Westworld took a big gamble by diminishing itself for half of an episode in service of a jokey plot twist.
During the first half of the second episode of series three, I felt really weird about what I was seeing. The show was suddenly so wooden. It felt like the writers had decided to introduce a bunch of unnatural narrative elements in order to keep the series going passed last season’s quite natural end point. As a result, it felt like poor Westworld fan fiction rather than Westworld proper.
And then it turned out that that was entirely the point.
This episode got meta — really meta. The opening in World-War-Two-World — or “Warworld” as the cast called it — teased a show not yet finished playing with other genres. It also revealed that this is a show not yet finished playing with other genre functions. The superficial pastiche and the over-bearing symbolism of a new world at war felt like the show had either completely lost itself or it was making a comment about the world of television production out here in the real world. I was grateful, if still somewhat convinced, when it seemed more like the latter.
The glimpses we saw of a hypothetical Game of Thrones World, for instance, whilst inside Maeve’s simulation within a simulation, were a funny twist considering how the televisual landscape has changed since this series started. In fact, I don’t think it is much of a stretch to say that this episode was a sharp dig at that final season — a bait and switch, feigning a dive before getting back to the story proper.
But what for?
For many years we have supposedly been celebrating a new televisual “Golden Age” but I’m sure many would now acknowledge that this time of great prosperity has started to wane. Many shows — Game of Thrones and The Walking Dead are the first to come to mind — have found themselves unable to live up to their own grandeur, whether in failing to tie up loose ends or continuing to hang around long past the expiration of their welcome.
I wouldn’t be surprised if the makers of Westworld felt themselves pushing into this “expired welcome” stage of their development. This is a show that has been so convoluted and demanded so much of its viewer’s attention that it must surely be aware that the average viewer will not have mapped out the show’s twists and turns to such an extent that the narrative continues to hold together without some implicit scaffolding on the writers’ part. It was a discomfiting surprise that the Westworld writers sidestepped this altogether.
The holes in the plot and the complete disconnection from the end of the last season felt weirdly like a shoddy attempt to keep a character alive beyond the decisions of a previous writing team, like when a character is miraculously resuscitated or killed off in a soap opera to account for external issues or market demand. Maeve took on the brunt of this but Stubs the Bodyguard’s continued existence also felt like a convenient moment of deus ex machina.
This latest episode played up to this with an uneasy fidelity. Even when the joke was revealed, it left an odd taste in the mouth. This was an odd way to reintroduce the supplementary character arches in this third season. What I was left with, personally, was a feeling that this show is well aware of the questions left unanswered and the tight grip it needs to keep on its own internal logics if it is to get away with its own continued existence. It was a somewhat brave move, I think, to play up to the average fan’s need to warm back up to the world and its narrative after a couple of years off our screens.
It is a brave move because, with the cancellation of The OA and the shallow grave of Game of Thrones in its rearview mirror, and with The Walking Dead lumbering on far too much like its own namesake, there are a lot of challenges and lessons to be learned for new and continuing shows in our present moment. The likes of Better Call Saul are showing the way ahead for complex narrative universes — although, at this point, even that show’s predictable structure of character-developing vignette after character-developing vignette is starting to wear thin — but Westworld feels like one of the last “big” shows on our screens to emerge during that late-Golden moment to still be happy reinventing itself. Nevertheless, it has a lot to prove.
Whether it will be able to prove itself going forwards obviosuly remains to be seen, but watching this latest episode of Westworld, it feels like the response from within their production team has been a defiant: “Hold my beer…”