Westworld season 2 is brutal, ambitious and completely absurd

Monday, 16th April 2018, 13:21 pm
Updated Monday, 16th April 2018, 13:22 pm

*This is a spoiler-free review of Westworld's forthcoming second season, based on the first five episodes provided by HBO. There will of course be spoilers for Westworld season one*

The first season of HBO's audacious sci-fi saga Westworld was a refreshing, intelligent and mystery-laden take on the old 'do androids dream of electric sheep?' question. At a time when pop culture explorations of artificial intelligence are at a renewed high, it more than held its own as a gripping and thought-provoking example; as well as being a startling commentary on humanity's darkest impulses.

This second outing, however, is a full on slaughter and survival-fest. Here, the theme park-gone-wrong, robots rebelling premise of Michael Crichton's original 1973 film is rendered in sprawling, savage and vastly more expansive fashion.

The "lunatics have taken over the asylum", as one character puts it. That comment could also sum-up the showrunners' complete lack of inhibition when it comes to scale, story and gleeful self-indulgence.

Spun amid a tangled web of splintered sub-plots, detailed flashbacks and bloodthirsty violence, the results are both staggeringly ambitious and - at times - bordering on the absurd.

'Dead isn't what it used to be'

At the end of season one, the park's AI hosts - led by a newly sentient, self-aware Dolores - had begun a gory rebellion against their human oppressors.

Now, we see the ongoing consequences of Ford's masterplan, as the hosts set about hunting down and eliminating any unfortunate guest or employee they can get their hands on.

William's past and present provide some absorbing moments (Photo: HBO/Sky)

With brutality sometimes bordering on the Blood Meridian esque (if you've never wanted to see train tracks being made out of people, look away), it makes for uncomfortable viewing.




And then there's brothel madame turned uber host Maeve, on the hunt for her 'daughter', and joined in her quest by a rag-tag bunch of (sometimes reluctant) allies.

An elaborate patch-work





Some will find it thrilling. Others may find it maddening.

There are secrets lying in wait around the park - and beyond. Including the question of just what Delos has been up to behind the scenes.

As for the scope of the drama, let's just say the range of backdrops and locales has wildly increased. You'll be going to some unexpected places, and the range of geography and time is widening.


Thandie Newton and Peter Mullan lead the charge


Thandie Newton continues to be magnificent in the role - mustering a real warmth, charm and reflective air to go with the steely edge - and the interplay between her and her co-stars is fantastic. By the time episode five rolls around, Maeve's storyline has reached a level of sheer geek heaven.

When it comes to sheer fun, Maeve and co's plot-line completely excels (Photo: HBO/Sky)

William's backstory is another strong element, especially as Jimmi Simpson is absolutely nailing Harris's mannerisms in some of the flashbacks, and growing into his Man In Black persona. Seeing him continue down that dark path we know he is on is certainly engaging.

By contrast, The Man In Black even gets some interesting, Man With No Name ambiguity in the present. Let's just say his arc seems to be going places.



Retaining his homegrown accent as shrewd, quick-witted and deliciously foul-mouthed bio-tech tycoon Jim Delos ("You're a cheeky wee **** aren't you?"), he makes a welcome new addition.


He's at the centre of a number of scenes set to be widely talked-about.

The fall of Dolores

It's unfortunate then that in a strange and disappointing turnaround, Dolores' segments are now probably the show's weakest aspect.

Effectively Westworld's protagonist in season one, despite this being more than one individual's story, the show's emotional heart and most sympathetic character has now become its least sympathetic.


The writers are fooling no one with Dolores' more emotional scenes (Photo: HBO/Sky)


By the time she's talked about her old life being a lie and how she's going to make her former masters pay for the third or fourth time, you may well be rolling your eyes. It's oddly unimaginative, and ironically robotic considering the supposed shift for her character.


But many of her emotional moments fall flat.

Spared no expense

On a production level, the feat needed to pull all of this off doesn't bear thinking about. The variety of sets, props, effects and locations must have been mind-boggling.

One opening tracking shot seems purpose-built to show off the exquisite set design. Those beautiful, sweeping aerial shots return, the cinematography is luscious, and Ramin Djawadi's music is still stirring when it needs to be.

Jumping the stallion?

In its attempts to push the drama to new and exciting places, Westworld arguably jumps the shark - or the stallion, so to speak. But it does so in spectacular fashion.




Anthony Hopkins' immense screen presence and gravitas is also decidedly missed - even if Ford's influence on the past, present and future of Westworld remains palpable.




Excess and indulgence



