Maeve is determined to leave the new world in which she's been trapped.
Dolores makes her way in the world beyond Westworld
Bernard wakes on a beach, not fully remembering what happened. Dolores continues forging a new reality.
Season 1, Episode 9: “The Well-Tempered Clavier”
Directed by Michelle MacLaren
Written by Dan Dietz & Kath Lingenfelter
* For a review of the previous episode, “Trace Decay” – click here
* For a review of the next episode, “The Bicameral Mind” – click here
Maeve Millay (Thandie Newton) – where are you going, where have you been? Right now she’s back out in the lab. Fellow host Bernard Lowe (Jeffrey Wright) checks her out. He tells her about the “unscripted incident” that’s brought her there. Will she start to use her power of influence over Bernie? Oh, I’d love to see that. For now he discovers the changes in her code, finding it rather suspicious. He calls Dr. Ford (Anthony Hopkins) immediately, but Maeve reaches out. She recognises Bernie from somewhere before. And then, she freezes his motor functions stopping him dead. This is when he has to come to grips with the “hideous fiction” of their lives as hosts. What we’re seeing is the beginning of the robots rising up, coming together. Meanwhile, Maeve is headed back to Sweetwater, as Bernie stumbles back into motion confused yet enlightened all the same. Disturbing to watch him go through this whole ordeal.
Logan (Ben Barnes) is in the desert with his captives William (Jimmi Simpson) and Dolores (Evan Rachel Wood). “There are more important things going on here than your war games,” William says. He tries explaining there’s something different about Dolores. And he wants to get her out of the park. But she starts wondering that if the world is so wonderful in reality, why do they die to get into Westworld? Such an amazing and perfect moment. So succinct, on the nose. Now I’m afraid Logan’s planning on killing Dolores.
In the meantime, Bernie goes to see the doctor. Ford is downstairs in the sea of washed up hosts, deactivated in the creepy warehouse. They talk about their relationship, as well as Arnold. What Bernie wants is access to all his memories, to find whether Arnold has another purpose for him, the other hosts. Ford beats around the bush.
Until a lobotomised Clementine (Angela Sarafyan) is brought in to point a gun on the ole doc; she’s been reset and she can actually do damage. Ah, tricky Bernie. Once Ford activates Lowe’s memories, they flood back heavy. He goes from past to present, everything in between. He sees his wife, his sick child, Theresa (Sidse Babett Knudsen). Is he losing his mind? Well, we do see that it was him who grabbed Elsie in the dark. Shit. The devious Dr. Ford and his “uncomfortable decisions.” What a rat bastard.
Out in the desert, Logan taunts William over his wife at home, real life outside Westworld. He mocks William’s feelings for Dolores. Logan decides to give his friend a wake up call. He stabs her in the gut, ripping her flesh open to reveal the robotic insides. This not only sends her into shock, it deals William a devastating blow to the mind. Then Dolores fights back, she grabs a gun and start to fire on Logan and his men.
She takes off into the desert with the voice of Arnold in her head: “Remember.” And suddenly she’s okay, running on into the night.
In other parts, Hector Escaton (Rodrigo Santoro) and his crew bed down for the night when Maeve comes across their camp. She is by far my favourite character, not only bad ass but smart. Maeve is taking upon herself the task of changing the narrative, or trying to at least. She predicts what will happen next, so that when it does Hector understands completely, and then she steps in and blows away the only other person left. “I want you to see exactly what the gods have in store for you.” When she opens the safe the gang stole from Sweetwater, it’s empty. Like everything else in their little world. She’s bringing the other hosts over to her side, showing them the way. Hector starts seeing what’s been right before his eyes but what he’s been programmed not to see the entire time.
Poor Billy, Big Willy style. He’s confronting the hard truths of Westworld. Logan tries to show him how they’ve bonded, discovering things together. About life. About themselves. They share a drink and everything’s fine. Is it, though?
