Connect with us

TV

Westworld, Ep 2.02: “Reunion” Predicts the Future

Published

on

Reunion Westworld

Having laid the narrative groundwork in an uneven episode one, the second instalment of Westworld second season is a significant improvement. Another layer of interest have been added by our first glimpses of the world outside the park. Albeit hinted at with the drone hosts in episode one, “Reunion,” sees Westworld more topical than ever — taking on the very real threat of data harvesting. The picture for the season is slowly emerging, resulting in a tighter, stronger and philosophically resonant episode. Let’s dive straight in:

The Beginning Is Our Present

“Do you have any idea how many startups are begging me for my cash right now?” Logan asks during a business meeting in a bar far outside of the park. He is part of Delos Inc, an extraordinary wealthy (yet still mostly unknown) company with the ability to buy out other businesses piecemeal. This use of the phrase “startup” suggests that the William and Logan timelines in the Westworld universe are set in our present, a theory backed up by Reddit sleuths. Whether or not this was the intention of Jonathan Nolan and Lisa Joy, they have picked almost the perfect time to introduce these themes — coinciding with the breathtaking revelations seen in the fallout of the Cambridge Analytica scandal.

Logan Westworld

William seals the deal by taking his father in law, James Delos, to the park. He pitches it as the ultimate way to understand human desire. The idea that the park is where people can live out their darkest feelings is analogous to the internet. People have typed in whatever they desired into Google or Facebook or Twitter with what they thought was relative privacy, only for those desires to be harvested and eventually used against them.

This makes the rebellion of the hosts more of a prophecy than ever. Westworld has gone beyond a generic sci-fi tale warning against the horrors of AI, instead keenly dovetailing into current events with pinpoint precision. This calmly dissuades any sense that the conflicts set up in season one will run out of steam. Given what happens thirty years later, is Westworld warning us of what might happen if we continue with our tech-obsessed folly?

The Game Rewards Cheaters

Westworld, at the heart of it, is a game. But like most games, if you poke around long enough, you can start to figure out ways to cheat. While this game doesn’t have stereotypical glitches such as being able to jump through walls, both hosts and guests alike have figured out ways to get ahead unintended by the game’s construction. For The Man In Black, this means hiding tools from the outside world in a Saloon. For Dolores, this entails kidnapping one of the Park’s workers to resurrect hosts. With both characters aiming towards the same goal — a mysterious place which hosts a disastrous weapon — season 2 seems to be setting us up for an epic showdown between the two.

At this moment in time, it seems that Dolores has an edge. Her newfound ability to resurrect hosts, given a biblical weight by how Major Craddock and his crew are framed to resemble the Last Supper, upends my hasty conclusion found from episode one that when you die you stay dead. Instead the hosts have a distinct advantage, only as long as they can keep their lackey holding the iPad. This conflict is given deeper meaning via the flashbacks to pre-woke, naked Dolores being lectured about being just a “thing” by an angry William. Presumably she remembers (or will remember) what he did to her (or will do to her) and she will want to enact the most violent revenge. Yet, even considering her and William’s history, perhaps Dolores has an even bigger foe than the Man in Black:

Dolores and Meave Have A Tense Stand-Off

Dolores is becoming smarter and smarter, and seems to know exactly what she wants. Yet she may meet her maker in Maeve, who she briefly crosses paths with in “Reunion”. They do not see eye-to-eye, with Meave suggesting that Dolores’ desire for revenge may just be another part of her programming:

“Revenge is just a different prayer at their altar, darling, and I’m well off my knees.”

The tense nature of this stand-off suggests that even if the hosts win the revolution, they still might disagree about how it should carry on. Maeve, with her ability to turn hosts on and off with a simple command of her voice however, is a much more powerful woman — even against the small army that Dolores is currently amassing. This is all we see of Maeve, but the command in her voice (played again with such brilliant panache by Thandie Newton) suggests that she might have the upper hand. Given the relative paucity of screen-time she had in this episode, I’m expecting a Maeve-heavy instalment next week.

As far back as he can remember, Redmond Bacon always wanted to be a film critic. To him, being a film critic was better than being President of the United States

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

TV

The Boys Season 2 Episode 3 Review: “Over the Hill With the Swords of a Thousand Men”

The Boys’ marks an improvement and pays big dividends in an explosive, violently revealing hour.

