Westworld is back for a third season, this time under the sci-fi sign. The series operates an important turn in its universe. Did the bet work?
“Cruel fun has a cruel ending.” Dolores continues her emancipation in the human world and her character has escaped the rules of the garden. He now prepares to wage a ruthless battle to defend his species and overthrow human supremacy. This new season takes us outside of Westworld for the first time, in a futuristic world that puts data first.
In its narrative construction, this new season is in stark contrast to the rest of the series. Where the plot plays back and forth in time, Jonathan Nolan and Lisa Joy this time plunges us into a much more linear story. In revealing the stakes, the first episode is more overpowered than what the series has done in the past, and that’s good news. Without further ado, Westworld plunges us into the heart of this very promising plot, where this time the creator and his work are no longer the center of the story.
The mystery of the labyrinth is now ancient history and in this dystopian future is the idea of the right to choose, free will that the writers question. We’re still sorry that the creators have ruled out this part of the plot, which gave Westworld all its flavor. In this New World, the powerful dominate and condemn the poorest to honor a well-written screenplay. While the themes covered remain essentially the same, the series takes the diametrically opposite direction. They opted for more contemporary themes, such as digital data, not without difficulty.
We learned in previous seasons, the existence of the park is only meant to gather information about visitors, and this will play an important role in this highly controlled world. Without revealing too much, we’ll just say that the series is invested with a great political message, which unfortunately seems too artificial to succeed in convincing us completely.
In its new season, Westworld introduces new characters who give new meaning to the plot. To fulfill her mission, Dolores goes to seek the help of a worker, whose life is divided between her job and the illegal missions she undertakes to earn money. The characters are built in total opposition with Vincent Cassel, who will seek help from Maeve. A mirror construction that promises beautiful confrontation scenes in the rest of the series. If the characters remain masterfully written, proper dialogue construction undermines certain confrontational possibilities and doesn’t always do justice to the actors’ play. Vincent Cassel embodies the genre caricature, between a financial lord and a cursed creator. If Anthony Hopkins has a formidable antagonistic temper, Cassel seems a bit under.
Visually, the explosion of this new episode is honestly a success. Jonathan Nolan has once again gone behind the camera (for one episode) and if the filmmakers managed to give the desert landscape of Westworld a new splendor, he’s managed to place this image of a futuristic city, accented with Blade Runner. His sense of direction pays homage to the issues at play on screen. In its action scenes, this season of Westworld has mastered its subject matter and choreographed what it has to offer us so far.
Ultimately, Westworld made a successful turn in science fiction. Sometimes stuck in the garden, the plot regains new freedom and gives itself the right to explore new themes. Like artificial intelligence, Lisa Joy and Jonathan Nolan break the rules and no one is immune. The simplified story construction allows you to fully immerse yourself in the emancipation story that is Westworld. “A new god is coming, and they are not happy”.