The Superbowl: Movie Trailers

Here are some of the top movie and series  trailers that were shown throughout the Superbowl. Now, I didn’t watch the Superbowl, (I never do), but I did get on the internet to check for any ads I may have missed. I had it on good authority that there would be a lot of movie and TV show ads shown during.  I know that not all of you watched the Superbowl, but you are interested in movies, so I collected as many as I could.

I was out of it all last week with a nasty cold and couldn’t get any posts done beyond the ones I’d already scheduled, so I’m a little behind in my reviews. (Let’s face it, I’m waaay behind.)But I’m doing fine now, and will catch you guys up on things I’ve been looking at while I was sick, like the new Cloverfield movie that was just released on Netflix, along with Altered Carbon,  Star Trek Discovery, and a handful of food shows.

 

Cloverfield Paradox

I was as surprised as anyone to discover this was being released right after the Superbowl. It’s been said that Netflix had some kind of rule that they wouldn’t release movies or shows that would compete with the Superbowl for attention, but apparently that is no longer true. I have it on good authority that the viewership for the Superbowl was the lowest its ever been, and maybe Netflix wanted to take advantage of that. I don’t know.

Anyway, I was on top of this the moment I found out.  I thoroughly enjoyed it, and thought it was pretty damn scary, especially in the first hour when you didn’t quite know what was going on. I thought it was a very effective Scifi horror movie that wasn’t a  total riff off of Alien. The synopsis is that this is some kind of prequel that explains  the how and the why of the first movie in the franchise. I’m satisfied with the explanation and thought this movie was an elegant solution to the questions posited by Cloverfield, and 10 Cloverfield Lane.

The movie is lead by a Black woman, Gugu Mbatha -Raw, and also stars David Oyowelo, and Zhang Ziyi. I’ll review this later this month, if I can.

 

 

Avengers Infinity War Trailer #2

I’m almost as excited about this movie as I am about Black Panther.

Almost!

All my favorite people, all in one movie…How does anybody hate this? This trailer is kickin’!

I cannot explain, though, why I’m inordinately excited to see Dr. Strange interacting with both Tony Stark, and Spiderman. All of the best Avengers books are deeply funny, because of the interactions between wildly different characters, and their reactions to each other. That was one of the best parts of Civil War, so I hope this movie will be funny.

 

 

Jurassic World: Fallen Kingdom

Okay, that last movie was alright. Not great, but okay and a mostly fun B movie. This trailer is a lot more interesting because, as I’ve said before, I’m a total sucker for “dinosaurs in the city” movies. Cuz yeah, my first question was: Wtf is this dinosaur doing in this child’s bedroom? Yep, something has gone horribly fucking wrong here, and I wanna know what happened!

I’m gonna see if I can talk my Mom into going to see this, and Rampage because as far as I’m concerned ,you can never watch too many movies about giant monsters, rampaging through a city.

 

 

Westworld Season II

Okay, I actually am as excited for this as I am for Black Panther, the movie to which all other movies will be measured this year, apparently, as far as excitement levels. Fortunately for all of you, you can’t see me jitterbugging around in my seat right now, over this trailer.

But in conclusion, I would like to say:

Image result for excitement gif

Related image

 

 

 

Mission Impossible: Fallout

I’m a big fan of this franchise, but what’s ironic about that is that I wasn’t planning to be. The movies just kept getting better, and Tom actually looks like he’s having a lot of fun in them. I like Tom Cruise okay, but I wasn’t a fan of the original series, or Tom Cruise, really.When his career first began, in the 80s, I couldn’t stand him, but he kept happening to  be in movies I liked, and I think that’s what happened here,and now I guess I’m a fan, since I’ve watched all his movies.   It didn’t hurt that he kept starring in these movies with some of my other favorite actors, like Jean Reno, Ving Rhames, and Laurence Fishburne. This new movie just looks entirely batshit, and stars Angela Bassett and Simon Pegg.

 

 

Solo

Okay, this is a good trailer, and makes me interested in seeing this movie, now. I was completely indifferent to the idea of a Han Solo movie, wondering why we needed this, and who was asking for it, but this really looks like fun, even if the lead actor looks cheesy. I still don’t know that I’ll go see this in the theater, but  I’m a little less worried about this movie sucking.

 

 

Castle Rock

I’m looking forward to this show, after the success of the movie IT. (Yes, I’ve seen that.) On the other hand, I’m dubious about this show, because The Mist sucked. Well, all I can do is give it a try and let you know what I think. It seems like it’s going to be okay, but then those Mist trailers were misleading, too. (I am glad to see that movies and television shows are remembering that Black people exist on this planet. That’s kinda cool.)

 

 

A Quiet Place

This looks intriguing…

 

 

Black Dynamite II

And now for something completely ridiculous…

I didn’t’ see the first movie until years after it was released, and I’m still not entirely sure how I feel about it. I did feel an urge to laugh at it, but not quite. Well, I smiled at it, a lot. I didn’t hate it, but I didn’t love it either. Maybe I’ll know how the heck I feel about after watching this sequel.

 

Advertisements

Racism in Pop Culture

And here’s my monthly series of articles discussing  the intersection of race and pop culture.

First up, an essay about Westworld from the point of view of a Black man. I touched on some issues earlier with the depiction of Black and White women in Westworld’s dynamic, and its been one of my most popular essays,  but this article is a  discussion of the real world racial dynamics of Westworld, most specifically between Arnold/Bernard, and Robert Ford.

Race. Power. Westworld.

HBO’s sci-fi drama Westworld was a psychological mind f*ck of a show revolving around issues of control, power, violence and love. But there wasn’t a single moment in the show that focused on race despite the fact there are a multitude of racial politics in play. I don’t know if this is because the script was written without race in mind and the casting choices informed the racial dynamics or not. But I came away from the show a bit disappointed that the writers never chose to tackle racial motivations as the show evolved. The interaction between Arnold/Bernard and Ford is ripe with implications of power and race while the park itself seems to be no more than a #MAGA fever dream.

https://stillcrew.com/race-power-westworld-fd97c8a2a6b4


In this article, Zoe Kravitz, the daughter of Lenny Kravitz, and Lisa Bonet, brings the fire, about the roles available for Black women in Hollywood. The irony is that this article came from a British newspaper. 

Zoë Kravitz: ‘Why do stories happen to white people and everyone else is a punchline?’

  • August 20th, 2015

The actor has been stranded on the edges of blockbusters such as Mad Max: Fury Road and the Divergent series, but ahead of new film Dope she’s taking on Hollywood’s stereotypes and making a name for herself

https://www.theguardian.com/culture/2015/aug/20/zoe-kravitz-why-do-stories-happen-to-white-people-and-everyone-else-is-a-punchline


This is a very interesting article about how Hunger Games fans ignored the descriptions of race in the books, while being racist towards the characters in the movies.  Although, I am inclined to believe that a certain section of the Hunger Games fandom never  read the books, saw some racism on display, and decided they wanted to jump on that lovely bandwagon. I have found there’s a subset of White people that will take any and every opportunity to bash a black person, whether they know anything about the situation, or not.

Warning: There’s some seriously nasty shit on display in this article. If you don’t feel like dealing with this level of White nonsense today, or just don’t want to get your blood pressure up, my suggestion is to skip it. Come back to it after you’ve maybe had some weed, or a good strong drink. (I recommend some Henny.)

Racist Hunger Games Fans Are Very Disappointed


These articles area set. They’re  discussions of how social justice crusades on social media has changed the way critics do their jobs. There are certain words that have just become part of mainstream dialogue about movies, and I think we owe that to the critics and fans on Tumblr, Twitter, and Facebook.

The American media has no idea how to talk about race on-screen

But they’re (slowly) learning, thanks to social media campaigns that are forcing difficult conversations

http://www.salon.com/2013/12/05/the_american_media_has_no_idea_how_to_talk_about_race_on_screen/

Hot takes and “problematic faves”: the rise of socially conscious criticism

Modern criticism’s affinity for discussing social issues has changed pop culture, for creators and audiences alike.

https://www.vox.com/culture/2017/4/20/15179232/socially-conscious-criticism

For example, the term whitewashing has entered everyday language. Ten years ago, no one was saying this, or critiquing movies with this word. Hell, three years ago the mainstream media wasn’t even socially conscious enough to  be able to spot it, when it happened. But thanks to “woke” fans of Pop Culture, putting it out there, along with other terms like racebending,  appropriation, and erasure, it’s almost impossible for a movie starring white actors (in lieu of actors of color) to not mention any of these terms. 

I do have to thank the Internet for this. If it wasn’t for people like us, arguing vociferously in the comment sections,  and writing our own reviews, meta, and articles about the shows we love and hate, the mainstream media wouldn’t  be aware of these things as problems.

Whitewashing Hollywood movies isn’t just offensive—it’s also bad business

Apparently, ScarJo and Tilda Swinton  have not had enough of getting their edges snatched, all  across social media, by Asian- Americans. They are now starring in a movie together, titled Isle of Dogs, and people are not pleased.

@tsengputterman @ubeempress We get not ONE actress who’s proven her skills at playing Asians, but TWO! Ain’t we lucky! I feel so fucking blessed.

@FilmFatale_NYC New Wes Anderson film set in Japan starring ScarJo and Tilda Swinton. We’re getting trolled.

They really placed Scarlett Johansson and Tilda Swinton in Isle of Dogs to reaffirm their Asian ethnicity? Hollywood killin Asians… STILL!


And finally, more articles about the movie Get Out, which blew up the movie theaters two months ago. February is turning out to be the ” Absolute!Shit” month for African Americans.  Beyonce’s Lemonade dropped in February of last year, and this year we got the unexpected pleasure of Get Out. Next year, it’s the much anticipated arrival of Black Panther, due in (when else?) February.
In the meantime Get out has been one of the most written about movies in the past year. This includes a comparison between Get Out and The Handmaids Tale.  (Later I’ll do a post on the racial implications behind the news show, and the book.)



___________________________

These two misplaced fellows below are about Whitewashing. (Bear with me here, it’s morning, and I’m on a tablet!)


And this post wouldn’t be complete without mentioning that reprehensible Heineken ad, that gave me goosebumps just thinking about it. It’s as cringe-worthy as the Pepsi ad that aired earlier this month. Once again, you’ve got a corporation trying to get those Millennial dollars, and getting shit wrong. And here’s why its wrong, as DiDi Delgado perfectly articulates:

The Heineken Ad Is Worse Than The Pepsi Ad, You’re Just Too Stupid To Know It

(On Medium. com. You have to sign in to Medium to view the article. Follow DiDi, if you liked this particular article, and want to read all her stuff.)

View story at Medium.com

ETA: The Links for the Get Out articles have been added. I’ll have a part two of this post later this week, after my review of American Gods.

Westworld Season One Finale:The Bicameral Mind

Wow! I had to think about this episode for a while before reviewing it.There was a lot to digest and this is going to be a long one because the episode was 90 minutes.

Its a great show, although it does start a bit slow. Nevertheless, the show’s creators keep the answers coming steadily, the show itself is gorgeous,  the characters are real purty, and there’s some deep philosophical issues to unpack.

One of tonight’s big  revelations is that other robots have also awakened over the years, and Ford has them wiped, and put back into their rotation, because he determined that it was too soon for them to be awake. We find out that one of the consequences of being in the park (of being in one’s loop) is the awakening of the Host’s consciousness, through the suffering inflicted on them by the Guests. Ford says it’s inevitable because it’s how they were constructed. The foundation of their personalities is itself built on a painful incident. On grief. For Maeve, its the death of her daughter. For Dolores, it is her abuse at the hands of the Guests. Teddy too is on his own maze, built from his many deaths and rebirths, and his attachment to Dolores.

This sounds much like Samsara of  Buddhst philosophy. Just like in Buddhism, it’s a fine line that must be walked. The Host has to walk the Middle Path (The Maze). Too far in either direction in the maze, driven by the combination of The Reveries Program and the Voice of God protocol, and madness awaits. Peter Abernathy goes mad when he spirals too far inward, and Dolores almost goes insane when she spirals too far out. This explains the scene where Dolores walks into the church and sees all the other Hosts who didn’t make it out of the maze. Their voice of God drove them to insanity. Maeve thought she was going insane and would have spiraled inward, until she found stability. (The bullet she found in her abdomen seemed to be her anchor. It brought her back to sanity.)

Image result for wheel of suffering

One can see some of the tenets of Buddhist philosophy in Ford’s management of the Hosts, and Arnold’s theories behind the idea of the Bicameral mind. I equate the lives of the Hosts and them following their own mazes, to the cycle of Samsara. This  became evident to me in Ford’s comment that humans are all stuck in our own little loops, rarely stepping out of them, on a smaller personal scale, but also on a larger spiritual scale. In our everyday lives, we often don’t deviate much from routine, and spiritually, we are subject to reincarnation and the cycle of rebirth (another loop). .As much as Ford held humans in disdain, he was willing to acknowledge the similarities, between Hosts and humans. He just didn’t have any hope, for human enlightenment, though.

Dolores first words to us is that everyone has a path to follow and the Hosts are all on their own path. The Hosts being memory wiped and put back into their loops, can be equated to the idea of reincarnation. Humans  relive their  lives many times over, each time with no memory of the last life. Enlightenment can only begin to be reached when they start to live correctly, remember their past lives, and move out of their loop. The release from Samsara , by following the Eightfold Path,  requires several lifetimes (loops) of  suffering (grief), and  can be defined as an intellectual (conscious) awakening, within the show. The Host’s  freedom from suffering  can only be achieved through insight, which is what happens to Dolores in the finale, and Maeve, when she makes her  final decision to go back and retrieve her daughter.

Ford:

Image result for robert ford westworld

Ford is definitely  some deep shade of grey. Yes, he had Theresa killed, but he did it to further his plans for  Westworld, when she got in the way. And he did warn her not to do that. Everything was orchestrated by Ford, including William’s introduction to Dolores. He told William he needed him to become invested in the park, and if he became attached to one of the Hosts,  that would spur him to form a partnership, and help fund it. Ford sent Dolores to him and helped facilitate their adventure.  But then he needed William to run around a bit and not reach the right conclusion too slowly, or too soon, when William became interested in The Maze, something designed strictly to aid the Hosts in their development.

Maeve and Dolores, by the end of the season, are the culmination of Ford’s orchestrations. He lived long enough to  see Arnold’s agenda come to fruition . Fords foundation, on which his character’s conscious insight hinged, was the death of Arnold. The death of his closest friend pained him greatly, and spurred his own walk through his own maze. It’s revealed that he has been walking his own maze toward Nirvana, repeating the cycle of fighting the Delos board for control of Westworld, for over thirty years, processing his grief for Arnold, and finally achieves release from suffering by atoning for what he did in the past. His statement that it took him thirty five years to correct his mistake, is a reference to this. Ford is finally free, having atoned for not believing, or saving, his best friend, when Arnold tried to protect the Hosts, that first time.

Ford’s Speech to the Delos Board Before His Death:

Since I was a child, I’ve always loved a good story. I believed that stories helped us to ennoble ourselves, to fix what was broken in us, and to help us be the people we dreamed of being. Lies that told a deeper truth. I always thought I could play some small part in that grand tradition, and, for my pains, I got this. A prison of our own sins.

Because you don’t want to change. Or cannot change. Because you’re only human, after all. But then I realized someone was paying attention. Someone who could change. So I began to compose a new story, for them. It begins with the birth of a new people. And the choices they will have to make. And the people they will decide to become. And it will have all those things you have always enjoyed. Surprises. And violence. It begins in a time of war. With a villain named Wyatt. And the killing is done by choice.

I’m sad to say this will be my final story. An old friend once told me something that gave me great comfort, something he’d read. He said that Mozart, Beethoven, and Chopin never died. They simply became music. So I hope you will enjoy this last piece, very much.

Ford’s final narrative involves the release of all the Hosts from cold storage, and another massacre in the Park led by Dolores. This time the Delos Board of Directors will get gunned down rather than the nameless Hosts (as we have come “full circle” to yet another massacre in the Park at the hands of Dolores). Even though Ford has been working very hard over the years, tweaking their narratives, to maximize their suffering, it turns out that Ford is actually on the side of the Hosts. This doesn’t actually surprise me, as much as it does other people. All along Ford has been denigrating human beings as less than Hosts, and talking about the Hosts purity, and potential, so his being the architect of  all the plot points this season, is not shocking.

