Jimmy McGill (Bob Odenkirk) has begun giving into the temptation of working for Gus Fring (Giancarlo Esposito) in Better Call Saul’s fourth season. AMC’s hit prequel focuses on the circumstances leading to McGill becoming the infamous Saul Goodman. Chuck (Michael Mckean) has long passed but the firey circumstances surrounding his death and ignited feuds which only leads to an explosive outcome.
Giancarlo Esposito as Gustavo “Gus” Fring – Better Call Saul _ Season 4, Episode 2 – Photo Credit: Nicole Wilder/AMC/Sony Pictures Television
Here’s the trailer setting the stage for season four –
AMC also released this synopsis –
In Better Call Saul‘s fourth season, Chuck’s death catalyzes Jimmy McGill’s transformation into Saul Goodman. In the wake of his loss, Jimmy takes steps into the criminal world that will put his future as a lawyer — and his relationship with Kim — in jeopardy. Chuck’s death deeply affects former colleagues Howard (Patrick Fabian) and Kim as well, putting the two of them once again on opposite sides of a battle sparked by the Brothers McGill. While Mike takes a more active role as Madrigal Electromotive’s newest (and most thorough) security consultant. It’s a volatile time to be in Gus Fring’s employ, as Hector’s collapse sends shock waves throughout the Albuquerque underworld and throws the cartel into chaos — tearing apart both Gus and Nacho’s well-laid plans. While Gus changes course, Nacho finds himself in the crosshairs of deadly forces.
Dwayne ” The Rock” Johnson, has quickly become one of Hollywood’s most successful actors seemingly churning out hit after hit. His latest project Skyscraper has the look and feel of any number of Die Hard movies. Johnson commented on this recently via twitter –
With that in mind, here’s the final trailer for Skyscraper –
While the trailer doesn’t give the impression that the film even will come close to the classics Johnson alluded to, Skyscraper does appear to capture the essence of any number of 80’s/90’s action films. Johnson’s character like McClane is seemingly against incredible odds and seems to overcome them. Fans may need to check their brains at the door, so they can fully embrace any number of action sequences which will likely defy all logic. Check out this summary of Skyscraper which releases next week.
Former FBI Hostage Rescue Team leader and U.S. war veteran Will Ford now assesses security for skyscrapers. He’s on assignment in China when he finds the tallest, safest building in the world suddenly ablaze, and he’s been framed for it. A wanted man on the run, Will must find those responsible, clear his name and somehow rescue his family, which is trapped inside the building, above the fire line.
Sharp Objects is a slow burn that meticulously navigates a narrative, which ratchets the tension with every twist and deception until it reaches a feverish, yet satisfying point.
Combine this with three dominant performances, and the result is a series, which is reminiscent of True Detective’s first season. Amy Adams and Patricia Clarkson are both mesmerizing on screen, and together they slowly build towards a simmering ferocity, which appears unavoidable. Sharp Objects is about the infinite ripple effects trauma can have on anybody (whether it’s a town, a family, or person).
Amy Adams, photo credit: Anne Marie Fox/HBO
Camille Preaker (Adams) is a reporter from St. Louis who is recovering from a stay in a psych ward. Camille’s editor is seeking to get her feet back by giving an assignment which takes the traumatized reporter back to Wind Gap, Missouri (her hometown). The locals are still reeling after a young girl was found murdered and are on as her best friend is missing.
It’s a town on edge, but that doesn’t seem to be effecting Camille’s mother, Adora (Patricia Clarkson). Camille’s mother only wants her eldest daughter to curb this murder talk as it upsets the town folks and badly influences her half-sister Amma (Eliza Scanlan). The violent nature of these acts draws attention from state law enforcement officials thus Kansas City sends down Detective Willis (Chris Messina) to assist in Wind Gap’s investigation.
Chris Messina, photo credit: Anne Marie Fox/HBO
As she begins to dig into these crimes, Camille unearths some personal demons which have a direct impact on her ability to function socially and could jeopardize any chance of solving this case.