The Man in Black (Ed Harris) and Teddy Flood (James Marsden) are still tied in the desert. Things aren’t looking good. Not at all. Wyatt (Sorin Brouwers) isn’t around – he’s in Escalante, most likely. Where he and Teddy shot down their fellow soldiers in a vicious mutiny. “It was like the devil himself had taken control of me,” Teddy claims. Or is that really the case? Looks more like he was a lawman and he took the place out single handed. Oh, god damn. Plus he gets stabbed in the guts by their captor. A brutal end to Teddy’s current storyline. As for Black, he’s knocked out cold. When he wakes in the morning, he’s left on his own, tied to a horse by the noose on his neck. Precarious, to say the least. That is a Western scene right there if I’ve ever seen one! Black manages to get the knife out of Teddy’s chest in time to cut the rope before the horse hangs him. Afterwards, Charlotte Hale (Tessa Thompson) shows up to have a chat with Black about Theresa’s death, “the game” and all those things. We find out a little more about Black and his involvement in things behind the scenes, his role alongside Charlotte, et cetera.
Stubbs (Luke Hemsworth) gets word about a signal from Elsie Hughes’ tablet from a sector that’s not been worked on for weeks. Very curious. I keep trying to figure out what Stubbs means in all this, because he seems like a genuine character. I’m wondering more and more if he’ll play a bigger role at some point, or if he’ll wind up dispatched by one of the out of control hosts. When he goes to check out the signal from Elsie, a tribe of Natives find him. And he can’t get any of the master controls working to stop them from tackling him.
In the desert, Logan wakes to find a massacre around him. Bodies all over. Arms and legs and appendages everywhere. At the middle is Billy Boy. He’s been having quite the morning. Are we seeing him become The Man in Black here? Is that what’s happening? He’s going full psycho on Logan, wanting to track down Dolores now. Uh oh. Or, is this a bit of red herring served up?
Other memories leak back to Bernard, he goes through a moment where he saw Maeve kill herself in an “empathic response” not usual for hosts. Ford chastises him for thinking of it too much. More memories of the past, then back to the present again. Furthermore, we see Bernie asking Ford about Arnold, as cuts take us back and forth to Dolores searching out the very same man. She finds a town, one she remembers. Ford keeps on telling Bernie about Arnold wanting to actually create consciousness. But all Bernie wants is to “go back to the beginning” of his own memories. Ford returns him to the moment of his son’s death, the “cornerstone” around which his entire host identity is built. In effect, this returns him to a state of normalcy. Tabula rasa. Starting over at the moment of his conception when Ford crafts him in the likeness of Arnold.
On and on Dolores is called out to that familiar church, through its doors, where people sit in a state of mourning, crying and raving to themselves. In a confessional-type booth Dolores sits in a chair which takes her to a lower level. It’s like the dingy basement of an ageing hospital. Corpses lay about all over the place, as if it’s a downgraded version of the lab space they have in Westworld. But out of nowhere, Dolores is in her costume again. She sees hosts in rooms going through narratives. Then, a young Ford appears shouting at Arnold in the distance. She makes it to another basement where it looks like the modern Westworld lab. Dolores goes right back to that moment where she returns to Arnold, as they sit and converse together. Two hosts lost in a cyclone-like narrative, swirling around and around again. Are they able to break free? And who’ll break first? The way this sequence is filmed, with Dolores on her own and Bernard recounting his memories of being ‘born’ as it were, is downright fascinating. Proof that Westworld is dominating in the cinematography and creative areas of the writing together.
And when Dolores comes back from downstairs, to the surface, in walks The Man in Black to horrify her. Down in the Westworld lab Clementine still holds a gun to Ford. For his part, Bernie is piecing it all together. Then he orders Clementine to pull the trigger. Only there’s a “backdoor” built into the hosts, by Bernie himself. Shiiiiiet. Now Lowe is made to put a gun to his head while the doctor leaves him. Just as the true voice of Arnold comes out, for a second.
Ford leaves and we see Bernie in the other room, pulling the trigger.
Holy fuck. This episode was a god damn roller coaster! I can’t get over this series. I love it. Either way, finale is next up and it’s titled “The Bicameral Mind” and I’m way too excited for it, to see how HBO will wow us in the lead up to another hopefully fantastic season.
