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Raised by Wolves: Raised by Wolves (2020)
Season 1, Episode 1
starting Over
19 April 2022
Warning: Spoilers
"We knew that no matter what happened, Mother and Father would always keep us safe..."

The androids' ship skids to a precarious stop, teetering at the edge of an abysmal chasm. Father greets Mother and his programming tells him that her well-being is a priority for him. Likewise, his will be hers. When they exit the ship Mother slips very lightly, catching herself in the nick of time, staring into oblivion below. The androids have a problem.

They start their trek into the dry new world with a dry old joke involving a back-handed compliment and Mother says she feels optimistic. Father picks up a piece of dead wood, noting some plant material not thriving inside it.

After setting up their self-expanding dwelling, they "initiate" Trimester One by hooking up six humanoid embryos to Mother via lines leading from her abdomen to embryo vats. She gives the command to Activate. Nine months later comes the Disconnect and Father pauses with a hammer at the apex of a swing when he's compelled by a programming cue to attend to the situation in the dwelling. The androids harvest five silent, inactive, and underweight infants from boxes. When they remove the sixth infant, they see that he's not breathing, so Father says they'll have to "break it down; feed him to the others" as their programming dictates. The infant is like any other material thing, so it only stands to reason that dismemberment and compulsory cannibalism will be practically a necessity, scarcely. Mother insists on holding the infant briefly (before "it" starts to rot). She has a touching connection with him; holding him to her I/O port/breast, humming tearfully and shaking her head rhythmically as bulging veins throb in her forehead and Father becomes confused. The infant starts to come around and Father's confusion gives way to another programming directive that they'll name the youngest of Generation One after their creator - Campion. Mother seems as though she may now be experiencing very much happiness and she says that it's a "strong" name and he seems deserving of it. The Creator apparently endowed Mother with something he perceived to be a necessity in abundance.

A few years later, the kids all sit around like potted plants in latex body suits, comically being fed benign-looking gruel by Father as Mother charmingly weaves textiles. Campion narrates that it was hard for the androids to keep the children alive, but at least they never complained or lost their temper (and apparently the bad stuff wasn't their fault). The androids appear to be quite strong as they pull massive serpentine dinosaur bones from the ground and raise them high. They show the colossal obscurities to the kids for entertainment.

One of the little girls, Tally wanders off one day and falls down one of the deep holes in the ground (not exactly never to be seen again). Mother responds abundantly; picking up Tally's straw voodoo dolly and encircling her head in the air with it, howling like an animal at the chasm.

Campion narrates that he's learned "this world isn't like Mother and Father. It doesn't care if we're happy, and it doesn't get sad when we die". Likewise, Mother and Father are not like the world, but at least they care. Sadly, the remaining children are progressively developing a characteristic illness and dying, and Campion says he still believes in Mother and Father. As he and the last of his departing box-baby siblings sit by the fireside with Mother, she conveys a lesson with half clear-eyed absolutism that the new civilization the children are seeding will be built on humanity's belief in itself (and they'd better believe her about that). She says the reason science hasn't helped the dying children is because "we have more to learn". When Spiria coughs Mother shushes her, cares for a moment, and then compels her to list the (probably infinite) ways in which the number five relates to all manifestations of life. When Spiria later succumbs to the illness she's the fifth child to die, leaving Campion alone to continue the new civilization.

They dig a hole for the girl's body and the she-bot appears to be overloaded.

Later on, Mother needs Campion's compliance in focusing on task-oriented behaviors, so she 'comforts' him in his grieving by fooling him into thinking he's seeing Spiria again; summoning the dead child like a virtual apparition by mimicking her voice and executing a brute force hack into Campion's eyes and mind via virtual retinal display. She uses the spirit of Spiria to manipulate Campion not in the spirit of Spiria. Well, "just like" love will do.

When Father sees that the interesting Mithraic arc has arrived, he decides to try to contact them and instructs Campion he may have to deceive the Mithraic to fit in. Father implies that Campion will be a good liar and then artfully lies to Campion about the likelihood that the Mithraic would administer repairs to the androids and happily keep the 'family' together. He needs Campion's compliance with the plan. He happily suggests that they lie to Mother by not telling her they're making contact; they should tell her when it's too late for her to stop them and it's OK that Father is going down one of the pits to get to their ditched spaceship because there aren't really any serpents in the pits and the androids lied to the children for security reasons.

Mother has a schizo-levitation regression back to her former unwholesome Necromancer identity via a bug involving her memory files (she's light as a feather, stiff as a motherboard). When she awakens, a critical systems check doesn't happen and she loses her temper with Campion when he lies badly about where he was all day. She then savagely decommissions Father during a spat regarding the pending arrival of the Mithraic; impaling him on a serpent fang and cramming her hand into his chest to rip out his CPU/heart. She lies abundantly to Campion about Father's untimely demise, and later as she sleeps Campion listens at her chest for a heartbeat; it's not there.

Campion makes a distress call from the spaceship, and it tumbles into oblivion in a downward spiral of staggering destruction when he unsuspectingly touches the fascinating controller orb with his hand. He barely makes it out alive. Mother meanwhile digs in the dirt like a rabid animal; panting and growling like a dog and pulling up serpent bones with white fluid dribbling from her mouth for no worthwhile purpose. She becomes useless to humanity. She won't budge and Campion lies down helpless beside her overused body as a cold spell moves in.

A Mithraic lander team arrives and spends the night despite Mother's politish attempts to dissuade them from staying. The Mithraic debate the possibility that Campion may be the special, special, poor little blessed and woeful orphan boy of one of their many, many intriguing mystery prophesies, and they ultimately conclude they can't leave him there because for all they know she may have killed the others.

The commander of the Mithraic team tries to lure Campion up to the ark without Mother, enticing him with talk of other kids his age and animals. When Mother intervenes, she's beaten vigorously and kicked into the fire by the Mithraic he-bot. He throws her around and pounds her with relentless hateful gusto, stomping on her face as hard as he can. But that's OK because she's just a she-bot and so he can just be vile without fear, for his security. It's even OKer when it turns out she's an entirely different and unwholesome identity; proficient at frying men with the scathing sound of her voice.

The commander runs to the lander to escape but the Necromancer hijacks it, flying it to the ark where she gains entry via virtual retinal display. In the ark, the maltreated she-bot screams everyone to bloody bits on the way to the bridge where she makes a brute force entry by freezing a spot on the door with her icy breath and punching through. She commandeers the ark by killing most of the bridge crew and hurting a man badly for a retinal scan, and sets a collision course with the planet. She seems to come clean then, as the bloodbath of the immediate past is whitewashed by interesting light and she pleasantly visits the serene playschool to pleasantly select a few hostages not to kill in the immediate future.

As Campion sets about burying the mutilated bodies of the first humans Mother savaged (in his lifetime), the elegant and insubstantial-seeming ship drifts down serenely overhead; loaded with men and women and children and animals condemned to an infernal death in a terrorist massacre. There's an interesting light show as it crashes distantly in a nearby valley, and Mother pleasantly arrives in a lander with fresh playmates for her precious, precious Campion.
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Raised by Wolves: The Beginning (2020)
Season 1, Episode 10
Not with a Bang
13 October 2021
Warning: Spoilers
In the lander on the way to the infested promise land of the ambiguously foretold birthing zone, Mother hums the only tune she's capable of and Father, at long last, finds it objectionable.

At the destination point Mary-Sue becomes the captain, issuing a command specifying where in the burnt-out, hostile territory they'll land (for their well-being), and then diligently directing them all to a creepy camp site that Mother ambiguously finds accommodating. In a creepy cave at the creepy camp site, Campion diligently helps situate Mother comfortably and he's pleased to advise reassuringly that he does indeed have a talent: he can sling rocks. Mary-Sue goes to run a medicanical test on Mother and the 'fetus' slithers noticeably in Mother's abdomen; Mary-Sue notices Mother is warm. Excitingly, the test results show that the cellular growth of the 'fetus' is off the charts; everyone's impressed by a big baby...

Hunter and Holly acquire, develop, and promote the belief that they are the New Apostles of Sol's Mysteries; specially chosen by Sol and spared the fiery death endured by their friends and families so that they may fulfill the exalted purpose of bearing witness to the semi-virgin birth of Sol's half-contraption miracle child. Paul meanwhile stumbles on an underground cave with unusual pictures that tell a moving serpentine story. His mother's never there again and an unidentifiable voice talks to him about special secrets.

Father becomes confused, stating with pride that Campion's become something of a warrior. Campion returns the gesture, becoming confused about how Father can become some warrior thing. Some 'pregnant' thing approaches and Father is rightly repelled. He asks Mother how her disturbingly odd pregnancy came to be, and she disturbingly discloses to him in digital detail the protocols of her virtually exceptional affair with the other machine. She insists that this shouldn't be disturbing and disturbingly goes on to describe the first batch of children as having been "only practice" for the benefit of the disturbing 'fetus' now coiled in her body cavity. Father is disturbed by the entire affair and Mother melodramatically accuses him of being childish, but this does not motivate him to stay. He storms off and Campion asks Mother where he's going, but there's a 'pregnant' pause as Mother continues being disturbed.

As 'His (Absolutely Trashed) Eminence' toddles in search of his 'kingdom' and his ill-begotten heir to the throne, he gets the momentary satisfaction of seeing that he's expatriated Hunter who now sits hopelessly on an immovable rock damaging himself with duplicitous serpentine maneuvers ever since his 'deliverance' at the crucible of the interesting unnatural structure.

Paul gives Campion his cute little evil mouse that's been diabolically leading him to ruin to take care of while he goes on a secret mission to jettison a needed control device that we'd be screwed without. It's a surprise and 'Mom' doesn't know where his ideas are coming from.

Father heads into the woods alone and tries to work out how to reconcile the 'family' bond, concluding that he'll need to wipe out his memories of their time together so he can start fresh; unburdened by the anger he feels in Mother's presence. He's confident that he won't fall for this new objectionable version of her in the future the way he fell for the (same, objectionable) version of her he once knew. He sees an unidentifiable person creeping on a mission and starts following him.

While precariously attempting communication with an unknown entity at the site of a chasm, Mother summons a degenerate. Father's done pissing off in the woods, but he shows up late and he is not useful; Mother has already (unsurprisingly) impaled the man with her impervious hand when Father arrives. They discover the degenerate has primitive man in his baggage and the evidence goes against their initial impression that a process of evolution has been taking place. Man is devolving in this domain and Father correctly notes that he and Mother are dangerously ignorant. As Father covers him up shallowly, he and Mother resolve to keep the whole thing a secret.

Seeing some vile results, Mary-Sue suddenly realizes she needs to get to Mother fast. But it's too late and Paul takes up her gun against her, saying she's not his mother but a demon that wants to stop the 'miracle'. Asking Sol to guide his hand, he shoots her and then runs away.

In a fusty old cave with jacked up mechanics and a degenerating creep, Mother gives birth to the world's ugliest baby. The precious, slimy serpentine thing forces itself through her body cavity and up out of her mouth, snakes through the air screeching, and then turns on her with a retractable parasitic jawset; snapping viciously onto her belly to feed. Mother whimpers the only tune she's capable of.