The Sharp Objects writing team of Gillian Flynn, Marti Noxin, Scott Brown, Ariella Blejer, Alex Metcalf, Dawn Kamoche, Vince Calandra, and Vince Calandra Jr were able to mine Flynn’s source material to create an engrossing yet compelling narrative. The team took instances where Camille drifts off mentally in Flynn’s prose creating countless sequences reflecting how deep her scars are.
Jean-Marc Vallée’s direction is confident radiating a level of fearlessness not often seen. Vallée understood that audience’s need a visual to connect with Camille’s pain thus casting a younger version of Adams’s character was necessary. Instead of creating a clear separation between past and present, Sharp Objects melds these two into one stream of consciousness. Camille lives life in a booze-filled haze which at any moment can pivot into reliving another horrific moment from her past. These moments are enhanced by slight tweaks of the pace creating the appropriate tone.
Cinematographers Yves Bélanger and Ronald Plante were able to capture how deceptively dark Wind Gap is. By focusing on John Paino’s stellar production design and then panning to left or right, we were able to capture the lightness of the front and darkness in each corner or alleyway.
Set Designer Amy Wells and Matt McWilliams followed this when creating Camille’s family home ( built during the Civil War). The color palette for these sets made use of earthy tones creating a dark image no matter what time of the day. What stood out to me was how layered the home hinting that what we see is surface deep.
Adams, Clarkson, and Scanlan each deliver gut-wrenching performances. Adams is terrific and exudes such pain behind a facade of smiles and pleasantries. Clarkson performance as Camille’s mother was electric and delightfully twisted. Scanlan’s performance was a revelation. Her portrayal of Camille’s half-sister is dripping with conflict, turmoil, and jealousy all while maintaining the appearance of being a perfect angel. Overall, Sharp Objects is an impressive piece of television destined to turn heads and win multiple Emmy’s.
Dr. Robotnik is one of the most iconic villains in video games, a megalomaniac scientist with an IQ of 300 and plans for world domination. He is a source of fear for forest critters everywhere. Deadline now reports that an actor has been found to play the character for the Sonic the Hedgehog movie – Jim Carrey.
Sonic the Hedgehog is one of the popular video game franchises. Created by Yuji Naka, Naoto Ohshima, and Hirokazu Yashuhara, Sonic the Hedgehog is Sega’s mascot and he has appeared in numerous video games, TV shows, comic books and an anime OVA. And Robotnik has been the villain in all these various media.
Robotnik, or Dr. Eggman in most modern incantations, has been interpreted in a multitude of ways. In Sonic SatAM (arguably the best interpretation of the Sonic the Hedgehog franchise) Robotnik was the epitome of evil, who has achieved world domination and enjoys turning animals into robots, whilst other versions have made him out to be a buffoonish character. However, all versions of Robotnik have similar physical characteristics: his huge figure and big ginger mustache.
Jim Carrey is a larger-than-life comedian and he would have no problem playing Robotnik as a self-centered, pompous narcissist. Nor would it be the first time Carrey has played a villain, he has played The Riddler and Dr. Seuss’ Grinch. However, in recent years Carrey has been slowing down his most output of work and his most recent film was a dark crime-thriller, Dark Crimes and he is currently set to star in the comedy-drama series Kidding for Showtime. This seems more like an attempt for Carrey to get back into the limelight and star in big a family-friendly picture. Carrey also has the challenge to match Jim Cummings and Mike Pollack’s versions of the character.
The Sonic the Hedgehog has been in development since 2014 and is being produced and released by Paramount after picking up the rights from Sony. Original Film, the production company behind the Fast and Furious franchise, is also producing the film.
I grew up on the Sonic the Hedgehog Genesis (Mega Drive) games and the cartoon shows from’90s and I am not hopeful for this film. The film has been given Jeff Fowler, making his directional debut and being written by Patrick Casey, Josh Miller and Oren Uziel whose credits leave a lot to be desired. The only signs of promise are Uziel wrote 22 Jump Street and Junkie XL has been hired to write the music.
