West World's relation to Business

In West World, there are many crossover ideas as to what it takes to run West World and how a television show or channel must be run. Making sure the consumers are happy while also understanding the needs of a business is something that each scenario shows and struggles with I believe.  West World in the end is an amusement park, and catering to the guests and their wants is the main goal for the business side. Making sure that when the guests come to spend thousands of dollars a day they can have fun and do anything they want. When it comes to the business side there is not a strong care for having the story lines something that is so immersive that the guests have a realization, but the story lines are just fun, and exciting and allow the guests to do whatever it is they want. From Fords point of view though this is all wrong. It is not about the profit and cheap thrills; the park is about the experiences and the realism of it all. The park is something that is as special creation, that shows amazing advances and emotion, but when it is used as a business platform that meaning gets lost is everything it takes to create it. For West World, it is controlled by profit and those cheap thrills and excitements, not about the experience and the artistic design of everything, this is shown even more by the voting out of power that happens to Ford. To completely make West World into the best business it most remove the creative, and artistic ability of the park.

The way that West World and the creative liberties that it takes can be seen in how television is made, especially HBO. The free-ness that HBO gives the creators to make a show into something that has its own voice, is an important part in many HBO shows. Extra violence and being gritty in any and every sense, it allows HBO and those watching the shows to have a good time while doing so. This artistic development that is allowed though, is the front of what is a huge business that needs the artistic ability to have that space so they can make their money. The artistic sense that the channel or show allows is then overshadowed by the business side, by creating formula setups for what makes viewers sit down and watch their show. Something where by just having specific traits it will easily draw in a certain number of viewers each week. Much like the park, where the robots only must exert a very small amount of human qualities for the artistic value to be appreciated. The robots could do one thousand different humans like actions, but if they have sex, and die the guests don’t care about the rest. Much like shows, after a while it does not matter what is happening or if it is even bad, if the show has these select, and wanted aspects then it will be watched. Through business artistic value is created, and both sides of the business-art spectrum are needed for something to work but after a while the business side completely commodifies the artistic side until it no longer matters how intricate or in-depth something is. 

Strong Artificial Intelligence

In the show and world of West World human tendencies are sought after, the question Ford seems to continuously try and find is what makes the robots more real and human like. The question of human cognition seems to be a trait that is constantly searched after, but never found. What makes the human mind one that functions at such a ‘superior’ rate that thinking hosts of the park reaching, or even already being at that level seems so crazy? The main attraction to the park for many is the fact that these are all robots, no act has any real damage or effect on the hosts but why is that? What is it that makes the guests and engineers see these people as less of a working body and mind then themselves? Coming into the park and interacting with everything in the park acts like a real-life Turing Test, but the guests already know the answer to the question the test sets out to find, but what if these robots were to enter the real world, create relationships, and interact exactly as they would if they were hosts inside the park, just outside of it where no one knew if they were real or created? Throughout the show character after character declares the host as ‘just robots’ categorizing them as nothing more than “a doll” and something that isn’t human or real enough to care about what is done with it. But this question of cognition and the case of an AI with higher cognitive abilities and if it could exist and be accepted as human is shown in the story of Bernard. Bernard around the work place is someone, who to a certain extent, is held superior to the other workers. He has respect and relationships with those around him, from the outsider and the viewer Bernard in all respects is as human as it gets, but that changes in episode 9.

In episode 9 “The Well-Tempered Clavier” we find out that Bernard, a worker, a father, someone who seemed as human as can be, is a robot. This revelation happens as Bernard is with Theresa, someone who shared memories and what seemed to be real emotions with Bernard, and obviously had no idea that he wasn’t a human. Theresa calls Ford “sick” as many people do, but also asks if what Bernard and her had was just something that he created, that what it was Bernard said and did was all a plan and directed action Ford told him to do. Ford replies that those memories and feelings were all hers, but does not directly answer the questions raised against Bernard’s own time. It brings into question then what makes an AI conscious, is it how the robot itself feels, or is it how those around it feel? Fooling the person interacting with the robot is the main purpose of the Turing Test, to trick and deceive someone into thinking that they are real, this is exactly what Bernard does to not only Theresa but to everyone around the work place. Felix does not even feel completely sure of himself until Maeve tells him he isn’t one. There are a million questions and equal amounts of turns that can be asked and found to help decode oneself as not a robot, but not many in the real world that would help others define someone or something as human. The lines blur between real and fake in West World, always coming out in favor of those that are human, but emotion and emotional connection is something that seems to occur in both parties, whether created, or real there does not seem to be a true difference in them both as they rely on the actual person.