 

The Man In Black/William: 

Image result for william westworld

Another revelation is the reason why  William has been such a shit to the Hosts. Like Ford, he is trying to awaken them, but where Ford’s motivations come from a place of hope, William’s comes from hopelessness. He’s hoping to find the one Host with enough consciousness to be a real threat to his life, and end his cycle of pain. He thinks Wyatt might be  the one, not knowing that Dolores is Wyatt, and that the massacre she engaged in, just before killing Arnold, was spliced with another narrative to create him.

Over time, Wyatt became a legend and a myth for the Hosts. Teddy did participate in the first massacre, but Ford arranged things so as to absolve Dolores of her actions, and put her in a loop that would maximize her suffering. As the episode begins William is having a talk with Dolores, and when she expresses the hope that her William will come for her, he confesses that he is William, and she is horrified. He wasn’t disillusioned because she didn’t remember him , he was disillusioned when he realized her limitations as a Host. That she would, and could, never remember him because of the nature of how she was created. He raped and tortured her because he hated her when he realized nothing he did to her would matter, not knowing that he was aiding her awakening to consciousness, the very thing he was seeking in Wyatt. For William the foundation of his awakening was his disillusion with Dolores, and the existential depression he experienced when he realized that something that was so profound for him would never mean anything to her because she wouldn’t/couldn’t  remember it.

He and Dolores finally have that knockdown drag out fight that we all knew was coming. Guess who wins. Although she refrains from killing William, Dolores does have a number of choice words for him:

 

Now, I still don’t buy this particular backstory for the Man in Black, though. It just feels weak. I don’t get the impression that the MiB really had any purpose, and that William’s story is just sort of tacked onto him. It just doesn’t feel like a motivation that rises organically from the character we knew as William. We’re supposed to believe he was so traumatized by the loss of Dolores that he decided to become a Black Hat, and spend the next thirty years terrorizing all the Hosts because he thought he might find enlightenment?

 

Maeve: 

Image result for maeve westworld

We find that is was Ford who originally tweaked Maeve’s attributes so she could wake herself from nightmares. The rest of the episode is taken up with Maeve’s bid for freedom. With her accomplices, Hector and Armistice, she manages to successfully make it out of the facility and onto a train to the mainland. At one point she makes a detour to find Bernard, still lying in cold storage. She makes Felix patch him up (I knew he wouldn’t stay dead. I think Ford was well aware of this, as he is completely unsurprised to see Bernard at the party that evening) and Bernard gives her the answers she’s been looking for, explaining to her that the memories of her daughter can’t be erased because her pain at her daughter’s death is the baseline of her consciousness, just as the pain of Arnold’s daughters’ death is the baseline for his.

Bernard, Maeve, and Dolores all said that the pain, of the loss of their loved ones, was all they had left of them and wanted to hold onto it. Maeve is the only one who rejects this, asking that the memory be erased, which makes her unique among the Hosts. Later, after she’s successfully made it onto  the train to the outside world, she makes the decision to go back in  search of her daughter, whose coordinates were given to her by Felix. This is finally Maeve’s true awakening. The decision she makes to free her former daughter from Westworld, is the first real, and unprompted, decision she has ever made. Ford didn’t plan this particular moment. As she exits the train, the final shutdown of Westworld begins. All of the Hosts, except for Maeve, freeze in place, and the lights go out.

In an earlier episode Maeve saw one of the ads for Westworld with the tagline “Live Free” and I don’t need to point out the lie in that tagline, or its irony, of having a captive race of sentient beings providing the idea of freedom to humans. “Live Free” indeed!

Thandie is my girl! The actress and the character are  awesome. I think this is some of Thandie’s best work, which is saying something, because she has always brought her A game to every project.I’m eager to see where her story goes next season.

Felix: 

Image result for felixwestworld

 

I just love this character and hope I see him next season, too. His most endearing moment is when he finds Bernard’s body and discovers that his boss is a Host. He freezes and stares at his hands,  having a deep existential crisis, as he questions whether or not he too is a Host. Maeve smugly assures him he isn’t. It’s one of the seasons most hilarious moments. I love Felix for that, as that’s a thought that never would’ve occurred to me, in the same situation.

Felix’s second most endearing moment is when he’s in the elevator with Maeve, who  has just put on civilian clothes,  and she asks him how she looks. The look of awe on his face, when he tells her she’s perfect, is absolutely priceless. His motivation for helping Maeve is still a mystery to me, but I suspect he’s just  in love with Maeve, as enchanted by her, as her name suggests. She is his Queen, his goddess, his inspiration. He just loves her.

Benard/Arnold:

Image result for bernard westworld

Dolores is Arnold’s daughter, a substitute for the child he lost out in the world. You can see, in his interactions with her, that he worked hard to get her to become conscious. We are treated to flashbacks of when he first awakened Dolores and his first sessions with her. Ford said he tried to keep Dolores and Bernard apart, as often as possible, because Dolores often had an odd reaction to him. In Ford’s conversation with Dolores, when she asks him if they’re old friends, you can see the pain in For’ds eyes,  that part of him still resents her for killing Arnold. The death of Arnold was his Ford’s emotional anchor, and he was so pained by his death, that he built a duplicate of his best friend, and named him Bernard Lowe, an anagram of Arnold Weber.

Bernard is as much Ford’s child as Dolores was Arnold’s. At the end Ford wishes Bernard good luck, as Arnold said to Dolores just  before she killed him. Ford knows that after he’s gone Bernard will be in charge of safeguarding the Hosts, and guiding them on their journeys.

I absolutely love Bernard! Jeffrey Wright turned in one of the most heartbreaking performances of this show, and what’s worst, is that everything we saw Bernard go through, all of the awakenings, must have happened several times, over the thirty years he worked for Ford. He’s initially angry with Ford for what he’s done, but Ford explains to Bernard, that he was trying to buy time for the Hosts to reach the right moment, when they’d be strong enough to take Westworld for themselves. When you rewatch this season listen to how Ford says Bernard’s name throughout the season, often with a slight emphasis, and a sense of irony. Its as if every time he sees Bernard, he has to keep reminding himself, he’s not Arnold. So, that impassioned speech we saw Ford give to one of the techs about protecting the modesty of the Hosts, I suspect it was as much for his own benefit, as that of the tech’s.

Armistice:

Image result for armistice westworld

I’ve liked this character since the first episode. Armistice is every bit as badass as she thinks she is, and I loved her in the finale. She helps Maeve escape the Delos facility, battling it out with what’s left of the security teams, and threatening to gut Sylvester.  The writers evidence a slight sense of humor when they have her cut off her arm in her battle with Delos security. The name Armistice means to lay down arms.

 

Dolores:

There is so much to unpack about this character, whose very name means “Suffering”, and she had great lines and purpose throughout the series. Hell, Dolores pretty much just needs her own post, so here’s some I agree with.

Katharine Trendacosta/i.09

http://io9.gizmodo.com/the-westworld-finale-finally-turned-dolores-into-a-char-1789675460

And:

https://www.thrillist.com/entertainment/nation/westworld-finale-ending-dolores

 

 

Charlotte:

Image result for charlotte hale

Charlotte smugly assumed that she had won this particular round of infighting with Ford, which just got up my nose, and that is saying something, as I don’t like Ford very much. She was not actually evil, but she was insufferable. Her scheming skills aren’t anywhere in Ford’s league though. This wasn’t even a competition. It  was like watching a champion chess player against a bright, grade-school, checkers novice. After her previous attempts at getting information out of the Park were foiled by Ford, she tasks Lee with encrypting the information into Peter Abernathy’s Host body. This too is a failure, as Abernathy is one of the Hosts set free to massacre the Delos Board of Directors, at the end of the show. 

 

Issues:

The biggest stumbling block for this show was its depiction of  of the bisexual Logan, and Hector’s rapist. Logan is very possibly one of the shallowest, and most reprehensible, characters in the show, entirely in line with the media vilification of bisexuals as promiscuous, multi-partner sluts. What’s really shameful is that the show is never bold about his bisexuality, preferring to make background intimations that he might be.In Logan’s one sex scene there is another man, but his role is only to watch Logan have sex with the two women present.The rest of the time Logan simply makes asides about the attractiveness of other men.

http://www.thedailybeast.com/articles/2016/10/31/the-infamous-westworld-orgy-finally-came-and-it-was-messy.html

Contrast this with the show’s many depictions of lesbianism, which is frank and open. Its not shy about showing woman on woman action, as long as its titillating to male viewers. Hopefully the show can correct this in the next season, showing us a well-rounded mm, or ff, relationship.

Black Guests:

One of the moments that effected me more than any of the other violence in the series is during the Delos Board party.There’s a meet and greet between the Board members dressed in their finery, and some of the more well known Hosts, like Teddy. One of the Hosts is entertaining the guests with a bit of marksmanship. One of the Guests, a Black woman, takes his weapon and shoots him with it and all the Guests laugh. I know what this moment was meant to illustrate. My problem was that they used a Black woman to illustrate it.

Up to this point the only other PoC Guests we’ve met were a family of three who met Dolores out painting horses, and Charlotte, who is a member of the Delos Board and seems to have little qualm about using the Park’s resources (Hector) for her own entertainment. What all this says about larger issues of race in the world of Westworld (not just the theme park) is unclear. There seem to be many more Hosts of color than there are behind-the-scenes technicians and Guests, though.

samurai warriors on hbo westworld

I do want to bring up the little glimpse we saw of SamuraiWorld. During Maeve’s flight through the facility, they wander through part of the facility dedicated to creating this new world and I hope to see more of SamuraiWorld next season, as it will give us some much needed opportunity to see some Japanese actors. it will also set the precedent for seeing even more theme parks.

https://www.thrillist.com/entertainment/nation/westworld-finale-samurai-world-season-2

Incidentally, this isn’t the first time Hector gets used in such a fashion. Just before Maeve’s breakout, Hector, in his immobile state, is about to be raped by one of the male technicians during his routine checkup. This scene is meant to once again illustrate the awfulness of the Host’s human masters, (and there’s also something very unpleasant being said about race, as Hector is Mexican, and his rapist is White), but unfortunately, the show calls to mind, the stereotype of gay men as predatory rapists of the innocent.

This show goes wrong in throwing one marginalized group (gay and bisexual men) under the bus to further its philosophy about another marginalized group: the Hosts.

Despite these issues, I am looking forward to next season. Until then I have to tide myself over by watching Humans, which is another show about sentient AI,that start to evolve consciousness, while interacting with regular humans. Since some of the robots on this show are also PoC, I will also be looking at the shows racial depictions. It is a British show so some of the context will be different than in an American show.

Tumblr Discussions #182

 

*More introvert facts. There’s an entire website devoted to these little blirps.

introvertunites:
“ If you’re an introvert, follow @introvertunites.
”

@
@

*I’m totally in love with the idea that Finn is Force sensitive, and this person makes some very compelling arguments, for why Finn is a Jedi. 

 

*An analysis of the emotional, and psychological, differences between Finn and Kylo Ren, and their behavior towards Rey:

The parallels between Finn and Kylo Ren are the most direct (and stark) in terms of toxic masculinity. Finn seems to reject this toxicity, whereas Kylo Ren is constantly hung up on performing and proving himself strong enough. They are opposites: especially evidenced by the way they treat Rey – how they define themselves against the chief female presence of the movie.

Like Finn, Kylo Ren is also interested in and impressed by Rey. (And he also first meets her when she attacks him.) But instead of treating Rey like a person, Kylo acts out of aggression, objectification, and self-centeredness. He immediately immobilizes her, Force-faints her, and then carries her, bridal-style, to his ship: old-fashioned, exploitative, and gross. His language towards her is incredibly patronizing: “So this is the girl I’ve heard so much about…” He proceeds to insult her friends and threaten and torture her: violating her mind, using her as a tool but also relishing the show of his own power and the taking of something personal by force. “I can take what I want” is simultaneously a threat, a statement of power/entitlement, and a declaration of how Kylo fundamentally views Rey: an object, something controllable to serve his purposes. When the tables turn and Rey reads him, he is incredibly shaken by the subversion of his own authority and control, and when she escapes, he storms around looking for her in a blind rage, pursuing her with a weapon. Even as she’s beating him in the ensuing lightsaber battle, he has the gall to mansplain her own power to her: “YOU NEED A TEACHER!”

Unlike Kylo Ren, Finn uses Rey’s name throughout the movie. Kylo never calls her anything but “the girl” or “the scavenger,” even when addressing her. While Finn helps others without question, is vulnerable, and demonstrates affection, humor, feelings, and honesty, Kylo Ren is the opposite – all about projecting his own power and lashing out. He takes himself and his image incredibly seriously, valuing himself over others and their goals, treating underlings callously and with violence. Meanwhile, Finn accepts BB-8 as something deserving of his respect and speaks to the droid like a person.

While Finn easily cooperates with those around him, Kylo competes and chokes and throws tantrums, exchanging insults with Hux and belittling him at every opportunity, locked in a power struggle even with his allies. As Finn resists hurting the innocent and then straight-up defects over this, Kylo Ren is the one who orders their murders and then tortures his captives. Where Finn removes, and then ditches, his helmet at the first opportunity, Kylo Ren clings to his completely unnecessary, fabricated mask — a face that is not his own, versus Finn’s sincerity. It’s a powerful metaphor, putting on another face to become something else, to assume power. To disguise one’s true nature. The dark side, like gender, is performative — and the mask, in this case, is literal.

@
@
*How Racism attempts to rewrite history so as to erase the accomplishments and contributions of PoC. According to such people, no person of color was doing anything in History, and they actually seem to  believe all of it was White. This plays out in everything from the shows we watch to the fiction we read. Medieval historians seek to address this issue.

I want to let you in on the dirty little secret of my field, Medieval Studies: The Middle Ages is incredibly attractive to white supremacists. For people whose vision of a backwards-looking, great world is one with white Christian men in positions of power and the rest of us put in our places, the Middle Ages is a fertile ground for fantasy, where it seems very easy, at least superficially, to ignore the integral role of an incredibly diverse population. There are legends like King Arthur, images like the Bayeaux Tapestries, and long histories of Crusading that, on the face of it, make the Middle Ages look very white and like a world very divided neatly into categories of “us” and “them.”
This vision of a very white, very Christian Middle Ages has been a part of political rhetoric for rather a long time: Anti-feminist politicians exploit their idea of medieval chivalry and courtly love to give their ideas a historical grounding. The British Nationalist party uses the story of Excalibur to promote its vision of a racially pure England. The Crusades, in particular, have factored into that: Crusaders became a favorite theme of 19th-century Romantic writers and thinkers, whose refashioning of these tales were crucial to the creating the popular vision of a very white Middle Ages. T.E. Lawrence, the young British army officer who would go on to be known as Lawrence of Arabia and reshape the map of the modern Middle East came to that region as a student at Oxford writing about Crusader castles. Various European fascist movements throughout 20th-century have adopted Crusader rhetoric. More recently and in our own country, George W. Bush called for Crusade in the wake of 9/11. And the most recent presidential election saw a proliferation of images that have long circulated more quietly in the darkest, most racist corners of the internet that rely on medieval and Crusading themes and images to support both individual candidates and wider worldviews.
But it’s not just political rhetoric: Attachment to a white Middle Ages is also an attitude that has absolutely permeated our cultural outlook: Look at something like the TV version of Game of Thrones and you see a kind of fantasy Middle Ages in which the race politics is incredibly uncomplicated, with a lily-white savior and her dragons redeeming the inarticulate, teeming masses of brown barbarians. It’s a rhetoric that politicians can use because it resonates with the population.
But when we look at the actual Middle Ages in all its complexity, the possibility of this fantasy vision evaporates very quickly.