Season 1, Episode 7: “Trompe L’Oeil”
Directed by Stephen Williams
Written by Charles Yu
* For a review of the previous episode, “The Adversary” – click here
* For a review of the next episode, “Trace Decay” – click here
Bernard Lowe (Jeffrey Wright) wakes to the sound of his son’s voice. The boy is ill, his father reading Alice’s Adventures in Wonderland to him doing all the voices. Sadly, followed by his stats dropping. Then Bernie wakes at home in bed by himself. He goes about his day testing robots, asking them questions. He works on Hector Escaton (Rodrigo Santoro) who had a “blacklisted” encounter with a guest. The man wanted to cut off a piece of him and bring it home. This did nothing to change Hector’s worldview. All is well. Except that Elsie Hughes (Shannon Woodward) is nowhere to be found, and will she be found? Or did whoever sneaking up behind her in the dark last episode do something tragic?
Inside Westworld we’re back with William (Jimmi Simpson), Dolores Abernathy (Evan Rachel Wood), and their latest friend Lawrence (Clifton Collins Jr). It’s a tenuous friendship, but they’re together nonetheless. All three of them have reservations, problems. William mentions his friend wanting to see “what was at the end of all this.” Sounds familiar, no? Like somebody we’ve seen searching for The Maze? Either way, soon the trio on their train roll through rough Native territory and they must tread lightly.
It doesn’t take long for Bernie to start worrying about Elsie. He’s got enough going on with Theresa Cullen (Sidse Babett Knudsen), anything else just makes things worse. Of course there are many more concerning things happening around Westworld. I wonder how long Lowe will let his former lover sit unknowing about what he’s found. Perhaps for the best, right now.
Upstairs, Charlotte Hale (Tessa Thompson) bangs Hector, using him as a personal sex toy. She calls a meeting with Theresa. The board is mostly only concerned with the intellectual property at Westworld. Everything outside that is secondary, or nothing at all. “But the gods… they require a blood sacrifice,” Charlotte tells Theresa. The hosts need to be revealed as dangerous. Fuck.
Over at the Mariposa, Maeve Millay (Thandie Newton) continues her days, as usual. Except, not like usual. She is enhanced; more intelligent, more aware. Everything feels off to her. She and Clementine Pennyfeather (Angela Sarafan) have their usual chat, but Maeve sees everything stop, she isn’t shut down like the others. In come a team of men. They’re actually there to take Clementine, so Maeve plays dumb, not moving. Now, this is an interesting little twist. If she isn’t subject to certain commands anymore this could lead to a few tricky situations.
William and Dolores talk on the train. He talks about only ever having books as a boy, getting lost in their imaginary world. He wants to “find out what it means.” Oh, man; is this heading where I think? The clues are all there to make him The Man in Black (Ed Harris), although I can’t see where that whole thread is heading ultimately. Maybe those breadcrumbs are just red herrings. Meanwhile, William must reject Dolores’ advances because he has a wife back home. But that only lasts a minute or two before they fall into each other’s arms.
In one of the labs Dr. Robert Ford (Anthony Hopkins) and Bernard meet with Charlotte and Theresa. They’ve got things to discuss. So Ms. Hale talks about the recent “reveries” of the certain hosts. In comes Clementine. They say she has issues. Then they have a man beat her, as everyone watches on. She’s reset and everyone repeated. Only the next time she’s attacked Clementine fights back, brutally. Kicking the shit out of her abuser. Hmm. They send Stubbs (Luke Hemsworth) in to take care of the renegade host, but she won’t stop on command. Until Stubbs puts a bullet in her heart. Therefore, Theresa and Charlotte use this as ammunition to fire Lowe, as he won’t speak against Ford. Oh, the doctor doesn’t like that. Not one bit.
Dolores tells William she’s “not a key” and that she can’t unlock anything for him. That’s all in his own mind. He feels a bit lost now all of a sudden in the whole appeal of Westworld. I’m still unable to shake the idea that he and Black may be one in the same; not sure, not yet, there is just a strong parallel between William in this episode and stuff we’ve heard from the Man in Black. Eventually the train stops, though. Lawrence sees the Confederados have them in the sights of their machine gun. And the bullets start flying.
While the trio of buddies fight off the Confederados they wind up in Ghost Nation territory, where the Confederados get slaughtered in bloody fashion. Letting Dolores, Lawrence, and William ride off literally into the sunset, though the new lovers part on their own course soon enough.
When Maeve is out in the lab again she asks the friendly technician to find out where they took Clementine. She’s up in the Body Shop. They discover her being worked on, lobotomised. Maeve has her two bumbling technicians under a thumb: “At first I thought you and the others were gods. Then I realised, you‘re just men. And I know men.” Now she wants out. Or else people start dying.