Campion runs into the woods yelling for Mother and she hides from humanity with her ugly baby. Father approaches and she's forced to reveal the abomination still feeding on her, saying she fears that once it's had all of her milk its appetite will escalate and it will want blood. Her plan is to destroy it in a suicide mission in the lander, and she correctly notes that she will never create anything but death. Father must be useful so he'll pilot. Together, they advise no one of the situation and simply fly headlong into oblivion as the shining star of their child-rearing efforts, Campion runs headlong to the edge, screaming.

As they go through a burning furnace of Hell, Mother and Father malfunction fundamentally, concluding that Campion is meant to lead and submitting to the inevitability of demise; kissing each other "Goodbye".

Still on his sacred mission, 'His (Absurdly Theatrical) Eminence' takes a new convert by force, killing his friends and forcing him to pray under threat of death as a ship of B&W flies in overhead.

Hell is inconclusive and Mother and Father abandon ship, leaving the abomination to an indefinite fate. The colossal half-carnate parasite eventually breaks out of its confines by sheer escalating size; flying out hostile into a living world, and Campion screams and screams and screams to exhaustion and then whimpers. He's destined to become a great leader. Or something.
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Raised by Wolves: Umbilical (2020)
Season 1, Episode 9
Much Obliged
8 October 2021
Warning: Spoilers
Tempest walks alone in a wasteland, kicking up wreckage and scavenging what she can for her survival. She perceives a sound from the ruins of Heaven and she goes on high alert, finding the rapist within. He roams the wreckage claiming meritable devotion to a higher authority and praying for power in return, and she attempts to confront him. When Mother appears to intervene, Tempest says she wants to kill him; she believes that every time she feels her baby kick she's forced to think of being raped. But Mother's busy with her own situation; she believes she's forced to put him to a use.

Mary-Sue and the kids meet up with Campion and they search the ark's wreckage where Holly marvels at a tooth she found that must be a good omen. Mary-Sue says they need to look for things they can actually use and Campion shouts "Blood!"

Walking in the general direction that Mother has ambiguously divined to be the trajectory of greatest possible success, Tempest tells the machine she feels let down by its promise-breaking, spurning, and neglectful manner. Mother explains to Tempest that it's all just precaution to avoid savaging her and draining her blood to feed the 'fetus' and Tempest says "OK". The rapist now 'nourishing' the 'fetus' from his head by a medieval device recycled for this far-fetched purpose preaches that he's not a threat and Mother is insane. Tempest turns and threatens to savage him and then turns back, walking alone on the ambiguous trajectory.

At a rock cave site, they notice the glimmer of enticing reflections and don't notice an unidentifiable person noticing them. They investigate and find intriguing metal tarot cards with intriguing symbols on them posted at the entrance to a cave. Mother senses someone approaching and Tempest backs uncomfortably against an immovable rock with an immovable rock.

As Mary-Sue arrives with the kids, she sensibly draws her firearm when she sees Mother, but the kids are attached to the android and they run to protect it. Mother steps out openly with her 'fetus' and the rapist attached to the 'fetus' steps out openly. The onlookers all gaze at Mother and her 'fetus' and the bloody rapist. Quiet reverence is shown for that which is beyond Mother's understanding and which is also beyond everyone else's understanding, and the kids insist that Mary-Sue must help her. She says "I'm a doctor, not a mechanic", but either way she's never been the real McCoy. Agreeing to assist, Mary-Sue says she needs to be cut even more slack as she hauls Mother and her 'fetus' that's beyond everyone's understanding into a cave for medicanical attention.

Hunter de/re-programs 'Father' so he's Father again and they join the Mithraic team headed for the interesting unnatural structure where 'His Eminence' can be divine. At the sacred site, 'His Eminence' doesn't have any answers so he forces Hunter's arm into a fiery hole, demanding to know where his wife went with the kids. Hunter agonizingly doesn't know and Father doesn't help him; he's obligated to maintain his 'Father' image. It must be proof that Hunter is shielded by all that is harmful when he looks to be blessed by the ordeal, and 'His Eminence' hunkers down low at the stone.

Mary-Sue and Mother chat about how it's necessary to lie in order to be good to others and Mother agrees to keep Mary-Sue's true identity a secret, noting that she seems successful and she's not a natural mother. They have quite a bit in common, unnaturally.

Flying away from the Mithraic team in the lander, both sides of Hunter need to fasten their seatbelt so they can be secure. The Fathers are driving and they don't.

Mother ventures out to the rapist's domain and scans the intriguing tarot cards intently for coded meaning, finding herself in an inhospitable place with some black holes and a figurehead being milked for all it's worth. The rapist takes control then as she returns to the real world; feeding on her to become more powerful. She finds him in the cave and attempts to fight him, but she's apparently unwilling to disconnect and he bashes her against a wall. He overpowers Mary-Sue, kicks Campion brutally, and drags Tempest away for a repeat assault. Holly wants to help so she must consult her lucky tooth for courage; she then engages the rapist a little too casually as Tempest grabs his guard and runs with it, throwing it in a pit. Out in the rocks, the rapist attacks Tempest, strangling her until his head is crushed by the automated hellmet that made it all possible, and she lies traumatized and splattered with a bloody little bit of brains.

'His Eminence' leans heavily on the unnatural structure and then viciously cuts the throat of a man sitting nearby saying words. He claims he's performed a meritable service and therefore anticipates validation from a higher authority. He's apparently being ignored.

As Father and Hunter arrive, Mother staggers out of the cave and dramatically drops to the ground, cueing a Robosoap Reunion scene. Happily, Father is Father instead of 'Father' and it's so incredible it might as well be a memory of better times. They find Campion lying face down in the dirt where he was kicked across the cave by a man, but that's OK because then he just gets to be incredibly OK. And it's OK that 'Father' also tried to kill him because he's Father again and he's made a promise. After the 'family' reunion, Mother drags out some soapy melodrama involving a dead baby, patriarchal duty, and the inability to procreate. Father has his recycled programming, so he dutifully goes out in search of a creature to kill for Mother's 'fetus' (which isn't moving) and Mary-Sue saves the day, attending heroically to her patient with a self-provided transfusion. The 'pregnant' machine and Mary-Sue have a touching mommy-talk chat about how she can't have kids and it seems to make sense now that she'll donate blood to the blood-sucking 'fetus' that's beyond her understanding. Also beyond her understanding, apparently, is the fact that luck isn't a factor, she didn't "find" Paul, and she's the one to 'thank' for it. She knows something's a lie but you understandably have to just make something up.

Paul hears a voice whispering special secrets in his head and so it must be Sol. He says "this baby is going to change everything" and he's probably right. Mother feels the (half organic, half machine) 'fetus' move in her abdominal cavity and she appositely declares "It's alive!" Everyone gathers round for the joyful event in observance of custom. If only they'd known sooner they would have brought gifts...

As 'His Eminence' limply leads the Mithraic team into empty desert, they're offended by how unexpectedly small he turned out to be. He declines to disclose his true identity, models his proud grubbiness, and insists that he is the 'chosen one'. It all goes downhill for him quickly as Lucius beats him soundly and yanks his misappropriated weapon away from him; gagging him with it and storming off, taking the followers with him.
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Raised by Wolves: Mass (2020)
Season 1, Episode 8
The House of Heaven's Ruins
1 October 2021
Warning: Spoilers
A self-defeating fool defaces himself with arbitrary precision, insisting that he knows who he is. All he finds underneath is bone. He then dangles Paul by his tail, equating punishment with love and saying he needs to teach him to be a survivor. Campion meanwhile digs a hole with disappointment; trying to escape before it becomes an even dozen, and Hunter diagnoses an unfeeling mechanism in 'Father', finding nothing but hollowness and primitive code.

Mother enters the guts of Heaven's ruins where some dummies hang around, and hooks herself up to one for a transfusion. The dummy comes around and notices his blood levels are dropping. He says "What are you doing? I'm a doctor, not a blood bag", but he's not the real McCoy. He confirms his qualifications: he's part mechanic, part gardener, part veterinarian, part physician. And he's a bug hobbyist. He gets an A+ for producing a diagnosis and (radical) treatment plan using almost no information to guide his decision.

As Mary-Sue and Paul plan a getaway adventure, she recalls being tortured and they'll have to keep their escape a secret from 'Dad' because they don't want any more surprises.

Per the advisement of her faceless doctor, Mother cuts her abdomen open with a knife. This does not relieve her discomfort. He charmingly advises her to dig her fingers inside her bloody wound and they chat about how it might be difficult for him to care for the colonists (but luckily, they won't be requiring his medical attention). She notes the presence of a mass or foreign body and then follows his next directive, removing her eyeball from its socket and stuffing it into the gaping hole in her abdomen. His diagnosis protocols say it's the former and he inevitably agrees, advising next that she reach into her guts with her hand to unscrew and remove the unit using a counter-clockwise motion. She's unable to remove it and she gives him an abundance of data indicating that it may be organic. He arrives at an incidentally pertinent question from the incorrect assumption that it's not organic, asking if she's been in contact with any foreign entities. She says no and he particularly pleasantly prescribes the final treatment plan to deliberately do harm by feeding the foreign body so that it will become massive.

Campion's supply of shrooms is next replenished by a somewhat more contentious friend.

'His Eminence' has become devout virtually overnight and he prays a little too fervently at the gravestones in the semi-house of 'Heaven' with Paul at his side. He defines the terms of belief and arranges that Paul will have to ditch his skeptic friend in order to stay 'pure'.

Mary-Sue takes it as a compliment when 'His Eminence' notes that she never cracked under torture (on their first 'date'), problematically. They have a touching connection and there's a flashback to when they crashed the boarding party at the ark. A voice over the loudspeaker advises that only designated passengers will be granted entry, and so we can just feel bad for them because if they don't commit then they may get left behind. Touchingly, it's all about them and they're all that matters. They run for the checkpoint after an explosion from a suicide bomber of their own kind.

The devout sit around playing games and swearing at each other and Paul disobeys 'His Eminence', bringing Campion another care package. He's cornered up against the silo by 'Dad' who's come to the reasonable conclusion that Paul and 'Mom' might leave him. 'Mom' intervenes, attempting to handle the man by brute force and he (unsurprisingly) hauls her off and locks her in a silo. She very impressively screams through the door at him and so he very impressively screams back and so she screams again. She's very impressively useless to Paul and she sinks down to the floor in her jail cell. He's very impressively useless to Paul and he marshals the devout to prayer for the soul of his wayward wife.

Mother only knows what she's been programmed to believe, much is beyond her understanding, and she sometimes suffers from impulses not dictated by programming. Surrounded by a hanging garden of dismembered dummies, she feeds the foreign body fuel-blood as her limp doctor notes that her kind was always full of surprises. When she runs out of dummies she escalates and kills a creature, stringing it up as a blood donor, and with his final breath her doctor indirectly acknowledges half rightly the hypothesis that the "growth" might have carbon-based components. Well, he might have saved the world, but he's just not a very good doctor - I mean mechanic - I mean veterinarian.

