Westworld Season Finale Spoiler Review

Was the Truth About Ford’s New Narrative Satisfying?

After spending its first half tidying up mysteries and fully resolving the Westworld timeline, “The Bicameral Mind” launched into one of its weirdest revelations yet. Dr. Robert Ford’s new narrative, the one that he has been secretly constructing all season, has actually been playing out in front of us this entire time. But this new narrative pushed against the boundaries of what Westworld is meant to represent in the first place. Rather than tell a story set in a western world, he told a meta story of a Host (Dolores) setting out to gain her sentience and dying a tragic end on a beach, bleeding out in the arms of her One True Love while spouting some deliciously overwrought, melodramatic dialogue. The reveal that Dolores’ “death scene” was being staged before the Delos board and their various guests was as much of a gut punch as anything Westworld has shown us so far. The only person more flabbergasted than those of us watching the show was William, who had unwittingly become the key human player in Dr. Ford’s narrative.

But that was just the public face of the narrative. Like everything else in Westworld, there was another level to Dr. Ford’s design. After meeting with Dolores and Bernard in his original lab under the church, the weird truth is unveiled: the God of Westworld has come to realize that he agrees with Arnold and that the Hosts deserve to live their own lives. He just felt they needed time to understand the enemy, to become stronger than the humans who will oppose them. While it is initially hard to reconcile this view with the Ford we’ve seen in past episodes, the God-like manipulator ruling over his own personal kingdom, it ultimately does make sense. If there’s one thing we know about Ford, it’s that he dislikes the human race and finds his Hosts to be the superior creatures. If he’s going to lose control of his world, if Delos is going to push him out, he’d rather just burn down the rules and unleash his creation upon mankind.

I’ll need to re-watch the entire first season to see if all of the pieces click together in a completely satisfying way (I’m not yet convinced it makes perfect sense), but it does set the stage for that shocking final scene and the arrival of Ford’s true narrative, which was masked by that beach melodrama. Armed with a real weapon, Dolores executes her creator with a bullet to the back of the head and begins to open fire on the assembled crowd. Outside of town, the small army of Hosts from Cold Storage arrive, wounding William. The episode concludes with Ford’s new narrative, one where the Hosts are able to make their own decisions and take back their world, has begun. The robot uprising has begun.

While it’s a shame to lose Anthony Hopkins (this was the most engaged we’ve seen him in years), his exit from the show certainly leaves an impression. A creator smashes the fourth wall, allowing his creations to destroy those who have taken advantage of his work for their own petty gains and desires. It’s black comedic tribute to artists with often despicable fan bases, who find themselves cowed by their corporate overlords. It’s like Steve Ditko or Jack Kirby summoning Spider-Man or the Fantastic Four to punch Marvel executives in the face. What if the citizens of Game of Thrones could punish HBO executives for putting them through a world of pain? Westworld just took one step into the metatextual deep end.

westworld season finale

What Happens When You Give the Perfect Robot Killer a Machine Gun?

For a stretch, “The Bicameral Mind” becomes the weirdest and wackiest ’80s action movie to ever actually be an episode of an HBO prestige drama, with Hector and Armistice machine-gunning their way through park security, clearing a path for Maeve’s escape and absorbing all of the punishment Maeve has programmed them to not feel. It’s the grand pay-off for all the times we watched these two rampage through Sweetwater as part of their loop – they were programmed to be the best killers in Westworld and by God, they are the best killers outside of Westworld, too.

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How Many Other Parks Are There?

And that brings us to the big reveal that arrives in the middle of Hector, Armistice, Maeve and Felix’s bloody escape plan: Westworld is not the only park at Delos’ resort. The crew escapes into a completely different complex (through doors marked “SW”) and find themselves in a lab populated entirely samurai Hosts. Yes, there is also a Samurai World, an amusing riff on how the original 1973 Westworld film also featured a Medieval World and a Roman World. I especially loved how the show only offers the briefest possible pause to acknowledge the change in environment. As Felix notes, “It’s complicated.”

Later on, Felix offers Maeve information on the location of her daughter and a look at the coordinates further expands the scope of Delos’ work. She’s located in Westworld, a.k.a. “Park 1.” If we assume that Samurai World is Park 2, then how many other parks are located here, offering an entire world for wealthy tourists to explore and ruin? Walt Disney World in Florida has four theme parks on one piece of property. Maybe Delos has followed suit.

And what happens if the robot rebellion of Westworld spreads to the adjacent parks? Robots cowboys and robot samurai teaming up to war with humanity certainly sounds like something I’d like to see, thank you very much.

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