There is a bigger mystery out there than quite what has happened to Westworld by the end of Season 2’s powerfully complex finale The Passenger, and it’s been raging for a good ten years: why exactly is comparing a show to ABC’s legendary series Lost such a terrible thing?
At numerous points across Westworld’s second season–a season which has proved at times divisive amongst fans, audiences and critics–there are clear comparisons to Lost, even if they are–by the writers’ own admission–unconscious. One of the clearest was the opening sequence of episode four, The Riddle of the Sphinx, where we see the morning routine of the Host-loop version of James Delos, which practically screamed Desmond in the Hatch at the beginning of Lost’s Season 2 premiere Man of Science, Man of Faith. Lisa Joy, Westworld’s co-showrunner and director of the episode, has denied the homage but it’s almost difficult to believe in how similarly structured the sequence is. The fact viewers and commentators have been calling out Lost in comparison to HBO’s hit series at various points this season surely cannot be an collective misreading of the text.
People, it seems, are struggling with Westworld.
While there is some evidence to suggest a drop in viewership across Season 2 of HBO’s new televisual powerhouse, the conversation is less about the threat of Westworld coming to an end—particularly given Season 3 is already a certainty—but rather why certain people are considering checking out of Jonathan & Lisa-Joy Nolan’s magnum opus.
The main reason appears to be how Season 2 has structured its narrative, or more appropriately ‘narratives’. Season 1 of Westworld left ambiguity between time periods given the mystery of the Man in Black, allowing the audience to question at what point certain storylines involving characters in the park was taking place, but Season 2 has thrown the storytelling ball up in the air to continue the narrative in a fascinating, non-linear fashion. It’s hard to think of a TV show which has experimented so resolutely with time, where pieces fit together in a convoluted mosaic of a tale. Even Lost at its most twisty, deploying ‘snakes in the mailbox’, can’t reach Westworld Season 2 for such complicated plot entanglement.
For some, however, are the writers simply going too far?
When did we become the bad guys?
When I say we, I mean it in the Royal sense. A collective *we* referring to modern society. Humanity. For decades in cinema, television and half a dozen other entertainment mediums, we were the good guys. Human beings, men and women, we understood right from wrong and saved the world from monsters – demonic, alien and who knows what all. In the last few years, particularly, something has changed. Westworld is just the latest returning show in a line of hugely popular TV shows that make this very clear.
We have become the monsters we always imagined we were fighting against.
Westworld is all about the relationship between man and machine. In a near-futuristic theme park setting, where android ‘hosts’ play out narratives for human gamers (with money) so they can indulge their basest desires, the first season of Jonathan Nolan & Lisa Joy’s adaptation of Michael Crichton’s original 1970’s movie was all about the confluence between machine and consciousness, tied up with the moral treatment of what are considered hardware, but steadily come to realise they are much much more. Westworld plays out as a high-concept genre thriller in the making, with philosophical overtones, but the message within Nolan & Joy’s take on Crichton’s cautionary tale is clear: we are *not* the heroes of this story.