THE HOST WRITER MOVIE SERIES

With these reveals, Christina’s confrontation with Peter (Aaron Stanford) in the season premiere makes a great deal more sense. It is something unreal that is being made real, a nightmare given form. Christina wakes up in her apartment to realize that she has drawn a mysterious tower into otherwise idyllic paintings of Manhattan, as if that construct is some monstrous and Lovecraftian concept trying to manifest itself. In “Generation Loss,” the fourth season of Westworld grapples with the idea of imposing a narrative upon reality, of bending the outside world to the logic of stories. There is no “us” or “them ” there is no “in” or “out.” There just is. There’s just you.” This is a bold and interesting idea, the blurring of boundaries and the breaking down of barriers. When Caleb describes the infected humans as “carriers,” Charlotte corrects him, “I prefer the term ‘host.’” William (Ed Harris) chides Maeve (Thandiwe Newton), “There is no us anymore.

Like a train, circling the smallest track.” It suggests an equivalence between humanity and the hosts, something the episode repeatedly reinforces.Ĭaleb discovers that Charlotte has been doing her own “behavior training” on human beings, as humans once did on the hosts. “Every day you wake up, do your job, and go home,” he reflects. Christina’s date talks about his life in a way that works as a metaphor for the experience of the hosts within the theme park, but also as a more general statement on the human condition. “Generation Loss” is not particularly subtle in making its point. Her blind date (James Marsden) even catches a dropped object by way of introduction, like Teddy (also Marsden) did in his theme park loop. “Generation Loss” makes it clear that Christina is still living within a narrative that isn’t too different from the one that Dolores lived inside the theme park. “It’s time for a new narrative,” Charlotte explains to Caleb (Aaron Paul), and it becomes clear that Charlotte’s evil scheme is effectively about trapping the outside world within a familiar narrative. Taking her cues from what characters like Sizemore did in the theme park, Charlotte has effectively conspired to impose her own story on the outside world. In the fourth season, the dynamic has been deliberately inverted. The first two seasons of Westworld were about the Delos employees imposing their narratives on the hosts within the park, as well as about characters like Dolores attempting to assert their own agency over the stories in which they found themselves. Indeed, the reveals in “Generation Loss” suggest that Christina is living in a world as “real” as any that exist after Charlotte Hale (Tessa Thompson) enacted her plan. However, there is a sense that Christina’s world is bigger than the theme parks that dominated the first two seasons. Much of the season has explored Christina’s growing sense of unease about the nature of her reality, as she has begun to pick at the edges of the world in which she has been placed. Of course, Joy isn’t being entirely sincere. “It’s really nice to be able to not speak wholly in metaphor, to be able to do something contemporary and human, to write roommates, banter and bad dates. “We’re just along for the ride with her as she experiences the city, dating, being a writer,” Joy explained of Christina’s life.

In interviews before the season began, co-creator Lisa Joy joked about how writing for Christina was a departure for the show. There is something unusual and interesting about the seeming mundanity of Christina’s life.

Now, in a very real way, Westworld is Christina’s World.

THE HOST WRITER MOVIE SERIES

In publicity for the first season, series co-creator Jonathan Nolan conceded that Andrew Wyeth’s 1948 painting Christina’s World had been a major touchstone for the character of Dolores. After the third season killed off the show’s protagonist Dolores (Evan Rachel Wood), the fourth season reintroduced Wood playing a writer named Christina, struggling to tell stories that mattered to her.Įven though Christina is nominally a new character - albeit one played by a familiar face - there is a sense in which she has always been central to Westworld. The theme park’s head writer, Lee Sizemore (Simon Quarterman), became an increasingly sympathetic and nuanced figure over the first two seasons. Much of the first season was obsessed with the “narratives” within the park. Westworld has always been a show about stories. This discussion and review contains spoilers for Westworld season 4, episode 4, “Generation Loss.”

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