped from the garden – on the eve of this machine’s genesis – is that, in the worst case scenario, humans can be captivated by a narrative given to them, in stressful and extreme situations but they are able to choose between Sympathy and indifference. Building on this model of free will, the series asked the age-old question: Can the human world still be saved? If so, by whom, human or machine? W: Is it still the human world then?
Between dream and reality
At the start of Season 4, inclined viewers are once again forced to take on the challenge of remembering and orienting themselves: Who is it? Who is the machine and who is the human? Which soul resides in any body? What is the dream of a machine and what is human reality – and above all: when will all this be?
Season 4 follows a version of Dolores who, in a strange world, writes backstories for video games for Olympiad and thus involuntarily influences the fate of her citizens. She knows nothing of the actions of her evil twin, Dolores’ power-hungry version of the impersonator of former Park boss Charlotte Hill (Tessa Thompson) – known in professional circles as “Charlores”. William the Killer is also part of the party as the eternal black khat. Ed Harris put it in such a way that the facial skin of a chainsaw-wielding man got a crawl. We also see love-enlightened host Maeve (Thandie Newton) meeting ex-Soldier Caleb (Aaron Paul) to oppose the planet’s eventual pacification. And we meet former Westworld lead programmer Bernard Lowe (Jeffrey Wright), who, even as a machine with access to the Nirvana robot “Sublime”, can’t compute any of the countless future scenarios he’s played now that apply to basic reality .
The opening credits tell a lot about the vector through which the end of free will came to people’s minds like a pestilence: the fly, of all things, which in itself represents the organic and decaying elements, no longer dared by Paul Cameron’s motion-driven camera. To approach as in the first episodes, he stands here in the form of a swarm full of parasitic exhortations, representing all the whispers of the annoying machine that revolves around humans and requires at least a reaction from them, if not complex behaviour. Unsurprisingly, this amounts to enslaving humans by machines and simulating the life they produce. Charles calls it a “new world order.” And while those who aren’t digital natives still have problems with machine control commands, their children are grateful victims: “They’re very adept at taking commands. The parasite has grown in perfect symbiosis with her mind,” says Charles. This may be an obvious point, but it is nonetheless sadly well deservedly drunk machine.
Only in the fourth season as an antidote, a digital detox is not published, but the legs of chatty Americans are published. There are so many “Hasta la vista, baby!” The series continues to be disguised as action cinema. Their once complex language has been atomized into single lines and overlapping lines. As the identifier of the imagination within the imagination, it will function – as a tired entertainment. But who knows, perhaps the last facts of Matryoshka have not yet appeared before the viewer. Regardless of the reality of the series, one question remains: Should machines save us, Earth or just itself? You should talk to them about this as soon as possible.
consequences The westSeason 4 airs Mondays on Sky Atlantic.