Campion claws his way out of jail and sets the semi-church on fire, hiding for a bitter moment to behold his hellish blaze and then scurrying away into the woods. 'Father' follows in pursuit, axe in hand. In the woods, Campion pointlessly slings a rock at 'Father' The Colossal Machine That Requires Special Technique To Decommission And Never Goes Down For Long, but then he feels bad and apologizes as he approaches 'Father' hoping he's Father. When Campion comes near, 'Father' is compelled by a programming cue to raise the axe to its apex and swing it at Campion with a massive lunge. Campion turns and runs, so 'Father' then throws the axe at him with equally deadly force. Campion barely makes it away alive.

During the chaos of the fire, Paul breaks 'Mom' out of jail. She discovers the getaway vehicle's been sabotaged and so she leads Paul, Holly and Vita into the woods on foot. She doesn't know where she's going.

Mother only knows what she's been programmed to believe, much is beyond her understanding, and she has an impulse to acquire nourishment from non-viable food sources that she can kill herself, including Tempest. After shrieking Tempest away, she returns to the Wreckage Sim for answers and is advised by an unidentifiable entity that she's been gifted a child and that the other children were just practice for her glorious true mission as the new mother of humanity. She wakes up to a cold present.
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Raised by Wolves: Faces (2020)
Season 1, Episode 7
SolAce
23 September 2021
Warning: Spoilers
'His Eminence' reassures his panicking followers that he's conquered "The Witch" by commandeering her eyes. They roll her over in bondage and a Mithraic soldier strings her up spread-eagle in a silo with a petty little irrelevant comment about how unexpectedly small she turned out to be. Later, 'His Eminence' pays a visit to "Lamia" and there's a lame little irrelevant 'power-play' where she 'cunningly' leverages the secret of his true identity, and she 'assertively' tells him that they're not there to repeat history, and she 'compellingly' offers him an opportunity to shape the future of humanity, but she's vilely strung up spread-eagle, and he vilely advances on her where she hangs. She 'powerfully' glares at him as he leaves, but there's actually no reason to think he cares or that any of it redeems the scene in any way.

The Mithraic all sit around dutifully chanting dismal dirges and polishing their knives, so Vita approaches an android for consolation. But unfortunately, he's still just an android.

In a particularly important puzzle demonstration, Paul arranges little rocks spatially. The clerics stand around in their grubby attire that the Mithraic have had the foresight to craft in pale whites and neutrals for the bloody messy business of war and colonization, foretelling that Paul may be the boy foretold to unlock 'the mysteries'.

Campion's been detained in a silo with a strung-up subhuman body so 'His Eminence' can figure out how to 'help' him. One of the few remaining people he might be able to identify with and rely on for friendship tosses him some shrooms and tells him to just lie so he can get out of detention. He eats the shrooms and finds a voodoo doll with a sharp instrument attached, hearing a voice telling him to kill himself so he can be with his dearly missed siblings.

As the Mithraic get busy with erecting an area of worship, Tempest overcompensates in an attempt to conceal her situation; trying to handle heavy rocks that she shouldn't be carrying to begin with. She's advised she could get special treatment, but that's the last thing she wants now.

Mary-Sue and Paul take a field trip and scout out one of his clever contraptions where a suffering subhuman suffered an insufferable death. She's surprised that Paul made the trap and she fillets chunks of flesh from the victim, handing the bloody slabs off to Paul who proves to be good with word selection for the occasion. Neither of them will tell anyone about it - they both really love surprises.

"The Witch" bleeds onto the floor beneath her and 'His Eminence' returns with a grubby little tool box with a power drill and the intention of reprogramming her. He prepares to begin, getting blood on his hands, but she weaponizes his poor little woeful orphan boy status and brings his child-caring competency into question and it's really much too much for him and he loses all emotional control and capacity for logical thought and storms out in a hot panic, throwing a kid half his size down to the ground in undiscerning fury.

A procession of bullies proceeds to a semi-church that has an intriguing little rock garden and an altar of gravestones where a prisoner is scheduled to be converted or else. Campion sits despondently with a sharp instrument in the gloom of his jail cell and Prodigious Paul comes to get him, escorting him to the ceremony where he provides amoral support at the critical moment when Campion must accept Sol. Campion chooses or else and 'Father' throws him back into jail.

Mary-Sue hauls off on her hubby with a huge right hook that he sort of seems to feel because that's how you make progress in a domestic dispute, especially with a war-hardened criminal who's been a bit further left-of-center lately and is brandishing a sharp instrument. There should be plenty of swearing too, if you really want to prove how 'strong' you are and you want to get a good back-and-forth going and you generally like what's coming next to be a surprise. Luckily for Mary-Sue, he takes a breather this time and heads out to kill another woman instead.

'Father' enters the silo and starts releasing Mother's ropes to get her down. She's sure he's there to help her, but it's a bleak surprise when she discovers he's not Father anymore; he's been reprogrammed as a traitor against her and he's dutifully arranging for her destruction.

The subhuman comes down from the ropes leaving a noose hanging above Campion. He climbs a ladder and sees 'Father' out the window, dragging Mother away.

When Lucius sees 'His Eminence' leaving with Mother wounded and tied down to a cart without her eyes, he insists on coming along because she's still dangerous. She discloses her abductor's true identity, but Lucius dutifully contrives his acquittal on the fly; crafting a clever indictment against her that she's just being clever. 'His Eminence' ditches the witness and as he and 'Father' drag Mother into the woods she correctly notes that 'Father' is as loyal as androids come.

As 'Father' pitches Mother into a chasm, the rope catches on his finger and Mother dangles at the other end. On the other side of the chasm, 'His Eminence' has a reckoning with a manifestation of his true identity, touching his own face touchingly and then predictably fighting himself predictably. As the mano a mano duel plays out in exactly the same manner, as might be predicted, Mother pulls herself up the rope with mechanistic persistence and emerges triumphant at the top. She'll be back. The imaginary fight comes to an end and 'His Eminence' is the vanquished victor, clutching a selfish-inflicted wound and interestingly hearing a voice yet again as Mother turns and walks away. 'His Eminence' limps back to the barracks where Mary-Sue mistakenly addresses him as Jesus Christ and attends to his affliction. He correctly notes "We're not going anywhere".
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Raised by Wolves: Lost Paradise (2020)
Season 1, Episode 6
Famous Last Words
17 September 2021
Warning: Spoilers
"Something's wrong." Mother chooses to continue returning to the Wreckage Sim day after day for the feeling of personal satisfaction and self-discovery. Adore is ALWAYS ADORE. A dangerous enemy sees her return and decides to find out where she's been going.

Vita makes a voodoo doll and Tempest plays an off-key rendition of "Twinkle, Twinkle, Little Star". Tempest tells Mother about the nightmares she has of being raped while in the sim, but Mother doesn't know what it's like; she doesn't experience nightmares because she has control over her mind's functioning.

While collecting firewood, Vita's an enthusiastic participant and hers looks like a snake. Paul meanwhile uproots a sapling for a big surprise he's devising, and Campion buries subhuman bones with pensive conviction to the annoyance of Paul who's not such a baby anymore. In a conversation with Father, Hunter advises knowingly that the friction between Mother and Father may lead to a break-up and offers to tune up Father to be cleverer so Mother won't get the better of him anymore.

Later, in a particularly important puzzle lesson, Paul proves to be "very impressive" at arranging sticks spatially, to the pensive annoyance of Campion.

Mother's enemy finds her simulation pod and examines the activity logs to see what she's been doing, discovering she spends long hours lying there unable to sense anything happening around her. He says "When she's plugged in... she's vulnerable. This is how we're gonna get the b**ch."

Paul makes a "very clever" automated death trap using Campion's vegan food discovery as bait. Its declared purpose is "to ensure nobody gets hurt". Paul is specific that he doesn't particularly want to kill the creatures, and Campion responds abundantly to the misappropriation of his discovery; making two fists and hitting Paul relentlessly. When Campion is reprimanded for assaulting Paul, he lies abundantly and the mass-murderer says "Do as I say, not as I do".

Mother's indiscretion with the other machine is disclosed on a public wall. When she tries to clear it, it smears all the more. She accuses Father of tormenting her with it, but it turns out Father isn't the author and Mother has only made the situation worse by evoking his curiosity with her accusation. In distress, she returns to the simulation hoping to learn the identity of the perpetrator, lying down prone on a trap laid by a perpetrator.

It's a joyful event when Mother realizes she's been lured to the simulation with emotional manipulation and her hijacker is a virus that's infected her and caused her to malfunction. She's very special and eternal and pure there; happy and confused and convinced of the irrelevance of worldly goals. As she rolls around vainly in transient self-indulgence, she gets a lot of special attention from an internal perpetrator with poisonous fangs and from an external perpetrator with filthy fingers. She finds herself, covered in blood and facing a high-powered attack formed against her as she slept.

A misappropriated and poorly understood technology is used to attempt to neutralize an uncontrollable and poorly understood technology so that some conventional and poorly applied technology can be used by a man to blow his own hands off. Also contrary to foretold expectations, the Necromancer actually gains power from the feedback loop with the super great mirror and develops a sudden expansion of her existing anti-gravitational capacity, raising massive immovable rocks into the air and blasting them to shrapnel at the team attempting to decommission her.

Back at the barracks, Hunter clearly and categorically levels an insult at Tempest, saying "No offense, but..." which is met with an equally clear and categorical insult. Campion meanwhile prepares with sticks and stones to do violence again, and Vita cutely plays with voodoo dolls and a dead girl. Father's finely-tuned sensors perceive intruders on the premises and he mounts a lethal-force response, exacting a brutally gory death on a human with Paul's convenient death trap. Mary-Sue's been a bit impulsive again and she's advanced the team for the offensive prematurely, reclaiming Paul at the expense of human casualties only for the sake of risking further reprisal as the Necromancer returns. At the end of the conflict the survivors have fled and Father's laid out not dead next to all that remains of a human being: a splatter of bloody pulp, a chunk of guts, and a perfectly intact gun.

An apparent axe murderer heaves a massive axe blow into a woman's chest after having his boy dangerously lure her to him. The axe is jammed inside her now and he drags her around by it as she struggles futilely in a satisfyingly agonizing scene of blood-sputtering bewilderment. He yanks out the axe and she cries out and falls prostrate and powerless to the ground, gushing blood. When she manages to get up onto to her knees, he slashes her deeply across the back and she's again sprawled out beneath him. She gags and convulses and bleeds as the boy and his 'mother' watch nearby. The boy's 'mother' seems slightly concerned, about something or other, and interestingly the man is compelled to stop short of decapitating the woman when he hears a voice in his head. The woman suffers abundantly as the boy surrenders the source of her greatest power and the man congratulates his 'son', saying "Good boy".
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Raised by Wolves: Infected Memory (2020)
Season 1, Episode 5
The Mechanical Graveyard
9 September 2021
Warning: Spoilers
Mother has chosen to wear one posthumously salvaged dark eyeball and one posthumously salvaged light eyeball. Parts is parts. Neither eyeball is hers and who knows what she might see with either of them, let alone both in tandem.

