Television is incestuous. Every prestige drama is a sitcom’s bastard child, every reality show has a soap opera godparent, and sometimes a cartoon rabbit is secretly raising your favourite feminist antihero. TV doesn’t evolve in straight lines — it cannibalises itself, mutates, and dresses the same archetypes in new costumes. That’s where Unhinged TV Family Trees comes in.

We wouldn’t have Westward without Jurassic Park.

Both were born from Michael Crichton’s imagination. Both are about men building parks filled with unnatural beings. Both end with rich people being eaten alive by their own hubris. The difference? Dinosaurs versus robots.

Jurassic Park: cloned dinosaurs. Westworld: android hosts. Both parks built for rich visitors to live out fantasies. Both collapse spectacularly. The park is never safe, because control is always illusion.

Crichton loved to ask: what if science gave us too much power? Jurassic Park gave us T-Rexes chasing Jeeps. Westworld gave us androids hunting billionaires. Same parable, different monsters.

Dinosaurs were queer-coded long before robots were. But both stories give us outsiders yearning for freedom, for recognition of personhood. Queer audiences saw it instantly: the monster isn’t monstrous — it’s the human who built the cage.

So yes, Jurassic Park had velociraptors in kitchens. Westworld had androids in saloons. But both told the same story: hubris, spectacle, collapse.

Because in the end, whether it’s scales or circuits, the park always bites back.