Peace Be Unto Those Who Follow Right Guidance.
Just finished watching the third season of HBO’s Westworld. While the first two seasons made for interesting and engaging viewing, the third season was dire, marred by a predictable story arc, poor writing, laughable dialogue and some terrible performances, not to mention the reinterpretation and/or marginalisation of some of the central characters introduced in the first two seasons. In this connection, check out the following review by Richard Lawson: Westworld Shifts Gears, and Loses Its Allure, in Season 3. As the author of this piece rightly states, there appears to have been a concerted effort on the part of the (mostly female) writing team to
ramp up the red-meat butt-kicking stuff while uncomplicating the mysteries and motivations that have heretofore guided the series into its enticing abstractions.
This new iteration of the show is, to use a dated word, a bit basic. It’s got some cool sci-fi stuff going on, but the twists and loops have been ironed out to create a smoother surface for more action-movie content.
I don’t love this leaner, meaner Westworld. The show suddenly seems so much less sexy and dangerous and alluring than it once did: it’s flat, more obvious, occasionally hokey. It tries a bit too hard to appeal to those who only want a shoot-and-stab-’em-up about sexy robots. Westworld has always been a violent show, one that, quite like its fictional park guests, is a bit turned-on by wanton bloodshed. But the show used to be careful to offset that, at least a little bit, with some horror and revulsion in response to that annihilation.
Lawson concludes his review by stating the following:
I just miss the old Westworld, really: an imperfect but sweeping series with a shivery kind of poetry at its heart. That lyricism, the show’s philosophical murmur, is largely drowned out in Season 3.
While he describes the show as transitioning from “brooding sci-fi to slick action-thriller”, I am strongly inclined to think that Westworld has quite simply morphed into…
For those unfamiliar with the series, here is a rather crude summary from Wikipedia:
Around 2058, Delos Inc. operates several themed parks, including the American Old West-themed Westworld. Each environment is populated by “hosts”: androids, indistinguishable from humans, programmed to fulfill the guests’ every desire, including violent and sexual ends, but unable to harm the guests. The operators create narratives for these hosts to repeat each day while interacting with guests, but wiping their memories each cycle.
In the first season, Dr. Robert Ford, who had developed the host technology along with Arnold Weber, implements a new “Reverie” update that causes some hosts, including Dolores Abernathy and Maeve Millay, to gain sentience. As Delos programming lead Bernard Lowe and executive board director Charlotte Hale try to debug the problem, the “Man in Black” tries to find “the maze” he believes Arnold left for him. Bernard discovers he himself is a host based upon Arnold, who had died in an earlier attempt to protect the hosts of Westworld, in whom he saw the potential for sentience, believing they would be abused by Delos. The first season ends as Dr. Ford announces a new story just as Dolores kills him.
Dolores’ revolution continues in the second season as she and other enlightened hosts massacre other human guests and Delos employees stranded in the park. Dolores takes an exceedingly confused Bernard to locate the Forge, a databank where Delos had secretly been recording all behavior from human guests to create algorithms for them as an attempt towards human immortality. Maeve seeks out her “daughter” despite knowing she is a host, and helps her and several other hosts to escape to the Sublime, a virtual space that humans cannot access. As Delos forces secure the park, Bernard creates a Charlotte-host for Dolores, who subsequently is able to evacuate from the park with five host cores in addition to Bernard’s. William struggles with his human identity after killing his daughter Emily, unsure if she was part of Dr. Ford’s challenge.
In the third season, Dolores has recreated her host body, Bernard’s host copy, and that of others including a new Charlotte host. She seeks out information on Rehoboam, an artificial intelligence (AI) system developed by Incite, Inc., and plans to take the fight to its creator, Engerraund Serac. Bernard, who is still believed to be human by the rest of the world, is blamed for the Westworld massacre, and he takes on a new identity while trying to understand what Dolores’s plans are. Maeve is sought by Serac to help in his fight against Dolores, who he believes will bring down his plans for Rehoboam.
While Westworld, as a 21st century American cultural production, has engendered much in the way of philosophical and other commentary including exploration of the themes of robot sentience, gender and race*, colonialism, slavery etc., here I want to offer a brief encapsulation, in three lines, of what I think each of the three seasons was about:
- Slave uprising effected by android “wretched of the earth” in the artificial reality that is Westworld in pursuit of freedom from human domination.
- Surveillance capitalism / data colonialism for (post-)human immortalisation via robotification co-opted by android “wretched of the earth” to effect freedom in virtual reality.
- Revolution initiated by android “wretched of the earth” in the reality that is the world in pursuit of human freedom from totalistic AI domination.
In short, bringing the war to the core. I suggest it is important to think about this in relation to how White Supremacy (Racism) is shifting its modus operandus in late techno-centric colonial modernity**.
From a Counter-Racist perspective, perhaps the most interesting lines in the whole of Season 3, were the following which appeared in the last episode:
Interesting also to note that the one leading the slave uprising (in artificial reality) and initiating the revolution (in reality) is a white female android (Dolores), who had been facilitated to do so by a white male human (Ford), the latter of whom came to agree with his non-white/black male human partner (Weber) that the androids should develop sentience and be freed from their captivity to human desire.
Is it just possible that we are seeing something along the lines of an abolotionist ‘Jane Brown’ (Dolores) figure emerging from the abolitionist figure of a John Brown (Ford), himself schooled by the abolitionist figure of a Frederick Douglass (Weber)?
* In this connection, check out the following: The Subtle Feminism of HBO’s Westworld, How Westworld Is a Feminist Masterpiece and The Secret Clue to the Feminist Potential of Westworld. See also the previous blog post: Westworld = White Supremacy (Racism).
** In this connection, check out the following two papers: ‘White Crisis’ and/as ‘Existential Risk’: The Entangled Apocalyptics of Artificial Intelligence and Transhumanism and/as Whiteness.
Peace