This is that type of episode that I don't see very often but the type that is precisely why I love film and TV. Finally, we see iteration of established themes--what Westworld has been teasing since episode one, but has very brilliantly been holding back on.
We have two protagonists in Reunion, Dolores and William. Both represent different archetypes. Dolores a messianic figure, William the very embodiment of Faustian narratives. Both search for the door. Although they have different endgames, their methods are similar. This is the good stuff. Not since The Last Temptation of Christ have I seen such potent subversion to religious archetypes, twisting established characters to ask questions typically deemed insidious in a religious context. And, to me, it's all about asking the question: if the means are the same but the ends are different, is one really better than the other?
Season one was, rightly, wrapped up in existential, Platonic, and Cartesian philosophy, steeped heavily in determinism as a result. The end point felt like it loomed over the first minute. You just know exactly where the plot is going. Season two feels different to me. I understand the goal--largely because of this episode--but the methods and even intentions are hazy. I'm very into this kind of thing.
What I think is the most interesting differences between the characters is how characters seem to reject or deny the hands they're dealt based upon the archetype they are meant to represent. Both Dolores and William try to recruit. Both characters find their first attempt goes poorly and everyone they hope to recruit ends up dead. William accepts that as his fate, seemingly. It's reality for him; someone died, so they're gone.
Dolores, on the other hand, denies the end and doubles down on her messianic status in the narrative by bringing her reluctant allies back from the dead, like Lazarus himself. What is so fascinating, though, about this scene is how it's staged. The Confederales are introduced using a composition reminiscent of The Last Supper, with the leader placed in the same position as Jesus. Dolores kills him and then suggests she's already killed God. There's a fascinating appropriation of roles Dolores usurps violently and then proclaims herself the hero.
Review by filmboicoleBlockedParentSpoilers2020-05-12T15:11:24Z
This is that type of episode that I don't see very often but the type that is precisely why I love film and TV. Finally, we see iteration of established themes--what Westworld has been teasing since episode one, but has very brilliantly been holding back on.
We have two protagonists in Reunion, Dolores and William. Both represent different archetypes. Dolores a messianic figure, William the very embodiment of Faustian narratives. Both search for the door. Although they have different endgames, their methods are similar. This is the good stuff. Not since The Last Temptation of Christ have I seen such potent subversion to religious archetypes, twisting established characters to ask questions typically deemed insidious in a religious context. And, to me, it's all about asking the question: if the means are the same but the ends are different, is one really better than the other?
Season one was, rightly, wrapped up in existential, Platonic, and Cartesian philosophy, steeped heavily in determinism as a result. The end point felt like it loomed over the first minute. You just know exactly where the plot is going. Season two feels different to me. I understand the goal--largely because of this episode--but the methods and even intentions are hazy. I'm very into this kind of thing.
What I think is the most interesting differences between the characters is how characters seem to reject or deny the hands they're dealt based upon the archetype they are meant to represent. Both Dolores and William try to recruit. Both characters find their first attempt goes poorly and everyone they hope to recruit ends up dead. William accepts that as his fate, seemingly. It's reality for him; someone died, so they're gone.
Dolores, on the other hand, denies the end and doubles down on her messianic status in the narrative by bringing her reluctant allies back from the dead, like Lazarus himself. What is so fascinating, though, about this scene is how it's staged. The Confederales are introduced using a composition reminiscent of The Last Supper, with the leader placed in the same position as Jesus. Dolores kills him and then suggests she's already killed God. There's a fascinating appropriation of roles Dolores usurps violently and then proclaims herself the hero.
This kind of stuff is dynamite.