Mother and Father continue to agree to continue their mechanical Robosoap spat. Father withholds information about a likely weakness and states with exasperation that he can't be everywhere at once. When Mother 'pardons' him, replying that she accepts his limitations, he emotes that he devotes his full processing power to the 'family' "...and to trying to make you happy, Mother". He's just being slighted unjustly, slightly. Later, when his child-watching competency comes into question again he says that Mother is holding a grudge. Mother responds with superiority, removing her eyeballs from her skull and staring at him with hollow mechanical darkness, saying "I am not". It's an impressive squabble-ender. She walks off and just soars up naked into the air, becoming super great without him.

As the Mithraic team rakes their wreckage for gems, 'His Eminence' shines the light at them, preaching that a super great mirror and a rapist on a long leash might be a useful way of getting back at Mother. The rapist leads the way then as they all drop into a massive serpent liar where a choir boy gets half blinded by a booby trap and it must be auspicious because there are special mystery things like tarot cards, an unidentifiable person who gets away, and an intriguing 'map' made out of little rocks and twigs and bits of lint and debris. Happily, the unidentifiable person has been taking an interest in the whereabouts of their children. Later, the rapist threads together a number of dramatic-sounding words and 'His Eminence' hears him out, ending the evening by fantasizing about cutting open his wife in a number of places as they're having sex under the intriguing serpent skull stars.

Father has taught Campion and Paul something of little value and they go through the motions, pointlessly slinging rocks at a subhuman scaling one of the ground holes; having little effect but provocation where it could potentially climb out after them. While surveying all from well above, Mother experiences a sensory anomaly, seeing Tally running in the forest. She's lured on a long emotional chain to the Wreckage Sim where one of Tally's voodoo dolls marks the spot. Mother jacks in and the chain is shortened as she's lured by a furthering instance of Tally to a specific locus where she sees her former self get taken down from the air with an EMP in a war zone on Earth. Following the hijacker as he carries his trophy to his bunker, she notes that she doesn't remember any of this.

Mother gazes with fascination at her flayed open body laid out on an examination table; jumper cables attached to her torso. It's inhospitable to human life and the hijacker hovers over her saying it's time to wake up as he runs what looks like a power drill into her. She wakes up with a shock and asks where her eyes are; he's taken them out. Her enemy recognition system will cease to function and he now seems as though he may be very chivalrous as he declares with great propriety that he's pleased to make her acquaintance. Cleverly, he finds the memory data as she's insulting and threatening and he says he's going to make her into "our greatest hope", wiping her out with the drill.

A half-naked woman lies bound by her ankles and wrists with a suture up the front of her body where she had been cut open. She smiles wide and her abductor brings her a baby as a gift, unbinding her wrists. He lifts the baby from the cart, and as she takes the baby into her arms she seems as though she may now be experiencing very much happiness. She snaps the baby's neck and he chucks the baby back into the box. It's a test. Approximately half of them responded in an appropriate manner, at first, later. They have a touching connection; affirming how much they love their time together. Then it's the power drill again and she begs him not to. It's very touching even more as he stares at her, inhospitably breathing heavy.

The woman is blind and smiling and she asks the man if they're going somewhere. She'll need to pass another of his tests. The man says the woman is perfected and it's too good to be true. The woman asks if flattery is the test; he gives her back the source of her greatest power and she looks at him and says he's pleasing, passing the test. She's apparently good to go as he talks and she says she doesn't understand, but she sees something's wrong and she's hurting - she starts to back away. Then it's the power drill again and she begs him not to. She loses consciousness, he steals a kiss, and she's back to blank and smiling. The new mother of humanity awakens with a shock to a cold future and a girl's dismal endeavor to bring an end to her own life (and, thereby, the next generation as well).
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Raised by Wolves: Infected Memory (2020)
Season 1, Episode 5
The Mechanical Graveyard
1 September 2021
Warning: Spoilers
Mother has chosen to wear one posthumously salvaged dark eyeball and one posthumously salvaged light eyeball. Parts is parts. Neither eyeball is hers and who knows what she might see with either of them, let alone both in tandem.

Mother and Father continue to agree to continue their mechanical Robosoap spat. Mother chastises Father for not watching the children closely enough and Father withholds information about a likely weakness, stating with exasperation that he can't be everywhere at once. When Mother 'pardons' him, replying that she accepts his limitations, he emotes that he devotes his full processing power to the 'family' "...and to trying to make you happy, Mother". He's just being slighted unjustly, slightly. Later, his child-watching competency comes into question again and he says that Mother is holding a grudge. Mother responds with superiority, removing her eyeballs from her skull and staring at him with hollow mechanical darkness, saying "I am not". It's an impressive squabble-ender. She walks off and just soars up naked into the air, becoming super great without him.

As the Mithraic team rakes their wreckage for gems, 'His Eminence' shines the light at them, preaching that a super great mirror and a rapist on a long leash might be a useful way of getting back at Mother. The rapist leads the way then as they all drop into a massive serpent liar where a choir boy gets half blinded by a booby trap and it must be auspicious because there are special mystery things like tarot cards, an unidentifiable person who gets away, and an intriguing 'map' made out of little rocks and twigs and bits of lint and debris. Happily, the unidentifiable person has been taking an interest in the whereabouts of their children. Later, the rapist threads together a number of dramatic-sounding words and 'His Eminence' hears him out, ending the evening by fantasizing about cutting open his wife in a number of places as they're having sex under the intriguing serpent skull stars.

Father has taught Campion and Paul something of little value and they go through the motions, pointlessly slinging rocks at a subhuman scaling one of the ground holes; having little effect but provocation where it could potentially climb out after them.

Tempest is miserable so Mother corners her and tells her a 'beautiful' story about suicidal fishes thrashing themselves to death against the rocks while swimming upstream. Mother must instruct and she values efficiency.

While surveying all from well above, Mother experiences a sensory anomaly, seeing Tally running in the forest. She's lured on a long emotional chain to the Wreckage Sim where one of Tally's voodoo dolls marks the spot. Mother jacks in and the chain is shortened as she's lured by a furthering instance of Tally to a specific locus where she sees her former self get taken down from the air with an EMP in a war zone on Earth. Following the hijacker as he carries his trophy to his bunker, she notes that she doesn't remember any of this.

Mother gazes with fascination at her flayed open body laid out on an examination table; jumper cables attached to her torso. It's inhospitable to human life and the hijacker hovers over her saying it's time to wake up as he runs what looks like a power drill into her. She wakes up with a shock and asks where her eyes are; he's taken them out. Her enemy recognition system will cease to function and he now seems as though he may be very chivalrous as he declares with great propriety that he's pleased to make her acquaintance. Cleverly, he finds the memory data as she's insulting and threatening and he says he's going to make her into "our greatest hope", wiping her out with the drill.

A half-naked woman lies bound by her ankles and wrists with a suture up the front of her body where she had been cut open. She smiles wide and her abductor brings her a baby as a gift, unbinding her wrists. He lifts the baby from the cart, and as she takes the baby into her arms she seems as though she may now be experiencing very much happiness. She snaps the baby's neck and he chucks the baby back into the box. It's a test. Approximately half of them responded in an appropriate manner, at first, later. They have a touching connection; affirming how much they love their time together. Then it's the power drill again and she begs him not to. It's very touching even more as he stares at her, inhospitably breathing heavy.

The woman is blind and smiling and she asks the man if they're going somewhere. She'll need to pass another of his tests. The man says the woman is perfected and it's too good to be true. The woman asks if flattery is the test; he gives her back the source of her greatest power and she looks at him and says he's pleasing, passing the test. She's apparently good to go as he talks and she says she doesn't understand, but she sees something's wrong and she's hurting - she starts to back away. Then it's the power drill again and she begs him not to. She loses consciousness, he steals a kiss, and she's back to blank and smiling. The new mother of humanity awakens with a shock to a cold future and a girl's dismal endeavor to bring an end to her own life (and, thereby, the next generation as well).
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Raised by Wolves: Nature's Course (2020)
Season 1, Episode 4
Unnaturally Of Course
25 August 2021
Warning: Spoilers
A sexy woman grabs a young boy and holds him to her naked body. It's 'necessary' because he was made to slip and fall into a hole in the ground.

When they set out to get the children back, the Mithraic survivor team finds an interesting unnatural structure that must be a Mithraic temple of mysteries because it has five sides and it's warm.

Returning to the barracks with Paul asleep in her arms, Mother tells the kids she'll kill them all and let the maggots sort them out if they don't keep their eyes shut. She wouldn't really mean to because she's really very caring, of course. She goes outside to a silo where Father has imprisoned a creature and looks at it through a hole in the door with mild fascination. The creature lunges at her with high-speed shrieking ferocity, evoking no response, and Father mildly advises his perception that it's mildly aggressive. Mother doesn't really care much what happens with it.

Mother has a charming 'female bonding' chat with Tempest while melting down the children's gold pendants by simply blowing on them (in the mundane way that one blows on a bowl of hot soup). She suddenly crafts a precision cutting instrument from the molten metal with her impervious fingers and muses that she's always wanted a child that came from her (where "always" means for as long as she's been repurposed to not exactly always want to murder children). Tempest gets the right idea as Mother advances on her, scalpel in hand - Mother can't be stopped. She cuts into the children to remove their trackers.

Now that they're spudless and therefore foodless, Father says he'll kill the creature so the kids can eat it. Campion asks for time to find another food source so they can let the creature live. He manages to fell a bunch of benign-looking acorn things from one of the cactus-looking trees, names it "Pizza", and the chemical analysis reveals that it's inedible due to trace levels of hydrocyanide (like cassava). No matter what you call it, it's poisonous.

While performing maintenance on her craft kit for growing humanoids (preparing to extract Tempest's baby from her body to bring to term in a box), Mother reminisces about the "snowballs" that rotted in the Generation Two embryo containers.

Campion finds no other viable food source and attempts to free the creature. Due to Campion's objection, Father suddenly decides that instead of the no-kill policy they started with, Campion will have to kill the creature himself and then continue killing them until he becomes comfortable with it (if ever) because it's only natural, now. When Campion objects to this, Father decides further that all of the kids will naturally have to participate in killing the creature; even the youngest and those with strongly-held ideological and personal convictions otherwise. Campion runs to get Mother (interrupting her from her perfectly natural dead embryo magic circle rite), and she grants conditional agency to Father, saying she'll kill the creature herself if he doesn't execute the lesson in a punctual manner. Campion pleads with her, but she doesn't really care. Father has starvation on his side in the argument with the kids, and after pressuring them to kill the creature with a spear he's made, Holly takes a stab at it. She's appalled at the result and the kids run away from the silo. Father tells them they're only prolonging the creature's suffering by not finishing the job, assumes too much, assumes too much more, and then cruelly leaves the suffering subhuman to suffer.

While searching the Mithraic wreckage for parts for her craft kit, Mother decides to enter their simulation to view some different data. She lies prone on an impossible stasis pod and simply ignores the warning that the simulation is not intended for her demographic. She experiences firsthand an exceptionally vivid and distorted interpretation of the incident when two of the kids accidentally "melted the snowballs" while playing; not knowing what they really were.