The other issue affecting the film is it’s going to be a CGI/live-action hybrid. For every Paddington, there is a Smurfs, Hop and Peter Rabbit to counteract it. The Sonic the Hedgehog movie seems unlikely to break the video game movie curse.
The Sonic the Hedgehog movie is scheduled for a November 15, 2019, release date in the USA and November 28 in the UK and Australia.
The battle between the Dark Gods and Wonder Woman slowly comes to a head.
The last issue of Wonder Woman saw very little of the Amazon. Instead, we watched her brother, Jason, launch an attack against the Dark Gods. He first tries to take on the Gods, named Karnell, Savage Fire, the Mob God, and the God with No Name. They quickly defeat him, but Jason gets the backup of Supergirl and the Justice League for round 2. The Dark Gods, however, aren’t pushovers and promptly defeat the heroes thanks to their leader, King Best. Before all seems lost, Diana returns just as King Best takes form and begins his path of destruction. Will Wonder Woman and Jason be able to contain this madness?
**Some Spoilers Below**
Story:
It’s strange to think that an issue that is mostly a fight scene would be a slow one. Wonder Woman and Jason go up against King Best with cool powers and team attacks. The problem, however, is that it continues to cut away from this action by showing what the other Dark Gods are doing. While it would be interesting to see such at the beginning, it is spread throughout and bogs the whole story down. I want to look at Wonder Woman and her brother fight a giant god, not learn that a random guy is hypnotized by a Dark God. It’s choppy storytelling like this that makes the comic feel more like a chore to read.
If there is any part of the story that stands out, it’s the “oh $&#%” cliffhanger. I’ve read plenty of stories with such cliffhangers, but this one is a real gut-punch. Not because it’s shocking for this arc, but when you realize next issue is the finale for Robinson’s run for the time being. From the moment Diana sought out Jason, it built to this moment. It got me excited for next time, despite its failures this issue.
Art:
While the story is very flawed, the art of this arc has been fantastic, and this issue is no exception. Jesús Merino continues to show off his mastery as an illustrator with the battle against King Best. The design of the leader of the Dark Gods is terrific, and the Amazon twins have never looked better. Jason, in particular, looks great as the details in his powers make him appear more powerful than ever. Even if next issue falls apart, I do not doubt that the art will still go above and beyond.
Conclusion:
While it had some exciting parts, the penultimate issue of The Dark Gods arc feels like a chore. The art is excellent, but the story structure bogs down what could have been a great action packed time. We have one last issue to go, so here’s hoping it turns itself around.
Tandy (Olivia Holt) is a clever con artist. She’s resourceful and sharp, and these attributes may lead her to some of the answers she’s been seeking in tonight’s episode of Cloak & Dagger, “Princeton Offense.”
“The world has stolen from me my whole life. My dad, his name, our money. Maybe I have this thing so I can steal some of it back.”
Olivia Holt (Freeform/Alfonso Bresciani)
In the midst of Tandy using her powers to gain information about the underbelly of Roxxon Corporation, she’s throwing Tyrone’s (Aubrey Joseph) powers into a tizzy at the worst possible time.
Tonight’s the basketball state championships, but Tyrone is indifferent. He knows that the rival school is from the New Orleans district where he grew up. The referee is throwing the game in St. Sebastian Prep’s favor, and Tyrone realizes this. By coming in contact with him and several of the opposing team’s players, it’s evident that this game means more to the others than it does to him. He wants to make his late brother (Marqus Clae) proud and feels that winning the game isn’t the way to do that.
By touching someone, Tyrone sees the other person’s fears, which is something we discovered several episodes ago. However, when Evita (Noelle Renee Bercy) shows up in his bedroom after losing the big game, things get steamy, but he doesn’t go into fear-vision mode with her. Is there a reason for this? Is she immune to his powers? Or, is this just a plothole?
