Westworld built a prestige on being incredible. This earned the main season overwhelming, the next incomprehensible, and the upcoming third season… nicely, you might have few issues — including “Is it still confusing?” “Who is a robot again?” and “Wait, is that Marshawn Lynch?” These are outstanding questions. Many of the answers are decent; some of them less so.
In its third season premiere, the show does extremely little to snatch new spectators up to speed, so here are the broad strokes: Westworld, the show’s eponymous park, is one of the numerous principal parks where astonishingly lifelike robots inhabit re-creations of several ancient times. For a relatively huge price, the wealthy can appear and roleplay the fiction of their option for a spell, travelers for whom integrity is completely optional and hedonism is motivated— because, after all, the robots (called “hosts” here) aren’t actual people.
Season 1 was about involving that, as the announcers of Westworld formulated consciousness and evolved aware of the dreadfulness their creators urged them to live through over and over again. Season 2 was nearly revolution, as the announcers began to fight back and break down the park around them. Over both, there are jogging threads wrapped to the society who ride and follow the park.
Unfortunately, this summary (and any summary, really) keeps out a lot by the requirement because Westworld is possibly the great overkill show on television, haunted with nonlinear storytelling, constant citations to literature and philosophy, and continue plot curls or status quo shifts. It would be delicious if the third season was a healthy break that let spectators dismiss it entirely because catching up is tiring out.
The show’s third season starts up with Dolores (Evan Rachel Wood), the Westworld announcer who started up the robot revolution, out in the actual nation and interested to perform revenge on her authors.