Save this article to read it later.
Find this story in your accountsSaved for Latersection.
Out of the theme park and into the penthouse:Westworldhas gone urban.
Far-out structures, both extant and notional, flash by in a sequence oflook-at-that!moments.
Its as if you had a crowd of extras populated by movie stars.
In these best of all possible worlds, everything always works, and reason always prevails.
It takes a lot of organized violence to preserve that rational veneer.
They will have proven that information does not necessarily want to be free.
Starting a scene on one continent and finishing it in another isnt exactly a miracle of filmmaking.
More implausibly, characters do, too.
A few old-fashioned bicycles glide by on clear, smooth bike lanes.
Pedestrians claim plenty of street acreage as their own.
The private automobile hasnt quite disappeared, though.
When crisis strikes, Liam Dempsey dives behind a sports cars steering well and rumbles away.
As weve discovered in the last couple of months, that speed is double-edged.
In the shows architecture, too, steel and nature intertwine.
That profusion is the signal for the boys raucous subconscious to roar out into the open.
Watching the show inthe middle of a pandemiccomplicates the metaphor.
Now, skins and surfaces all those glass screens!
have become a global menace, too.
Invisible danger doesnt just lurk beneath; it lies right out in the open.
