
The owners of the theme park arguably do everything they do, ultimately, for money. The Wu-Tang Clan is known for their martial arts film fandom. RZA, a member of the Wu-Tang Clan, is a fan of martial arts films.

"C.R.E.A.M." (Cash Rules Everything Around Me) by Wu-Tang Clan (Episode 5, Season 2.)Ī very short rendition of the song plays in the background as a geisha, Madame Akane, dances seductively up to her enemy and releases a hellish fury upon him in the "Akane No Mai" episode.
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Djawadi's version of the song features a somber piano, eventually accompanied by violins and other strings before moving into a full orchestra rendition that builds in fullness before decreasing again to a single instrument. If he could eat Koha's "cancer" when she is captured again by the programmers, he would. Ake is locked in Kohana's Heart-Shaped Box - but not for weeks he is locked forever. They also prefer peace to the violence the park's visitors rain down upon them. This storyline tells the history of two of Westworld's original robots who have not often been killed or updated, so they've grown to love each other in the depths of their code. The episode tells the lost love story of Ghost Nation leader Ake and his beloved Kohana, two characters in the westernmost storyline of Westworld.

"Runaway" by Kanye West appeared in the " Reunion" (Episode 2, Season 2) episode.This is not real.’ It’s just such a powerful tool that only music can do.I previously recapped each episode of Season 2, but here is a quick breakdown of why each song was used in each particular episode. And when it’s not, it’s that subtle reminder that, ‘Wait, there is something not right. “You see the settings and the way people are dressed and even though you know it’s robots and it’s all made to be modern entertainment, you would think the people in control would make everything authentic, including whatever is played on that player piano. Then there are the musical easter eggs that Djawadi arranges, and that viewers can’t seem to stop discussing, for better and often for worse: the player piano that offers up vaguely warped renditions of modern songs like Radiohead’s “No Surprises,” Soundgarden’s “Black Hole Sun,” the Rolling Stones’ “Paint It Black,” and the Cure’s “A Forest.” “What I love about that is it just comes out of nowhere and you don’t expect it at all,” Djawadi says.

Scenes taking place in the park’s frontier landscape assume a more natural quality via acoustic guitars and percussion, while those set in the cold, glass-walled control center echo with synths and other electronics.
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Deep into a composing career anchored by six seasons (so far) spent scoring “Game of Thrones,” Djawadi has approached HBO’s latest prestige TV favorite with a strong sense of place and contrast.