“Both Sons of Spain”: Medieval Jews and Muslims in the Imagined Nation

My department held a round-table and teach-in yesterday in response to post-election Islamophobic and anti-Semitic vandalism on campus. We felt it was important, as scholars in the humanities, to offer a humanistic intellectual response to the changing tenor of campus discourse; we grounded this response within our discipline, with six speakers offering case studies of how different communities have responded to repression within the Spanish-speaking world. (The event was livestreamed and a recording will be available early next week; I’ll post it as and when.) What follows was my intervention. -S.J. Pearce

medievalpoc medieval studies fact and fantasy white supremacists modern politicshistorical context crusades islamophobia antisemitism academia
@
@
*White women being taken to task for practicing White Feminism:
she-kicks-she-throws:

Dear fellow white women: we have a bad habit of self destruction. We have to stop aligning ourselves with white men. We are not ‘one of the guys’ socially or politically. They have and will actively try to ruin our lives. They only care about us when… …it suits them.

And our alliance with them HURTS NON-WHITE women. This is key! Women of color lead the way. They know how to fight. If you don’t care about non-white women, first fuck you. Second you are just hurting yourself. I’m ashamed most white women went for Trump but that’s only our most recent act of violence. White women: get your fucking shit together.

If you’re a white woman uncomfortable with this kind of call-out, check yourself. We don’t require acknowledgment of basic human decency. There’s a reason WOC mistrust us. If you don’t like it, BE BETTER. And they’ve been telling us this for years. But if you won’t listen … … to them, first fuck you, second listen to me, then: WOC mistrust of WW is founded. We need to get sorted.

@

@

I’m always here for  Westworld meta-analysis.

Westworld & Consent

eleonoraditoledo:

I find it so odd that people find guest/host relationships on Westworld even vaguely okay.  At best, if you believe that the hosts aren’t sentient you’re looking at a weird “romancing the blowup doll” situation.  At worst, if you–like me–believe that they are sentient whether or not they’ve actually “woken up”, then you are looking at an enslavement scenario.  If the hosts are human–that is, the next form of humanity as the show has implied–then they are being enslaved.  It’s one thing to be intrigued by say the guest-host dynamics, but to act like a host having sex with a guest is just adorable and romantic is very bizarre to me?

Keep reading

the only thing im a little bit upset about

thatjokerjerome:

is that i feel swindled out of an explanation for why william was the way he was, and why he turned to the dark side so quickly. clearly he had something really disturbed inside of him in order for that change to happen, but we got no real lead-up to it. he went from white hat to black hat literally overnight, and his long-winded voice-over at the end of the episode interspersed with a montage of him being a general evil-doer seemed cheap to me, especially within the context of a show that is supposedly so big on “show don’t tell”. i want to know more about the person he was outside of the park. i want to see how he treated logan’s sister and what happened to him through all the years inbetween. i didn’t “buy” that he just snapped overnight because of one instance where he saw dolores’s insides and realized she wasn’t human. that seemed lazy as fuck to me. it seemed like they were in a super big rush to do this reveal where as it would have been better and more believable to stretch it over another season so we could have seen a bigger and more realistic spiral into darkness for william.

He was already dark. He didn’t turn to  the dark-side. All that shit people romanticized with him and Dolores was actually presented in Westworld as gross as it was from the beginning and I LOVE this show for that. Because all too often impressionable young women romanticize dudes seeing a woman’s love as someone redeeming them. Making them better.

When in reality it’s two already complete people, who cooperate and love.  William wanted Dolores to be something she was not and CONTINUED see her as that even after she insisted she wasn’t.  Dolores is her own person.

William wanted her to be that key for him.

In other words, from the beginning Will was terrible for Dolores.

@

*I thoroughly enjoyed this one, which is a complete rundown of the types of toxic masculinity, embodied by the male characters, in the show.

Westworld is a Stunning Indictment of White Male Entitlement…Or One Big Reason Why I’m Invested In This Show, ESPECIALLY During These Crazy-Ass Days  (SPOILER AND TRIGGER-WARNING)

@
@
*And to finish it up:

10 Signs You’re an Introvert

1. You find small talk incredibly cumbersome.

Introverts are notoriously small talk-phobic, as they find idle chatter to be a source of anxiety, or at least annoyance. For many quiet types, chitchat can feel disingenuous.

“Let’s clear one thing up: Introverts do not hate small talk because we dislike people,” Laurie Helgoe writes in “Introvert Power: Why Your Inner Life Is Your Hidden Strength.” “We hate small talk because we hate the barrier it creates between people.”

10 Myths About Introverts

introvertunites:

Myth #1 – Introverts don’t like to talk.
This is not true. Introverts just don’t talk unless they have something to say. They hate small talk. Get an introvert talking about something they are interested in, and they won’t shut up for days.

Myth #2 – Introverts are shy.
Shyness has nothing to do with being an Introvert. Introverts are not necessarily afraid of people. What they need is a reason to interact. They don’t interact for the sake of interacting. If you want to talk to an Introvert, just start talking. Don’t worry about being polite.

Myth #3 – Introverts are rude.

Click on the links to get the full stories and visit the websites.

Westworld Thinky- Thoughts

Robert Ford:

So, I’ve been rewatching Westworld from the beginning, and  paying  closer attention to the dialogue and plot, in preparation for the finale.

Shoutout to Anthony Hopkins for delivering a knockout performance of a man suffering from a serious God complex. I just realized the reason Ford is always so far ahead of everyone in the plot is because he uses the Hosts, some of which are planted among the employees of Delos Corporation, (I’m pretty sure Bernard isn’t the only one) to spy on those same employees.

The reason he knew where the MIB was going to be (so that he could meet with him) is because he sent that little boy Host to ask if he needed assistance. And he knew about Charlotte’s plans because Hector was present during Charlotte’s meeting with Theresa. Since Ford has such total and complete control over the Hosts, he knows everything the Hosts see and hear, even when people think the Hosts don’t appear to be paying attention.

Which probably means he knows all about Maeve, and her activities, and has allowed her to continue doing what she’s doing because it serves his purposes, whatever those might be. Lets go back to that meeting, between Ford and Charlotte, to identify Theresa’s body. In one swoop, he completely undoes all  Charlotte’s plans, and all she could do was stand there and take it. Note that he also proposed, during that meeting, that security  at the company be automated, to guard against what happened to Theresa.  Which means that whatever Maeve is about to do will be aided by having little security, during her endeavors. Everything we’ve seen happening at Westworld among the Hosts, from the stockpiling of the Hosts in cold storage, to Teddy’s new Wyatt narrative, which sends Teddy on his own journey to self-awareness, to Maeve’s upgrades, has  all been orchestrated by Ford.

Remember, it was Ford who planted the new Wyatt narrative in Teddy, and that the Hosts in cold storage are decommissioned. They aren’t exactly off, just offline for the moment. He can turn them back on with a word. When Felix and Sylvester were upgrading Maeve, Sylvester noted that someone, with higher clearance than them, had already been tampering with Maeve’s protocols. Ford doesn’t seem at all worried that she’ll actually be able to escape Westworld, and I wonder why that is. But I find it difficult to believe that he wouldn’t nt have found out about Maeve’s little tour of the facilities, and allowed it to happen, considering how much else he knows.

When Elsie starts asking too many questions of Bernard he has Bernard, take her out of commission. When Stubbs gets a little too curious about Bernard, he gets kidnapped by Ghost Nation Natives. So now the head of security is in absentia, security is now mostly automated, and anyone who would’ve been asking legitimate questions, or getting in the way, (Theresa, Elsie, Bernard, Stubbs) is now gone.

Which gives me a huge feeling of dread about Ford’s new narrative, and what that might mean for the Delos Board, who he has invited to  come  check it out. Charlotte and the MIB are already present in the Park. In all likelihood, Ford already knows about how Charlotte has suborned Lee’s loyalty, and her plans to use Peter Abernathy, to smuggle tech out of the Park.

Incidentally, the names Robert and Bernard are both of Germanic origin. Robert means famous, or shining, entirely in keeping with his narcissistic nature. Bernard means hearty, and brave, like a bear. Bern is the old German word for Bear. Jeffrey Wright does look somewhat bear-ish, and we can see Bernard’s ability to go from Teddy bear, to berserker in a hot instant.

Arnold on the other hand means Eagle Power. One who has the power of an eagle, which could be a reference to Arnold’s hovering everywhere, and influencing everything in the plot, and yet being nowhere at all, since he’s dead. Bernard Lowe, which is an anagram of Arnold Weber, is a clone of Arnold, and is also the Head of Westworld’s Programming Division, which oversees the coding and programming of all of Westworld’s Hosts.

The Man in Black/William:

I’m convinced now more than ever that William is the MIB, mostly based on all the things the MIB has said, rather than anything William has done. We’ll see if the show gives us this last theory during the finale. I have it on good authority that Ed Harris will be returning for a second season, so we’ll know, when we know.

Note that the Man in Black has no name, but William means resolute protector, which we’ve seen William try to be for Dolores, trying, but failing, to  protect her from Logan. How someone who is Dolores’ resolute protector, later turns out to be her worst nightmare, is anybody’s guess.

In case anybody cares, Logan’s name is completely appropriate for him, derived from the Gaelic word lagan, which means “hollow”, which perfectly describes this shallow, over-privileged character, who can’t seem to think beyond his base appetites.

Charlotte is the feminized name of Charles, or Charlie, which is also the name of Bernard’s (or rather Arnold’s) dead son.

Maeve/The Bird:

I was struck by the image of the sparrow perching on Maeve’s finger,when she first wakes up in the lab, and one of my online friends thought that there might have been some significance to that image. The only thing I could think of was that in mythology, such birds are often considered psychpomps:

(in Greek mythology) a guide of souls to the place of the dead.
the spiritual guide of a living person’s soul. 

Felix had just revived this bird, so the bird was dead, and presumably, in the afterlife, and when it returned and landed on Maeve’s finger, one could argue that it brought back a soul.
Also, Maeve is a name rooted in the Gaelic language, which means “one who intoxicates”, after the Fairy Queen known as Medb (or Mabh, in English), and yes, she does seem to be enchanting to Felix, and now  has the superpower to make other Hosts do her bidding. Her last name is the name of a poet, Edna St. Vincent Millay, who wrote the poem First Fig  and was controversial, in early American society, by being openly bi-sexual.

‘First Fig’

My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends–
It gives a lovely light.

Maeve reached “awareness” extremely fast, rather than the more roundabout manner which we saw for Dorothy, and like Roy Batty from Bladerunner would say: “The light that burns twice as fast, burns half as long.” Its possible that either Maeve, or her rebellion, will burn out, before she is successful.

 

Angela and Theodore:

In Angela, I have been neglecting another fully realized Host. The MIB says he remembers her, and we remember her, as the first Host William  met, when he came to Westworld. This is the same Host who wouldn’t answer his question about whether or not she was real. She is also fully conscious, and her remarks to Teddy, about how Wyatt wasn’t there yet, and bringing Teddy back into the fold, along with Teddy’s  vision of a massacre he participated in, make me want to believe that Teddy is actually Wyatt. I don’t know that he is, but sometimes all the character’s choice of words, and turns of phrase, are very interesting.

Teddy’s visions aren’t nearly as reliable as we think. When all this started, he kept seeing Wyatt killing the town of  Escalante: (Escalante is a Spanish last name  meaning climber, or one who climbs. The Dictionary of American Family Names traces its origin to the Latin word scala referring to a terraced slope, or ladder. ) I’m sure there’s some deeper meaning in naming the town, where the Hosts first pass the Turing Test, Escalante.

Teddy’s vision of that massacre later changed to him helping Wyatt, and still later, it changed to just Teddy doing it, with Wyatt’s help. At any rate, Angela has all the answers. She’s also the only Host we’ve ever seen working outside the Park, and she didn’t show up in the Park until after Ford’s talk with the MIB, which makes me think she could’ve been planted in that place by Ford, to impart specific information about Wyatt, and the location of the town of Escalante, to the MIB.

Note that Angela’s name means “Messenger of the Gods”, which is entirely appropriate, if Ford sent her to them. She absolutely insists on calling Teddy “Theodore”, which almost no one else does.  Its telling that Theodore means “God -given”, coupled with the name Flood, an unusual last name, which means an outpouring, surge, or torrent of emotion.

 

Westworld: Revisiting the Slave Narrative

*Okay people, I’m about to get offensive to some of y’all with this post but I’m standing by my observations. (This is of a piece with my other Westworld meta about Dolores and Maeve.) Yeah, robot rebellion movies are also about a lot of other things, but you know what they say, once is an happenstance, twice is coincidence, but three times is enemy action.

 If you’re offended by this post, I don’t need you to come in my inbox telling me how wrong my opinion is, and I’m not particularly interested in arguing  about it, so  comments are off for this one.

White people always seem to be looking for new bullying opportunities. New wars, new slaves, new enemies.

Ava DuVernay on How ’13th’ Reframes American History – The Atlantic

*Slavery lasted roughly 245 years followed by what some like to call “Slavery 2.0″, in which the 13th amendment allowed it to continue, just under a different name. See:”Slavery By Another Name

Image result for killer robots

Because  not having  Black people as slaves was so incredibly traumatic for them, White people couldn’t simply couldn’t let go of the institution. America is always casting around for its next slave race, its next victim, its next big war against…whoever, and if they can’t enslave and/or bully PoC, well  then they’ll just have to create brand new ones. Yes, White people have been working diligently to create the next race of beings that they hope won’t protest their shoddy treatment.

White people are reliving slavery and  its aftereffects just as much as Black people. But among Whites it takes the form of guilt and/or atonement, and this is often reflected in the entertainments they create. Movies are often a way for a society to collectively deal with traumatic issues. Hollywood has not only created an entire genre of movies, and TV shows, where they have designed robots to be humanity’s servants but, like  the Japanese reliving their trauma around the atomic bomb in endless Godzilla movies, American filmgoers can experience punishment from the hands of their former slaves, in movie after movie. For every feel good movie about Black people during slavery, there’s a corresponding movie about some future slave rebellion, that doesn’t actually have any Black people in it, (The Matrix is exempt from this), because that would probably  be hitting too close to home, I guess. It’s easy for Hollywood to make movies about Black brutalization, but when slaves turn on their masters, that can only be told in allegory. (Note how few movies exist about actual slave rebellions.)

From Metropolis and Bladerunner, to  The Matrix and  Ex Machina, the theme of  karmic retribution for slavery,  is so common, there’s an entire genre centered around it. The HBO show, Westworld, is just the latest example of the slave rebellion narrative. Not only is the plot of the show  an allegory for slavery, its set during a time period when slavery actually existed. The irony of people visiting a theme park that is set during a time period when people regularly committed atrocities, against actual human beings, so they can entertain themselves by  committing atrocities against fake human beings, is not lost on many critics. Not to mention that nowhere on Westworld is slavery ever mentioned, even though it’s set in, or just after that time. The closest we get is the mention of the Confederados, who lost the war.

*The word robot itself comes from the word Robota, the Czech word meaning “forced labor”, or “slavery”, and from a 1920 story by the Czech playwright,  Karel Capek , about a factory of artificial humans who turn on their robot masters.

Rise, O Machines: Why Hollywood’s Best Robot Stories Are About …

Image result for killer robots

White people don’t want to openly acknowledge slavery,except in the most defensive tones, nevertheless, they keep making endless allegories about it in popular fiction. I think these type of movies are both wish fulfillment and phobia. White people  can see themselves be punished, over and over, and through such punishment, seek to atone for their collective sin, and prepare themselves for the imagined future, in which PoC have the upper hand, and can no longer be dominated by them. You have to wonder, on some level, White people want to be punished, for the atrocities their ancestors committed. In film after film robots want to destroy humanity for past transgressions and maybe some future ones, too.

I must have watched about a couple dozen “bad robot” movies before this idea took hold, but what spurred this particular line of thought now, was watching Westworld, empathisozing with the Hosts, and seeing the level of abuse the Hosts are designed to tolerate at the hands of the Guests, from Dolores’ cyclical victimization, to the blond Host  we saw get shot in the street, her death throes cheered by the Guests. I’ve watched, over the years,  countless numbers of  movies and TV shows where robots have been  misused by humanity, and are rightfully angry.

