Yet this weapon is intrinsically linked to what Dolores believes is her path to victory over the human species. Apparently Abernathy is more than just a receptacle for all the most desirous IP that’s been data mined (I even had begun wondering if Charlotte Hale and the Delos company’s priority of it was a red herring to the real weapon). But it takes on a more menacing context when we realize that she is also aware that Peter Abernathy holds the “key” to the weapon she covets. She seems compelled to save the man she calls a father, even though she is very aware that this is a script someone implanted in her head 30 years back. Now she is doing what we’ve been anticipating, taking the fight to Delos.įor Dolores, this assault initially appeared to be a Peter Abernathy rescue mission. It is how season 1 ended, but season 2 forced Dolores, the militant warrior of her species, waste time with Confederados and play the piano. In the present-most timeline (which we will dig into more later), Bernard is forced to recall Dolores Abernathy’s attack on the Mesa, and it is in those “flashbacks” that the pieces at last fall into place.ĭolores’ rampage through the Delos control center is by and large what I think we all felt season 2 was supposed to be: the war between human and host, man and machine. At last we have an episode that blends all the timelines well by converging plotlines with a sense of excitement. All of which is to say that whereas season 1 was an intricately designed puzzle box, with more moving pieces than a pocket watch, season 2 probably could have benefitted from being only eight episodes instead of 10.īe that as it may, the narratives showrunners Jonathan Nolan and Lisa Joy have now clearly been stalling are finally moving, and seemingly with as much speed as an explosive locomotive. The same may go for the furthest-most timeline where they finally realized Bernard is a robot. In fact, this hour was confirmation that other than turning Teddy into the Terminator, Dolores’ storyline has been pretty well padded ever since the second episode of the season.
The other was that the scales were lifted from our eyes and the series’ multiple timelines have begun moving with a uniformity of precision, as opposed to biding their time wading in place. This was one of the best aspects of the seventh episode in season 2. He might be a bastard, but hey, it’s home. Hearing him quote William Blake’s “To See a World…” while surveying his own universe, his “Heaven in a wild flower,” is like being welcomed home by a particularly cruel father figure. Such is the case when we spend much of tonight inside of the Cradle with Robert Ford, or at least some facsimile of the man’s genius, waxing poetic to Bernard.
And it really did feel like the HBO sci-fi saga regained something this week that we all intuitively felt was lost, right? Nor do you realize how crucial Anthony Hopkins’ pseudo-philosophical and congenial malevolence is to the Westworld algorithm until he comes back. You never really know how much you can miss someone until they’re gone.
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