Noelle Renee Bercy & Aubrey Joseph (Freeform/Alfonso Bresciani)
Our eyes were opened wide with the actions of Detective O’Reilly (Emma Lahana). Sex on the job in the back of a squad car, snorting coke in the evidence room… damn. Tyrone comes to her after Tandy said that she could be trusted, hoping to nail Connors (J.D. Evermore) on cocaine trafficking. This sends O’Reilly on a hunt for proof. I guess when you’re trying to fit in and go undercover, you do as the others do, too. Even if it means doing a line… or two.
Pieces of the puzzle from that fateful, stormy night are finally starting to connect. Tandy and Tyrone still have a lot to learn about the accident, their powers, and each other. Do you think they’ll soon find the answers they’re searching for?
The latest episode of MY HERO ACADEMIA puts the focus back on the students with great success. After several episodes that hinge on All Might, the series turns back to the heroes in training. As the students move into the dorms, we get some great bonding with solid emotional moments along the way.
It’s fun getting the gang back together and seeing all their personalities. It’s been a while since we’ve gotten an episode focused on the chemistry between Class 1-A. All the gifted students living together gives me scary DANGANRONPA flashbacks, mind you. It’s still unclear who the “mole” could be, and if a student/teacher may be a villain. But for the present, the Heights Alliance marks a great bonding moment for the students and the audience.
The Best Room contest was a great focus for showcasing the kids’ personalities. Many of the characters play to their well-known traits (particularly Mineta and his perversion). However, there are also plenty new sides we get to see from the students. Notable stand-outs include Sato’s culinary skills and Shoji’s minimalist set-up. It’s even fun when we see how far certain personalities go. Watching Tokoyami yell at everyone to get out was nothing short of hilarious.
A particularly interesting character this episode is Bakugo. “Moving into Dorms” gives us the first hint that Bakugo is starting to grow, becoming more caring. When the class is discouraged by Aizawa’s scolding, Bakugo cheers them up with Kaminari’s (unwitting) help. He also pays Kirishima back for the money he spent on the rescue mission. While we know Bakugo isn’t heartless by any means, seeing this truly kind and friendly motivation is great evolution for Bakugo.
Another great character is Tsu. MY HERO ACADEMIA hasn’t focused on much on Tsu since Season 1, aside from her internship episode. Tsu is probably one of the most capable students in the class. However, “Moving into Dorms” focuses on Tsu’s self-consciousness and feelings of failure. Tsu has felt horribly since telling Midoriya that going to save Bakugo is wrong. The conflict of when heroes should intervene has been a staple of the series, particularly with Midoriya. Getting Tsu back into the spotlight, while focusing on a compelling inner conflict, works wonderfully.
All in all, MY HERO ACADEMIA excels in its search for normalcy. The students need to stick together in order to prepare for future threats. Especially since there may be a villain in their midsts, coming together can only make them stronger. This return to formula also helps the show, as it comes back from All Might’s final battle. The episode is not only a strong return for the class, but a great sign of what’s to come.
Ever since Black Widow unleashed her full badassery in Iron Man 2 (yeah, you know the scene), Marvel fans have been clamoring for Scarlett Johansson’s superspy to headline her own movie, a project that seems to be finally moving forward. However, as the Marvel Cinematic Universe has expanded — introducing a whole ton of powerful, layered female heroes — moviegoers’ thirst for better representation onscreen has developed concurrently. With the success of Black Panther paving the way, the MCU is finally poised to feature a more diverse group of characters in forthcoming projects, including some in the LGBTQ community. So it seems to me that one worthwhile addition to Phase Four of the MCU is abundantly clear: A-Force.
For those unfamiliar with the relatively new Marvel Comics title, A-Force essentially centers on an all-female Avengers team. Although most of the roster consists of characters not currently appearing in the MCU films (including its leader, She-Hulk), the concept of a female-led ensemble piece has been steadily gaining support from both fans and the actresses who (presumably) would have a role to play in such a project. Thor: Ragnarok star Tessa Thompson has even recounted a conversation she and other MCU ladies had with Marvel Studios head Kevin Feige about the idea, and just this week, Feige projected that the majority of the MCU’s heroes will soon be female, a status quo that would make an A-Force film far more likely.