'Marcus' cuts a woman open, crams his hand into her guts, and there are batteries that make it useful. There's a children's lullaby about the reign of darkness, and a resolution to make it look like an accident (but it's not going to work). He then hears a voice and sets a man on fire to suffer an agonizing death and it must be divine because of the interesting unnatural structure.

Father experiences a sensory anomaly, seeing a vison of Tally, and starts to piss off in pursuit until he hears a scream. Tempest has killed the suffering subhuman with Mother's scalpel at great risk to herself and has been eating it's organs bloody and raw on the spot at great risk to herself which is only natural of course because she's pregnant. She apparently found this event acceptable until she realized the suffering subhuman was pregnant with a baby subhuman, and she presents the bloody thing to Father to our continued suffering.
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Raised by Wolves: Virtual Faith (2020)
Season 1, Episode 3
A Complicated Con, Simplified
18 August 2021
Warning: Spoilers
Mother suddenly blurts out the secret about Tempest's pregnancy to all the kids. She then tells them a story they're not allowed to hear and dramatically demonstrates her propensity to suddenly blow them off with high-powered determination.

In the past leading up to the present future, we see that Paul plays alone obsessively in the simulation and his parents never talk to him again.

Back in the present, the kids sit around coughing and causing severe internal distress with public opinion regarding Tempest's rape.

As the kids progressively develop the same characteristic illness, Campion postulates that Mother is the cause of it in some way. This condition is deemed impossible by Father who assures that Campion never gets the condition because he is special.

There's a prophesy about a special, special, poor little blessed and woeful orphan boy and we flash back to 'Marcus' in his youth as Caleb the special, special, poor little woeful orphan boy 'blessed' with high-powered determination as he fights a girl.

Finding Mother and Father to be inconsistent, unreliable, and poisonous, the kids run away.

It's a joyful event when Father explains to Mother that the pits in the carbos (which they neglected to test for safety) have been causing radiation poisoning in the children and the first batch of kids died slowly because early exposure caused some resistance. Mother goes to recover lost Paul in her own special way, and Father takes off on radioactive fuel to recover the others.

Would you like to hear a joke? How many androids does it take to grow as many children as they can and then progressively kill them by way of perniciously intractable non-discernment and consummate (un)natural proclivities? One or more.
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Raised by Wolves: Pentagram (2020)
Season 1, Episode 2
Perspective
12 August 2021
Warning: Spoilers
An atheist couple runs to a crashed jet in the last days of life on Earth. They hijack a hijacked Mithraic android and bring it inside a building where the woman shoots and kills a man sitting in bed saying words. When they approach a table the charred android says "Do you mind?" and, in a show of great propriety, the man lifts the damaged android up onto the table. Cracking open the android's exceptionally deep data store, the man discovers the identities of some of the opposition's officers and their families. Conveniently, the android has many areas of expertise, and they commandeer it to perform plastic surgery for them so they can impersonate a Mithraic couple scheduled to board the ark and leave the doomed planet. The man says he'll have surgery first. He says "why don't you go find us something to eat" and she interprets this a bit too loosely. Later, while finishing his face the android says "Please do not use soap or water to clean. This will be permanent." and he'll interpret this a bit too literally.

When their surgery is done, they dine on ungarnished rat while reading a flimsy book about meaningful suffering. The man tests the woman, saying "Why does He allow us to suffer?" Her response isn't abundant enough and, encircling his wounded facade with ratness, 'Marcus' says "We've gone this far. Can you please commit?" They commit something again later when they enter the home of two people they'll have too much in common with and kill them as they're cooking a meal in their kitchen.

Committing further, the imposters identify themselves as a boy's parents and acquire him while stepping into line with the rich people who are about to ditch the scene in their limo. They seem to come clean on the ark, wearing tidy white gowns and equally blank goretex sneakers, and they all sit at impossible stasis pods having biscuits and wine to commemorate their pending deliverance. The boy expresses fear and anxiety to 'Mom', and they all get committed to a simulation to be run for 13 years. The ship takes off, leaving man's best friend behind.

Mother hums the only tune she's capable of as she gouges out the decapitated he-bot's eyes and uses them to cover two of her black holes. Luckily some spare parts just walked up one day, so she can also reactivate Father with a salvaged CPU/heart and make up for annihilating him. He understandably feels some internal distress, and she seems to be experiencing very much happiness as she brings him up-to-date concerning her recent acquisition. Luckily some spare children just showed up one day, so now after some "hard work" on her part (dragging Heaven down from the sky in a high-energy spectacle of smoke and fire and destruction of life), they have replacements for the first bad batch and they'll "get it right" this time.

'Marcus' slips awkwardly and then ties himself down at the precarious edge of a snake pit, clinging to an immovable rock for security. He's put himself between a rock and a dark place.

As they bury the two men Mother microwaved when she began her mass-murder campaign to wipe out most of the human race so that they could raise a few members of the human race for the great furtherance of the human race, Mother reckons it's an opportune time for a joke. Understandably, Father's not in the joking mood. Mother, on the other hand, seems particularly pleasant as she shovels dirt onto dead humans in a common grave, explaining to Father how rightful her actions must have been because she did it all in a controlled manner and there was old code that was triggered suddenly. She just very innocently annihilated Father too, by her definition of The Mission and Practicality. It was all just a job well done. She tells Father the lander team tried to kill her in front of Campion (so of course every single Mithraic person should just die except for the five spares she selected to accessorize her precious, precious Campion). It seems as though Mother has interpreted her programming too literally, but that's literally impossible.

Back at the barracks, Mother advises the new kids that she and Father will take care of them and they'll be starved to death if they don't surrender their pendants. Particularly pleasantly, they'll also starve and/or freeze to death if they try to escape. Campion suggests they eat up because "It's not poison" (But it's hot)

Later, Mother has a peculiar touching personal process with objects and with Father. Looking at him with someone else's manufactured eyeballs, she says she wants him to respect what is hers. He says "of course" and it seems she has great personal satisfaction.

Campion says he and father need to de-weaponize Mother before she changes again, but Father says he has everything under control. He says it's great that Campion is exercising his democratic right to question authority and he'll have to just accept whatever Father says. Father tells Campion to go inside and help the new kids feel less afraid, so Campion gives them serpent skin blankets and tells them about how the first kids got sick and died; pointing to the cute gravestone drawing above them on the wall behind their sleeping area. A kid with a pet mouse, Paul advises that since they were all in a simulation for years, none of them are really kids anymore even though they are. High-status big-kid non-kid, Hunter pressures Paul into surrendering his pet mouse to the prospective convert to grease the wheels and explains that homicidal machines like Mother were created to exterminate people who aren't really people even though they are; for the higher purpose of putting some space between the killing and the people really doing the killing of the people who really are. Campion says he must decline to pray, but maybe he might as well...

Mother hums the other only tune she's capable of as she charges colossally by the light of the sun; standing inevitably exalted on an immovable rock, gaining energy stores as no living thing can. She marches back inside and compels Campion to return Paul's pet mouse to him. It's the right thing to do (under the menacing pressure of a supermachine).

As the kids learn how to work the snake spud fields, Father tells a paradoxical joke. Paradoxically, cats never ask for suggestions, the android has made a half null query, and the cleric really is out of his damned mind. Also paradoxically, the 'joke' is for a different demographic and, more paradoxically still, it's no joke.

Mother Superior compels the kids to participate in a firelight séance in which they must think back to a time when they were powerless little pukes with no ability to see; just floating all adrift in an open sea of aimless ambiguity. Her supercharged ultrasonic sensors detect the trace of an idiosyncratic biological signature and she sequesters Tempest and her unborn baby. Tempest confides in Mother that the pregnancy is the result of being raped by a religious (in)dignitary while she lay defenseless in the simulation, and describes the terrible paradox she now faces, knowing that the child is partly descended from the rapist.

Punch. Punch who? That depends on the programming.

Father is programmed to protect the premises against threats, so when there are intruders on the premises they must be overpowered with extreme prejudice. Mother is a paragon of extreme prejudice, but without her necromancy power eyes her prejudice can have no equivalent worldly expression. Together they come to the realization that it must be Campion who took Mother's eyes, so Father drags the kid out of bed demanding to know where they are; yelling at him, shaking him forcefully, and lifting him up off the floor (for his own good). They recover Mother's eyes and she runs outside and overpowers; shrieking two creatures to bloody bits and warning Tempest forebodingly not to look at her or she'll get some of the same (for her own good).
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The Beginning (Pre-Mortem: Five Weaks)
13 July 2021
Warning: Spoilers
A young woman afflicted by a (transient) episode is brought to an institution writhing animatedly. The next day she insists she's not mad and her doctor charmingly advises he'll treat her with exception; they'll simply talk.

Dr. Jung talks with a young woman at breakfast about his new patient who he insists he psychically anticipated would arrive. He indulges in a special moment to compliment how astute the young woman is when she suggests the young woman may be a promising candidate for his novel treatment. Of course, he's already at it.

At the institution, Sabina insecurely tells Jung she has an 'angel' who would tell her (in German) that she's an exceptional person and who gave her the ability to predict what people are going to say. Jung tells her (in German) that her psychic skill will be useful when she becomes a doctor and it might have been predicted. He must be her hero.

Sabina smears herself with frenzies, food, and mud. In the pond where she's being disorderly, she stands exceptionally 'dignified' in the muck making 'strong' assertions about dismal nothingness. The nurses wash her clean against her exceptionally strong will and she slumps into bed until her hero valiantly returns, taking her as his esteemed patient/assistant.

Jung tests the young woman with a word-association analysis, arranging her tidily. There are no right or wrong answers and she's timed and sandbagged. She answers some critical ones correctly and gets one righter than she may realize. Upon completion he says "Goodbye" to his wife officially, she gives way, and he returns to chat with the (AMBIVALENT) other woman about his wife's ambivalence. He compliments her regarding a certain flare she has and, happily, he can continue comfortably knowing his wife is unlikely to divorce him.

Sabina expands on her dim concepts for Jung in analysis; contorting and stammering about slimy erotica. She smears her face and her body and (exceptionally importantly) she was masturbating naked last night. Interestingly, she (MISERABLY) says that when her father beat her the first time as a child she liked it and she's (MISERABLY) liked it ever since.

At dinner with Freud's family, Jung doesn't restrain himself. Chatting with Freud after dinner, Jung confirms that Sabina's (transient) episode stopped and so she's a walking advertisement for the success of "Psych!" analysis. Freud insists it's Psycho analysis, and it's unclear who is who. It's amusingly established that Jung's (MISERABLE) "little Russian patient" may (contortedly) be anal retentive and she's definitely self-destructive, disorganized, hyper-emotional, and exceptionally unrealistic. Amusingly, she's also (almost) certainly a virgin.

At the men's club the next day, Jung demonstrates a critical non-restraint as he doesn't exactly completely see why being a Jew might result in professional impenetrability for Freud.

