Westworld : Hopkins and the little boy scene
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Re: Hopkins and the little boy scene
In the 2nd episode, Hopkins takes an elevator to the Westworld setting. He has a conversation with the little boy. I thought that boy was a bored guestbut he is actually a robot.
Any significance to this scene?
It's possible that little boy was programmed to be Dr. Ford at a young age. He's dressed similarly with the same basic accent and their fathers both told them the same exact thing.
What is with the church top after Hopkins dismisses the boy?
I wonder if it's not just a church, but an entire buried city or village? We still don't know much about the world Westworld exists in outside hints like 'rotated back,' 'decompression' and 'the mainland' and such.
'Honi soit qui mal y pense'
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Re: Hopkins and the little boy scene
Oh, no! Another "Lost?"
Re: Hopkins and the little boy scene
Exactly, first thing I thought was he's talking to himself. I think it's actually made quite clear the boy is Ford at a younger age.
Re: Hopkins and the little boy scene
I was thinking the same thing that the boy was Dr. Ford as a child. Probably at the time when he started to imagine what could be. So that's his go to point in his own timeline.
Re: Hopkins and the little boy scene
Another more subtle visual cues to suggest the boy is a young AI version of Dr. Ford, is that they both match each other step-for-step while they are walking despite Dr. Ford being much taller than the boy As I re-watched that scene, I immediately got chills when I spotted this and made the connection.
And their clothing (specifically the tunic or vest or whatever) is eerily similar despite their age difference.
And their clothing (specifically the tunic or vest or whatever) is eerily similar despite their age difference.
Re: Hopkins and the little boy scene
I wonder if it's not just a church, but an entire buried city or village? We still don't know much about the world Westworld exists in outside hints like 'rotated back,' 'decompression' and 'the mainland' and such.
Ford does pat his foot in the sand and notices it makes kind of a hollow sound. Like he knows something is under there.
You just have to be resigned-
You're crashing by design
Re: Hopkins and the little boy scene
It could be the site of the original Westworld.
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Re: Hopkins and the little boy scene
Churches and priests and little boy versions of yourself.
You see the destruction that she-beast laid? I'm being risk-averse, considering.
You see the destruction that she-beast laid? I'm being risk-averse, considering.
Re: Hopkins and the little boy scene
How do you know the boy is a robot?
Nothing like being the minority to make FoxNews concerned about rights of the minority
Nothing like being the minority to make FoxNews concerned about rights of the minority
Re: Hopkins and the little boy scene
When Ford tells him to leave his face loses all emotion and he just turns and walks away
Re: Hopkins and the little boy scene
There's even a very soft sound effect at that moment too, just like a machine changed modes.
Re: Hopkins and the little boy scene
This is my take:
In another Dr Ford scene, he criticizes Lee Sizemore's "Red River" attraction concept. Sizemore tries to sell the Red River idea as full of gore and spectacle, which in the end allows the guest to discover who they are. But Ford dismisses the idea with a firm,"No". Westworld (the theme park) shouldn't be filled with garish attractions, he says. Instead, the park should be filled with subtle details which the guests accidentally discover and fall in love with. It's through this process the guests don't discover who they are, but who they would like to be.
This conversation seems to have a hidden importance as a way for the show's executive producers to stealthily communicate a message about Westworld (the series) to the audience via Dr Ford's speech. Essentially, the hidden message here is that anyone else that won the rights to re-create the movie as a series probably would have thought like Sizemore did, and filled the series with garish special effects. But instead, they decided to say "No" to this idea, and instead go for a subtle, layered approach. By putting one detail in after another, something subtle will catch the attention of the viewer, ignite their imagination, and have them to fall in love with Westworld (the series) by allowing them imagine about who they would like to be the same way Guests fall in love with Westworld (the theme park).
So essentially, Dr Ford's conversation with the little boy could be another instance of where the show's producers are trying to send a message to the audience: Some may find their storytelling approach slow and boring; but if you use the time wisely to ignite your imagination, your very own creativity won't let you be bored. That message seems to have gotten out to most of us; though obviously, there's still a few who haven't yet started to use their imagination yet. So Dr Ford's expositions really weren't intended for the kid or for Sizemore; it was intended for the doubters in the viewing audience to open their minds as to how Westworld (the series) is going to be presented.
