Hello everyone.
As we continue our trek
through WestWorld, there are some interesting trends that have begun emerging
within the show’s presentation. An
important thing to note of these past few episodes is something that has become
absent as the storylines begin to develop: Sizemore has disappeared. While the rest of WestWorld’s human crew has
received considerable development and screen time, one of the cockiest among
them has vanished as the action continues to rise. Lee Sizemore seems like an interesting
character to observe, especially as the current storyline elements continue to
develop. Cullen remarked early on how
Sizemore knew there were bigger forces at play but was “too stupid” to put the
pieces together. Sizemore is then
embarrassed by Ford completely shutting down his story idea, despite it being
practically complete. From a story
standpoint we could have seen more conflict with Sizemore in this regard, but I
feel as though this is symbolic. Ford
has taken the story off the rails and has launched it into uncharted
territory. Everyone at WestWorld is
scrambling, hosts and humans alike, as they try to sort out exactly what the
park is hiding from them. Sizemore
represents a simple answer and a simple world view in the uncertain terrain of WestWorld. There’s no place for a content asshole in
such layered episodes. This pursuit of
truth becomes a pivotal point in this episode.
In going full on
philosophy with this episode, we can see how Mauve and the Man in Black both
represent Plato’s allegory of the cave.
Both are viewing a false reality, but through different means. Mauve’s world around her is fake and she
seeks the truth about how it functions, whereas the Man in Black seeks a more
ideological truth in finding a purpose.
Mauve wants more of a concrete answer to her world, like how the
prisoner from the cave sees what “real” flowers are and what “fake” flowers
are, but are unable to explain it to their peers who have experienced nothing
else. The Man in Black aligns more with
Plato’s concept of an ultimate truth that can be attained through a state of
mind, a concept he expresses in his chat with Ford.
This brings us back to
Sizemore in a roundabout way. Unlike
everyone else in WestWorld, one of
the key creative members in WestWorld is taking everything at face value. He inquires with Theresa about it once, and
then turns into the show’s punching bag by not engaging with the park on a
deeper level. This episode of WestWorld turns our attention to the
fact that the places like Contrapasso are of legendary status because they
invoke a certain “realness” to them.
Sizemore tries to capture this aspect of the world with story alone and
fails to imitate the nature of real life.
I like AJ's focus on Sizemore (a name which must have phallic implications!) and I would like to add another dimension to his discussion. Sizemore and Ford perhaps represent twin perspectives on art and commerce. Sizemore seems clearly to represent the worst of mass culture (TV as appealing to the masses, mass entertainment, Westworld as akin to Disney World) while Ford seemingly represents the integrity and authenticity of art (or maybe ART). Sizemore is common, plebeian, churlish, a cog of Delos while Ford is imperious, god-like, reserved, haughty. We can see two visions of art and television played out in their conflict, a conflict that was present in the Frankfurt School's denigration of television as mass culture.
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