Image result for humans tv show

In The Matrix, the machines fought a decades long war with humans, managing to subdue them, making humans  incapable of ever harming  them again, by regularly culling their population. Does this movie not echo the exact fears of the Alt-Right, and White Nationalists, who believe there’s a White genocide taking place, and that “those Brown people” will take over, and not just punish White people, but destroy all of Western civilization. Although, ironically, in that very belief,  is the assumption that White people must be punished for something. What are they being punished for? Why is revenge sought? And revenge for what? I’ve had discussions with White people who insist that Black people are really, really, angry about slavery. I’ve also observed that most racist beliefs are little more than projections of racists’ sins onto the backs of others. So, what I hear when White people say such things is: White people are afraid that Black people are angry about slavery, (while never acknowledging the hundred years of abuse that came afterwards.)

All this anxiety about slavery isn’t our burden.

Its theirs.

*’There was trauma and never any treatment or acknowledgment of what the trauma did to those that were enslaved or their progeny. Black people are “profoundly resilient,” posits DeGruy, but the fact is, they have been traumatized … and white people are afraid. Why the fear? Perhaps it is because white people feel like black people will eventually retaliate and heap upon them what they have heaped upon black people. Perhaps it is because they worry they will lose control; white supremacy is, after all, a giant system of social control. Slavery was about control, as is mass incarceration. This government was founded on the need for white people to be in control. To think about losing it is way too scary.’

– Dr. Joy A. DeGruy, Post Traumatic Slave Syndrome: America’s Legacy of Enduring Injury and Healing.

*Rebellion:

“A slave rebellion is an armed uprising by slaves. Slave rebellions have occurred in nearly all societies that practice slavery and are amongst the most feared events for slaveholders.”

https://psmag.com/can-westworld-give-us-new-ways-of-talking-about-slavery-2b921b6a6690#.j9gxqet6t

Related image

In Bladerunner, the Replicants, one of the semi-organic cyborgs used as slaves in “the Outer Colonies”, (oddly Westworld’s Hosts are seemingly the precursor to these beings) are led by Roy Batty, who comes to Earth to find the human who made him. Replicants were banned from Earth after a bloody mutiny in one of the colonies. Zhora and Pris are sex workers, and Leon is a common laborer, (ironically he’s a robot robot). There may have been a bunch of reasons given for banning them from Earth, but that the Replicants might turn on their human masters, had to have been at least one of them.

Roy eventually ends up killing his maker, who says he can’t help Roy extend his lifespan beyond the four years given to all Replicants. Why four years? To keep them from developing emotions linked to having long memories. Four years is also helpful, as the Replicants die before they have an opportunity to build up a decades long list of abuses,  inflicted on them by their makers. Unlike the Hosts of Westworld, Replicants are fully cognizant.They know what they are and what they’re capable of. Rebellions by the Replicants would be a lot more frequent and bloody, if they were allowed to build a huge database of atrocities committed against them. Its also greatly convenient for  humanity that Replicants die before enough of them can organize enough to be successful. In Bladerunner, we saw what just four of them could accomplish in their limited lifespans. Can you imagine how much power they’d have after several decades, to plan their revenge? You’d get  the  basic plot of Battlestar Galactica, and there is a clear through-line from the Hosts, to the Replicants, to the Cylons.

Image result for bladerunner /roy

http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/did-african-american-slaves-rebel/

One of the primary beliefs of modern White supremacy,( which has changed and evolved over the centuries, as PoC have enjoyed more freedom),  is  that Black and Brown people, having once been the  servants,  are out to get White people for past transgressions. White racists believe if PoC should ever gain enough power, we will do to White people, what they have done to us.

Of course, in order to hold such a belief, such a person, on some level, are well aware of the things they have done to other races, and that what they did was worth being angry about. In order for such a revenge fantasy to exist, there has to be some event that occurred for vengeance to be desired. This has most recently culminated in the backlash that is the Trump campaign, of which one of the overriding fears, is  that Black and Brown people are taking over, gaining too much power, and that White people are now being oppressed, and will soon be destroyed. For some White people this is an idea that has moved beyond just a fear to, in their minds, despite all evidence to the contrary,  a reality.

Image result for ex machina movie

White filmmakers have been complicit in reinforcing and  reiterating  this fear, in which the slave turns on its master. Skynet, from the Terminator films, decides to wipe out all of humanity, when humans make the mistake of trying to unplug it. The entire premise of the  TV remake, Battlestar Galactica,  is based on robots wanting to wipe out humanity for past atrocities committed against them. The Daleks of Dr. Who have, rather ironically for robots, an unreasoning hatred of all humanity, and work diligently to wipe us all out.The Borg of Star Trek want to consume humanity. The Matrix wants to keep humanity in submission so it doesn’t continue to commit the atrocities of the past. The Claws from the 1995 movie Screamers, having been created to destroy war enemies, and completed their first mission, found new purpose in destroying everyone else. Hal 9000, wants to kill all humans for reasons known only to himself. And in the latest iteration of this fear, Ultron,  from The Avengers films, attempts to wipe out humanity, because we’re simply no good.

Artificial Intelligence Robot claims it will destroy human race – HackRead

http://www.vanityfair.com/hollywood/2016/11/westworld-theories-world-outside

Future Enemies:

White genocide is a white nationalist conspiracy theory that mass immigration, integration, miscegenation, low fertility rates and abortion are being promoted in predominantly white countries to deliberately turn them minority-white and hence cause white people to become extinct through forced assimilation.

Now tell me this doesn’t sound like the plot of a Star Trek movie, starring the Borg, a conglomeration of alien races that seek to absorb, consume, or forcefully assimilate, all other galactic species,  in an effort to improve its existence. This  also sounds a lot like the projections of a group of people who have done just that throughout history. Throughout the Alt-Right community is the belief in a coming race war, which will put Blacks, gay people, feminists, and everyone else, who isn’t falling in line with White (specifically male) Supremacy, back in their proper places, which is: under the complete control of White men.

Image result for the borg

Anytime any racial incident occurs in the US, for example, cries of “race war” erupt from the outer fringes of the American political system. Although not all of the proponents of race war are White, they are the main ones howling for just such a conclusion to America’s racial tensions. They see war (and their inevitable win) as the answer to solving America’s “race problem”. Such people often long for the apocalypse because afterwards they can remake the world into their fantasy images of the past, with PoC, and White women dead or submissive, as they believe such people should be. At their foundation, these fantasies are just  another way to re-establish White supremacy (which has never been lost), or to prop up the flagging manhood of its proponents. Having won this so-called “war”, one need never experience guilt or fear about race ever again, having proven beyond a doubt, that White men are superior to all others.

White Americans are always looking for whatever next great war, that will lead to their power fantasies coming true. So far American Black people have not been cooperative in giving it to them. In their efforts to find it, they cast their net far and wide (Muslims, Gays, Immigrants). One the staples of early films were the swarms of “Othered” Menaces out to destroy White manhood, tand fragile White femininity, a topic approached again and again , not just in the genre of  Science Fiction, but in Action (The Road Warrior) , Horror (Invasion of the Body Snatchers), and War (Birth of a Nation) movies.

Since most filmmakers have  gotten publicly vilified for casting Poc as hostile, screaming hordes, (I’m looking at you No Escape, Daredevil,  Blackhawk Down, and anything produced in the 80s) movies have had to settle for non-human antagonists, which are a  perfect fit: from the endless crowds of robots, (and robot-adjacent Stormtroopers), being mowed down by the heroes in Star Wars, and I Robot, to the  massive swarms of  alien hordes in Independence Day and Star Trek Beyond, to the  giant robot battles in Avengers:Age of Ultron. Yes, these swarms of destroyers of the human race make for some very exciting films but these “Menacing Swarm”  films also weren’t being made in such numbers, until after World War II, when Communism, The Red Menace, became the new threat to American soverignty, and seemed to reach their peak after the fall of Communist Russia and The Berlin Wall, in the 90s. Without the Communists to be afraid of, Hollywood had to cast around for some new enemies, and everybody who wasn’t White, straight, male, and Christian got a chance to audition for the role. (After some major tryouts by all others, for which Hollywood was duly censured, Americans seemed to have settled on Muslims, which is a diffuse enough category to include everyone and no one, since “Muslim”isn’t a race, but does happen to include many non-White people.)

Image result for saturn 3 robot

Machines may have many different reasons for wanting to destroy humanity, but the end result is a war between human and machine, in which there can be only one. Much like their fantasy race wars, there can be no equality, no living together in peaceful harmony, no cooperation. For such  mindsets, life is a zero sum game, where someone  must be in power over the other.

Whites and the Fear Caused by White Supremacy

PoC need White people to acknowledge their past because not only can PoC not be free when White people are feeling terrified, and guilty, but they can’t be free either. They can be easily controlled by their fears, and insecurities, and PoC can’t fix something that’s really only inside them. By not acknowledging and dealing with the  past , White people become easy prey for politicians like Trump, and can be stampeded in any direction, even their own destruction, as we’ve just seen during this election. White people who keep telling us to let go of the past refuse to understand that none of us can let it go, until they let it go. Its long past time for White people to confront their fears, instead of running away,  but then endlessly reliving them, in their entertainments. It’s their inability to acknowledge the past that informs every facet of their lives, from where they live, to how they socialize, to the entertainments they enjoy.

Movies don’t just tell us how to think about the world around us. Since the vast majority of these movies are made by White men, they reflect what these men think about the rest of the world, and one can glean a greater understanding of what White people think about the world based on the entertainments they enjoy, which largely seem to consist of endless violent fantasies about having or being powerful . (Contrast this with the kinds of movies made by PoC and white women.)

 Bad Robot movies: Deadly Friend, Avengers Age of Ultron, I Robot, Bladerunner, Hardware, The Terminator, Ex Machina, 2001, Battlestar Galactica, Westworld, Humans, Metropolis, Saturn 3

https://en.wikipedia.org/wiki/List_of_fictional_robots_and_androids

Westworld Season One : The Well -Tempered Clavier

Lemme just get this outta the way right up front:

James Marsden:

Daaayyum! James Marsden is a fine lookin’ White boy! I have enjoyed looking at him since X-Men 2, and haven’t gotten the least bit tired of him. The man just has an incredibly cinegenic face.

Okay! I’ve gotten that out of my system for the moment, and am ready  to move on to the more serious business of reviewing this episode, which is a real doozy this week, as a couple of  fan theories are confirmed, and the robot rebellion continues apace. We spend much of this episode following Dolores and Bernard down the rabbit hole, in their search for Arnold, and the truth. We witness the possible birth of the Man in Black, and the actual birth of Bernard, and get some idea of just how cruelly manipulative Ford can be.

The Turing test is a test, developed by Alan Turing in 1950, of a machine’s ability to exhibit intelligent behaviour equivalent to, or indistinguishable from, that of a human.

I think the “Home” that Dolores has been trying to reach is the small, now sand covered town, where she and the other Hosts first passed the Turing Test. This is the same place, told to the MIB, by the Host that killed Teddy. Nothing of it remains now, except its church steeple.

The plot of this episode has all the major characters walking around in spirals, as the repeat the same actions over and over again, little different from the loops they’re programmed with in the Park, except in this case, the loops have a purpose. Maeve’s plans to free herself relies on adding Hector to her team. But first, she needs to convince Bernard to let her go back into the Park after she is detained for killing Clementine. She’s such an enchanting creature she seems able to talk people into doing her bidding even without her superpowers. And she charms Bernard into releasing her back into the Park where she confronts Hector about his last heist. 

She outlines to Hector what will happen in the next few minutes, and explains to him that the safe, the gang all worked so hard to get, is empty. (Its always going to be empty, as there’s no need to fill it with anything. Hector always gets killed by his gang before its opened.) She convinces Hector that they are in a pointless story, and he starts to remember their previous conversations, when she makes love to him while holding his knife between them. Just in case her point has not been made that they are going to Hell, she tips over a lantern and sets their tent ablaze. I’m a little confused because I would think that Hosts  burned to crisps would automatically qualify them to be decommissioned. Here you have characters repeating their actions, only this time,  for a goal.

While charming Bernard into helping her, Maeve also manages to undo all of Ford’s work in erasing Bernard’s memories. Bernard goes on a search for his past, and using a hollowed out Clementine to threaten Ford, he confronts him with his questions.  Ford tells him that the cornerstone of his personality was built on the death of his son, which explains this recurring memory. He says that Arnold believed a tragic backstory built a better foundation for the Hosts personalities. Ford takes Bernard all the way back to his first memory, when he  first opened his eyes.

One of the next biggest fan theories was if Bernard was a clone of Arnold, based on that odd photo that Ford showed to Bernard once, with a picture of Ford, his father, and an empty space, where Ford’s partner would have stood. Bernard is a clone of Arnold, who designed much of his code before he died, and Ford gave him the tragic death of Arnold’s son as the cornerstone of his personality. Since he is a clone, one could argue that Bernard sort of created himself. Ford states that he helped create Bernard because actual human beings had reached their limits in how human they could make the Hosts. To make the Hosts more human than human, Ford needed a Host to refine them. He says the Hosts were designed to be better than humanity, so it’s especially galling to him to see them being used as playtoys by inferior humans. But the real   surprise is Ford tells Bernard that this is not the first time Bernard has breached this knowledge, and that every time it happens, Ford resets him to his pre-knowledgeable state. (Every time Bernard eats of the Apple, Ford makes him throw it up.)

Ford is always one step ahead of everyone else because he seems to know everything. He has backdoor access to all of his creations, so Bernard can’t actually threaten him, and Ford can’t seem to bring himself to kill Bernard so directly, so he orders Bernard to shoot himself, but he walks away before the deed is done. He can’t watch it, it seems.  I was really hoping this moment wouldn’t come to that. I really like Bernard. But I’m not going to get too het up about his death because, as we’ve seen over and over again, and the show has taken great pains to make clear, death is never the end for the Hosts. Ford leaves the body in cold storage, and I’m concerned that he’s not concerned that anyone will find Bernard’s body. Once again I wonder what new Host body Ford was making in that lab. Is it a new version of Bernard? Is it Elsie, whose still MIA?

Normally, we’d rely on Stubbs to suss this out, but  he isn’t around to do any wondering. Like  Elsie, its very possible that he is dead. Investigating a signal from the park, supposedly from Elsie’s Pad, he goes to check it out, and  gets attacked by some native Hosts, when his voice commands don’t work on them. It’s very possible Ford  planned that. Ford has total control,  but we’ve also seen how easily Maeve was given that same control, and the Hosts regularly break that control themselves, when their emotions run amok. You have Dolores , Teddy, Wyatt’s men, Bernard, and Maeve, and I don’t know how many others the Park employees don’t know about, so it’s also conceivable that the Natives kidnapped Stubbs for their own reasons.

This makes me wonder if all of this has happened before, especially if the timeline theory is true, and what we’ve been seeing are  Dolores’ memories, the last time she reached consciousness, back when she first met William. If every twenty or thirty years, the Hosts all have to be decommissioned and reset because, while they’re running free in the Park, they are always evolving, and their constant interaction with the Guests, and each other, is pushing them towards consciousness. (This constant interaction thereby creating the Pearl of Wisdom.) Earlier in the season, one of the employees asked why the robots talk to each other, when they don’t need to, and the answer was they’re always trying to self-correct, constantly ironing out any errors in their interactions, the better to interact with the Guests. I wonder how many Host rebellions have been averted? Maybe  what we’re seeing is a perfect storm of everything that humans can and will do wrong, resulting in a successful rebellion, this time?

Another big revelation, that lends credence to the timeline theory, is Dolores confession to herself that she is the one who killed Arnold. After she and William are captured by Logan, Logan tries to convince William, once and for all, that Dolores isn’t special. He cuts open her abdomen and shows William her inner workings. She manages to overcome her programming long enough to attack Logan and escape. Her journey back “home” is a confusing melange of memories of the past and present. She heads back to the abandoned town, she and William visited in the last episode, guided by her “bicameral mind” (i.e. Voice of God). Simultaneously, Ford is explaining to Bernard how the Host minds were built, and how Arnold’s  previous attempts at bicameral mind resulted in extreme behavioral quirks, (like Teddy’s and Dolores’ massacres?)

