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According to the excitement of that series that follows a theme park, where individuals pay a lot of money to encounter the old wild of America, where they battle against endurance. In this new season, Dolores has another relationship and find out about artificial world.
It's the most frustratingly not-quite-there show on TV: structurally bold, visually arresting, often brilliantly acted, show-off-ily erudite... and woefully predisposed to turn subtext into text.
While the new Westworld lacks the ambition of the first two seasons, it also, mercifully, relies on fewer head-spinning plot devices and massive reveals. It's a fair trade.
Leaving the park remains hard to come to terms with, but season three of Westworld has heaps of unique ideas and killer twists, all of which should quickly remind you why it's still one of the best shows on TV today.
I just miss the old Westworld, really: an imperfect but sweeping series with a shivery kind of poetry at its heart. That lyricism, the show's philosophical murmur, is largely drowned out in Season 3.
As an action-adventure, the story has some wind at its back heading into the last four episodes. All roads lead to Dolores, it seems, and hopefully the grand showdown is an entertaining one.
The show may be more stripped down and (hopefully) freed of the conflicting time-frames that made it so opaque. But has it lost its identity along the way?
Westworld wants to generate another existential conversation in Season 3, but even as the show swaps settings and introduces new faces, the details that make it come to life are perfunctory.
Season 3 sheds its old, suffocating skin to become a leaner, more lucid, and higher-stakes adventure, but in doing so it exposes its inability to manufacture fast and effective thrills.