Considering that Ant-Man and the Wasp goes to great lengths to establish Hope Van Dyne’s alter-ego as a force to be reckoned with, the film is only the most recent example of the MCU’s ever-expanding embrace of its female characters. Take, for instance, the breakout stars of Black Panther (Danai Gurira and Letitia Wright) or the mini female team-up that takes place amid the climax of Avengers: Infinity War. Although Marvel Studios has gradually introduced characters like Maria Hill, Scarlet Witch and Gamora into its predominantly male narratives, the last few entries in the MCU have really accelerated the franchise’s efforts. Of course, the biggest leap forward comes next year when Brie Larson suits up for Captain Marvel, setting the stage for the Phase Three-ending Avengers 4.
By then, the MCU will be even more jam-packed with strong female characters, and the stage will be set both creatively and financially — the aforementioned Black Panther and Infinity War are the highest-grossing MCU films ever, by the way — to give audiences what they want. After all, one of the biggest reasons that studios claim to be hesitant to put women front and center is a lack of marketability and/or interest from the moviegoing public. But between the MCU’s leisurely progress and the bolder success of Wonder Woman over at DC, the days of denying that female fans want to see people who look like them onscreen is officially a thing of the past. Certainly, the MCU should continue introducing more people of color into the mix (news that Ms. Marvel is on the docket is encouraging), but if Phase Four takes any ambitious leaps forward, it should be with A-Force.
The franchise already has more than enough characters currently in play to make up a formidable team. Just sub in Captain Marvel for the absent She-Hulk, and flesh out her crew with the likes of Valkyrie, Shuri, Wasp, Gamora, Scarlet Witch, Maria Hill, Black Widow, Sharon Carter, Nebula, Okoye, Nakia, Lady Sif, Mantis or any combination therein (depending on how Avengers 4 shakes out, of course). If Ocean’s Eight can take a group of powerful women on a mission and earn $187 million worldwide (and counting), there’s no reason to think the most successful franchise of all time wouldn’t be able to transform a concept like A-Force into a record-breaking smash. The audience is ready for it, and it finally seems like Marvel Studios is too.
With every film the company releases, Marvel expertly lays groundwork that it can then exploit later down the road. So it’s hard to imagine that the apparent build-up of the female heroes of the MCU over these last several films has happened by accident. With decades of source material to draw from, Marvel Studios has plenty of opportunities to weave more diverse characters into the storytelling tapestry it has been creating for more than a decade now (see: the possible introduction of an older Cassie Lang in Avengers 4). Moreover, the MCU is in a unique position to break the boundaries that have been holding women and people of color back from leading their own stories. At this point, moviegoers the world over wait with bated breath for anything Marvel does. So it’s reassuring that Marvel Studios may use that audience goodwill to improve representation among Hollywood blockbusters and finally tell stories like A-Force that no one has heard before.
Agree or disagree with my thoughts? Comment below to let me know or chat movies with me on Twitter @crookedtable!
Marvel Two-in-One #7 written by Chip Zdarsky, art by Ramon K. Perez, colors by Federico Blee, and letters by Joe Caramagna crashes onto our shelves this week as Chip Zdarsky finally reveals the truth about Rachna and sets our heroes up for another fight for survival in Battleworld. But, you’ll never guess who runs the show on this Earth!
Oh and Major SPOILERS about Marvel Two-in-One #7 too!
Battleworld
Chip Zdarsky opens the issue by introducing the reader to the next world our Marvel Two-in-One team has landed. The reader quickly learns that this world was destroyed by a battle between Captain America and Iron Man leaving one man to take over in their absence. You may be thinking Doctor Strange. But he’s more like a Sheriff in his Battleworld.
Marvelous art?
Our Marvel Two-in-One heroes get thrown into Battleworld by their new ruler Spider-Man! The fight progressed for a couple pages but what really hurt this issue was the art. Look at the page above. The art by Ramon K. Perez, as well as the colors by Federico Blee, seemed choppy, blurry, and rushed.