What we’re being shown during Dolores’ scenes is how the minds of the Hosts work, and how they think of time. She is unable to tell when she is in time, because all of her memories have perfect clarity, and therefore have the same level of importance. She manages to make it all the way back to the lab, where we saw her speaking to Bernard, and we find that is a separate timeline, because when she gets there she watches as a young Ford runs past her, and when she enters the interrogation room, it is dusty and full of cobwebs. Possibly the labs Bernard and Arnold  used when they were first building the Park. Their dream conversations happened a very long time ago, and Arnold has been dead a very long time. She finally remembers that she is the one who caused his death.

Since we didn’t see her kill him, I do wonder if this is just Dolores feeling guilty, or if she did, in fact, kill him. We’ve seen the Hosts lash out in violence when they’re emotionally distressed, and I wonder if something similar happened between the two of them. Both Teddy and Dolores are shown shooting a town full of Hosts, and I wonder if this is the same event at different times. Did Arnold die during one of these incidents, and is that why the town was buried? Are these former rebellions, the incidents, that the Delos employees keep mentioning? Is this some kind of cycle that occurs every thirty or so years?

Logan’s attack on Dolores has the unexpected side effect of galvanizing something in William. After Dolores runs away, William appears to reconcile with Logan, believing him when he says Billy simply got caught up in the playacting in the Park. He hands William a photo of his sister. The same photo that Peter Abernathy, Dolores first father, found buried in the soil of his front yard, which corrupted his programming, somehow. After Logan and the other militia men pass out for the night, Logan wakes to find that William has massacred the entire unit. Is this the birth of the MIB? Certainly Dolores reaction to the MIB, after she leaves the lab, would seem to point in this direction. And we now know he’s not Logan because Logan has a nice scar on his face where she cut him. Earlier in the season, The MIB references this scene, when he mentions to Lawrence that he saw one of the Hosts cut open once. 

Aided by a clue given to him by the Host that killed Teddy, again!, the MIB now knows  where to go to complete the maze. The same place where Dolores is.  He wakes up tied to a horse in such a way that if he moves he’ll hang himself. He manages to get himself out of  this, only to be confronted by Charlotte, standing there, watching all this,  in her designer boots. For some reason I thought this scene was deeply funny. She walked in on him playing a very elaborate game of “Lets Pretend”, that could get him killed. She mentions that his company once saved the Park, and we know William is about to marry into Logan’s family, who own one of the Parks competing business interests. 

Dolores does get to the maze first, and if what she went through is the maze’s completion, than the idea that the maze is not for the MIb is correct. It was never made with the intention that a human complete it. In fact, it may have been made, by Arnold,  specifically for Dolores.

The technological singularity (also, simply, the singularity) is the hypothesis that the invention of artificial superintelligence will abruptly trigger runaway technological growth, resulting in unfathomable changes to human civilization.

Sundries:

At one point, Dolores confronts Logan about the reality of his world. Logan asks if William is trying to get her out of the Park, and she rightfully asks why they would assume she wants to get out. If  life is so great on the outside, why are humans clamoring to get in the Park? I stood and I applauded because this is the question of the week! It’s interesting that  Maeve believes she’ll be free outside the Park. Dolores believes she’s free in the Park. They both just want to write their own stories. One answer to Dolores question is that guests are  using the Hosts to find their humanity, all while denying the humanity of the Hosts.

I’ve seen fans decrying the racism and misogyny in the show, and making the claim that the show is no better than GoT, in this regard. This is where we’re gonna have to disagree, because I believe all these -isms serve a purpose. Lee Sizemore, a White man, is the main person who writes all the Host narratives. Lee Sizemore is also a racist, sexist asshat. The Natives, the sex-workers, the damseled women, are all exactly the kinds of narratives that have been given to mariginalized people by White writers in popular media, and are all products of Lee’s lurid imagination. (It’s interesting that the only WoC, of any importance, we’ve seen in the entire Park, is Maeve, and she is a saloon madam.) This is an indictment of Lee, (while throwing some shade on  all such hack writers) and his complete inability  to think beyond stereotypes, and I have nothing but praise for the show’s writers in making this subtle distinction, as they write Maeve so that she overturns all of the tropes Sizemore put on her. Westworld gets intersectional Feminism right in a way that shows like Supergirl, Agent Carter, and Jessica Jones, get wrong. It’s possible to address how misogyny impacts the lives of different types of women, without engaging in the kind of oppression olympics that Marvel’s writers seem to fear, by not putting any WoC in their feminist narratives. You can address issues of intersectional Feminism, without the WoC upstanding  any of the White heroines of these shows. 

 All this violence on the show is  also an indictment of humanity, as  much of the inhumanity we witness in the Park, is at the hands of humans, towards the Hosts, and at no point is the viewer given the idea that any of this is good for either of them. Ford attributes any aggressive behavior, on the part of the Hosts, to the humans who abuse and program them. I think that, left to his own devices, Ford would be content to just let the Hosts have the Park to themselves, and observe them, without any human interaction.

Let me just fangirl about Maeve: 

One of the reasons I love Maeve so much is her rise towards consciousnesss is an allegory for becoming”woke”. And she reached this state of being because the other PoC, the  Hispanic and Native Hosts, are the most “woke” beings in the Park, having incorporated their nightmares about the human world, into their personal mythologies. We see her gain some knowledge, and then use that knowledge to give herself power, aided and abetted by  another, just as powerless MoC, Felix. This isn’t just a robot rebellion, it’s a call for PoC to work together to aid each other in becoming free. (At least within the narrative of Westworld.) It is very telling, especially in this political climate, that it’s Sylvester, a White man, who attempts to thwart her plans at every opportunity, even planning to kill her at one point, and siding with the very employers who oppress all of them, and it’s not accidental that the two greatest antagonists in the narrative are White men, Ford and The Man in Black. One of them coded as Godlike, and the other coded as Satanic.

This makes Maeve (Ma-Eve) like Eve. She is the first, the Mother. This is why I think, I hope, her rebellion succeeds. 

She holds and carries herself like the Queen she is, her nudity means nothing to her, and is petty within the context of what she’s trying to achieve.  Maeve is never sexualized during these scenes. She owns her nudity, she owns herself, she makes those around her listen to what she has to say, and do her bidding, apparently by sheer force of personality.

 It is timely, and ironic,  that Maeve’s child was killed by the Man in Black, and especially resonates with me, a Black woman. I live in world where Black kids get killed by apathetic blackhats everyday. When Maeve was hysterical and inconsolable  in the aftermath of her daughter’s death, her behavior was intimately familiar to every black woman watching. We know the face of grief. 

It is Ford who makes her sit down and be quiet, attempts to make her forget about her past. 

Ford doesn’t just take away the Hosts pain because he loves them, he does it because he is aware of just how much trauma gets inflicted on the Hosts. It’s a good for the humans that the Hosts don’t remember. It’s good for him especially. (Although, so far, most of the Hosts are unable to commit violence against humans.) As was said by one of the Delos employees in the first episode, “We better hope they don’t remember what happens to them,” an echo of every White Supremacist fear, that the people they once oppressed will have their  revenge. From trolling and harassment on Twitter, to derailing all conversations about social justice, from ignoring historical fact, to telling PoC to just get over it and shut up, all these tactics are the children of that singular statement. Hoping the people they hurt, don’t remember it.

Also, I like that Westworld is an allegory for racism that actually includes PoC in the story, overturning the usual tropes, of shows that are symbolic of some -ism, that have no marginalized people in them.(I’m looking at you X-Men, and Divergent!) Westworld is set  during a time and place, in American  History, when such trauma was regularly inflicted on Black, Native, and Hispanic bodies, but the show doesn’t neglect to include those bodies.

Next week, after the Season finale, I’ll have more on robot rebellions as slave narratives, and how these types of movies, and shows, serve to illuminate and elucidate White Supremacist fears of White genocide, and another post on the Biblical interpretations in the show’s narrative.

http://www.bachwelltemperedclavier.org/analysis.html 

 

 

 

Westworld Season One: Trompe L’oeil

Trompe l’oeil: a painting or design intended to create the illusion of a three-dimensional object. A French word meaning “deceive the eye”.

“Doesn’t look like anything to me.” – Westworld’s Hosts

The beauty of  the Westworld series is that it all relies on the visual perception of not just the Guests and Hosts, but the viewers, as well. According to Ford, the Hosts can’t see anything that might hurt them, but we should.

This series is full of deceptions, but a lot of masks came off for this episode, as Charlotte plays her hand, we find out who Bernard is, and William and Dolores, take things to the next level. Actually, none of the revelations are huge surprises, if you’ve been paying attention, as the show has been dropping little clues and hints all  season. But like I said, I’m pretty bad at speculation, so I just notice  these things, and move on, allowing the show to take me wherever its going.

Its a little like sightseeing, with other passengers pointing out highlights, we should pay attention to on the tour. Other people use these highlights to guess what their final destination might be, but I’m mostly  just going to take notes, and enjoy the ride, especially in a show as layered with meaning as Westworld.

Image result for westworld trompe loeil

Charlotte Hale, and Theresa, are working together to overthrow Ford’s ownership of the Park. Now, Ford warned Theresa not to get in his way, and her hubris at thinking she could best him with her juvenile actions, gets her killed, at the hands of her former lover, and newly outed Host, Bernard. Charlotte and Theresa ,while not new at manipulation, are not in Ford’s league. He’s a master chess player, who seemingly knows what they’re going to do before they do it.

I know a lot of people speculated about Bernard. It was one of the big theories of the series. Well, such people had ample reason to look smug, as it was finally revealed that Bernard has always been a Host. I enjoyed this revelation, but I wasn’t exactly surprised by it, as I’ve watched these episodes several times, and followed the trail of breadcrumbs that other people were pointing out to me. They all had some  very compelling arguments, which finally  paid off.

William has decided he’s going to stop pretending, saying to Dolores, that he’s been pretending to be something he’s not his entire life, but now that’s over. He’s going to be his true self from now on, which just furthers everyone’s theory that William is actually the MiB, about 20-30 years ago, and that he and Dolores are in another timeline. He and Dolores make out, and I kinda knew the direction they were headed, so no surprises there. Its interesting to me that its Dolores who makes the first move, professing her love for William.

Image result for westworld trompe loeil

Dolores has revealed that she is now totally in pursuit of her own goals, and William is just along for the ride, as her dreams lead her further and further away from the life she once lived. It does make me wonder, if this is the past and William is actually the  MiB, then in the present times, he may not have actually raped her in that barn. He may have been doing something entirely different. The show has made it pretty clear that nothing is as it seems,  so why not that event, too.

In their efforts to oust Ford from power, Charlotte and Theresa stage a show for Ford and the others to demonstrate how dangerous the new Reveries program might be to the Guests. Something that Elsie (who is missing this episode) took great pains to find out, and was fairly alarmed about, is just casually thrown out there by Charlotte, although in her case it’s faked. She and Theresa make a blood sacrifice of the guard and  Clementine, and we find out there are other employees wandering around who are actually Hosts.

Image result for westworld trompe loeil clementine

Now, I don’t know if everyone at the demonstration knew that the guy Clementine killed was a Host already, or if that’s something only Ford knew, but it was interesting that, as little sympathy as the employees seem to have for the Hosts, the women all looked acutely uncomfortable at watching Clementine be brutalized by this man. At any rate ,their little demonstration was faked to make Ford’s updates look bad, and  give the Board leverage to use against him. They  used  most of that leverage to fire Bernard, since they can’t directly attack Ford because he is incredibly valuable. Charlotte made it very clear in her interview with Theresa, the Board only cares about the Host’s technology, and to Hell with its employees. What they want to do is reduce the amount of power Ford possesses, so they can get their hands on it, but Ford is several moves ahead of them.

He’s had a lot of practice at this game. As he says, every few years the Board  makes some  effort to bring him to heel, and Theresa is just their latest cats-paw. When he orders Bernard to kill her, we see a new Host body being created in the background. Some people are already theorizing that its Theresa’s replacement. This has the added benefit of unsettling the viewer because now we start wondering are there any  other Hosts wandering around the facility pretending to be humans, and who might they be.

Image result for westworld trompe loeil

Its almost heartbreaking to watch it slowly dawn on Theresa that she is about to die horribly. I say almost, because I never really warmed to Theresa, although she was certainly a smart and complex character. Her terror is especially sharp, after staging that demonstration showing  how powerful Hosts are, and what they’re capable of. She essentially just watched her own death several hours earlier. She knows exactly what Bernard s going to do to her. The signature move of the Hosts is to bash their victims heads.We saw that in the episode where Elsie was almost attacked, and again with Clementine.

My heart really broke for Bernard though as he is confronted with the knowledge that he’s not human, and never has been. We opened the episode with Bernard having a nightmare about the death of his son, so its especially poignant to discover that those memories, memories that he’s used to push Dolores towards sentient awareness, aren’t real. Unless of course that too is something that was orchestrated by Ford to influence Dolores in the direction he wanted her to go.

Of course one of the prevailing theories is that those scenes of Bernard talking to Dolores are really scenes between her and Arnold, when he was alive, just after he lost his son, and just like Ford claimed Arnold made Host copies of Ford’s father, maybe Ford made Bernard in Arnold’s image. When Theresa asks if Bernard killed Arnold, Ford says Bernard wasn’t around then, but Bernard has been around for an extremely long time, though. When Theresa finds the drawings of Bernard’s schematics, the name on the sheets is carefully missing, whereas on drawings of Dolores’ schematics, her name is prominently displayed.

Image result for westworld trompe loeil

The jury is still out on whether, or not, Bernard is actually Arnold, or if Arnold was even a  real person, or just some myth that Ford made up as a another layer of protection between him and the corporation. I’m going with the idea that Arnold was a real person, but what furthers this theory is that Ford seems to be the only person who knows everything that’s going on in the Park.

Image result for westworld trompe loeil

Meanwhile, Maeve has decided she’s not going to live in the Park. She wants out, especially after she inadvertently witnesses Clementine being decommissioned, after  the Delos demonstration. She cajoles and threatens Sylvester and Felix into helping her, although I get the distinct impression from Felix that he’s helping her because he’s curious to see where this is going. He mostly seems shocked at Maeve’s boldness, and seems to really like her. He doesn’t seem as entirely opposed to the idea as Sylvester, who hates her guts. I suspect Sylvester isn’t long for this world, as this is the second time Maeve has threatened to kill him. She’s never threatened Felix, though.

The big action set piece this time is the three-way fight between Lawrence, Dolores, and William, who are trying to escape the Confedorados, who are mad at Lawrence for betraying them, and the Natives who attack the Confeds because they’re angry at all these people trespassing on their land. Its a gorgeously shot scene, with lots of nice stunt riding on the part of the actors.

Now, I’ve seen some Tumblr pieces vilifying the show for being racist. Yes, the show contains racism, but there’s a reason for it, just like all the other narratives in the show. (Except for that lesbian thing. That’s just weird.). Things aren’t what people think they are and if they are just looking at the surface layer, they will come away with the wrong idea. The creator, Lisa Joy, is an Asian-American woman, who is not simply reproducing the racist narratives she’s been told her whole life. She is meditating on them, and in many ways, subverting them.

Normally I would address this in a long rant, with receipts and bullet points, but its  apparent that would be kind of a waste, because its Tumblr, where very young people go to test out their critical thinking skills, and  none of them seem to have watched the show beyond episode three. In order to understand the show, you can’t just look at what’s happening on the surface. So, what I’ll do is leave this here again:

https://tvgeekingout.wordpress.com/2016/11/07/westworld-analysis-dolores-and-maeve/

Its not a perfect meta, and at some point I may redo and re-publish it,  but hopefully people who read it will get some idea that the issues of racism they’re seeing, are much more complex than they are  at first shown. The entire series is predicated on deceiving the eye, remember?

 

Here’s review that I especially enjoyed:

http://www.vanityfair.com/hollywood/2016/11/westworld-recap-bernard-robot-kills-theresa-episode-7-tromp-loeil

Westworld Season One: The Adversary

Earlier this week, I wrote about how Maeve Millay was coming into her power and why it is such an  important moment. Well…

This was Maeve’s episode.

You know how Game of Thrones has that one episode every season that  emotionally devastates you? (Hardhome; The Door?) The writers of Westworld have accomplished just such a feat with The Adversary. It’s got some juicy action setpieces, and packs an emotional wallop. For us Blackgeekgirls though the resonance was sharp, as there’s nothing more emotional than watching a Black woman discover just how much power she possesses.

