The present-day Dolores, learning this backstory, delivers a scathing monologue, reminding the Man that, unlike her, he will someday die. William saw Dolores’s predestined behavior as a betrayal, and it was his sense of betrayal, it seems, that guided him to become the embittered, sadistic Man in Black. But then she dropped a can, as she always does, and another guest picked it up and charmed her. The Man in Black tells the present-day Dolores that the young William did eventually see her again: he found her back in town, placidly repeating her loop. (Also, trading his white hat in for a black one, swiped from a dead man’s head.) He announces to his future brother-in-law that he’ll be the one to take control of the family business and its Westworld holdings, and then sends the horse galloping off into the wilderness, dooming Logan to maximum chafe-age. Himself.” Finding himself, for William, means gruesomely killing hosts, and binding Logan naked atop a horse. Instead, the Man in Black says, “Out there, among the dead, he found something else. As the Man narrates, we see that the young William searched in vain for the badly injured Dolores after her escape from the army camp. And then the Man in Black confirms one of the great fan theories of the season: he is William, thirty years after the events of Dolores and William’s lovers-on-the-run story line. Dolores defiantly tells him that William, her noble lover, will come for her. Arnold decides that he must destroy the park and its inhabitants-a merciful deity, in his philosophy, is one who can save the robots from the pain of existence.īefore Dolores can pursue the rest of this memory, though, the Man in Black attacks her in the present, goading her to lash out and turn the park into a place where the hosts can fight back and the guests can lose.
The viewer can see that Arnold, built up for so long as a mastermind, is at a loss, too-he has made himself a god without truly considering the ramifications, and now he feels beholden to save his creations from their circular near-epiphanies and endless rollbacks. In these memories, Arnold attempts to explain to her that she is truly alive, and that the maze is a kind of test of her humanity-“consciousness isn’t a journey upward but a journey inward”-but she is unable to fully grasp his meaning. The Man is enraged that the secret may be nothing more than a game, but Dolores is enveloped by memories of Arnold. Guided by patchwork memories, she leads him to the churchyard and unearths a miniature version of the maze from a grave that bears her own name. In the present, Dolores is by the church with the Man in Black, pressing a knife to his throat-because (“Westworld,” you kidder) she’s helping him shave. Arnold, her Geppetto, gently helps her up: her face and forearms are human, but the rest of her is a latticework of metal and plastic. But, by the end of the taut ninety-minute finale, Dolores would undergo the more transformative evolution. The episode began at the dawn of her creation, as she lay on a slab in a workshop. Throughout the show’s first season, Maeve, with her penetrating and cool violence, often seemed closer to liberation than Dolores, who was always _this close _to breaking down. Instead, the robots staged their liberation from within, and-thanks to an eleventh-hour flourish by Ford-arose to dominate Westworld, not to defy it. In fleeing their engineered lives and games, though, none of the show’s androids-nor, indeed, any of the humans-ended up making it out of the park’s walls. Among the guests, the cold-blooded Man in Black approached the center of the mysterious maze, an achievement that he hoped might herald an upending of the park’s unnatural order.
HOW MANY EPISODES WESTWORLD SEASON 1 ANDROID
Heading into last night’s season finale of “Westworld,” the show’s android hosts were poised to finally, as our President-elect might put it, throw off their shackles: Maeve was plotting an escape into the human world, and Dolores was moving closer to the core of her own memories and identity.
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