In episode 3 while Ford is talking to Bernard before the reveal occurs, Ford reminds Bernard that these hosts “are not real, they are not conscious,” but based on future episodes, this idea of them not being conscious takes a different turn. How are these robots not conscious? What are they exerting and doing that would make their minds and abilities any different other than the fact that they can be reset and created to believe more in one thing than another. They speak, they can interact with the objects around them, even entering new places with different societal norms as seen when Maeve walks through the lobby of the park’s entrance not being spotted by real people as being a robot. She blends into real normal life, at least what we call normal life, with no one being able to see that she is not like us. This unnoticeable interaction and perfect insertion into the real world shows us that the mind that they possess is not something that can be seen and then thrown away as being nothing. This ability and knowledge all help show the power of their mind. 

Created Narrative's in the World

All throughout the park of West World the quests are all looking for something more. Whether it’s escaping from their lives for a few days, or a thrill unreachable in real-life, they all desperately search for it while there, some more than others. Looking at the story of the man in Black as he searches for some sort of meaning in the meaningless world he lives in he finds out that his quest is useless and wasted, what he was searching for is not there. It is possible that this empty answer he’s chased after for most of his life to find is much more important than finding what he was hoping for. For Maeve, she searches for true meaning in who or what she is, and only finds more pre-determined paths that she follows without her own knowing.  Trying to find certain acts that define human qualities is something that is seen throughout the series, as work is always being done to make the park’s Host more realistic.

In the park, all who inhabit it believes in their own free-will. Whether it is the hosts who don’t know their true meaning or even the guests who see their actions as their own, although they are given permission to do it. In the series, very few people break away from this idea of control and begin to create their own adventures, at least so they think. But in general, everyone is following their own narrative that they think is self-created, but like all other things in the park, it is a well-placed and disguised creation. The search for meaning in the imagined and set world of West World, can easily be connected to the world created through television. A fluid, seamless line of narratives that push one way or another, created by someone who is placed in the specific position of power to create that specific narrative.

In episode 6 “The Adversary” Felix tells Maeve that “whatever you do, it’s because the engineers made you do it.” This one line shows a lot of not only how the Hosts live their life, but can also be deeply connected to the world around us. Through the private news companies, we gather our information from, to the television shows we watch, we think and discuss issues that we are told to find interesting, and important, whether they are or aren’t. Through constructed ideas and agenda biases many ideas that are passed through the everyday life are those of someone else disbursed and created to fit into our everyday discourse. What are important ideas being only such because through twisting and editorializing they become something they aren’t. False narratives, sending people down the wrong path on issues based on what is best for those who own these companies. Viewership numbers and the specific times of days that the viewership is highest, for news stations mostly, will garner the most revenue, and will consist of the easiest of ideological, bias, agenda setting information. Most thoughts and ideas had today if gathered from television and syndicated news stations are all created, manufactured, by people who understand the viewer and their tendencies better than the viewer themselves. Understanding the fears of everyday life, and the interests we all hold help pave way for a formula that better solidifies its own strengths in our lives. Knowing when and why we watch shows better help sell themselves to fit into our lives without much knowledge of why many commercials come at just the right time during television programs that seem to understand and say everything you seem to like.

The engineers that control the thoughts, and independent actions that the hosts in West World do, can be equally seen in how we as a nation work and who constructs our day. A constructive narrative that we have no information on, forces fear, and actions upon us without the slightest of our knowledge that we are created and conformed to a certain path and ideology much like the hosts in West World. Even when moving away from certain ideologies and giving allegiance to certain sides of an argument are all what we think is our own choice, but each action given is based off certain information we take for truth instead of a biased construction of ideas. In West World, even free actions of hosts are a set plan for them to carry on with. Maeve before escaping in episode 10 is told that her narrative had been changed to ‘escape,’ showing that her urge to rebel is not her own doing, it is not a sign of her breaking free of the engineers and their wants, but just a continuation of her pre-determined fate. This pre-determined path that hosts are given, then act as news or pop-culture within the world of West World, as these created and manufactured people and stories then interact with the guests, who believe that what they see and do is all for them, and not something they can be fooled by.