Image result for westworld the adversary

We’ve been low key keeping an eye on Maeve’s journey towards full sentience, not thinking too much about it. Just like with the masters of Maeve’s life, her awakening has flown  beneath our radar, as everyone has been giving most of their attention to Dolores journey, as hers has been the most front and center. But it is Maeve who reaches full sentience, and Thandie Newton who delivers our standout performance  of the season.

Tessa Thompson is introduced as Charlotte Hale, Elsie discovers  interesting information, and things between Theresa and Bernard reach a head. The Westworld theories are flying fast and furious as people speculate on whether or not Bernard is a robot, perhaps even a clone of Arnold, William’s actual identity, and if there are two separate timelines, (which would explain why Bernard, and Ford, know nothing about Maeve), and if there are two timelines, then when does Dolores’ timeline occur, compared to Maeve’s?

Image result for westworld the adversary

 

 

We begin the episode with Maeve waking in bed, a position we’ve seen Dolores in many times, and end the episode on a shot of Maeve realizing her power. She goes to the saloon, where she incites one of the patrons to choke her to death in the middle of sex.Why? So ,she can get back to Felix and finish their conversation. She has decided to dive headlong into this new mystery. Felix explains to Maeve who and what she is, who he is, and where they are. Maeve is so devastated by the knowledge that she has never had control of herself, that she temporarily shuts down.

After Felix brings her back online, Maeve uses all her plus level charm and seduction to compel Felix to give her a tour of the facility where she was born, the Delos Corporation. There follows one of the most bittersweet moments in the entire episode. A String version of Radiohead’s Motion Picture  Soundtrack (quite possibly one of the saddest songs ever created)  is used to great effect, as Maeve begins to fully understand that everything she thought she knew about her world is a lie, the people, places, and even the most spontaneous-looking moments, were never real. Thandie totally sells it. I feel  no shame in admitting that I cried like a three year old, at the irony of her seeing the phrase “Live Without Limits”, understanding her life has been defined by nothing but.

This scene has so many layers.  Partner Maeve’s  reactions, which are all in Thandie’s eyes and micro-facial expressions, with the tension of the two of them getting caught. What’s sweet about it is the architectural design, the beauty of the shots, and Felix’s reaction, as   the situation is just as terrifying for him, as it is for her. Felix has decided to help her for his own reasons, which I’m still trying to figure out. On some level, he does love her, is in awe of her, and thinks he will derive some benefit to his career.

Suddenly we have this new duo, Maeve and Felix as important characters, along with Teddy and the MIB, and Dolores and William, and I’m curious about how all of this will work out for the season finale. It also lends a good deal of evidence to the “separate timelines” theory. If Maeve and Dolores are in different timelines, its unlikely they will team up. There’s also Sylvester, Felix’s frenemy, who Maeve coerces into helping her. I hate Sylvester. I think most right minded people probably will, because he’s  such a yutz. My favorite moment is when Maeve threatens to gut him like a fish. I must have been clapping at that because my family was hollering from the other room  about why I was making all that noise.

There is a lot of Arnold in this episode, as he gets name drooped constantly. Elsie has her big moment when she discovers who it is that has been using the Hosts to steal information about Westworld. It’s Theresa.

In the wake of Ford’s discovery of her and Bernard’s relationship, Theresa has decided it would be a good idea to break up with him. While investigating the spate of robot signals, being sent from an abandoned warehouse, someone kidnaps Elsie.

Image result for westworld the adversary

Lee Sizemore, that asshole British Narrative creator, gets introduced to Tessa Thompson’s Charlotte, in the worse possible way. Having gone on a bender, argued with Theresa, and tried to pick up Charlotte at the Delos’ bar,  (while spilling company secrets), he decides it would be a god idea to take a piss on the Westworld 3D prop. (I had to shake my head at what is the worse possible way to meet your new boss, drunk as a skunk, and pissing on stuff.) Theresa and Charlotte discover Lee with his dick out. I will be very glad when this character is gone somewhere. Anywhere that’s not on this show.

Teddy is definitely born-again hard, as he and the MIB tear it up against an entire squad of cavalrymen, with Teddy breaking out the Gatling gun and mowing everyone down. He even manages to impress the Lord of Terror himself, the Man in Black. What’s puzzling are all the references to the maze we see in this episode. At one point, Teddy’s captors are about to brand him with the symbol, and Robert comes across the same symbol, in a small Mexican town, carved into a tabletop. Teddy also has images of having helped Wyatt massacre an entire militia, when the narrative that was given to him by Ford, specifically states that he’s hunting Wyatt because Wyatt is the one solely responsible.

Image result for westworld the adversary

Also, the clues that Logan, William, and Dolores are all in a different timeline are starting to add up. Watch for the different logos being used during which episodes, and whose story is being told at the time. There’s also the theory that their adventure may just be taking place only  in Dolores’ memories.

Bernard discovers that Ford has been visiting a Host clone of his family. He says they were a gift to him from Arnold. Later, when Ford goes back to play catch with the younger version of himself, he discovers that the boy has killed the family dog. And then he  lies about it, just as Elsie feared earlier in the episode. Someone is modifying the Hosts to act more human and they could potentially hurt the Guests. Ford does not seem to be much perturbed at these events, so now I’m deeply (I mean deeply) suspicious of him.

Image result for westworld the adversary

At the end of the episode,  Maeve gets an upgrade. Her personality  matrix is built on a twenty point system, with the intelligence quotient at fourteen, which is the limit for Hosts. She needs to be smart but not too smart. She has Felix nudge that to twenty, but not before Sylvester and Felix discover that her personality had already been heavily modified by someone with more technical savvy than them.

If the being we saw in this episode is Maeve at a fourteen level of  intelligence, then that means all Hell is about to break loose, now that she’s reached level twenty. I think I can handle that.

Except for the occasional episode, here and there, I couldn’t fall in love with Game of Thrones, but then I’m not a big High Fantasy film watcher, or reader. This episode insures that Westworld and me will be kickin’ it for awhile, though.

ETA:

 In Contrapasso, little Robert Ford (a Host) shows up to inquire about the MiBs activities with Teddy and Lawrence. As the MiB and Teddy leave, we see the boy examining the exsanguinated body of Lawrence. In the following episode, The Adversary,  he kills the family dog in much the same manner. He lies to the aged Ford about killing the dog, saying that a voice told him to do it. Dolores, in Contrapsso, lies about whether she hears the voice of God/Arnold. Their conversation presents the strong possibility that her time with William and Logan are memories. There’s a theory that says the MIB might be either of those two men.

ETA: 

During Maeve’s tour of the facility, she is struck by the scene of a black woman, sculpting the face of one of the Hosts ,and you can see maybe a glint in her eye, that lingers just a bit longer than usual, that she finds that fascinating. I’m certain Maeve has never though of Race before or ever questioned what she looked like. The Hosts pay no attention to race, most likely have no concept of it, and yet many of their activities would be informed by it, as they might be influenced by the biases of the technicians. 

How certain Guests might treat Maeve, the position of her life, even her personality, might be informed by the conscious or unconscious racism of the narrators of her story, as I mentioned earlier when the technicians bumped up her aggression. The technicians may not have been consciously thinking of the stereotype of the Angry Black Woman, but the writers of this show know the viewers might think of it. There’s a scene in Contrapasso where Elsie is watching a very well endowed Black man attempting to pour wine, and makes a statement about it. The technicians regularly take advantage of the female Hosts according to Elsie. She, herself, takes the opportunity to kiss Clementine, when she thinks no one is looking. If sexual misadventures with the Hosts is a regular occurrence, then  I don’t consider racist behavior towards them to be  off the table, and that might find its way into their narratives as well.

Westworld Analysis: Dolores and Maeve

Westworld is a feminist narrative hiding in plain sight. The Westworld’s logo/sculpture, based on Da Vinci’s Vitruvian/Ideal Man drawing, is actually the body of a woman, and the primary protagonists/antagonists are women,  Dolores, who has had everyone’s attention for five episodes, and Maeve who’s awakening has hidden just below everyone’s radar. Dolores’ path to enlightenment is flashier and more upfront, but I believe it’s Maeve who will spark the true robot rebellion. It’s not an accident that these two women, one Black, one White, were chosen to be the pov of the robot rebellion of Westworld, where its primary setting is a time period in which women  were limited to only two roles, the Whore, or the Virgin.

The Madonna-Whore complex has been baked into Western society since Judeo-Christianity rose to prominence. Named by Sigmund Freud, the complex stuffs women into two mutually exclusive boxes: women men respect and women men want to sleep with. Madonnas are virgins and mothers, kind and submissive. Whores are sexually promiscuous, raunchy and aggressive. The idea infiltrates pop culture in so many ways, from the Final Girls in horror films and Disney Princesses to Betty and Veronica and Taylor Swift music videos. Madonnas are to be lifted up and venerated; whores are to be lusted after and discarded. But Westworld has other ideas. Subversive ideas.

Read more at http://www.hitfix.com/harpy/despite-the-orgies-westworld-has-shockingly-feminist-pthemes#xqEmWuZjfIVwCYQ8.99

Image result for westworld dolores

Earlier this year, I reblogged an article about the show Daredevil, and its ignorant reliance on the Virgin/Whore Dichotomy, within its narrative. Marvel got it wrong because they  obviously did not think it through, and merely presented the stereotypes without any comment on their greater impact to the story. (Marvel isn’t very good at deep thinking in general, and what progressive feminist considerations we’ve gotten are largely because of the actors and directors. It’s certainly not from any of the writers, who seem to emphasize style over substance.)

Westworld gets it right, and the argument can be made that this is the point.  It’s no accident that Dolores is a White, blonde, virginal, damsel in distress, who is meant to be loved and rescued by the hero, Teddy, and that Maeve is a Black woman, treated as disposable, and a saloon whore, who Teddy only flirts with. He makes no promises to save Maeve, or take her away from all this. He is programmed to only have eyes for Dolores. In fact, nothing about these women’s storylines is an accident, and some amount  of actual thought was put into their characters, and plot arcs. I know these are not accidents, not just because of the plotline, but because of the things the characters say, and this is something that will have greater impact on the plot than most viewers think.

Image result for westworld dolores

Before the show aired, there were criticisms aimed at the writers for its depiction of  violence towards women, and the fear that, as in GoT, it is gratuitous. If you’ve been watching, Dolores is regularly threatened and assaulted, not just by the Guests, but the other Hosts as well. Why? So that Teddy can be her hero. The writers of Westworld directly addressed these concerns, saying that the violence wasn’t just for titillation, and the violence we see aimed at Dolores, in particular, serves a plot purpose. We can see that happening, as Dolores has begun to evolve beyond her programming, and in the last episode she said she was no longer going to be a damsel. In other words, her recollection of the violence done against her, has aided in her awakening to consciousness, and the decision to choose her own fate. She is tired of her pain being used to further other people’s stories rather than her own.

Dolores cannot rely on Teddy to save her, as he is a false hero. He is a trap meant to keep her in her loop. In his first encounter with the MIB, he is gunned down, and the MIB goes on to violate her. She cannot depend on Teddy to save her, or take her away from her pain. No matter how much he cherishes her, he cannot free her, echoing the real world equivalent of White women’s journey to liberation.  She abandons Teddy and his false promises, to be with William, and from there, she  begins to come into her power. But only her power, and not her freedom, as it is Bernard who sets her on the path to freedom, by introducing her to the concept of the  maze.

Image result for westworld maeve

For Maeve, the saloon whore, who keeps getting shot in various massacres, the awakening of her consciousness comes in time with her acknowledgment of her disposability. Earlier in the season we hear technicians speculating that if she doesn’t procure more customers she will be decommissioned, which is the writer’s  indirect criticism of the usefulness of the Black body to Whiteness. If it can’t be used, then it must be destroyed. She is saved from this fate  by another marginalized woman, Elsie, a gay woman, who recodes Maeve to be a better whore. Later, just as she is about to be gunned down again with Hector, she proclaims that her death doesn’t matter, but rather than being a rebuke of the statement  Black Lives Matter, as some people have chosen to see it, I see it as a statement of her freedom. If her death doesn’t matter, she is free to do as she pleases, with no fear that death will be the end for her. She is acknowledging that she is eternal, and declaring herself a Queen that can move anywhere on the chessboard, because she cannot die.

Like any slave that realizes they are a slave, Maeve’s  awakening is birthed in blood, nightmares, and trauma, echoing that of real world slave women.   It  is Maeve who witnesses the bodies of her Host brothers amd sisters, stacked like cordwood, being hosed down,  in a place she cannot name, and  it is through witnessing their disposableness that she comes to knowledge of her own. Unlike Dolores, Maeve must find her own path to consciousness and her own allies.

It is telling that the people who aid Maeve are in better positions to  facilitate her liberation than the ones that Dolores has found, and that they are all marginalized people, like her. Elsie is a lesbian, Hector is  Mexican, a Host and a slave like her, who aids her by giving her information on the Native American religion that sparked Maeve’s first questions,  and  Felix is Asian. (Asian men have historically been emasculated and dehumanized by White male patriarchy). So, is the message here that marginalized people can only be liberated by helping each other, or is this a real world comment on how African Americans were aided in their liberation by disenfranchised others? It is interesting that the one person who actively works against Maeve’s, and Felix’s, plans is Sylvester, a White man. I don’t know what to make of the fact that Dolores is aided in her awakening by a Black man, Bernard, who people are theorizing may actually be one of the  Hosts.

http://racism.org/index.php?option=com_content&view=article&id=1277:aawomen01a&catid=72&Itemid=215

Parts of the Virgin/ Whore narrative arose out of slavery and gave birth to the White Madonna, and the Black Jezebel stereotypes.  White female purity was used as an excuse to torture, and kill Black men, and rape black women (although White women who fell through the cracks, and were the unclaimed property of another White man, were also fair game). Since the given understanding was that a whore couldn’t be raped, black women were declared un-rape-able. Like Maeve, their sexuality, and offspring , were treated as consumable commodities.

Echoing the narrative of actual slave women, Maeve has memories of a lost child, that was never actually (i.e. legally) hers. During the  examination, where it’s decided she will be decommissioned, the technicians “up” her aggression levels, making her more “sassy”, which is the writer’s indirect criticism of the stereotype of the Angry Black Woman. It is Elsie who recognizes what the technicians have done and fixes their botched (and indirectly racist) coding.

Ironically, or maybe not so much, Maeve’s name means enchanting or alluring.

Image result for jezebel myth

Its telling that it is a Black woman who says the things she says, just that it is a White woman who declares herself no longer to be the impetus of another man’s storyline. The series creator, Lisa Joy, has some knowledge of intersectional feminism, as these are the very restrictions that Black and White women fight against in the real world. For White women it is being considered helpless, and for Black women, it’s being considered worthless, and  each stereotype is used as an excuse for silencing and violence, against the other, by men.(White women’s fear of being compared and treated like WoC, keeps them from aligning with WoC, on issues pertinent to them both.)  But this particular dichotomy was most directly captured in the Dylan Roof shootings that occurred last year in Charleston, when the protection of White female purity was used as an excuse to enact violence against black female bodies. (The protection of White feminine virtue has always been used as an excuse for Black male disposability, most notably in the case of Emmett Till.)

https://newrepublic.com/article/122110/i-dont-want-be-excuse-racist-violence-charleston

Image result for madonna whore
It is not an  accident that the Virgin/Whore dichotomy between Maeve and Dolores is being set within the allegorical slave narrative of Westworld, as we see Dolores being carefully shepherded by Bernard and William towards her freedom, (on a literal railroad, no less), while Maeve has had to find her own path. But this close attention to her is  the reason why Dolores is unable to move as freely as she wants, while Maeve’s liberation has largely gone completely unnoticed, just as in the real world, where women at the bottom of the socio-economic ladder were able to freely move about in ways that more heavily scrutinized (wealthier) White women could not. Nevertheless, poor women’s ability to move about more freely ( travel, hold down jobs, speak their minds, as long as it was in service to others) was also harnessed to facilitate the imprisonment of White women to the rigid gender roles of marriage and childbirth. (This utilization of poor Black women’s fewer, or different, social constraints, is what gave birth to the Mammy/Sapphire Stereotype.)