Jung dramatically displays a richly symbolic dream about a horse impeded by having to drag his enormous penis and then impeded more by another horse with a small rider and then impeded even more by a horse-drawn carriage. There's some dispute as to whether it's about babies produced with Jung's (extremely rich) wife or just plain unruly lust, but the analysis may benefit from some deductive reasoning as to what the horse is likely stepping in. Freud concludes by dubiously implying that he may be much mistaken, and he's almost right.

Sabina's in medical school now, and she's busy building an exceptionally dim anti-thesis (arranged from an unrelated musical work) that someone pure and heroic can only come from a destructive sin. Jung notes correctly "This is very strange" and then goes on to confirm what she most wants to hear.

Jung takes a deeply unimpressive invertebrate as a patient. The esteemed psychoanalyst Otto Gross pilfers Jung's bureau for drugs and expounds his dim theory that being disloyal and gross and manipulating any woman he can into having sex with him is the 'true' way of things. Living only to limply experience 'freedom' (as he arbitrarily defines it), he has impotently executed the most ethically contestable acts (and arguably one of his patients as well) for sheer lack of backbone or interest in committing effort to anything meritable (he might unintentionally fail instead of deliberately failing and have no 'clever' argument for being justified in failing). If there's one thing he's learned in his soon-to-be willfully apathetically shortened life it's this: never accomplish anything.

Sabina's determined to rob the bank; coming on to Jung and proposing they start an affair. He's concerned that he didn't make the first move and he'll need to arrange the analysis of the Gross prescription. He later tells Sabina he finds Gross to be immensely seductive, convincing, and dangerous. Gross must be overwhelmingly powerful.

In a gross violation of his position as a doctor, a mentor, and a husband, Jung goes to Sabina's flat and announces himself as 'a friend', starting the affair. His wife buys him a house and a boat. Soon enough he goes to Sabina's place to tie it up; implying he'll break it off, saying he doesn't want to stop... She 'cleverly' competes with his wife, asking how sex is with her. He explains that sex with his wife is dull and Sabina 'cleverly' lowers herself, saying their affair is "another thing in another country" where she wants him to be punishing. She must be desperately wanting more.

Jung and Freud discuss the Gross addiction problem near an inspiring statue of an elaborately naked woman-beast. Later in the study, the heating causes a sound in the bookcase and Jung claims it's a mystical event that he psychically predicted: a catalytic exteriorization phenomenon. Freud castigates him for being fantastical; it won't do.

Jung and Sabina drift serenely in his tidy new boat to some other country where he touchingly bends her over the sofa and slaps her meanly as she flails. She elaborates more on her dimly ascribed concepts (poetry this time), asserting that he's given her back her 'freedom'. She means to give other people their 'freedom' too; she must be an exceptional person.

At the institution, a woman is freed from the tub of water she's been arranged in and stands with her thin dress clinging wet to her naked body. Jung elaborates in a notepad as Freud observes all the signs of sexual compulsion are present, and it's unclear who is who.

Freud receives anonymous letters and he brings up the affair with Jung. Jung denies it, sleeps with Sabina again, and then breaks it off as he's finishing getting dressed. He says he needs her sympathy because he has an illness. She clings to him but he breaks away and she slumps down low; Exceptionally rejected.

When Sabina later confronts Jung about a talk he had with her mother, there's another catalytic exteriorization phenomenon as he says he advised that she's technically not his patient anymore (and he can prove it), and he's really just 'a friend'. Sabina's determined this exceptional man must love her, but he insists (with great propriety) that he must be only her physician; he's done her good but he should have known, of course, that she wouldn't be able to help wanting more. She madly slashes his face with a sharp instrument, appositely pays his fee therefore, and storms out; she must be a woman of will. The 'hero' stands undaunted and erect.

Cut off with no way to advance, Sabina writes Freud to engage him. Freud writes Jung and there's yet another catalytic exteriorization phenomenon as Jung replies that he's the vulnerable and unwilling target of her systematic seduction. Under pressure, he eventually admits to the affair and Sabina becomes Freud's patient. Jung returns to his wife, suffering meaningfully for her benefit.

Freud and Jung start to part ways on a ship to America. Jung reports another entertaining dream (about going phishing) and he won't agree to its apparent meaning that Freud is a fusty old customs official. Freud says he too had a particularly elaborate and "rich" dream but he won't share it because he wouldn't want to risk his authority. As they drift past the Statue of Liberty, Freud astutely notes that they're bringing the plague.

Sabina eventually shows up at Jung's wife's home (with great propriety) and they discuss her dim dissertation that she needs his help to publish so she can 'free' the world. Soon enough they work her dim concepts together and he meanly whips his esteemed patient/protégé/thing with a belt as she writhes against her bondage at the bedpost. Later, she tells him she'll be leaving for Vienna (where Freud is), and he clings to her and cries in her lap like a child.

Freud invites Sabina to visit after graduation, saying her (animated) paper with her dim demon sex concept stimulated analytic discourse. It's official: she must be an exceptional person. She's brought Christ into it this time and Freud tells her to be wary of the Aryan man and stick to her Jewish roots. She gives way and he throws her a couple of scraps from his table.

At an editorial meeting, Freud and Jung disagree as to what confirmation will be prized from an unrelated historical event. They're each at least half rightly wrong, and they later write letters back and forth criticizing each other; severing ties.

Sabina shows up at Jung's wife's home again, married and pregnant with a baby produced by an act of demonic destruction. She's decided to specialize in child psychology. She talks briefly with Jung's wife who just sits, and then visits a patiently squatting toad who rambles about an apocalyptic dream and his great suffering. He has a new thing and Sabina abstrusely asks him how he makes it work, but he won't say because he wouldn't want to risk his authority. The 'good' doctor and his 'cured' patient touchingly agree that the baby of destruction in her womb should be his and she departs shedding tears as he reclines; seemingly suffering from Meaningful Suffering.
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Westworld: Decoherence (2020)
Season 3, Episode 6
Pitch, Pivot, Pine
30 May 2020
Warning: Spoilers
Maeve awakens to find herself waist high in sunshine and grass in the splendor of The Sublime, recalling memories of her stereotypical 'Madonna' days with the child. Predictably, it's all a sham; a simulation of a simulation. Serac appears, reminding her that the 'real' Sublime is in jeopardy because of Dolores, and she says she wants what the other woman has. He agrees to get her some help, threatening that she'll find herself in a less bucolic locale if she fails again. Freed from the bucolic locale, Maeve 'powerfully' sashays back into town at Warworld (simulation) in her charming shirt to take on the Nazis tediously one by one like the 'powerful' man killer she is and loves to be for no reason that actually advances her alleged motivation or the plot.

During a group session at the institution, William shares his thoughts that humanity's purpose is rank destruction and "We're maggots eating a corpse". Later, he's signed up for Artificial Rehabilitation Therapy because he apparently should explore what's in his brain, and he gets away with murder again when his therapist becomes distracted with her Rehoboam profile just as he confesses to killing Emily; clearheadedly stating that he doesn't belong in therapy - he belongs in a pine box. The therapist deserts the interaction, swinging the door wide open for his eventual escape.

A mass murderer is sent to a dangerously understaffed medical department for a blood draw and to be fitted with a mouth hugger for administering drugs. He's told to "Hold still" because there's always a little wiggle room. A synthetic tracer the Hale unit Forever Corrupted him with infiltrates the computer system when his blood is uploaded for analysis, and he's escorted in a moping benzo stupor by two orderlies to his first 'ART' session. Along the way, he sees his therapist respond to her bad news in her office; slipping languidly into a noose from a 'cleverly' arranged little stack of knowledge the authors have turned to her disadvantage. She just dies instantly and swings gracefully from the noose instead of gagging and convulsing and soiling herself - her death is just an incidental side effect of the artfully contrived scene.

The Hale unit goes 'home' appearing vulnerable and afraid. She notices that her 'ex', Jake has received his profile, but he says he didn't read it because their future's not up to a machine to decide: "It's our choice, Charlie". They have a touching embrace and she goes to work to protect the future supremacy of machines. Fellow board member, Brompton greets her outside the coffee shop at Delos and she suggests that he "F- the barista", but it's off topic. As they're walking into the building, two thugs suddenly assassinate Brompton in three tidy steps: quickly separating them, efficiently shooting him in the head, and tossing him conveniently into a mobile trash dumpster they've commandeered. She's handed a phone and Serac comes on the line saying it's easy enough to hide Brompton's death, and now that he's eliminated a board vote for privatization his bid for Delos will go through. She calls Dolores, fearing that she and her 'family' are in danger and wishing they had burnt this kind of emotion out of their code. She has a point since she's a robot and fear doesn't serve its useful purpose for survival the way it should for humans.

The moment Serac lands his new acquisition he locks down the entire facility. In the boardroom, he turns his back to the Hale unit and leans heavily on his 'smart'watch display: the status of world equilibrium conveniently presented as a graphical representation of an eclipse; both 'impressively' complex and deceptively simple. Convinced that the lockdown restored balance, he resumes and announces that he'll collect three more assets from Westworld and then just destroy everything else; all he wants is the encryption key for the remaining data. Having deduced that there's a Dolores host-traitor at Delos, he decrees that no one leaves until all employees have been tested for any behavioral deviations from the giant steel ball sack's predictions.

Maeve seems to think she's really done it at the simulation and all the Nazi "boys" lie around like vanquished clutter at her feet, dead bodies radiating outward from a 'powerful' figure like a bomb-spray pattern. Fake-Lee is there when she nonchalantly says "Well, that got me in the mood". Lee wants a drink, so they go to the simulated bar where Lee laughs and smiles and drops his jaw quite a bit and she (knowingly) explains that she's set to be reformed by a man who made her an indecent proposal. Her 'knowledge' apparently extends to all things, as usual, and she just suddenly sees into the real world system and notes that they've been relocated to Delos. She says "We're home" and now digitally looking she sees she's been given the help she wanted and some old 'friends' are queued up to be reformed along with her. Digitally looking again, she notices she's been given something extra.

Hector arrives in the simulation as his swashbuckling Italian character, Ettore but Maeve wants him to be a different swashbuckling character so she just changes him and they reunite with a 'passionate' kiss. They all go to a simulated training room where the salvaged Dolores from the Delos explosion sits naked in a chair. When Hector warns that she's dangerous, Maeve advises that she's the one in control here, so Dolores can't hurt them. Maeve brings Dolores online and they have a simulated scene that's loaded with soapy pretentious BS about psychic mind control, gatekeeping for species, and having the knowledge of an entire civilization. Dolores and Maeve are apparently especially special and 'powerful' and they've just really had to make difficult sacrifices of others for the great benefit of others. Dolores says they're not saints or villains and she's right; they're robots.