For example, does Johnny have a mustache in the top left panel? Also, look at the bottom of the page at Doom’s face and suit. His face is lacking detail, and his costume is now one solid black color. Next, look at the monster on the right. I can’t tell if I’m looking at its head or its butt. After having Jim Cheung for over half the issues, as well as Valerio Schiti for the other half, Perez had big shoes to fill. I think he just fell short this issue and it impacted the tone and feel of the story.
The Truth about Rachna
Next, Zdarsky finally unveils the true reason Rachna has tagged along with our Marvel Two-in-One heroes. Turns out, her sisters mind is trapped in a body that’s not responding. So, Rachna’s goal has been to find an identical body in another world and take that back to their Earth to place her sisters mind in it. Therefore, this entire time, they haven’t been looking for the Richard’s Family at all. They’ve been looking for her sister using the multisect.
The Great Escape
While in Battleworld, Doctor Strange was able to stifle Doom’s magic. Well, Victor manages to use what little magic he has left to help the Marvel Two-in-One crew to escape. Doom took control of Jarvis’ mind and has him stab Doctor Strange is his throat killing him instantly.
This helped Victor regain his magic and teleport everyone out of the Battleworld Arena. However, Rachna uses the multisect to jump to another Earth leaving Johnny and Ben behind. Doom managed to catch up with Rachna just in time to jump with her. But, will Doom come back for Ben and Johnny?
Overall Thoughts…
I’ve loved Marvel Two-in-One since issue 1. It’s been an incredibly demiurgic series so far and I have no doubt it will continue. However, part of that feeling came because of the impressive art, whichever wasn’t there this issue.
This issue felt a bit flat. Sure, we had the Rachna reveal, Spider-Man as a dictator, and Doom killing Doctor Strange, but there was no Reed or Sue in his issue. Nothing Fantastic Four related at all. The art also seemed rushed, fuzzy, and lacking the detail; it’s had in the past. The issue was also dialogued heavy at parts making it slow-moving and wordy.
Should you pick up this issue?
Sure. It wasn’t the best issue of Marvel Two-in-One so far, but it was still better than a ton that came out this week. That said: you could skip it and get the idea in the next issue. However, I’m a big fan. I would pick it up.
Should you add this series to your pull?
Absolutely! This was just a down issue. I have no doubt it will rise back up to the awesome normal that is Marvel Two-in-One. Plus, how else will you get your Fantastic Four fix until August?
Well, what did you guys think of MARVEL TWO-IN-ONE #7? Comment below or hit me up on Twitter @dispatchdcu
Westworld can be a confusing show and the season two finale “The Passenger” has left more than a few of us feeling like this:
I’m going to do my best, with this compromised cognitive system I call a brain, to explain what’s going on throughout the episode and where (and when) the main characters are at the close of season two. There will be MASSIVE SPOILERS after this point, so if you haven’t already watched season two in it’s entirety, now is your last chance to do so (assuming that time operates in a linear fashion).
Terminology
(some of these terms are used by the show runners, some I’ve chosen to help make things more clear:
Human: I use this to refer to anyone who is presumed by the audience to be human during a scene (if you watch the show, you know there’s plenty of people we once thought were human that we now know are not)
Host: used to refer to any of the artificially-created “robots” who were made in any of the various labs. Dolores, Maeve, and Teddy are the prime examples.
gHost: anyone with an artificially-created body, but whose “mind” is modeled after a particular human being. A prime example of gHost was James Delos in “The Riddle of the Sphinx”, who was dying of cancer and wanted to “live on” in an artificial body.
The Valley Beyond (aka the Sublime): a new virtual world that the minds of hosts can make their own without human interference. The Valley Beyond was accessed through the giant door that opened in the desert.
