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"Westworld" season 4 episode 7: one last game - voila! culture


Although the fourth season of "Westworld" is certainly successful, the shocks she imposed on herself throughout her life make some of her plot choices empty of content. Spoilers

Brave New World: "Westworld" Blog

"Westworld" Season 4 Episode 7: One Last Game

Although the fourth season of "Westworld" is definitely successful, the shocks she inflicted on herself throughout her life make some of her plot choices, the ones that should be the most exciting, empty of content.

Even so, it's very intriguing to see where the plot goes after an episode like this.


Ido Isaiah


Monday, August 8, 2022, 7:50 p.m. Updated: 8:07 p.m.

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Promo "Westworld" season 4 episode 7 (HBO)

The fourth season of "Westworld" is the best since the first.

In fact, as a whole, assuming that the last episode will not be a huge disappointment, the fourth season of "Westworld" in my eyes is the only good one besides the first.

The feeling in her is the strongest and most consistent since the beginning of the series.

It has good plots, great twists, puzzles that are fun to try to solve and philosophical ideas that are familiar but always thought-provoking.

However, even as such, "Westworld" repeatedly illustrates that it must immediately row to its end, and an episode like "Metanoya", the seventh of the fourth season, emphasized this in particular.

No less than four main characters are "killed" in this episode: William the host stabs the original William and then comes out and shoots Hale and Maeve in the head, smashing the control units in their heads - black (Maeve), red (Hale) and white (basic host) host corpses lying in the blue pool .

Minutes later William does the same to Bernard.

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Black, red and white.

"Westworld" season 4 episode 7 (photo: screenshot, HBO)

But all this has no meaning, and if there is - it is flawed.

Of all these dead, only the original William is probably really dead (and even then, you know, given the life control that Stubbs notices when they enter the hall), but what does it matter if he still has a duplicate that has become almost completely his own likeness?

Or if even so in the future they will try to return him even in his human form, which will be uploaded to a host body and try to gain "loyalty", as we saw at the end of the second season?

And the only death that looks like a real farewell, one that was clearly observed both in the current episode and earlier this season - Bernard - becomes puzzling and far-fetched.

Why would she die, for God's sake?

If he knows his fate, he could have created many duplicates of him, perhaps leaving a backup for himself.

He backed up and duplicated others but did not prepare anything for himself?

But it seems so, the episode presents his death as real.

Bernard bids farewell to Stubbs with an emotional hug - who apparently misinterprets the dead man's identity, and his friend doesn't bother to correct him - after being shot, he goes through the door into the light-filled room into which Charlie, Arnold's late son (originally Arnold's), slipped in, and as Bernard enters the pixels freeze.

Over the years, "Westworld" has shaved itself off here and there, until its every move regarding the death of characters seems spoiled in one way or another.

Now the only human character left in the series is Frankie, and even in her case Bernard created duplicates of her and all her friends in the underground, so the day will probably not be far when she too will become a host.

So if everyone is a robot, and almost everyone is backed up and can come back to life at any given moment, the sense of risk simply doesn't exist.

On the other hand, if a host character blows her soul, a hole opens up in the plot.

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Looks like a real breakup.

"Westworld" season 4, episode 7 (Photo: John P. Johnson/HBO)

The sad thing is that the best character in the series is also the one who probably won't be back, and her absence is even more felt in the face of this season's villains.

Robert Ford, played wonderfully by Anthony Hopkins, is mentioned frequently in these episodes.

He comes to mind at the sight of the excavated quarry where Caleb found his death.

It is mentioned without words when Charlotte Hale illustrates how she controls the humans with the flick of a finger, just as he controlled the hosts in the park in the same way.

Even the music dedicated to him in the first two seasons, the melody named after him that was and remains the most beautiful in the series, returned when Bernard brought Maeve back to life in the previous episode.

The fact that his ghost hovers over everything does his current counterparts no favors.

Charlotte Hale was interesting throughout most of the third season, when she was unable to reconcile her body with her mind, which belonged to Dolores at all.

She was getting closer and closer to her human form, and it was fascinating and touching in equal measure.

But "Westworld" soon returned her to the role of the power-drunk villain, which is something that Tessa Thompson simply cannot portray.

She has proven this since the first season, when her character was still human.

The thought that Thompson is supposed to be the equivalent of Anthony Hopkins is laughable, and that is indeed what happens most of the time in these episodes when she tries to show off her hand strength, speaking, scheming and sitting on human chairs.

You can take some comfort in Bud Harris, but his character is also problematic, as it always has been.

Just like Hale in the previous season, this time the man in black is the one who experiences an interesting identity crisis, but then quickly returns to his natural, nihilistic, monotonous and boring self.

Quotes that you can literally imagine his mother's children hanging posters of on their bedroom walls: "Civilization is just a lie we tell ourselves to justify our true destiny. We are not here to ascend. We are here to destroy."

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Limited actress.

Tessa Thompson, "Westworld" season 4 (Photo: John Johnson/HBO)

A problematic character.

Ed Harris as the Man in Black, "Westworld" season 4 episode 7 (Photo: John P. Johnson/HBO)

What's left now is the man who said it, and the woman who said at the beginning of the season that she wanted a story with a happy ending.