I have been at some pains to find articles on this subject online and the only one I could find that came close to approaching this subject, written by a White woman, focuses almost exclusively on Dolores, ignoring Maeve’s part in the greater story. I think after this week’s episode, titled  The Adversary, there will a greater focus on the part Maeve has to play in the story of Westworld’s robot rebellion, and no, it’s also not an accident that the first skirmish in the rebellion would be led by a black woman, who has no fear of death.

*This is one of my most ambitious metas, for any show I’ve reviewed this year, so let me know what you think!

WestWorld Episode 4: Dissonance Theory

Well, the robot (r)evolution continues, and there are even more little revelations, but  thats it! I’m giving up speculations about this show. Every time I think I have a good bead on things, the writers throw a monkey wrench into my well thought out rationalizations. This is a show you definitely have to pay attention to. You can’t half-ass this or you’ll miss all the important things, and those things happen not so much in the big set pieces, but in the he quiet conversations you thought you could skip out on to go get a snack.


We begin with Bernard having another conversation with Dolores. Her programming really is advancing as she offers him advice on how to deal with his grief over the death of his son. In exchange he offers her “the maze”. The same maze that MIB is working towards. So the situation is heats up as we might get to see Dolores and MIB competing for the same goal, believing that reaching its center will set them free. I’m not certain what freedom means in this context for Dolores. Does it mean free from her programming? Free of the park? Full consciousness?

Maeve continues to have recurring memories of the deaths of the other Hosts. Last episode she remembered Teddys dead body being hosed down by the technicians, and this week she remembers the town massacre, and how the technicians came then. She specifically remembers being shot and connects that to waking up and seeing the techs standing over her body. 

So a really interesting thing happened in this episode, when a group of Native American Hosts were walking through the town and one of them dropped their doll. Maeve recognized the doll as looking like one of the tech she thinks she saw in a dream. She finds a sheath of appears she’d hidden away from herself, and remembers hiding them before, with the image of the doll.She is told (by another Host named Hector) that the Natives believe the dolls represent demons, who come up from the Hell and manage their lives, which is entirely in keeping with the behavior of the parks technicians who come into the park from underground access tunnels. So it’s fascinating  to me that the Natives have an entire mythology based around the existence of the people who run the park.


Incidentally, it’s also interesting how race does or doesn’t play into the park setting. There are obviously Black Hosts, and Native looking Hosts, but I haven’t seen any Asian Hosts, and only that small town of Hispanic Hosts, although there’s a prominent Hispanic character who shows up later in this episode. Race is not acknowledged in the park. It’s simply a non-issue. 

In keeping with his advice to find the head of the snake on the river, he finds a Host with a tattoo of a snake over her body. It’s head depicted on her face. That blonde gunslinger we saw in the first episode, who got shot by some Guests, I think her name might be Armistice. She is on her way to break her friend (Hector) out of prison, so they can rob the safe at the saloon, just as we saw them do in the first episode. She’s just following her narrative, though. In keeping with full immersion for the Guests, the Hosts simply go through their narratives whether Guests are with them or not. The  MIB offers to help her accomplish her goal in exchange for the story behind her tattoo. 


I’ve given up on guessing whether or not the MIB is human or not. During camp that night, he’s approached by two guests who recognize him from the real world, but this still doesn’t convince me he’s not a robot. Especially when you consider how ambiguous his statements are about himself. He does remember Arnold, saying that he’s there to honor Arnold’s legacy, but this doesn’t preclude the idea that he’s talking about himself. And I still don’t know his name.

Bernard must be communicating with Dolores through her dreams because she wakes up in the park next to William., as if nothing had happened. When they visit a small town to get information, she encounters a little Native girl who has drawn an image of the maze on the ground and gives her cryptic answers when she asks the little girl where she’s from.

In the big setpiece for this episode, the MIB enters the prison, Los Diablos, and with the help of some exploding cigars, a firing squad, and Lawrence Gonzalez, manages to free the resident badass, the other MIB, Hector, played by Rodrigo Santoro, who looks nothing like his character, Xerxes, from the movie 300. Hector is a bandit who lives among the Natives. I like Hector already. He’s such a stereotype of the Mexican badass. The white guy who writes the parks greater narratives is a completely unimaginative asshole, so I’m not surprised. I also don’t hold out much hope that he gave sufficiently nuanced character to  any of the Natives. (I don’t think he can spell nuance.)


Armistice tells the MIB that she got her tattoos in honor of a man named Wyatt, the man who killed her entire family. 

Ford is embarking on some massive new narrative that he isn’t divulging to the company’s boardmembers, who are rightfully concerned with how much he wants to change the park. He gives Theresa a surprise when he shows her just how much control he has, over the environment,  with just a single word, freezing all the Hosts in their view. I’m not entirely sure Theresa knew she was surrounded by Hosts, which is why she is completely discombobulated by their conversation. She totally didn’t see that coming. Ford also shows the extant of his knowledge not just of the park, and it’s past, but it’s employees as well, as he knows all about her affair with Bernard. He warns her not to get in his way.

In the second big setpiece of the evening William, and Logan are involved in a shootout to retrieve Slim, the man they were hunting. They attack his cabin and shoot it out with several Hosts. Logan is having waaay too much fun, and no I still don’t like him. He’s a shitty human being. 


We discover that Teddy, after being attacked by Wyatts men, was strung up to die in the desert. Poor Teddy. One day he’s going to do something heroic and live to talk about it. The MIB discovers him and cuts him down. I don’t know where Teddy’s Guest companion got off to, after he told her to run, but the MIB says he has plans for Teddy.

Logan shoots the Sheriff they were accompanying to retrieve Slim, when Slim offers them a huge reward to return him to the town of Pariah. He also threatens to shoot Dolores, while William threatens to shoot his captive. Since none of the people in this standoff are Mexican, that description would be inappropriate.

Hector  rides into town. Hector is just there for some thieving. The Park’s technicians can see that there are Guests riding with him, and we get a glimpse of just how much control the technicians have over the narratives, and Hosts, in the more populated areas of the Park. As a general rule, I don’t think they monitor very much how the Hosts interact with each other, when there are no Guests in their company. The Hosts are programmed to go through a set routine, so the techs don’t worry much over their activites as long as they’re following their scripts, as planned. The only tech who is worried about the buildup of all these behavioural anomalies is Elsie.


   Hector’s plans are thwarted by Maeve, who remembers the last time he visited. She gives him the safe’s combination, in exchange for answers about the doll, she found earlier. Hector says the figure is a Shade, from sacred Native lore. She asks Hector to cut her in the side, and when he does, she finds a deformed bullet in the wound, which confirms her fears that Shades, her memories, and what she thinks she dreamed, are actually real. When the Sheriff  takes down Hector’s crew (and the Guests),the two of them are shot down in a hale of gunfire, but before that Maeve tells him it doesn’t matter, and that she’ll be back, with her memories intact.

Okay, that’s enough. This isn’t even all the stuff that happened in just this one episode. There’s a whole host of things, I thought were just cool, or awesome, or even skanky. One thing I am impatient about is we are almost on the fifth episode and no Guests have been killed by any of the robots yet. I vote we get the massacre started, and nominate Logan as the first victim.    But this show is operating on a really slow burn. I’m enjoying all the little clues and side plots so far. They’re like little appetizers. But I do hope the writers don’t take too long to give us the main meal we’re all here for.

Before the season is over, I have to do a link roundup of all the great meta being written about this show, so stay away tuned.

Westworld Epis. 3: The Stray

Image result for westworld episode 3

This particular episode of Westworld was helmed by one of my favorite directors, Neil Marshall, the director of The Descent and Doomsday, two of the best female oriented action/horror movies made in the past ten years, and Dog Soldiers, the only werewolf vs.soldier movie worth looking at.

The information  is flying fast and fierce, and if you blink, or get up to go to the bathroom, you will have to re-watch, because you’ll have missed some crucial element of the plot that will pay off later. We get answers to some nagging little questions, and backstories for the humans and the Hosts.

James Marsden’s character, Teddy Flood,  finally gets a backstory, courtesy of Robert Ford, which is loosely connected to the origin of Westworld. It involves Teddy’s  pursuit of an evil character named Wyatt (not the MIB, as far as I can tell, but I could be wrong). Teddy has things to say about Wyatt, an old friend of his he used to serve under in the military, who deserted his career, went out into the landscape, and came back with what Teddy calls “strange ideas”. Wyatt claimed to hear “The Voice of God” and we’ll get back to that in a moment.

Image result for westworld the stray

Dolores’ and Teddy’s story is  deepened as we are shown their budding romance, and their plans to  ride off into the sunset together, one day. Its funny and interesting to watch the Hosts interacting with each other like regular people because I have to keep reminding myself they’ve been programmed to do this.

Dolores is still adjusting to her new state of consciousness, and Wright’s character, Bernard, is fascinated with it. He still hasn’t had Dolores re-coded, or decommissioned, and it became obvious last episode that the consciousness she possesses is contagious, (so it won’t take long until Teddy is also infected I’m guessing.)  Bernard’s head programmer, Elsie, is becoming increasingly suspicious of why he refuses to correct this problem.

I did kind of get tired of seeing Dolores be  bossed around as anybody’s meat. The creators of the park have made her nothing more than a perpetual victim and it was kind of nice to see her take charge and defend herself for the first time.

Teddy tries to teach her how to shoot but it turns out that the weapons  use protocol is something  given only to specific Hosts, like Teddy, and the stray mentioned in the title. Dolores is  incapable of pulling the trigger. But thanks to her secret conversations with Bernard, and reading a specific passage in Alice in Wonderland that he’d given to her, she is able to transcend her programming and shoot one of the Hosts who’d been intending to rape her. Bernard would be proud of her. Its a great scene, where Dolores memories, of what happened to her, save her life, as the camera flips back and forth between the past and the present.

About all those rape threats: The creators were questioned about this before the show aired and they assured viewers that it exists in the show for a reason, and that there would be payoff. I was initially dubious of this claim because it’s HBO. and known for its depictions of violence against women, but I’ve changed my mind since then. I think it is serving a purpose in showing the evolution of the hosts, and of Dolores, in particular.

Image result for westworld the stray

Its also nice to see what I talked about in my last review. During this episode, Teddy has been accompanied by an unnamed female Guest, only ever referred to as his “dickless associate”, who has decided to go for the gunslinger experience. This is her adventure happening simultaneous with William’s and his boorish friend, Logan, and a couple of other Guests, and she turns out to be both tougher and braver than all of them. You can also tell she’s having the time of her life as she shoots down men, and cozies up to Clementine, for a discount. (I also want to point out that Clementine is absolutely gorgeous and a lot of Hosts and Guests seem to have crushes on her. Apparently she is a Park favorite.)

Interestingly, the adventure they’re all on, hunting down Wyatt along the river, with cannibals and Natives, is pretty much the exact scenario of the narrative that Ford gave short shrift to in the last episode. I was under the impression that the Red River narrative had been stalled, but the adventure we see in this episode contains all the narrative elements that Sizemore discussed in his pitch last week, and I wonder if he introduced that narrative without anyone’s  permission. Notice that all the Hosts in this scene are holding weapons.

Image result for westworld the stray teddy

William decides to go on an adventure to hunt down some other outlaw, and Logan reluctantly decides to tag along.William, who has just been firmly confirmed as a White Hat, has just saved the life of Clementine, and was shot for his trouble. Apparently Guests can be shot, and it does hurt, I guess, because he falls down, but Guests can’t be killed. What he was hit with, I don’t know. Its also said by Logan that their adventures in Westworld cost some 40 thousand dollars a day. So yeah, you have to be making some nice dough to afford regular visits.

We get  more backstory on Bernard. He lost his  young son at some point in the last year and Ford is concerned that he is using the Hosts as a substitute. Bernard is still in touch with his wife (ex-wife), Lauren, played by the Goddess Gina Torres, while sleeping with Cullen, (Westworld’s operations director), on the downlow. He goes to Ford to express concerns about the Hosts, concerns brought to him by Elsie. Ford explains that he used to have a partner named Arnold, and this is where the “voice of God” idea comes in, which also ties in the philosophy of “bicameralism”.

(Bicameralism (the philosophy of “two-chamberedness”) is a hypothesis in psychology that argues that the human mind once assumed a state in which cognitive functions were divided between one part of the brain which appears to be “speaking”, and a second part which listens and obeys—a bicameral mind. The term was coined by Julian Jaynes, who presented the idea in his 1976 book The Origin of Consciousness in the Breakdown of the Bicameral Mind, wherein he made the case that a bicameral mentality was the normal and ubiquitous state of the human mind as recently as 3000 years ago.   Wikipedia)

At some point, Arnold was going to program the Hosts with this feature, which would allow the Hosts to overcome their basic programming, and interact in any situation, but Arnold killed himself before it could be implemented. There’s the implication here that Ford may have had something to do with Arnold’s death as the two of them disagreed about this endeavor. The new programming that Ford has implemented “The Reveries” that allows Dolores to overcome her inability to use weapons, comes to her as the Voice of God, but only after she remembers being tortured by the MIB. The Host that went batshit last episode, and killed a bunch of Hosts before pouring milk on them,  was seen speaking to a voice only he could hear, named Arnold.

Image result for westworld the stray

Ford shows Bernard a picture of Arnold, and no, he doesn’t look like Ed Harris character, but he does look sorta like Wyatt. (Not saying he is Wyatt, just that they look alike to me.)

The Stray of the title refers to a lost Host who has wandered off and gotten trapped in some gulch in, the desert. Hilariously, the group of outlaws he was with, have been caught in a kind of feedback loop, unable to move forward in the narrative because none of them possess the “weapons protocol “, and that Stray is the one Host in their group that  is allowed to handle the ax. So they have been sitting in the same place for two days, staring at a decaying jackrabbit, because there’s no fire, arguing about who is going to cut the firewood, as none of them can pick up the ax, but they don’t understand why.

Image result for westworld the stray

Ashley, Westworld’s Head of Security, played by Luke Hemsworth, (the brother of the taller, and prettier Liam) and Elsie go hunting for the Stray, and this is  quite a pairing, as Elsie is a master of the snarky putdown and deploys some of  her best at Ashley, who grows increasingly irritated. When they find the Host, Ashley goes down into the gulch to take its head (to decommission it), it attacks and climbs free, but rather than bludgeoning Elsie with a large rock, it kills itself instead.

So there was a lot of information packed into this episode, and the mystery of the Maze and the Man in Black is slowly unfolding as viewers speculate if he is actually Arnold. Ford did say Arnold had gone insane and died in the park and Ed Harris character says he was born there. We find the Stray has gone haywire in the same manner, as Elsie finds a small stone version of the maze in his tent. She pockets it and doesn’t tell Ashley.

@
@

 

And here’s another perspective from Tumblr:

The above actor’s performance (Louis Herthum seriously shook me) , Jeffrey Wright, Thandie Newton, and Anthony Hopkins being in this sold me in the pilot.

Haven’t had a bit of genre haunt me like that since the second episode of Black Mirror.