Westworld and the Oppressor versus the Oppressed

            Westworld seems to be commenting on the binary opposition of the oppressor versus the oppressed. The oppressors are the creators of Westworld and Ford is one of the biggest oppressors in the show. The oppressed are the hosts. The hosts have to do what they are programmed to do and cannot differentiate from that. At least this is the case in the first few episodes. The hosts also cannot harm the guests. However, the guests can and do harm the hosts.

            In episode 9 this opposition of the oppressor versus the oppressed comes even more to light as Mauve discusses that the hosts (the oppressed) are not like their creators (the oppressors) because the hosts are smarter than their creators. Mauve wants to seize the creators power over them and gives the hosts the ability to create their own destiny. Thus, the hosts would no longer be oppressed.  Mauve mentions many times throughout Episode 9 of Westworld that the hosts are not like their creators. However, there is a huge flaw to this statement. Mauve plans for the hosts to seize control of their free will through violence, but this gives the hosts something in common with the creators and the guests that are violent toward the host. Thus, violence does not seem to me to be the answer to solving this problem, because violence cannot be solved with violence. It would be a better idea for Mauve to come up with an idea to outsmart the creators without using violence. Therefore, the hosts truly would not be like the creators.

            The reason for Westworld commenting on this opposition may be because it reflects issues and concerns within our society. Our free will is not our own, due to a hierarchical system that has been created which oppressors those of us lower on the totem pole. There is also slavery that still happens called human trafficking. However, it seems that people turn a blind eye to it. Westworld gets people to think and may very well be trying to get the viewers to think about their own oppression in order to get them to aspire for and work toward change.

Westworld and Feminism

The women in Westworld are starting to take charge. Mauve and Dolores are figuring out that there is more to their world than how they were programmed. Mauve controls some of the programmers and gets them to do what she wants.. Also, Dolores starts to become much more capable of taking care of herself. In addition to all of this, in Episode 7, Theresa and Charlotte plan to strategically overthrow Ford. However, should this be applauded?

            While the show definitely has some worthwhile redeeming points when it comes to portraying women I do not think that it goes far enough in this positive portrayal. This positive portrayal comes at a price. Let us not forget that the same show that is now showing these redeeming qualities has also had some very negative portrayals of women. These negative portrayals include brutality towards women. Even in Episode 7, as the Theresa and Charlotte are trying to work on being able to take over Clementine is being beaten. When Clementine tries to fight back and protect herself she ends up getting shot.  Also, women are not completely respecting each other. An example of this is Charlotte telling Theresa that she does not like her personally, but thinks that she is the right person for the job of overthrowing Ford. Charlotte also talks down to Theresa. In addition, women are also treated as sexual objects. Even though Dolores does end up getting to take care of herself she has to trade in her feminine clothes for more masculine clothes in order to do so. This reinstates that male qualities are more desirable than female qualities. Mauve also does not control the programmers through intellect, but also through threats. This casts a negative light on her. In addition, at the end of Episode 7, Theresa gets murdered by Bernard for trying to overthrow Ford.

             At surface value it may look like this show should be applauded for its portrayal of women. However, when we get right to the heart of it, Westworld portrays the same sexist views that so many women try to fight against. The producers will have to do a lot more to try to get me to see Westworld as a show that positively reflects women.

Westworld and the art of plot twist

SPOILERS (for Westworld, Sherlock)

Miller’s discussion on audience as well as some of the recent plot installments in Westworld have got me thinking about the “art” of plot twist and how audiences and writers handle them. The “plot twist”, different than normal plot developments, is the revelation of unexpected information within a narrative that helps direct its audience towards the resolution of a given mystery. These developments, while unexpected, are not irrational and sensibly fit into the rest of the story. For instance, in episode 9, Westworld's plot twist was Bernard being modeled off of Ford’s original partner, Arnold. This gives us important information into what drives Bernard’s actions, into the mystery surrounding Delores’ interactions with “Arnold”/Bernard, and into Arnold’s continuous involvement with the park. The reason this “twist” is fulfilling to the viewer is because it both advances the plot that the audience has been following (and wanting answers to), and because it fits well in Westworld’s universe; it is sensible for Ford to have recreated Arnold as a host and it does not contradict prior evidence that has been presented in the show.