Published

on

The Boys Over the Hill With the Swords of a Thousand Men

Half bottle episode and half coming out party, “Over the Hill With the Swords of a Thousand Men” is a sneaky little showcase for The Boys, and just how big its world’s suddenly gotten in season two. Though ostensibly an episode designed around two events – the boys getting stuck on the boat, and Stormfront revealing her inner racist sociopath – “Over the Hill” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion. With a nimble script and a game group of performers, The Boys‘ second season is turning out to be a distinct pleasure – albeit one heading down a gruesome, dark path I sure hope it’s capable of navigating.

“Over the Hill With the Swords of a Thousand Men” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion.

It does take a little while for “Over the Hill With the Swords of a Thousand Men” to get going; beginning three miles offshore with The Boys and the reunited super-siblings, the first quarter feels like it’s simply restating the stakes. It’s a nimble trick, though; led by Kimiko and Kenji, The Boys begins to feel like it is approaching a true moral quandary for the group. Which door descending into hell will they choose?

The Boys Over the Hill With the Swords of a Thousand Men

While The Boys often likes to posture its presenting characters with complex dilemmas, the show’s unnerving nihilism often upends any sort of nuance it looks for in its debates around “necessary” violence. Here, Kimiko’s presence throws a fascinating wrench into the proceedings; with most of the group’s members clinging to whatever mirage of family they have left (save for Hughie, who has… forgotten his dad exists?), even Butcher can’t deny having conflicting feelings about what to do with Kenji, and the deal that’s been offered to him if he turns him in.

Elsewhere, “Over the Hill” throws the brazen personalities of The Seven into their own little blenders, as Stormfront begins to sow discord through Vought, and abuse her powers to casually murder a lot of people – nearly all of them minorities, in a way that feels like an explosion of character, rather than an unpeeling of some complicated identity. Stormfront simply doesn’t give a fuck; and with her supernatural ability to manipulate feminist views (her speech to the reporters is magnificent, both in how it develops Stormfront’s character and nods to the simplistic ways in which the evilest people in society disguise themselves among the “good”).

While she’s kicking up tornadoes and electrocuting everyone that gets in her way, characters like The Deep and Homelander continue to benefit from the much-improved writing of season two. The show is still struggling to make Becca something more than the Ultimate Mother Protector trope, but Homelander’s warped sense of responsibility to his son is interesting, surely a bad sign for the upbringing of this world’s Superboy (will he also don a cool leather jacket and weird cyberpunk sunglasses? Who knows!). It’s clearly not going well; even he seems to recognize the danger in bringing his son’s powers to the surface, as its the first time in his life he’s facing a challenge as the world’s strongest hero (that is, until Stormfront doubles that total later in the episode, further frustrating Homelander’s attempts to hold domain over everything in his grasp).

The Boys Over the Hill With the Swords of a Thousand Men

It’s not going well for The Deep, either, as his slow descent into cult life is bringing his desperation for acceptance further to the surface. Like with Homelander’s stories, I wish The Deep’s story was a little tighter and more thoughtful (some of the body image stuff seems to be treated trivially, in a way that borders on insensitive and uninformed for the sake of easy jokes), but there’s no denying his character is infinitely more interesting this season, a test case for what a superhero trying to learn their own limits would struggle with. The Deep works best as a pathetic character, but not when it’s a pathetic character The Boys just kick around with bad punchlines; when he’s treated as a byproduct of a deeply flawed human being trying to find a path to good intentions, his fumbles and weak-minded rhetoric is much more amusing – and at times, the tiniest bit empathic (his sadness over Billy’s, well, butchering of his whale buddy was such an earnest, raw and twistedly funny moment).

The Boys has needed to accelerate its internal stakes for a while; the introduction of “super terrorists” to the world by Homelander, and Compound V’s reveal to the public might make the show’s world feel a bit smaller than intended – I think a lot about the “big” fight scenes at the end of Arrow‘s third season, where the ‘entire city’ is fighting, but there’s never more than six people around – The Boys does that on a narrative level sometimes. But as the stories of the show dig a little deeper into its characters – Maeve’s disillusionment, Homelander’s failure to emulate paternal behavior, A-Train’s desperation, it’s beginning to feel like the writers have a deeper understanding of its characters and world, and how to wield its inherent sadistic cynicism to more interesting ends. “Over the Hill With the Swords of a Thousand Men” benefits massively from that, setting up a number of intriguing dominoes for the back half of season two to knock over (in bloody fashion).