While it's still not entirely clear where Christina/Dolores stands, she appears to be the only significant player left against William, pitting these two old enemies against each other again.

Will everything be enough to end in one episode, the last one left for the season?

"Westworld" tends to close its stories and then start new ones, and it will be interesting to see if it will be the same this time.

Either way, Cristina's story is one of the strongest this season, one that once again introduced us to her once charming character, and was undoubtedly the most enigmatic of all the storylines this time, a combination that helped the series return to its former glory.

There seems to be a clear division here: when Dolores is good, "Westworld" is good.

When its character is unruly, "Westworld" is at least uneven in its level.

Also in the current episode, the most exciting moment in it was when Teddy called Christina "Dolores", just as the most exciting moment in the fifth episode of the season was when Christina searched for the farmer's daughter's name in the system.

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What is real and what is not?

"Westworld" season 4, episode 7 (Photo: John P. Johnson/HBO)

Even just before the end, it is not entirely clear what her story is, but it seems that the series introduces a new element that we have not seen in it before.

Christina is neither in the real world nor in the simulation, but controls the real city without being in it herself.

Looking at her from the outside and yet it seems - especially to her - that she is inside.

She is like a figure in a mirror - the reason why "Westworld" made a lot of this season to present her to us through her reflections.

What does this say about her interactions with other characters?

Her partner, the boss, that meeting with Hale, the dates?

And of course - Teddy?

Maybe Dolores is in a network that overpowers the city, and just as she is able to tell the residents what to do, she can also have conversations with them?

In Hale's case, she is the one who put her in this role of storyteller, for some reason, and therefore also checks on her from time to time.

Even if it turns out in retrospect that Hale spoke to an empty chair, by virtue of her control over the crowds around her, none of them will raise an eyebrow.

But what about Peter, the man who blamed Christina for ruining his life?

How did he manage to call her and follow her even though she wasn't there?

Was it all a figment of her imagination in an attempt to wake her up to the truth?

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The small details are important.

"Westworld" season 4, episode 7 (Photo: John P. Johnson/HBO)

As for Teddy - his case is certainly different.

When the original Dolores set out on her journey in the first season, she heard a strange voice in her head that eventually turned out to be herself.

This is something Arnold then tried to achieve with the hosts.

He called it the "bicameral brain".

As Ford explained to Bernard at the time: "Arnold was trying to build a version of this cognition where the hosts hear their own programming as an internal monologue," he said, "hoping that over time their own voice will take over."

Is Teddy again the kind of voice that will eventually turn out to be Dolores's fault?

This is a very logical reasoning, and there is great beauty in it.

As you remember, in the second season Dolores controlled Teddy and made him do her cruel will, until finally he shot himself in front of her eyes.

Dolores respected his choice and did not return him, but deposited him in the Sublime, the gated paradise of the hosts to which only Bernard has access.

Teddy has no way - and probably no desire - to get out of there.

And so, in her current incarnation as Christina,

In that case, the implication is that it is not him who has been following her since the beginning of the season but Dolores herself, simmering beneath the surface of her consciousness.

When Peter attacked her with a knife, it wasn't Teddy who saved her but Christina's ability to control the attacker's actions.

The one who knocked on the bathroom door this time while Christina was lying in the bath, was her own subconscious.

She rose from the water as the hosts rise from the milky liquid in which they are formed, like a new person baptized and purified.

Will she soon agree to go back to calling herself "Dolores"?

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The risks are dull.

"Westworld" season 4, episode 7 (Photo: John P. Johnson/HBO)

Despite Bernard's death, he left behind things that are intriguing to see exactly what their purpose was.

First he opened the door to the "sublime", perhaps so that the survivors of humanity and the hosts could enter it and be saved.

On the way there he left a gun in the tunnel, and later, instead of collapsing the tower as he claimed he planned to do, simply stood in the room and recorded a video message.

"There's only time for one more game, if you choose to give her that option," Bernard says on the recording.

"You won't be able to miss. Reach out your left hand."

William then entered the room and Bernard was arrested, but presumably had time to send the message to the right person.

Maybe for Dolores?


One of the backups he created?

It is also interesting to note that both William and Bernard used the words "one more game" almost at the same time, and it must be assumed that they do not mean the same one.

One of the interesting explanations on the web is that Bernard created a version of Emily, William's daughter, who was shot by him, and this is indeed something that links to what Ford - in his computerized version - said to William in the second season, before sending him on what appears to be a tragic and pointless journey, the one in which he accidentally murdered his daughter: "One last game".

"Westworld" is a work of small details, so everything in it seems calculated even if sometimes it really isn't, as we learned from Bernard's intermittently disappearing scar in the second season.

It is therefore difficult to know whether the double "game" comment signifies anything;

If a scene like William and Bernard's, which began in daylight and ended in complete darkness, even though it apparently lasted only a few minutes (and then when William walks outside it is evening time), is it significant, or did the series just want to jump to the evening hours;

And where the hell did Caleb have the money to pay for the coat at the train station.

We can only hope that we will find out later.

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Source: walla

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