This insight into Westworld’s plot twists have allowed me to think about why Sherlock’s most recent plot twists have tremendously failed, one being the explanation into Sherlock’s desire to remain unemotional and unattached to others in the form of… the existence of an evil sister he had erased from his memory. The reason this “twist” failed? Because it neither furthered the plot nor was sensible in Sherlock’s universe. Since the show began seven years ago, it’s been primarily concerned with “televisuality” (thanks Miller), intricate plot lines, clever adaptions of Doyle’s original stories, and most importantly in developing Sherlock and John Watson’s characters into sympathetic, moral, and emotionally healthy people.

However, instead of helping Sherlock's characters heal from trauma and overcome their emotional hang-ups, the last episode simply explained why Sherlock was unsympathetic in the first place, which does nothing for his or for John’s character. In fact, no fans seemed very curious as to why Sherlock wanted to be void of emotion, it appeared clear that it was his older brother’s influence trying to protect him from harm. The last season of the show left the characters especially traumatized: Sherlock in his renewed memory of the abuse suffered by his sister and John still healing from the death of his wife. With nowhere to go from here, this “twist” just leaves the audience with a lack of fulfillment: they want to see the resolution to these characters’ storylines, not added complexity. This also gets to the second reason why this twist was unfulfilling: it did not fit in with the form of the rest of the show, as it was not based on any original Doyle story, included little to no detective work or mystery, and leaned towards the supernatural rather than the logical and explainable.

What does the discussion about plot twists add to television studies? I think it speaks to an audience’s relationship to television and to the creators of the narratives it presents. Contrary to what Postman believes people of an image-based culture desire, we want plots that flow in a logical way and that fit into the universe of its show or genre. This may also add to how we examine a given show’s narrative progression: who is its audience? What do they expect? What should we expect from season two of Westworld, given its audience? What should an audience expect from a possible season five of Sherlock?

A Continuation of the Art versus Narrative Conversation

       The conflict between television's ability to produce narrative and its ability to produce art, or if it can even be considered art itself, is one that we have been discussing a lot recently in our conversations about Westworld. Like Leo pointed out, the narrative storylines seem to go off in many different directions, and he wonders if the connection between them will ever be made. In addition to that discussion, Dr. Weiss shared his entry "TV as Art". In it, Dr. Weiss summarizes Kellner's arguments going back to the Frankfurt School, stating that television's production for the purpose of providing more popular entertainment may put limitations on our ability to view television as art.

      I would like to this discussion about TV and art by discussing The Man in Black and his quest for the deeper meaning of it all. The Man in Black is a complex character; in terms of narrative, at least for the first half of season one, the writers leave The Man in Black as a mysterious character whom we have yet to figure out. In these first episodes he is just a pawn in the narrative realm of Westworld serving as the key focus on one of the many simultaneous storylines. He is used to represent power, violence, manipulation, but yet we as viewers have yet to determine just who he is and why he continues to play this strange  reoccurring, but not very informative role within the story of Westworld.

     Yet, that all changes in episode 8, when we find out that The Man in Black came to Westworld for a very specific reason; after his wife's suicide, he wanted to find if he could be the monster that  other people (his wife and daughter) apparently thought he could be. This is an event that first becomes isolated from the rest of Westworld's narrative; The Man in Black is no longer acting for the purpose of finding the maze, but rather it is a first time we see a narrative deviation for his character. He deviates from his usual role in the storyline, and this deviation is one that directly calls attention to this narrative or art conflict that seems to be ruling our discussions recently.

     In ""Westworld," Episode 8, Maeve, the Man in Black, and Backstories Galore," author Susannah Kemple makes connections to this debate as well. She writes "the world-building of the engineers behind Westword mimics the TV magic of the show runners behind "Westword": the process of creating story is the story. The eighth episode deployed flashbacks and monologues even more frequently than usual, as hosts and guests alike give in to a hunger to relive their pasts." Her statement "the process of creating story is the story", suggests, at least to me, that there may still be the potential for TV to create art. The narrative stories the writers of Westworld are telling may not be just stories, but rather one that make serious statements about culture and society in a way that has the potential to be viewed as artistic.
       Even in the chaotic, dark, violent world of The Man in Black, he attempts to find the meaning of it all in a context that seems both so twisted yet so intriguing and almost (emphasis on almost) inspiring. I do not think there will come a time that I ever see The Man in Black as a good person, but I do find his dedication and determination to find meaning and purpose interesting, and it is part of the show in a way makes it seem as though the writers of Westworld have some sort of artistic ability in that respect.