HBO
The latest episode of Westworld was called ‘Phase Space’, which is probably its most obscure, complicated title yet. In essence, it means for a specific system (say, Westworld or the show Westworld) a virtual ‘space’ exists that contains all possible states of that system. To me, this is a delightful jab in our face to let us know that we are seeing different things, all true, all possible to be interpreted in different ways, but only one final way to resolve the conflicts.
Thus the opening and closing scenes tie together with the opening scenes of the season, the Bernarnold shown talking to Dolores back then seemingly not Arnold at all, but a new Bernarnold instead. So where is Bernard? Inside the Cradle, talking to the man fighting back — a virtual Ford.
No matter what else happens, I am legitimately excited to see this actor back on the screen chomping away at this material.
HBO
Although the episode attempted to fool us, there were really only two significant storylines of note. First, the continuation of ‘The Adventures of Maeve and Company’ which ends in yet another bloody cliffhanger. I was at first a bit saddened that Akane and Musashi were parting company, and then thrilled when Armistice’s double Hanaryo actually does go with them.
The sword fight, a duel instead of a deal, mirroring the Old West gunfights, was elegantly choreographed and exciting to watch, leading to a moment that echoed throughout the episode — choice to make one’s fate. Tanaka chooses to commit seppuku or ‘harakiri’ in the traditional way instead of being a coward. Hanaryo chooses to fight alongside her Western snake double. And the humans make their choices too — Simon chooses to call for outside help, Sylvester chooses to do nothing, and Felix chooses to run into battle.
But which of those choices is the choice of death?
Regardless, it’s eminently well done, and one of the best parts of the show. Maeve’s heartbreak at her daughter’s replacement mother fits, and serves as a good way to push at her commitment to choice versus her inner desires.
HBO
The other storyline plays with this too, with a mix of scenes that work and ones that don’t work as well. The Dolores scene finally gets somewhere interesting, as they use the visitor train to go in reverse and crash into the headquarters. I admit I didn’t see that coming. As for the rescuing soldiers, it’s a mix — the new Delos guy is fine, just kind of a cliché.
I did find the scenes with William and his daughter affecting — but suddenly I began to wonder too: Was she really a human? Honestly I don’t know. But those tears seemed legitimate and served to deepen the character and history of these two. I hope it leads somewhere that pays it all off.
Finally, I’m always glad to see the Bernard/Elsie show. Those two have a great rapport and chemistry, and I like to see them trying to solve problems together and prove themselves to each other. It lead into that fantastic final shot of Ford playing the piano that I should’ve seen coming but totally didn’t. A great way to end the episode.
Overall, the episode was a bit all over the place. I really enjoyed quite a few pieces, and some didn’t work as well. But it’s been a great season so far.
What did you think of this episode? Tell us in the comments below!
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