At the same time Bernie confronts Theresa about “human intervention in the code” concerning the demonstration earlier. Moreover, he also feels there’s something wrong, worth sharing with her. He brings Theresa out where Ford’s little memory house sits in a corner of the park. There, they head downstairs to another lab where hosts are built where hosts are rendered. Theresa finds the blueprint for several hosts, including Robert, Dolores, as well as one that looks strikingly similar to Bernard. Then Ford comes upon the two in his hidden basement. “You‘re a fucking monster,” Theresa tells him.
All is clear. Jesus. WOW, I never once guessed. That’s why there are only memories of his previous life – his boy, his life as a father. Oh my god. A moment of true devastation. Ford sees it otherwise. The hosts are free; under his hand. He ordered Bernie to bring Theresa there, to kill her. One problem solved for the now very terrifying doctor.
What a quality bit of writing. I’d honestly never considered this possibility, I can only imagine what else Westworld has in store for us. The twists and turns are there, waiting to unfold. Ought to be quite intriguing where this all heads next.
The following episode is titled “Trace Decay” – what will be revealed?
Season 1, Episode 4: “Dissonance Theory”
Directed by Vincenzo Natali (Splice, Cube)
Written by Ed Brubaker & Jonathan Nolan
* For a review of the previous episode, “The Stray” – click here
* For a review of the next episode, “Contrapasso” – click here
Bernard Lowe (Jeffrey Wright) is tinkering away at Dolores Abernathy (Evan Rachel Wood), as usual. She tells him that losing everyone she’s loved “hurts so badly.” She speaks of grief. As if she knows the feeling. Like instead of being a robot, she’s become human in her emotion. But it’s all a “scripted dialogue.”
Is the machinery at Westworld becoming more sentient than it ought to? One thing’s for sure: Dolores believes “there may be something wrong with this world,” like an evil lurks below it all. Then Lowe tells Dolores of a game called The Maze. He wants her to play. Apparently if she can play it and succeed, she may also find freedom.
And what exactly is the greater purpose of Westworld’s grand illusion? We know there are… levels. However, what does that mean, exactly?
When Dolores wakes up on the plains of Sweetwater she’s with William (Jimmi Simpson), who last whisked her away from trouble in the previous episode. Back at the saloon, Maeve Millay (Thandie Newton) and Clementine Pennyfeather (Angela Sarafyan) chat while The Cure’s “A Forest” plays on the player piano. Really dig the song choices, especially how the fit in anachronistically with the Western setting. All of a sudden Maeve’s world goes funny. She sees blood all over Clementine. Then she’s on the floor. A man fires his gun into people around the saloon, over and over. The sick fantasy of a player enacted on the helpless hosts. Just another day in Sweetwater. Robot life. Afterwards, in come the cleanup team to get things sorted for the next team of players visiting the park.
Then Maeve snaps back. Everything is fine. Clementine’s still yammering on. Ah, the flashbacks of a previous day, a death some time before. But it’s set Maeve off and nothing is the same as it was before. She continually flashes back and forth between the present and those awful memories. So, she draws a picture of a man in a Hazmat-like suit. Before finding a bunch of similar drawings beneath a floorboard in her bedroom.
Out in the lab, Elsie Hughes (Shannon Woodward) is running Theresa Cullen (Sidse Babett Knudsen) over the violent malfunction of the stray from last episode. The one who smashed its own head in with a rock. Bernard drops by to check in. But it seems Theresa is taking over, sick of how things are going lately. Like any right-minded person, Elsie’s worried this problem is spreading like an infection through the hosts. And she airs those grievances to Bernard. He’s lost, though. Lost in the memory of his own loss, that of his boy. He is blinded by love and science at once and I don’t think he’s the best judge of who’s doing what right at the moment.
William wants to take Dolores back to Sweetwater, while his buddy Logan (Ben Barnes) would rather kill her off. It’s only a game, right? In other parts of the world, The Man in Black (Ed Harris) is trying to figure out “what this all means” and how the game is supposed to end. Again: what exactly is the whole purpose, the deeper meaning to everything? Well, The Man in Black and his hostage Lawrence (Clifton Collins Jr.) run into Armistice (Ingrid Bolsø Berdal) and her gang. He proceeds to kill a few of them, ingratiating himself to her company.
