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13 minutes ago, JPickford said:

Well they've used up and gone beyond the source material already.   The original film is very slight (watched it on Sunday),  great fun but not much happens and there's no real explanation for what went wrong.

 

Is it worth watching still?

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I don't mind this but it seems to be meandering a bit at the moment. I think someone else in this thread already pointed out that it feels like a series of unconnected self contained scenes at times but some of those unconnected scenes are interesting which is what keeps me watching. Times like when they were playing back some footage to analyse a host failure are the things which keep me partially interested.

 

What they need is Karl Urban, Michael Ealy and Mackenzie Crook to come in and clean up this town. Or make another series of Almost Human. Whatever's easiest, really.

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4 hours ago, DirkCrisis said:

I don't mind this but it seems to be meandering a bit at the moment. I think someone else in this thread already pointed out that it feels like a series of unconnected self contained scenes at times but some of those unconnected scenes are interesting which is what keeps me watching. Times like when they were playing back some footage to analyse a host failure are the things which keep me partially interested.

 

What they need is Karl Urban, Michael Ealy and Mackenzie Crook to come in and clean up this town. Or make another series of Almost Human. Whatever's easiest, really.

 

It's got to be a 5 year show so I don't understand why a lot seem to think it needs to give ALL the answers immediately. If it does will become pretty poor TV, it's carrying on at an enjoyable pace.

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I'm enjoying it, after watching a lot of first episodes of different series and finding none that I wanted to stick with. The more we see of the park the more ludicrous it seems to get, but it's shlocky fun that is absurdly lavish.

 

It feels like they've set up a template that's basically for telling infinite stories - new tourists that come to the park, narrative loops mean everything resets and killed off characters return, but new plotlines are introduced for new scenarios, and the hosts can be rolled back to previous states to undo any... rampancy, so I hope it goes places rather than using that for filler.

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44 minutes ago, Comrade said:

How long is the narrative loop? That Dolores flowchart seems to imply it's just one day, but that seems a little slight. And there are many events referred to that take place over longer periods of time.

 

Does everyone's narrative loop last for the same amount of time? I guess with something simple like Delores plot which is there almost like a quick thrill/quick action thing, they would reset it on a daily basis. Something larger and more complex could run for several days before resetting.

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Lovely 'The Man Who Shot Liberty Valance' line in there today (ep3). Though I guess if you count Ford as 'Director' that's two references. 

 

Regardless, I'm getting the Lost vibe too and personally, I'm for it. Very much enjoying it so far but do wonder how much they're going to be playing with the host 'error' narrative, given that, in the source material, that's very much the final 3rd of the narrative. 

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I'm liking it so far, not loving it. I kind of find the scene and time jumping sort of jarring. How do they set the scenes? How do the robots get to and from the real world, are they taken there or go themselves, or do they have multiple versions of the robots? 

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4 hours ago, Floyd said:

I'm liking it so far, not loving it. I kind of find the scene and time jumping sort of jarring. How do they set the scenes? How do the robots get to and from the real world, are they taken there or go themselves, or do they have multiple versions of the robots? 

 

Spoiler

Watch Ep 3 its explained a lot more. But they just swap robots in and out then change their programming to fit scenes including the ones around them. Such as the mad father

 

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I love this show. Just watched the first 2 episodes. Agree with the Lost comments. I don't think they know where this is heading but the sets are so lovely. Tad too violent at times. Not sure it needs it to still be shocking & get you to empathise with the bots.

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I quite enjoyed episode 3 , it keeps building on what's gone previously  but it is such a sloooow burn on this one, a very gradual awakening if you will. The "outside of the park" stuff added little of value in previous episodes but was a  bit more interesting this time around, kinda like the vox (?) recordings in Bioshock, add a bit more flavour and depth to the narrative as opposed the previous episodes where they felt too detached IMO.

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Episode 4 feels a bit disjointed - i think you get four different plot strands but they don't feel like they really make progress. There's some good parts but the action moves around so often that just as you get into one part, it switches to another plot strand. It also feels a little like moving toward a mid-season climax.

 

Spoiler

I couldn't tell if Delores has already lived through this new plot line or is having flash-forwards (you see her see visions of the church)

 

Ed Harris was great again but him also knowing Arnold just throws up more questions.

 

Is Ford's new story almost pushing the hosts to question their existence? Like the doll looking like the masked clean up crew. I did enjoy his dinner conversation, quite ominous and made me think he killed Arnold.

 

It was a good last five minutes. I think Newton's character has just figured out she can do what she wants, with no consequence. 

 

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There's an interesting theory, perhaps already covered here, that - 

 

Spoiler

The man in the white hat helping Delores is actually Ed Harris, from when he first went into the park, and that we are seeing events many years apart, but edited to look like they are all happening now. We would then be seeing his descent into the dark side, and the result of that descent some 30 years later. 

 

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16 minutes ago, Hellcock said:

 

20 minutes ago, Goose said:

There's an interesting theory, perhaps already covered here, that - 

 

  Hide contents

The man in the white hat helping Delores is actually Ed Harris, from when he first went into the park, and that we are seeing events many years apart, but edited to look like they are all happening now. We would then be seeing his descent into the dark side, and the result of that descent some 30 years later. 

 

 

But haven't the people in the control room been reacting to the actions surrounding both guests?

 

In this very episode they authorised some explosives for Ed Harris, whilst in another scene they questioned Dolores' off-tangent location and sent a sheriff in to bring her back, only for him to confront her accompanied by Willy White Hat. 

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19 hours ago, Goose said:

Episode 4 feels a bit disjointed - i think you get four different plot strands but they don't feel like they really make progress. There's some good parts but the action moves around so often that just as you get into one part, it switches to another plot strand. It also feels a little like moving toward a mid-season climax.

 

  Reveal hidden contents

I couldn't tell if Delores has already lived through this new plot line or is having flash-forwards (you see her see visions of the church)

 

Ed Harris was great again but him also knowing Arnold just throws up more questions.

 

Is Ford's new story almost pushing the hosts to question their existence? Like the doll looking like the masked clean up crew. I did enjoy his dinner conversation, quite ominous and made me think he killed Arnold.

 

It was a good last five minutes. I think Newton's character has just figured out she can do what she wants, with no consequence. 

 

Disjointed is the right word. I don't know if I'm enjoying it. I might give it a couple of more weeks for it to click.

 

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Noone mentioned the most interesting part of this episode. "One more word and I'll cut your throat. This is my vacation.". Throws up a lot of questions. I heard that theory that white hat is young black hat, but several things have happened that mean he can't be.

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