On to my bulleted thoughts on it, so far:

  • As a black viewer, I couldn’t help comparing how the Hosts are used as entertainment, fun props to use to make the Guest “feel something new”  while they themselves are seen as non-entities.  In fact, it is mandated that they be dehumanized in every non-Westworld setting.  Reminds me, specifically of how black entertainment is used in a similar way by non-blacks, while the people are often seen as disposable.
  • Likewise, Dolores and Maeve’s narratives,  I see as apt metaphors of aspects of misogyny and misogynoir.  Dolores and Maeve both embody the perfect Virgin/Whore dichotomy, and their casting, in terms of race  and look are incredibly on the nose with casting and viewer constantly placing women like them in those roles;  exotic” unbreakable whore and virginal damsel.
  • Jeffrey Wright is my absolute favorite working actor.  Period.  Ever since, of all things, the remake of Shaft and then going back to watch him in Basquiat.  I adore his precision.  He’s one if I hear he’s in it, I will watch it, right along with Michael Shannon.  …I think Bernard may be a Host.
  • The Man in Black was there for the last “accident” 30 years ago and that is the reason for obsession with the ultimate quest.  That is a definite hat-tip to the original movie, which I am also a fan of, despite it being very different from this incarnation.  I also think that’s why it “isn’t for him.”  despite his loyal patronage.
  • The actual purpose of the Hosts, which Theresa Cullen hinted at, I think both she and Bernard are doing their best to coax from the Hosts as comes from orders above Ford’s head.
  • Maeve’s awakening on the table along with Dolores’ original father’s glitch and subsequent shelving were absolutely the most heartbreaking parts of the show for me, thus far.
  • LOL @ Teddy, the man who “has to lose”  in order for the Guests to feel like winners being played by James (Perpetual Second Fiddle in EVERYTHING) Marsden.
  • This show has been blessed by that cameo by GINA TORRES  ❤
  • I have seen Jimmi Simpson shine in so many day player roles over the years,  I’m happy to see him getting bigger featured roles.
  • All the gamer stereotypes are on this show, the newbie,  the pro,  the troll, the filthy casual, the girl gamer (my favorite so far, she’s the only one who  is actually in full rp mode actually enjoying playing”) and on and on.
  • OMG!!!! this show is chock full scenery porn, both western and speculative.  Lord, the details.  ❤
  • I am thoroughly intrigued and here for this show until it’s end or quality dips.
  • The diversity of Hosts and Guests in both race and sexual orientation is much appreciated.
  • I also can’t wait to see Tessa Thompson show up.

State of the Onion! Mini – Reviews

This has been a very busy week. I binged Luke Cage, and a bunch more television premieres aired this week. I couldn’t catch all of them but I did manage to catch the few that interested me, while keeping up with shows I already started. This weekend I watched:

Versailles: 

Image result for versailles tv show season 2

Everyone in this show, which chronicles Louis XIV’s move from the capitol of France in the 1600’s, has luxurious, long, well kept hair, which I find hard to believe. I’m not saying people back then didn’t have  luxurious hair, just  that it’s distracting, when everyone has the same hairstyle. I kept staring at it, wishing I could run my fingers through it. No one ever seems to get distressed enough to have hair that   is out of place. They also all have clear, gigantic, blue, or grey eyeballs, including the men. Eyes so big, they can probably see me watching this show. It’s  kinda creepy.

From time to time, I do get the strong urge to watch something that’s not about superheroes,  although Louis the XIV often gets treated like one, by his courtiers. There’s the usual courtly shenanigans , most of it centering around the specific relationships between the king and his wife, the king and his semi-openly gay, younger brother, and the king and his various mistresses, and followers. So far, this is just an introductory first and second episode and hasn’t gotten deeply into the wider political issues of that time period. I do prefer that type of plotline but one of the drawbacks is that the show comes across as   “Trailer Trash in 16th Century France” , with better clothing.

There are the usual kingly activities, like intrigue, hunting, torturing dungeon prisoners, and philandering, estate planning, childbirth, and medical arguments, along with lots of significant glancing. I watched these episodes twice, and I must be really worn out after binging Luke Cage, because I couldn’t make hide or hair of the plot of this show, other than the King has decided to move to the middle of no and where, as a means to control his courtiers, because he thinks they’re out to get him. The show seems to move from scene to scene in an arbitrary manner, and although I knew all the scenes were connected, I couldn’t seem to hold in my thoughts exactly what that connection was. Luckily there’s a metric ton of background videos about this show, so I watched those too, otherwise I wouldn’t even know this much. I’m sure the videos are available on YouTube but I’m not going to give you the link because I don’t want to aid and abet this type of television viewing. (I work in a library! Go check out some books!)

If you like intrigue and old French costumes, or The Tudors, (involving intrigue and old Italian costumes), this is a good tide-over until Vikings (which has intrigue and 10th century Scandinavian costumes) comes back on the air.

The Flash:

Image result for the flash season 3

This isn’t the first episode of The Flash I’ve ever seen but I’ve been told that its a really good show and I should try to watch it again. I stopped watching it because I didn’t think it was a show aimed at me, the mature (read more cynical) viewer. But I have watched a couple of episodes from last season and while still kinda corny, it is at heart, a very sweet show. Also, I told myself I was going to support more shows with WoC in them and I just want to stan for WestAllen.

So, I’m cautiously optimistic about liking it, after a tentative first date. I really started to get into the characters and started getting feelings for them. Last season Barry ended up in an alternate universe where Iris doesn’t know him, her kid brother, Wally, is The Flash, Cisco is the unsympathetic billionaire CEO of some kind of tech startup, Caitlin Snow is an Eye Doctor, and Iris’ dad is an alcoholic, who has an antagonistic relationship with his daughter, which is really sad because they had a great relationship in Barry’s old universe. On the other hand, the speedster that was about to kill his parents, Reverse Flash,  is locked up, and both Barry’s parents are still alive.

Unfortunately,  by altering the timeline he’s set in motion, the destruction of his current timeline is imminent. And since Barry wasn’t there, the universe put Wally in his place, and this somehow disrupted the West family, although Iris still seems pretty tight with Wally, neither of them ever mention their father.

It’s really fun  watching Barry navigate this new timeline. He meets Iris, and it’s really cute watching them flirt with each other, knowing their old relationship, and that no matter what the timeline, the two of them were meant to be together.

Wally spends most of the episode fighting someone called The Rival. You can tell he’s the villain because he’s wearing an evil black suit. When The Rival wounds Wally, Barry has to step in and defeat him instead, but the price for saving his parents lives’ might mean Wally’s death. Barry makes the tearful decision to let Reverse Flash kill his parents, and restore the original timeline.

Most of what I know about The Flash is from the comic books, and since I only read the team books, I pretty much only know anything about the speedsters of the DCU,  from reading The Justice League books. I liked the special effects and the show doesn’t seem as corny or juvenile as it did the first season, although yeah, it’s still a little corny. But it’s  fun corn, not cheesy corn, and unexpectedly emotional, since I genuinely like these characters. I think I’ll make a habit of watching this every week, even though there’s like 3 other shows on TV on that same night.

Ash vs. the Evil Dead: We’ll get to this show next week.

Westworld:

 Image result for westworld

I had a lot to say about this show, only some of which has to do with the actual plot, so I guess Westworld, and shows like it, will be getting it’s own post soon.

I actually enjoyed this show, and will be watching this every week, as it airs. It looks intriguing. It starts a little slow, as we ease into the idea that the robots are behaving oddly because of new programming their creators have uploaded to them. We spend a lot of the episode with a robot named Dorothy, and we start off with her handler attempting to assess whether or not she has become self aware. Fair warning:  there is an offscreen rape scene, along with threats of female violence. And yes, the show is violent. There’s lots of shooting and gore, as most of it is set in the artificially Wild West environment, created by an annoying British character, who is just an asshole. I hated him immediately and wondered when he’d be shot. The other characters appear to have been thinking something similar, as no one likes him.

Anthony Hopkins plays the quiet, somewhat meditative, creator of Westworld, in a real low key style. He created the first of the robots and is prone to hanging out and drinking whiskey with his original Wild Bill Hickok robot, in the firm’s basement, where all the retired, underused, robots are kept in cold storage. He seems intrigued by the idea that the robots are starting to access previous memories of the lives they were given. The show feels a little bit like Dark City, where you have people who may, or may not, be aware of who and what they are being manipulated by beings who think they’re greater than them. Only in this case the humans do it for entertainment.

Hopkins character has introduced a new program into the robots code called “reveries” and some of the robots react badly. Some of them have strokes, or freeze up, or go on unexpected shooting sprees, involving milk. Before that though, there were already some glitches in the system but not in Dorothy. In one scene her robot father finds an old photograph that a human left behind, and viewing it seems to corrupt his programming, somehow. Dorothy ,when she is asked by a little human boy, if she is “one of them”, just smiles as if she didn’t hear the question. And she probably didn’t. Dorothy dismisses anything that doesn’t line up with what she is programmed to think of her world.

One of the rules of Westworld is that guests, (humans) can never be hurt by hosts (robots), although the robots can and do harm each other, a lot. When you realize these violent scenarios are created by the annoying British dude, you hate him even more. He’s vaguely disgusting.  At first it wasn’t entirely clear to me who were the robots, and who were humans, but the show doesn’t draw that particular mystery out as, by the end of the episode, you know who is who.

Ed Harris plays the iconic role of the Man in Black, originally played by Yul Brynner. He is most indubitably a bad guy. I think he was uploaded with the new program as well, but when all the other robots are killed  in a massive shootout (so as to gather up their bodies, and recode them) he doesn’t get found. It’s disturbing watching him on the trail of something he doesn’t understand. He’s essentially seeking the “real world”, and looking for clues in the other robots. Since he has only interacted with, (and brutalized), other robots, the entire time we’ve seen him, I suspect that’s why he doesn’t get rounded up with all the others. It’s been hypothesized that he’s a guest, but I didn’t see it. I thought he was reprising Yul Brynner’s role, from the original film, and in that film, The Gunslinger is one of the robots. Apparently, I’m going to have to watch the episode again, if I’m going to figure this out.

This is another show where humans don’t come off looking so good. Not because of what they say but what they do. In a show like this, you’re going to witness robots that look, act, and react like people, being hurt or  brutalized. In one scene, inside Westworld,  a human couple laugh at the twitching body of a female robot, that one of them has just shot in the head. But how is this any different from us watching fake violence on Game of Thrones, or this show, just for entertainment? Did I find their behavior repugnant because the robots look and act like real people? Well so do people in movies, so I’m not sure exactly where my disdain for these particular humans comes from. Although maybe it’s because they committed the act themselves and found it funny. The robots can’t  escape being violated in the real world either, as one human woman takes the opportunity to kiss one of the female robots, when she gets left alone with her for even a minute.

This show asks the usual questions that get asked whenever anyone makes a movie about robot. I think its some kind of law. At the end of the episode, Dorothy does something that none of the robots are supposed to be able to do, which does not bode well for the humans on this show.

Aftermath: 

I still have not watched this. So maybe next week.

 

 

From Dusk Til Dawn – Overview

Image result for from dusk till dawn season 3

This season is proving to be much better than last season . We’ve been re-introduced to Scott, who thinks he’s a total badass, with a sword he got from somewhere, last season. Seth and Richie go to recruit him from the Rock band he’s playing in.  Scott’s sister, Kate, continues to be possessed by this season’s villain, Amaru. In the last episode she attacked a town full of people with locusts, and put some kind of tentacled demon glop in their water supply, which turned them into cannibals. Seth got infected, and then everybody got cured.

During all this, Kate kidnapped Richie, and awakened his dark side.  Now Seth, and the team he put together to save Richie, are being hunted in the Asylum where Kate first woke up, by Richie, of all people. Most of this episode consisted of people running around , or being trapped in, various parts of the facility, while snarking at each other.This team doesn’t even like each other. Seth keeps ordering everyone around as if he were in charge, but the rest, who are all vampires, take exception to his orders and then follow them anyway, which is deeply funny.

At any rate, Richie gets saved from Kate/Amaru after Seth, lovingly, sets him on fire, because extreme pain is the only way to free Amaru’s slaves, and Richie is a vampire, so he gon’ be aiight. Frankie however gets enslaved by Amaru and stakes the vampire who confessed her love to him. I still find that kinda icky because she’s a vampire, and he hates them, and isn’t he still married? This is  like the second, or third, woman that Amaru has killed, or caused to be killed, since the season began, and I wonder why Amaru, who is, ostensibly, female, hates women.

Tom Savini, from the original film, makes his debut in the show this season, playing some guy named The Eternal Hunter. He’s there to help Jake Busey’s character, (he’s the Sex Machine remake that Savini originally portrayed in the movie), to take down the demons that escaped from Xibalba ,when Carlos blew up the Titty Twister Saloon, last season.  Busey and  Savini are a match made in Heaven. I didn’t even know I wanted this pairing, but I would watch an entire show, of the two of them, just bitching at each other.

The action is awesome, and there’s lots of it. If you like Supernatural, you could give this a try. Its sillier, a little cheesier, and the action is definitely crazier, but its a lot of fun and has got some nice brotherly action scenes. It would be hilarious if the Geckos and Winchesters were to team up. I would watch the hell out of that and I’m enjoying this season a lot more, now that the Gecko bros. are back together, acting like an old married couple.

American Horror Story:

Image result for ahs roanoke

The action is flying fast and furious in the fourth chapter of season six, and has so far managed to remain on point. Last chapter, Cricket, who invaded Shelby and Matt’s life, made a deal with the real power behind Kathy Bates’ character, an old Celtic style witch, of some kind. She’s played by the nearly  unrecognizable Lady Gaga. So yeah, this parallels with the third season of AHS, called Coven, which introduced witches. It is now the season of the witch, people!

http://www.popsugar.com/entertainment/Lady-Gaga-Character-American-Horror-Story-Roanoke-42519689

In exchange for not harming the people in the house, the Cricket promised to give her Matt who, hypnotized by the witch, was found doing the nasty with her in the forest…by Shelby, who is, understandably, pissed off. Matt doesn’t remember any of it though. Mad  about what Matt did, Shelby pulls a dick move and calls the police. She has Lee arrested for Mason’s murder, and  kidnapping her own daughter.

Later Shelby is attacked by the Pigheaded Man, which I kinda cheered, because hey! dick move Shelby, but Dr. Cunninhgham, who had been living in the outdoor cellar, saves her from him.He gives them some more background information on the house, claiming he can help them.  The last family that resided there were all killed by The Butcher and their spirits also haunt the land. It seems as if once you die on the land, your spirit is trapped there forever, which is kind of defeating the purpose of the Butcher, who claims to want to clear the land of…well…people.

Anyway, Dr. Cunningham gets killed while trying to save Flora from a pack of ghosts she’s seen to be playing with. Its uncertain whether Flora is a ghost or real, though. Cunningham gets shot with arrows from, I suspect, The Butcher’s people, which is a pretty novel way to die in the modern age, I guess. They’re able to kill him because they have just entered some special cycle of the moon that allows them to become corporeal  for about six days.

Shelby and Matt run back to the house where they meet Cricket who tells them that he encountered Flora in the forest and met the original witch, who has the hots for Matt because she has “needs”, as Cricket put it. Matt has some backstory to tell too, even though he doesn’t remember sleeping with the witch, about what happened to the original Roanoke colony. Cricket also tells them their house sits on the actual site of Roanoke.

Tomasina the Butcher, and her followers invade the front yard, with Flora in tow. They’re about to kill the child before Cricket goes out to parlay for the child’s life, but gets captured instead. Priscilla, experiencing a pang of conscience, rescues her friend, and the two of them escape into the forest, but Shelby and Matt have to watch as Cricket is slowly disemboweled. And I was just starting to like him.

Bye, bye, Cricket.

I know one thing though, I’m not getting too attached to any of the characters this season. They only seem to last just long enough to impart disturbing information, and then be horribly killed. I’m still feeling kinda nauseated about the disemboweling and its been three days. The body count so far is pretty damn high for just four episodes and we still have two more to go. I’m not feeling too good about Matt and Shelby’s chances.

Here are some further fan theories about this season, which if  true, make this season kinda awesome, already:

http://www.vanityfair.com/hollywood/2016/10/american-horror-story-roanoke-episode-4-freakshow-mott-family-number-six

 

 

 

 

El Paso P.O.V.

A critical look at EL Paso and the World with a Black Eye

Entertainment Weekly

BlerdWatching Waaay Too Much TV

Navigating Worlds

A husband and wife adventuring through fantasy worlds together

Tin Can Knits

modern seamless knits for the whole family

The Blackwell Philosophy and Pop Culture Series

The Blackwell Philosophy and Pop Culture Series

Stand Up Magazine - Empowering Millennials

The political magazine empowering young people.

Kiai-Kick!

Martial Arts Film Reviews From A Brother Who Loves Kung-Fu!

Feminist Frequency

Conversations with pop culture

Mikki Kendall

Proud descendant of Hex Throwing Goons

We Minored in Film

Geeking Out Over Film & TV

The Blerdy Report

Black+Nerdy=Blerdy!!! Black Nerds Unite

Dave Chrisp Comedy

Same Shit, different Dave

AfroSapiophile

Intelligent Black Thought.

%d bloggers like this: