Chestnut

The ratings should be a lot higher. It has actors as Anthony Hopkins, who is one of the best in the world. It has a story that no other series has. It asks the right questions: Who are you? Who are you, if there are no rules? Who do you want to be? What is your innermost secret?

I love the show. And this episode shows the most important theme dirctly on the beginning: Westworld shows who you really are. Because there are no rules, how to deal with human beings.

In my opinion Westworld has no real weaknesses. The show is about humanity, beauty, madness, insanity, definition of human beings, rules, consideration and much more.

To end this review I write down my favorite quote from this episode: You can't play god, without being acquainted with the devil.

As if the pilot didn't convince you, I think 'Chestnut' just about guarantees that Westworld is the best new show of 2016. While much slower than last week, this episode proved Jonathan Nolan is in it for the long haul.

Nolan and his writers seemed to pay tribute to the 1973 movie here by giving one of the episode's main focus on two guests trip to the park, played by Jimmi Simpson and Ben Barnes. I'm pretty sure this won't be the last time we see them, but it was interesting addition to the already massive cast, even if the only thing they did was kill and have sex with the hosts.

As for Ed Harris' mysterious 'Man in Black' character, he's knocking more people off the board in the outer landscapes of Westworld in search of the park's deepest secrets. Is he actually a guest? Could he maybe be a host? I have no idea, but I'm intrigued nonetheless. Especially now that he has Clifton Collins Jr at his service.

This episode didn't devote as much time to Dolores as last week, as Thandie Newton's Maeve took that role. Dolores shared the now series tagline "these violent delights have violent ends" with Maeve and it seemed to trigger something in her mind. Which in turn, got her decommissioned, for the moment. I got a heavy "Ex Machina" vibe from her near escape which is major compliment. To me, this series still poses many unanswerable questions but I'm excited to see where it goes. Anything from the Nolan family has my attention

+Harris is relentless

+Tribute to movie

8.2/10

That calmness in Antony Hopkins character with deep wisdom is a promising for the coming episodes.. I think this episode clarified some previous mystery and it is getting closer to "Source Code" the movie, but for diversified purposes they make rethink in every belief of human beings

In the second episode of Westworld, titled "Chestnut," viewers delve deeper into the intricacies of the park and the motivations of both new and returning characters. This episode introduces William (Jimmi Simpson) and Logan (Ben Barnes), two newcomers with vastly different approaches to their Westworld experience. While William is hesitant and reserved, observing the park with a sense of moral curiosity, Logan fully embraces the indulgent opportunities the park offers, pushing the boundaries of acceptable behavior. Meanwhile, the park's staff, led by Bernard (Jeffrey Wright) and Dr. Ford (Anthony Hopkins), grapple with the implications of the hosts' recent malfunctions. Maeve (Thandiwe Newton), a host who runs the brothel in Sweetwater, begins experiencing strange memories and visions, sparking an unnerving awareness that questions her reality.

One of the episode's most engaging elements is the character development of William and Maeve. William serves as the audience's moral compass, reflecting our own curiosity and reservations about the ethically dubious premise of Westworld. His interactions with Logan reveal the dichotomy of human nature and how quickly some might abandon their principles when offered the chance to act without consequences. Maeve, on the other hand, adds emotional depth to the story, as her glimpses of awareness create a profound sense of tragedy. Her growing fear and confusion, combined with her fierce determination, begin to hint at the underlying theme of consciousness and the existential plight of the hosts, setting the stage for larger philosophical questions about sentience and identity.

Visually, the episode maintains the high production values introduced in the premiere, with rich, sweeping shots of Westworld's stunning landscapes contrasting the sterile environments where hosts are programmed and reset. The cinematography skillfully mirrors the dual nature of the park, capturing the wild beauty of the simulated Old West while highlighting the chilling control exercised by the park's operators. Additionally, the use of subtle visual cues-like the recurring imagery of doors, reflections, and repetitive actions-emphasizes the looped lives of the hosts, reinforcing the sense of entrapment and helplessness that characters like Maeve are beginning to feel. The attention to these visual details not only enhances the storytelling but also enriches the thematic undertones of the episode.

In terms of pacing, "Chestnut" moves more slowly than the premiere, but this serves the episode well, allowing for a deeper exploration of the park's mechanics and the moral ambiguities it presents. The scenes with William and Logan feel well-paced, gradually exposing William to the darker sides of Westworld without overwhelming the viewer. This episode takes its time to establish stakes and develop characters, a wise choice that adds complexity and allows the audience to become more invested in each character's journey. The editing is carefully executed to create tension and intrigue, particularly in scenes involving Maeve's memories and Bernard's interactions with Dolores, where the pacing matches the sense of building unease.

Performance-wise, Thandiwe Newton is exceptional, bringing Maeve's confusion and gradual self-awareness to life in a way that feels both heartbreaking and intense. Her ability to transition between her programmed personality and moments of fearful clarity adds a rich layer to the character. Jimmi Simpson's portrayal of William is equally compelling; he brings a nuanced vulnerability that contrasts sharply with Ben Barnes' portrayal of Logan's hedonistic bravado. The dynamic between the two actors establishes an interesting moral tension that promises to develop further as they continue their journey in Westworld. Additionally, Anthony Hopkins continues to deliver a commanding performance as Dr. Ford, hinting at darker secrets that complicate the nature of his control over the hosts.

In conclusion, "Chestnut" serves as a strong follow-up to the pilot, expanding the narrative while deepening the moral and philosophical questions the show is beginning to explore. This episode's focus on William and Maeve adds dimension to the story, presenting new perspectives on the nature of free will and the consequences of unchecked human indulgence. The episode expertly balances its character development with stunning visuals, nuanced performances, and thematic depth. While it may not have the same level of action as the premiere, "Chestnut" successfully lays the groundwork for future conflicts and introspective questions, keeping viewers intrigued and eager to see how the story will unfold.

"Every detail adds up to something." Dr. Robert Ford. This series is filled with details. I like this type of art that makes you question the monologue and force you to focus on every little detail. One of the brilliant things here is the movement between the scenes. Also, the soundtracks are brilliantly made.

Apparently, the series plot is beyond a mere action or a thriller thing. It takes us step-by-step to a more intricate puzzle.

Also, there is a scene that stopped me; because of the following dialogue: You want to ask, so ask.

Are you real?

Well, if you can't tell, does it matter?

This dialogue captures a very interesting problem in metaphysics and epistemology, What's reality? Can we know the difference between what is real and what isn't? Is it in our ability to distinguish between humans and androids?

Another critical topic the episode discusses is Emotions, dreams, death, and consciousness. Is there a relation between consciousness and emotions? What are emotions? Can we develop a robot with emotions, or is it just from God? Or are the emotions mere reflections that can be reduced to a biophysical process?

I can claim that I know all the answers, but I'm happy to think about it. I'm here just to write my observations, and I hope I get out with meaning.

BTW, suppose you are interested in consciousness, emotions. In that case, there is a book in the series "Very Short Introduction" by Oxford press you can check it, it will help you.