Poor Dolores, she looks adrift every time we see her. She wanders around in another little town. She meets a girl who draws a maze, like the one from the scalp we’ve seen, in the sand and then disappears. When Dolores is confronted by a man things get eerie. But William interrupts and everything goes back to normal. At least for the time being. Either way, Dolores is wary of her world more and more. “Sometimes I feel like something‘s calling me, telling me there‘s a place for me somewhere beyond this,” she tells William.
Then she fades out. The moon becomes a light above her. She’s on the ground, corpse-like. Men in Hazmat-style suits are around her. And just as quickly William whisks her around in his arms, frightening her. Reality – whatever reality she exists in, I guess – is slipping.
We start to hear The Man in Black talk about Arnold. You remember him, right? The old partner of Dr. Robert Ford (Anthony Hopkins). Once more, The Man in Black takes out that bloody scalp he procured in the first episode. Now he’s hoping to get help from Armistice in order to enact the next portion of his plan. Deliciously devilish. I still don’t think he’s an older version of William. I don’t see this as happening in two different eras. Could still find a surprise there, but I just can’t see that. Moreover, with the little trickles of information concerning Arnold, I feel like Dr. Ford has skeletons in his closet, and the Bad Dude in Black just may rip a few of those out into the daylight just yet. We do get a clue about Ed Harris’ character when another visitor at the park mentions his “foundation.” Interesting stuff.
Armistice, The Man in Black, Lawrence, their crew, they head to a nearby prison. Black is tossed in alongside Hector Escaton (Rodrigo Santoro), as the police take Lawrence to the firing squad. Black plans on breaking Hector out. Outside, Stubbs (Luke Hemsworth) approves some pyrotechnics. Oh, baby – the cell door gets blown open. So does one cop’s face, having taken a cigar off Black not expecting it to explode in his face. Literally. For the second time, The Man in Black saves Lawrence from an execution: “Mo–therrr–fucker,” he exclaims upon rescue.
So what’s the next step for ole Black? Armistice tells him about Wyatt, one of the men who killed everybody in her town when she was younger. Maybe there’s another hunt together in their future.
More problems for Maeve. She sees a little girl from a Native American tribe drop a wooden toy. It’s shaped just like one of the suited men from her visions. Part of “their religion,” a man from town says.
Outside, Bernard and Theresa talk about Westworld troubles. She has to meet with Dr. Ford because of his recent, troubling behaviour. The next morning she meets the eccentric man, he’s out watching equipment clearing out new space in the desert. All a part of his latest, massive narrative. Theresa worries it’ll take much longer than projected, and that it won’t do his “legacy” right. For his part, Ford believes she doesn’t exactly like being there at Westworld. She doesn’t particularly. Ford speaks of Arnold and his preference of the hosts over real people. He likewise remembers that Arnold went crazy. There are slight and plain warnings from the doctor: “Please, don‘t get in my way.”
On their adventure, Logan and William head into a gang’s hideout and start blasting. A huge gunfight erupts, as Logan has a laugh and William tries getting into it. Just like a damn video game come alive!
The Man in Black and Lawrence come across a mutilated body: Teddy Flood (James Marsden). He is in terrifying shape. All the fellas can do for him is cut him down.
Into Sweetwater rides Hector and Armistice. They unload their weapons and then their bullets into anybody nearby. Like it always is during this storyline. Into the saloon goes Hector until Maeve pulls a gun on him. Upstairs, she questions him about the drawings of the men in the Hazmat suits. “Native lore,” he tells her. She also tells him about having been shot. She wants to see if there’s anything inside her as evidence. When he won’t cut into her, Maeve does it herself. But Hector, he puts his hand in the wound to do some searching. Sure enough there is lead inside her belly.
“What does this mean?” Hector asks.
“That I‘m not crazy,” she replies. “And that none of this matters.” Right after, men burst through the door to gun Hector down.
What a solid episode. The writing is insane! I love it. Such wonderful concepts and a lot of different angles, different characters. So many things happening.
Next episode is titled “Contrapasso” – will we learn more of Dr. Ford and his old pal Arnold?
A downhome vision of Crime & Punishment, as one man faces the consequences of unintended actions no matter how perilous.