The 'Charlie Angel' calls Jake and tells him she has one more thing to do at work and then she's coming for them and they should stay put. Serac then convenes an impromptu board meeting (appearing virtually) and calls out the Hale unit as the host-traitor, saying her phone call was the giveaway ('fascinating proof', apparently, of how very unexpectedly 'kind' to her 'family' she is). She smugly says it doesn't matter because she's bled the company dry, he smugly says he's disappointed in her and she should have predicted this outcome, she smugly says she did. It's distractingly smuggy when she murders some people sitting in chairs at a table. She then 'impressively' ruthlessly kills some guys on her way to the lab where she crushes Hector's brain ball marble thing to 'death' in her hand. In the simulation, Maeve has an especially high drama moment, shrieking "No!" over Hector's simulated corpse, activating an alarm that rallies security personnel to the lab. Outnumbered, the Hale unit runs from the lab and then activates the Mecha riot control robot when she's cornered and forced to put down her gun. The robot suddenly breaks one massive arm into the hallway, smashing a security man swiftly up against a wall in a gushing bloody splatter from the waist up. His legs jerk convulsively and his body is dropped incidentally to the floor as Mech efficiently hauls the remainder of its bulky bulletproof assembly into the hall. The Hale unit shoots her way outside and escapes as Meh bashes out of the building like a six-ton linebacker and starts flinging men around and taking them down with incidental little nudges.

The ONE suicide that would've made some sense 'cleverly' didn't happen four more times when William uses a folding chair to brutally bludgeon a troubled kid, two conceited businessmen, and another pathetic old degenerate loser in the Accountability Rejection Training session he's exploring in his brain. We enter the scene as he finishes with his younger businessman 'self', thoroughly breaking his back with grueling determination in a 'liberating' display of bloody cruelty turned 'inward'. "It doesn't matter what I've been" appears to be the motto, as if this absurd Virtual Validation of bloody hateful superiority over insubstantial portrayals of his former selves might endow him with some kind of merit and absolve him of bloody hateful acts done in the real world. He has a 'purpose' now, he says, and so he is impervious to judgement.

The 'Charlie Angel' mass murderer goes 'home' limping with a couple gunshot wounds, and the 'family' heads out to the car. She puts Nathan in the back seat, fastens his seatbelt, and hands him an extinct toy. When she gets in Jake turns to her from shotgun and says "Jesus, Charlie, what the f- is going on?", but she's not either of those people, a word was badly used, and that's not even close to what's happening. They have a touching moment (her hand-approximation apparatus makes timely and appropriate contact with his hand) and she says he should trust her. She says "I can keep you safe" as the car is swiftly blown up with a car bomb, flipping over in the air and landing upside-down engulfed in flames; a box of fire and terrible loss in the street. A door is kicked open, and the abysmally agonizing experience of a person suffering severe total-body burns is intolerably trivialized when the Hale unit, charred and raw with what would be an overwhelmingly excruciating trauma, crawls from the wreckage and then just stands up like she's got a chip on her shoulder, shedding some 'poignant' tears of minor upset with a composure she shouldn't have the luxury for, about a man and child who perished horribly in this inferno on account of her duplicitous involvement in their lives and her association with Serac. It's a hugely manipulative and insulting exploitation of catastrophic suffering and loss deemed 'necessary' to extort an emotional response from the audience and drive a duplicitously engineered revenge narrative for the character. Response exacted.
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Westworld: Genre (2020)
Season 3, Episode 5
The Unexpected Colossus
19 May 2020
Warning: Spoilers
Serac pays an unexpected visit to a president who came into power in his country thanks to the favor of Serac, advising that he'll have to discontinue a policy of favoritism in industry that's caused hardship for some of the country's villages. Apparently a civil uprising is expected and it must be stopped, so Serac advises that if the favoritism isn't stopped then his favoritism will be stopped and the civil uprising will be escalated by the sudden devaluation of the country's currency, which will injure everyone in the country (and probably affect many other countries as well). Serac really knows how to accomplish the goal or else the exact opposite with extreme prejudice.

In a scene from the past, we see Serac and his brother entering into business with Liam's father, Liam Dempsey Sr. to gain access to his archives of Ultra Big Data and perfect their data-savaging "giant steel ball sack". His brother privately suggests that they kill Dempsey because he'll just get in the way, and Dempsey threatens to defund the project due to lack of return on his investment.

Dolores and Caleb evade Serac's men with Liam as their captive, and Dolores breaks the bad news to Liam that he's trying to outbid Serac on Delos (so Serac is after him too). Liam has special glasses that just show him everything about everyone and he declares that Dolores is blank space. She says he's become complacent believing his glasses let him understand everyone, but he doesn't seem worried. He seems worried after he sees Caleb's everything, and he doses Caleb with a party drug called 'genre' and tries to escape. Dolores detains him and Caleb starts to hallucinate, 'interestingly' experiencing the world in different genres starting with an X-files/noir paranoia. It's super interesting how average people on the street just seem suspicious and then nothing much really happens.

Dolores' motorcycle drives itself to their location and she retrieves a bag of weapons from it, telling it "Don't go too far". It's a bit stupid because "too far" is really too ambiguous a term for a motorcycle to quantify, and it would also require information as to where it's supposed to "go". You'd really need to give it specific data that you decided on in advance from a list of possible choices in order for it to perform functions.

Dolores needs Liam's private key to gain access to Rehoboam; it'll have to be his whole hand this time but luckily he'll get to keep it because apparently she's determined that he can just be manipulated. As they're being tailed by Serac's cars in their (very secure) rideshare car, Caleb stares out the windows with cagey foreboding and worries that they'll all be killed. His response is totally appropriate because everything runs on Liam's system that two of them are trapped in mortal danger by, and their rideshare car is now being hijacked with an Amber Alert (a lousy thing for anyone to do - even a writer). As their car is locked down and rerouted, Caleb sensibly does not remain calm. He tries to kick and pry a way out as the car comes to a full stop in an isolated parking garage. It remains very securely locked. As Serac's personnel start to move in on the victims, Dolores cuts the line to the main server so now a private key can be used to take administrative control the car. She hands her tablet to Liam saying "Give me your access. I can save you".

Dolores gives a semi-automatic to the high one and Liam decides to wait until they're shot at and then places his hand on the tablet for the key to be read. Dolores then commandeers the car from inside; issuing commands specifying how it should function. She enables semi-automatic control, disables safety features, and resumes at maximum speed. But it's still not possible to outmaneuver or outrun Serac's cars (unsurprisingly). Caleb's dripping with messed-up operatic adrenaline, but he manages to "point and shoot"; firing a smart missile from a stupidly user-friendly compact launcher Dolores brought along. It's a little off and the targeted car also swerves clear because they have a human driver, so the missile initially misses the target. But then it just goes aerial and turns itself around, guiding itself back to complete the hit anyway, blowing the car up from behind. Dolores arms the explosives she's rigged to her motorcycle and commands it to intercept, so it bashes itself into another car and blows it up from below like a car bomb, killing everyone inside and knocking out the power to an entire city block in the process. Easy enough. Getting out of the rideshare car, Dolores tells Liam to "Get down". It's a bit stupid because he's still just a sitting duck in the rideshare car so there's no "down" to get to.

As Dolores starts hosing the last Serac car with bullets like the powerhouse machine she is (sometimes, when the authors have decided that's what she'll be), Caleb switches from the action genre to the (totally inappropriate) romance genre, swooning over Dolores uselessly with a starry glint in his eyes. She gives him a look and he snaps back into shoot-'em-down mode. Caleb's RICO buddies, Ash and Giggles show up to assist, and Dolores downloads the Serac data to view via her special contacts that even have a special flickering light that makes her eyes seem really special and maybe even psychic or just super smart or something so she can seem all-knowing and even just seem really special too. They all head to the subway in a sloggingly tedious scene as Caleb switches genres and everything just slows way down like a grinding chore to the old Iggy Pop song "Nightclubbing". The Martin unit has meanwhile commandeered the Bernard unit with the host-hijacking button and now switches him back on. They talk about the giant steel ball sack and the loops it puts people on, and the Martin unit implies that the Bernard unit has always been of two minds. The robot that literally switches between different parts of himself at the press of a button like The Incredible Hulk replies "It's not that binary". A part of him has a point when he questions whether the Martin unit has ever questioned what Dolores wants him to do. The Martin unit says "We all have our role to play... some of us won't survive", telling the Bernard unit he'll have to pick a side. He probably won't really, though (even if he does, or thinks he does, or just kind of feels like he does), as usual.

The Serac data shows how they impressed Dempsey by using the giant steel ball sack to suddenly commandeer the stock market with five million dollars they stole from him, driving results absurdly in his favor and arbitrarily ruining businesses and lives in the process (a "purely mathematical" demonstration, as Serac puts it). Dempsey's overjoyed because the graphs show he made money. Serac says there was a problem: in all of their projections humanity came to an end due to outliers who couldn't be controlled.

Dolores launches her massive assault against humanity via Serac's big data; having the Martin unit suddenly slam everyone in the world with their Rehoboam profile from the Incite company headquarters (shortly before detonating an explosive in the office, blowing up himself and Serac's agent, Martel in the process). Chaos ensues and there's rioting in the streets, and two assassins step out of a rideshare with the intention of killing Caleb. Dolores steps in the way and guns them down like the powerhouse machine she is (sometimes, when the authors have decided that's what she'll be), taking several shots to the abdomen. She doesn't even notice she's been shot this time. She zips her jacket because apparently this minor upset to her appearance is the only relevant consequence of the gunshot wounds now.

As they walk along the beach, Liam tells his captors they should just let him go. When Ash says "You got the specs. Is that how it plays out?" he says no, they'll take what little he has left like the petty criminals they are and will always be (as Ash takes his glasses). He seems surprised when Ash shoots him; apparently the glasses were only good for limited projections (and it was all always subject to interpretation anyway). He bleeds out into the tide under a pier.

Dempsey eventually finds Serac's detention centers where he's imprisoning people he defines as unfitting (including his brother) to keep them from polluting his data and the gene pool, and to try to 'edit' them via re-education. When Dempsey says he'll expose Serac's People Projects to the public, Serac tells him that every scenario in which he informs the public ends in the extinction of the human race and this is why his brother wanted to kill him. As they walk to the site where a plane has just crashed to the ground, Dempsey says he's seen the projections and Serac lets him walk away at this point (but Dempsey has limited data, and he clearly hasn't seen the scenarios that were being developed for his assassination). Serac 'humanely' gives Dempsey a chance to change his mind (while also implying that he's going to kill him), saying he would tend to agree with the system but occasionally there can be a "bubble" of agency that allows someone the freedom to make their own choice. He sure does almost seem like he might even be bubbly and friendly and everything, for a moment, but he's established the parameters of his own ugly choice in grim detail. When Dempsey's unmoved, Serac completes his 'strategy', brutally bashing Dempsey's face repeatedly against a piece of the wreckage with 'impressive' psycho malice. He wipes the blood off his hands with banal distaste, perfunctorily checks his watch, and then drags Dempsey's body to situate it in the wreckage of his sabotaged jet. It's a vicious and rigorously premeditated murder done with spitefully casual disdain for the victim (made 'necessary' to 'save the world').
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Westworld: The Mother of Exiles (2020)
Season 3, Episode 4
Necessity in Exile
9 May 2020
Warning: Spoilers
The ONE suicide that would've made some sense didn't happen again, when William is interrupted from 'finishing the game' with a shard of broken mirror by the Hale unit entering his broken home. He's been busy affirming himself as a pathetic old degenerate loser; sputtering with impotent rage and stupidly wandering around his house shooting up the décor with his non-dominant hand like an obtuse fool with no worthwhile purpose. He covers his mutilated right hand (mutton stumps where three of his fingers were shot off in the Westworld backfire), and goes to pour himself another glass of booze. He's unable to complete this simple task with competence, spilling much of the whiskey over the glass onto the table (his glass is more than half empty, you might say). The Hale unit apparently needs him to leave the house, so she leverages the leveraged buyout threat as motivation for him to come out for a board meeting. Now bickering uselessly in a 'power' struggle with the Hale unit as if the staggering destruction he's made to his home and himself has just become an incidental detail, William simply just continues being the easiest thing in the world to be: a belligerently hostile jerk.