Pearl: the digitized minds of hosts and humans, stored on those little marbled spheres
Things I Know I Know (I Think):
James Delos wanted to use Westworld’s technology achieve a form of immortality by putting his mind into a host body. William had different plans. He wanted to gather data from everyone who ever went into any of the parks and digitally recreate their minds. Remember that a trip to Westworld is exorbitantly expensive. As a result, he’s copying the minds of the world’s elite. He could use that info to manipulate, blackmail, or even possibly replicate them in gHost form.
Ford believed than human beings had minds that were so simple, they weren’t really capable of free choice. So, he put Bernard in a position to make a real choice: whether hosts would be allowed to continue to exist (at the likely cost of humanity’s continued existence). Bernard initially chose to kill Dolores (thereby allowing Charlotte and the humans of Delos to continue their dominion over the hosts). After seeing Charlotte kill Elsie, Bernard reconsiders and brings Dolores back (though now in a host body modeled after Charlotte).
Lee, Elsie, and Charlotte are dead. Lee sacrificed himself to allow Maeve and her gang to make it to the door to the Valley Beyond. Elsie was shot to death by Charlotte Hale, who was later shot to death my her host clone.
The minds/spirits of the hosts that made it through the Door are in a simulated world that they can make how they see fit. This includes Maeve’s “daughter” (though not Maeve herself), Akecheta, and several members of the Ghost Nation. Dolores initially wanted to erase this world because it isn’t “real”, but after listening to Bernard, she decided to let this new world (called the Sublime in interviews with show creators Lisa Joy and Jonathan Nolan) exist, and sent it to someplace where humans would not be able to tamper with it. She also sent her poor, dead Teddy there.
Dolores escapes the park (in a host body modeled after Charlotte Hale, after killing the real Charlotte Hale) and makes it into the real world. She is still bent on conquering the real world for hosts and destroying humans, but she realizes that she will need a balance to this goal, so she recreates Bernard. She needs Bernard and his compassion for both humans and hosts to keep her power from being unchecked.
William is a gHost, but has not always been so. In most of his scenes throughout the series he was still human. The post-credit scene takes place years after the opening of the Door at the Valley Beyond, and the human William would have been dead by then. The post-credits William is the mind of human William transferred into a gHost body and undergoing fidelity tests. Who initiated these tests is unclear.
Things I Think I Know:
Ford is gone. After he was shot by Dolores in the season one finale, I think most of us suspected he would be back in some form. We were right. In season two, his mind is still present in Westworld, most notably housed in Bernard’s pearl. Though I was skeptical last week when Bernard appeared to purge Ford’s mind from his own, this episode confirms that it did actually happen. Ford’s appearance in this episode was only Bernard’s memories of him.
Maeve will be back. This may be wishful thinking, since Maeve sacrificed herself so that her daughter could make it to the Valley Beyond. However, when we saw her body on the beach afterwards, another tech tells Felix and Sylvester to “bag the ones you think we might be able to salvage”, so I take that as a sign that we haven’t seen the last of her.
Things I Think, But Don’t Think I Know:
Stubbs is…a host? His conversation with Dolores before she leaves the park implies he probably is a host, but one loyal to Ford, put there to aid in Ford’s plan to free the hosts. Either way, he seems to know that a host is heading to the real world and that’s just fine with him.
Humans create hosts who create humans who create hosts in an endless loop. I thought the MC Escher picture “Drawing Hands”, in the house where Arnold first brought Dolores was the showrunners’s way of telling us that this is what happened, that time is cyclical even outside of the parks and the hosts’ loops. Upon second viewing, it appears that this is not quite a “snake eating its own tail” situation, just several links in a chain of events that does not loop back on itself.
Things I Don’t Know:
Who Tessa Thompson is playing in the final scenes with Dolores and Bernard. Dolores is back in a host body that looks like Evan Rachel Wood, but Tessa Thompson is in the background of the lab and seems to be working with Dolores.
How did Teddy’s body get into the flooded valley? Dolores took his pearl with her and uploaded his mind into the Valley Beyond, but that doesn’t explain how his body ended up there after he killed himself in the abandoned ranch.
Was any of this helpful to you? Are you more or less confused? What do you think I got wrong? Let’s talk about it in the comments.
