Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
In the fantasy world of AI-populated Westworld, unchecked humankind regresses into violence toward the "Other" -- just as we do in the chaotic real world. Is that the essence of human nature, to always reject its' self as seen in the visage of the Other?
Curb Your Enthusiasm's well-established characters are reacting to their former selves, rather than inhabiting or reinventing themselves. Thus, it loses the rhythms and inflections that once made the show so consistently, diabolically funny.
The uncanny similarity of scenes in this show to the Hollywood harassment/abuse stories -- up to and including the proposition that suffering can advance one's career -- reveals Westworld to be too content to reenact the mechanisms of systemic abuse.
Seinfeld and Curb Your Enthusiasm, are not shows about nothing -- they're about everything. They’re shows about people who cannot have a thought without vocalizing it, regardless of the social or emotional consequences.