It is interesting to frame a story in this way. There is no chance of success, and Bernard knows it. However, he goes ahead and is honest with his host friends (or anyone who asks) throughout the journey. Frankie/C (Aurora Perrineau) is more concerned about seeing her father alive again, but Stubbs (Luke Hemsworth) and Bernard share a nice final (?) moment together before the assault, with Bernard giving him some last minute advice before to send him off to die. Knowing the outcome of one thing and doing it anyway because it’s the right thing to do is a bold stance for Bernard, and I can only imagine that this pays off for him in some way in the future, otherwise “Metanoia” is going to be the highlight of a dismal end to the season for Western world.
Writers Desa Larkin-Boutte and Denise Thé give Bernard a shot. He can only see the events of Hale’s plan and his response until his death. Obviously dying means you lose understanding of what happens after you’re gone in a meaningful way. Humanity has already died one death in the wake of Rehoboam’s revelation and subsequent disconnection from him. Seven years later, nothing had changed. Of course, this outbreak of violence seems more severe than previous outbreaks, judging solely from what Stubbs, Caleb (Aaron Paul), and Frankie have to contend with and what Christina (Evan Rachel Wood) and Teddy (James Marsden) witness in your journey. the city.
The Larkin-Boutte/Thé script gives the actors a lot of work. Any scene with Maeve tends to be a good one, and while it could have been Bernard programming her into the Sublime as a test subject, she still has a witty comment about her sub-par writing quality and Thandiwe Newton still makes hay. she takes every opportunity she gets to be sharp and dry, without overshadowing her character’s emotional urge to be reunited with her son. Frankie and Caleb’s reunion is beautifully done by Aurora Perrineau and Aaron Paul; the two haven’t shared a screen moment this season, but this little moment feels like a reunion, which is amusingly undermined by a walled-in Stubbs interrupting to ask for his release. (Luke Hemsworth has a lot of funny comedy this week, and he handles it very well, delivering a crisp, dry delivery with at least a good camera spike for good measure; he’s been the unsung hero of Bernard’s arc.)
The heavier, unhappier emotional elements, notably Christina and Teddy’s walk around town, are brilliantly done by Evan Rachel Wood. Dolores has been a villain for so long that it’s hard to remember the traumatized farm girl she once was, the girl who wanted to see beauty in the ashes. Wood is able to recapture that with Christina, and Marsden deftly plays Teddy as his tour guide to awakening, in an alternative funhouse to the mirror of Teddy’s attempted sentience, courtesy of Dolores. That didn’t work out well for Teddy; this one seems equally traumatizing for Christina thanks in large part to the horrific violence that she is desperately trying to stop, but she can’t. There is an anguish in his response to this violence that parallels the original Dolores, before William became The Man in Black, and his response to the violence in Westworld.
Some of that credit certainly goes to director Meera Menon, not only for capturing Wood’s brilliant reaction, but for making his angst just a small part of the bigger picture. She just adds to the chorus of screaming, gunshots and mayhem with her chaotic reaction. Even the few characters who are unaffected by the violence, be they hosts or outliers, have to contribute to the chaos just to survive. It’s all frenzied violence until Teddy takes it off (for Christina), turning it from a chaotic mess into an even bigger mystery. Is this really happening? Is this just some kind of fidelity test for Christina?
That is real? Host William asks himself that very question, only for his questions to be dismissed as bland nonsense by his non-host self. William says, “We’re not here to transcend, we’re here to destroy,” and the Host version of him, the seed of himself that will live forever, walks into the darkness to carry out that vision of reality as a great great battle. . royal game. In the mind of the Man in Black, what is false is not the parks of Delos or the Sublime, it is civilization; The culture is a shared delusion to allow humans to hide from the truth of who they really are, selfish and destructive creatures as useful as cockroaches.