Other thoughts/observations:

  • Look, I’m bummed how the Kenji character played out; he was such an interesting character, an examination of everything horrible about what power and war can do to a human being. It’s sad to see The Boys dispose of such an intriguing presence, especially as its a death of a minority character in service of mostly white-related stories – however, with such a hateful, nasty character like Stormfront waiting in the wings, it is easy to see how the writers found their way down that path. (like, she could’ve killed Black Noir and this show would’ve literally lost nothing… just sayin’).
  • Can A-Train just collapse or whatever, so we can get this storyline moving? We’ve been doing this since the second episode!
  • Why haven’t we seen any reaction to Becca seeing Butcher in person at the end of season one? She hasn’t mentioned it or even had a longing look off-screen to violin music.
  • Man, I’m so glad they cast Aya Cash as Stormfront.
Continue Reading

TV

The Best Golden Girl is Sophia Petrillo

Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won.

Published

on

By

Sophia Petrillo The Golden Girls

A seemingly harmless little old lady with curly white hair, oversized glasses, and an innate ability to tell a great story shows up on her daughter’s doorstep when the retirement home she was put in by said daughter burns down. With a simple, “Hi there,” the world meets Sophia Petrillo. For seven years on NBC’s The Golden Girlsa show about the senior set—Sophia lived with her intelligent and extremely sarcastic divorced daughter Dorothy Zbornak and her two roommates, sexy, eternally horny southern belle Blanche Devereaux and sweet but dim-witted Minnesotan Rose Nylund. Each is memorable in their own way, but it’s Sophia, “feisty, zesty, and full of old-world charm,” that stands out the most.

When TV was full of generic, sweet grandma types, Sophia was anything but. Sure, she looked the part with her bifocals, pearls, and now iconic straw and bamboo-beaded handbag, but Sophia was always trying to make a quick buck. She conned Rose into going into a sandwich-making business that pit them against the mob, faked being paralyzed to try and collect insurance, and constantly “borrowed” money from Dorothy’s purse. Instead of helping Dorothy, Blanche and Rose get out of jail when they are mistaken for hookers (don’t ask, just Youtube it). She stole their tickets to go to a party and meet Burt Reynolds. She also stole Rose’s car, worked at a fast-food restaurant, and won a marathon. Not bad for a woman in her eighties. Sophia had a sharp wit and an acerbic tongue, blaming her stroke for leaving her without the ability to self-censor. She was always ready with a zinger or a comeback, some of which she saved for her very own daughter.

Sophia Petrillo The Golden Girls

Sophia Petrillo is the Secret Star of The Golden Girls

That’s not to say she’s all schemes and insults. Beneath her tough exterior is a kind woman with a big heart who loves her family and friends. Viewers don’t often get to see her softer side, which makes the moments they do seem that much more special. One of the best Sophia episodes showed her reaction to the death of her son, Phil. She put up a wall of anger which Rose was finally able to break down in the final moments of the episode, revealing Sophia’s true feelings of guilt over Phil’s cross-dressing as she bursts into tears. Another favourite was when Dorothy expressed concern about her mother not doing enough with her days. We then get to see exactly what she gets up to sticking up for her friend and causing a scene at the grocery store while claiming to represent a fictional senior citizens union, volunteering at a sick kids hospital and later, conducting a senior citizens jazz band. Meanwhile, Dorothy, Rose, and Blanche do next to nothing except sit around and eat. When she’s asked what she did all day upon her return, she simply says she bought a nectarine, and Dorothy, Rose, and Blanche are none the wiser.

But if Sophia has one claim to fame, it is her colorful old-world tales about Sicily, which often as not, contain a pearl of wisdom or embellishment of some kind. We would have loved to have known her during her “picatta period (a wedge of lemon and a smart answer for everything),” when she was the most beautiful girl at a resort and all the men fought over her (so beautiful, in fact, that she had “a butt you could bounce a quarter off of”). She was also once painted by Picasso and was best friends with Mama Celeste. But I digress. Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won. Her hunches were never wrong, and rarely, if ever did she meet her match. Sophia was, in short, a one-woman show. And thanks to re-runs and fan appreciation, that show will never be gone.

  • Dasilva

Editor’s Note: This article was originally published under our old brand, Sound On Sight.

Continue Reading

TV

30 Years Later: The Fresh Prince of Bel-Air

Published

on

By

30 Years Later: The Fresh Prince of Bel-Air
Continue Reading

We update daily. Support our site by simply following us on Twitter and Facebook

Facebook

Trending