That circle…wasn't even tested on prisoners!

It's a show about writers and their beloved narratives. Go figure.

What the hell did I just watch? It's like your own private "Candle Cove."

UK reviews I read felt the need to point out Hare's politics.

Yes. The second one is breezier than the first (and introduces Walken / Ryder.)

It also has tentacles.

Ever see Spring? Lovely romantic take on that theme.

Murder on the Delos Express

You're too kind. They needed to write this show knowing folks like, well, us, would be theorizing the crap out of it. Drawing a hokey device like multiple timelines across 10 freaking episodes is unforgivable.

When Jurrassic Park came out, I made the idiotically obvious point that "well, it's just Westworld with dinosaurs." People looked at me with a blank stare: they'd never heard of the movie, let alone knew that Crichton wrote and directed the thing…and these were fellow film students. It was well on it's way to…

The weirdest thing for me is how the show is sometimes a take-down of well-worn narrative clichés, but then itself turns around and attempts to leverage for drama those same narrative clichés. So it's lazy and hypocritical.

But immortality removes the possibility for real suffering, which this show suggests is needed to achieve transcendence. (Yeah, I know I'm quibbling about the finer points, but the show takes itself pretty seriously, so I'm looking for a little internal consistency.)

I understand where you're coming from. My problem is that from the first moment we meet her, she's been consumed by thoughts of her "daughter."

Why did Ford think the robots were in any way superior? The crux of show now rests upon that conceit, but I'm struggling to remember a moment of "transcends humanity" for any of the hosts, who seem intent to shoot their way out of a corner, rather than do anything clever or compelling.

I put off watching GoT, but once I started, damn was I hooked. Every glance and shift of the eyes has subtext and backstory; it's like one of those infinite zooms into detail.

It might not; but I get a very strong patriarchal, almost Colonial vibe from Ford.

Disturbing turn for Maeve. Far from writing her own script, she's stuck playing out the plan of some old white guy, her actions reduced to an algorithm that, bizarrely enough, seems intent on defining her through her "maternal" instincts. Am I misreading this?

Speaking of Christopher Walken, he co-stars (along with Nighy, Wynona Ryder, Rachel Weisz, and Helena Bonham Carter) in a recent trilogy of BBC films (it's known as The Worricker Trilogy): "Page Eight", "Turks & Caicos" and "Salting the Battlefield".

It takes a lot to get me to abandon a film mid-way through. But that psych evaluation in Morgan was so jaw-droppingly idiotic that I did just that. (Adding insult to injury, Paul Giamatti is fantastic in the scene, but the scene itself is painfully stupid.)

Agree. And I did see Shortbus; just wish I were that limber.