In another Dr Ford scene, he criticizes Lee Sizemore's "Red River" attraction concept. Sizemore tries to sell the Red River idea as full of gore and spectacle, which in the end allows the guest to discover who they are. But Ford dismisses the idea with a firm,"No". Westworld (the theme park) shouldn't be filled with garish attractions, he says. Instead, the park should be filled with subtle details which the guests accidentally discover and fall in love with. It's through this process the guests don't discover who they are, but who they would like to be.
This conversation seems to have a hidden importance as a way for the show's executive producers to stealthily communicate a message about Westworld (the series) to the audience via Dr Ford's speech. Essentially, the hidden message here is that anyone else that won the rights to re-create the movie as a series probably would have thought like Sizemore did, and filled the series with garish special effects. But instead, they decided to say "No" to this idea, and instead go for a subtle, layered approach. By putting one detail in after another, something subtle will catch the attention of the viewer, ignite their imagination, and have them to fall in love with Westworld (the series) by allowing them imagine about who they would like to be the same way Guests fall in love with Westworld (the theme park).
So essentially, Dr Ford's conversation with the little boy could be another instance of where the show's producers are trying to send a message to the audience: Some may find their storytelling approach slow and boring; but if you use the time wisely to ignite your imagination, your very own creativity won't let you be bored. That message seems to have gotten out to most of us; though obviously, there's still a few who haven't yet started to use their imagination yet. So Dr Ford's expositions really weren't intended for the kid or for Sizemore; it was intended for the doubters in the viewing audience to open their minds as to how Westworld (the series) is going to be presented.
Re: Hopkins and the little boy scene
Combine that with the episodes obvious message that the guests don't actually even like the fixed story lines, hence the guests annoyance at the hosts constantly bothering them about treasure and bandits in the hills.
In another Dr Ford scene, he criticizes Lee Sizemore's "Red River" attraction concept. Sizemore tries to sell the Red River idea as full of gore and spectacle, which in the end allows the guest to discover who they are. But Ford dismisses the idea with a firm,"No". Westworld (the theme park) shouldn't be filled with garish attractions, he says. Instead, the park should be filled with subtle details which the guests accidentally discover and fall in love with. It's through this process the guests don't discover who they are, but who they would like to be.
Re: Hopkins and the little boy scene
I think the boy is a robot modeled after young Ford, as for the church Dolores enters a church in one of the promos so perhaps we will find out soon
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Re: Hopkins and the little boy scene
Two things are significant about the boy.
1 - How is the boy able to go so far off script that he is lost in the desert? Do the hosts really have that much flexibility in their stories? Or maybe looking for a child lost in the desert was another narrative. Were his parents in town begging for people to help them find a lost child?
2 - The park has many characters that are purely designed to fool the guests. Sure the drunk one-eyed prospector, the saloon girls, and the sheriff are robots, but who would have guessed that a kid on holiday would be a robot? That is a subtle detail that guests could/would argue about when they get home. Do you think ____ was a robot? Do you think a child really got lost or was that just another game?
1 - How is the boy able to go so far off script that he is lost in the desert? Do the hosts really have that much flexibility in their stories? Or maybe looking for a child lost in the desert was another narrative. Were his parents in town begging for people to help them find a lost child?
2 - The park has many characters that are purely designed to fool the guests. Sure the drunk one-eyed prospector, the saloon girls, and the sheriff are robots, but who would have guessed that a kid on holiday would be a robot? That is a subtle detail that guests could/would argue about when they get home. Do you think ____ was a robot? Do you think a child really got lost or was that just another game?
Re: Hopkins and the little boy scene
Yea I think it is based on or represents Hopkins as a little boy and way of connecting with his inner child for more inspiration.
LOL you sadists
LOL you sadists
Hopkins and the little boy scene
Any significance to this scene?
What is with the church top after Hopkins dismisses the boy?