How to describe Westworld? Well, it’s a science fiction drama that’s mainly set in a wild-west theme park, populated by artificial people, called hosts, that have storylines with which wealthy visitors interact however they see fit. At first anyway. Ish.
HBO’s latest tv blockbuster is filled with a web of interwoven stories that impact upon each other. The further into the world the park’s guests delve, the further into their hard drives the hosts delve. At times it’s just enough to get lost in the visually sumptuous universe which it takes place in.
Revelations arrive time and again, all reliably unexpected and utterly shocking, each changing your view of the worlds and the stories told within. The real star of the show is the park itself, with its vast plains and staggering landscapes which are shot with such a level of authenticity you get lost in it, forgetting that the world of glass, offices and laboratories is supposed to be the real one in this long and twisting story.
The look of the series elevates it over all other TV series, with its celluloid image feeling deep and real.
The music, composed by Ramin Djawadi, never ceases to raise a smile with its soaring strings and amazing wild west versions of classic music from the likes of the Rolling Stones to Radiohead. The anachronistic covers act as a constant reminder that the park isn’t real and you shouldn’t always trust it.
Westworld is a sublime masterpiece filled with what feels like hundreds of characters you get to know over the ten episodes. Not all of the characters stick; Sizemore the head of story is interminably annoying. But you can’t help but get excited about the best characters and what you think might happen to them.
You are also repeatedly surprised when yet another unexpected twist shunts the story a different way, making you unable to relax and let it just happen. It constantly demands and deserves your attention.