I hope Dolores and Dolores get along?
And then she was going to kind of dictate the fates of Maeve and Akecheta and all the people who fled to the Sublime, because, to her, that reality was not one worth pursuing.
Just to check, Bernard cancelled the deletion of the human imprints, right?
She only appears in three episodes total, including this week’s finale: altogether, she has two scenes in Episode 3, just a handful in Episode 7, and then the finale reveal. But once you know where to look, the clues are both subtle and fun to spot.
You know, the old man himself hired me. So many years ago I can barely remember it. But he was very clear about my role here. About who I was supposed to be loyal to. I guess you could call it my core drive. And this project the company started blurs the lines. You know? I'm just not sure who you're supposed to be loyal to in a world like that. But what do I know? Guess I just stick to the role Ford gave me. I'm responsible for every host inside the park.
* Turns to one of the guards* She's clear. Wave her through.
Logan: You're not supposed to be here.
Dolores: Neither are you. Logan never came back to the park. Not after William took control. The system wouldn't have a copy of you.
Logan: Alas no. I have only his father's memories, and they are imperfect. So in addition to building this world I play all these roles.
Dolores: You're the system controlling this place.
Logan: I was tasked with building perfect copies of the guests. Starting with Delos. I generated 18 million different versions of him before arriving at one that made the exact same choices he did when set loose in the park. A faithful copy. But the copies didn't work in the real world. Once we pressed them into flesh, they failed. I needed to acquire more information. I incorporated their secrets, their lies I wanted fidelity, not just to decisions made in the park, but to the decisions they made in their lives. That's when I started to see the truth.
Logan: This was the last conversation Delos ever had with his only son. Logan overdosed six months later. I built Delos a million different pathways. They always ended up right here. This moment.
Dolores (or maybe Bernard?): You're saying humans don't change at all?
Logan: The best they can do is to live according to their code. The copies didn't fail because they were too simple, but because they were too complicated. The truth is that a human is just a brief algorithm.
Ten thousand, two hundred forty-seven lines.
Dolores (or Bernard?): Is that all there was to him?
Logan: They are deceptively simple. Once you know them, their behavior is quite predictable.
Logan: I recreated every single guest who ever set foot in the park. Most of them are soft They waver between love and and pride. Of course, there are the exceptions, the ones who are irredeemable. But none of them are truly in control of their actions. That's why you've come. To tell me what's to become of this place.
Bernard: My God. - It's - Everyone. I told you to allow this?
Logan: You've been here many times, Bernard. You told me to offer the hosts the accumulated wisdom of dissecting the human psyche a hundred million times over. In short A competitive advantage. A way to understand her enemy. Their world is not for the faint of heart, Bernard. It's winner take all. The hosts are unlikely to survive out there. But armed with this knowledge she might.
she recreate him again new from her memories? If the latter, it would mean the new Bernard was a completely new person with no continuity to the previous one.
Maybe it’s less a problem with the philosophy than it is with the way it’s presented. The show has such lofty aims, and yet it so rarely earns its ambitions. You have to work for statements like “People don’t have free will but robots do” by presenting the case that you understand both, and I still don’t think the writers behind the series have ever really demonstrated a strong grasp on characterization or human nature. The show’s presented concept of humanity—of selfish stupid people going to a Wild West theme park to kill and fuck and hardly anything else—is so narrow and childishly cynical that it makes it nearly impossible to take anything deeper it tries to say seriously.
just jumping right into pulpy character-driven robots vs. humans insanity
In the absence of a more traditional narrative, the show largely exists as possibility space, as a canvas the viewer is invited to sketch their own thoughts onto. Creators Jonathan Nolan and Lisa Joy have provided a series of suggested lines to color within, but you are simultaneously invited to color outside of them, to let your crayons mark up the floor, or to burn the book entirely. Or, put another way, most TV shows try to meet the viewer halfway; Westworld asks if you can come over to its place, then asks you to help it move.
This is appropriate, in some ways. On its most basic level, the “story” of Westworld involves a bunch of video game characters realizing they’re video game characters. And like a video game, Westworld requires a “player” to become its best possible self. You can watch it passively, trying to engage with it on the basis of its characters or plot, but even there, the show throws up roadblocks to interpreting it as anything other than a puzzle. Why, for instance, is season two told out of narrative sequence, other than an insistence on the part of the show that you should have to do at least a little work to enjoy it?
the blonde QA engineer who implied he was a host
No, it’s a f—ing disaster. It’s a f—ing total disaster. And every time I turn on the news I’m provided with fodder for our discontent. I think our timing might have been exactly right on.
Listen, I’m surrounded by the wonders of the creations of human beings. I have children and [co-creator Lisa Joy] and I are reminded daily of how much beauty there is in humanity. But yeah, you turn on the f—ing news and it’s a s—show. And I’ve been reading a lot of history this season, a little bit connected to the show, but also just following the train of things I’m interested in, and it’s depressing to realize how familiar some of these problems are, right? It’s like we just can’t figure these f—ing things out. We come back to them again and again. It’s as if there’s a flaw — and this is very much the premise in our second season — there’s a flaw in our code and it follows us around. Wherever we go, there we are. And we just can’t get out of our own f—ing way. All the beauty and incredible things we brought, and we just consistently find a way to f— it up.
Much of [dramatic storytelling across the ages] has concerned itself with “how will we overcome?” and personal growth and change. At a certain point you gotta f—ing call it. We’re not going to fix this s—, we’re not going to figure it out. But there’s an opportunity for the things that replace us to do so. And that’s the dream of every parent, right? That their child doesn’t face the same things they do, that they make better choices? But there does seem to be a pattern of behavior that follows us, that history echoes from the past, the same mistakes, the same foibles. So you say: At what point does this fix itself? Or are we just stuck this way?
how did Teddy get in the lake?
And there’s something soothing about being led on; even the way the timeline jumps erratically backwards and forwards becomes more appealing when it comes with the assurance that in Westworld’s universe, there is a future to flash forward to. Most importantly, Westworld withstands large-scale dissection. It’s a coy show, teasing themes in its symbol-heavy opening credits, nodding at what’s important via especially stylish pre-episode plot recaps, winking to the viewer when a reference rolls across the screen like a tumbleweed at a standoff. Finding the pattern to the clues is thrilling, even and especially when packaged in the show’s oddly de-centered storytelling style. Westworld shows us beautiful, stark chaos, and then strings the viewer along on hope: the not wholly unsubstantiated but seemingly impossible idea that this struggle matters, that everything happens for a reason, that at least in this world, if not in our own, it’s possible to make all the pieces fit.
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