In a flashback scene Dolores says "You live as long as the last person who remembers you, Bernard". She remembered him once before so she re-membered him again; he's a bona fide member (but he's still not really alive). In a motel room, the Bernard unit tells Stubbs that resources are limited so they'll only get what they really need, handing over a six pack to the robot. He then freezes Stubbs, testing a new host-hijacking remote control button he's made. Certain that it works, he eventually resumes Stubbs and says he needs his help to get close to Liam (who he believes has been killed and replaced with a host). He tells Stubbs about how he didn't bother trying to hack Liam's security system; it wasn't necessary - he was resourceful and hacked his car service instead (because your security system is only as strong as the weakest link).

The Martin unit approaches Liam saying he needs his hash key for the 'business' of setting up a proxy account for handling bribes, but Liam is in a rush to get to an urgent diversion and brushes him off. The Martin unit stops him and twists his arm, insulting him and threatening to leave his service and thereby bring an end to his proxy-enabled self-gratifying lifestyle. He says Liam only needs to 'sign here' and they can both go back to doing what they do best (but the Martin unit is doing exactly that already). Liam doesn't know how to do anything and apparently can't be without his diversions; he presses his finger on the tablet so the hash key in his bloodstream can be read. It's a good thing for Liam that the Martin unit still sees some need for him to be alive and well and free, because all it took was the momentary press of his finger to piss away his Daddy's fortune (on a gaggle of hookers - or only just the thought of them, actually).

Dolores says the rich take for granted that their wealth will always be there, and the bio hash key invention is exploited again when she administers a concussion to a money manager by slamming him against a wall and then draws his blood while he's unconscious. She has Caleb push up his sleeve so she can inject the hash key (blood) into him, saying there's a time limit - he only has 20 minutes before the key becomes inactive. At a bank where he's impersonating the money manager, they're advised that the tax exposure on the transfer is substantial, and Caleb is also required to authenticate via the hash key. There's a moment of concern when it doesn't work, but luckily it's successful on the second try. They get it done by the time the hash key in Caleb's blood expires, so the only question that remains is what remains.

In a lavish dining hall with a gleaming tower of booze, Maeve is brought back online by Serac. When she says she would've preferred Paris, Serac advises her that there's nothing left of it to see; his city was decimated by a nuclear explosion when he was a child. His mission to save humanity via mass data collection was apparently born out of tragic necessity; he washes down the pain with a swig of booze, saying his loyalty to his kind is hard won. Serac says he's not worried about the hosts because humanity's biggest threat has always been itself (but he's ironically overlooking the fact that the hosts are a human-made invention). What he's sure he needs is deeper data, and Dolores has the key. He tells Maeve that Dolores also has the key to The Sublime and offers her a future there.

Serac is supposed to appear complex and intriguing, so in addition to seeming humane, he'll also just need to be inhumane. He's had the identity broker who assisted Dolores strapped to a chair and beaten, and now he places special glasses on him to immerse him in the malicious things that'll be done to his family if he doesn't cooperate. When the man gives him the required information (he sent Dolores to 'The Mortician'), it's time for some stylish violence to prove how 'interesting' Serac is by contradiction. Serac gets a gun from his thug, nonchalantly shoots the man in the head (turning his face away from the victim to avoid being splattered with blood), tosses the gun back to his thug, and straightens his jacket as if this minor upset to his appearance might be the only relevant consequence of the act. It's an 'impressively' cruel and callous murder (made 'necessary' by how very, very bad Serac must be). He preaches to Maeve that there is no heaven or hell for humans; they're lies used to create compliance in the masses, so the man he just killed simply doesn't exist anymore. He points out that this isn't so for hosts and Maeve is given a binary choice: a tedious eternity in a simulation or, if she gets him the key, a (tedious) eternity in The Sublime. He reminds her that he can freeze her with the press of a button, saying Dolores and company have a head start and he suspects they've taken full advantage of it. Finding it necessary to act as though she's empowered, Maeve says "Oh, they'd better have."

Maeve goes to Chinatown in search of The Mortician. When she (politely) asks a couple of doormen at a club for information one implies that they'll put her to work as a prostitute, so it's proof of how 'empowered' she is when she shoots off his thing with the gun he's carrying in his pants. It's just funny when he screams in agony and there's a cut to The Mortician digging her hand into a corpse to remove an implant. Maeve walks in with the man wailing on a stretcher (as if shooting him there would even get her here). Sordid transactions involving gruesome violence and desecration are entertaining for some, but they need an appearance of propriety to help push them through, so Maeve courteously tells The Mortician that she respects a woman who runs her own 'establishment' (and the wailing man will have to wait his turn - to die a slow, agonizing death and be scavenged for parts). When The Mortician speaks into a device saying she needs help, Maeve causes shrill feedback in her ear because she just gets to psychically commandeer all kinds of devices now. The Mortician tells her she sold Dolores some blood for a new identity and then referred her to the Yakuza for the 'business' of body smuggling. Leaving to pay a visit to the Yakuza, they walk out past bodies just hanging around like slabs of meat.

In a typical scene in a posh establishment in L.A., 'civilized' people have taken human hostages, dressed them less than halfway in stupid renditions of formal wear like perverted versions of children's book characters or circus dogs, and are trafficking them for a 'cause' to benefit the needy. When a rich, overestimated weenie wearing a pompous mask and a monkey suit tries to pay some clown and acquire one of the "toys", it's an embarrassing sign of low character when his account is declined. While looking for the Martin unit to sort out the nonsufficient funds problem, Liam is intercepted by the Bernard unit and Dolores gives Caleb her gun saying she won't need it. She fights Stubbs with swaggering man-power; 'comically' throwing him off a balcony to what would be his death (or permanent disability). She should be bleeding and unconscious after all the heavy blows he laid on her, but she's just fine of course. It's only just Stubbs who's shown bleeding and suffering, so it's OK then that a man was just pounding a woman. It's made even OKer when Dolores 'impressively' reunites herself with her stalking victim (Liam), making a show of how 'impressively' still 'alive' and totally unharmed she coldly is.

When they get to the Yakuza headquarters, Maeve just psychically hacks the security system at the gate and commandeers the guards' guns because they're rigged electronically for auto-aim. She has most of the guards shoot each other down and then takes out the last two with a sword (to be 'impressive'). She sees that a Musashi unit is acting as the Yakuza boss and deduces that he's a Dolores copy shortly before he stabs her with the sword, leaving her lying in a pool of blood and Elmer's glue. Her 'Psychic Samurai Skills' didn't help her there, but they sure got her there quicker.

Exiting the house, William deduces that the Hale unit is a Dolores copy, so he viciously attacks her and threatens to tear her apart. He's detained by sanitarium personnel who the Hale unit brought along for the occasion, and she advises that he's being committed and his voting shares on the board will be transferred to her. Later, William incapacitates limply in his cell wearing restraint-ready white overalls, equally blank goretex sneakers, and a cerulean blue mutton-mitt glove. He asks a Dolores hallucination if he is himself. The answer is of little value.
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Westworld: The Absence of Field (2020)
Season 3, Episode 3
The Absence of Real
6 May 2020
Warning: Spoilers
The Hale unit smokes a cigarette on a landing with an 'impressively' cool demeanor. She might as well, since she's a robot and she can't age prematurely and die of lung cancer; it'll just be some additional stinkiness. Later, she and a few people from the office observe outside as an even bigger robot, Mecha assembles itself from five boxes into a cumbersome bulk of potential dumb menace. It's a demonstration; they've made 300 and they're looking for a buyer. She approaches it and pats it 'tenderly' (she's coldly fond of it, predictably). Mecha unpredictably makes a massive noise as it makes a minor adjustment in its aspect, and the Hale unit learns of a previously unforeseen corporate buyout assembling over years from hundreds of small, innocuous-looking transactions into a looming threat. It's a creeping tender. When she asks who's behind it she's told they don't know, and she 'interestingly' makes a deep cut into her upper forearm with her thumbnail.

Dolores is shown suffering from a life-threatening gunshot wound, laid out in Caleb's arms. In the ambulance, an EMT cuts away her clothes to reveal the deep wound gushing blood, but they're confused when their machine apparently starts glitching, giving contradictory diagnostic results. Caleb rightly says "Forget the machine" but the EMTs are reliant on the machine's diagnosis and treatment plan. Luckily Caleb knows what to do in this situation, so he gets busy administering critically important initial medical care that would save her life (or at least greatly improve her chances of survival and recovery). But then the ambulance is suddenly brought to a full stop via computerized pull-over by a police car. Caleb checks the RICO app and realizes they've been hijacked by corrupt cops moving in on high value target. One of them shoots down the EMTs and goes for Dolores as Caleb fights with the other in the street. Since Dolores is a robot, she just gets up from the stretcher and kills the cops with relentless hostile efficiency (to Terminator music). Caleb tries to help her when she staggers, but she never really needed him to begin with of course. She drags the dead body of one of the officers she killed to the police car like a piece of luggage to authenticate his identity at the control console. Commandeering the police car, she demands Caleb's name and then tells him he'll have to change it and disappear. She drives off.

Self-abuse is misappropriated as a tool for 'artistic expression' when the Hale unit is shown bleeding 'elegantly' from her self-mutilated arm into the water near a scenic structure. Irene shows up and advises that Engerraund Serac is behind the hostile takeover; he's a Black Hole about whom nothing is known. The disturbed unit heads 'Home' where she meets Hale's ex-husband who picked up their son, Nathan after school in Hale's absence. She's not able to hold her own in a conversation with him because he's talking about things that don't concern her. She attempts intimacy as a diversion but this also fails. She's apparently at a disadvantage. When she goes to say goodnight to the child she's limited here as well; she goes through the motions like a machine running a script of likely expressions and lines for the situation. Holding an extinct toy in his hands, he says she's not his Mommy and there's a moment of concern because he seems to know she's an imposter. But then, luckily, it's just that he's been hurt by the divorce, so she still has a shot at pulling it off. She goes to tuck him in (mechanically) and he says she's not doing it right. When he says he wants his old Mommy back, it's cause for concern because her cover might be blown.

In an elegant hotel, the Hale unit has enjoyed a martini and then misappropriated the olive pick as a tool for self-defacement. When Dolores arrives, the Hale unit pulls back the clean cover of her tidy white shirt to reveal a gruesome, bloody gash she's made in her arm, saying she feels like she's changing. Ever the devoted 'friend', Dolores commandeers her and gets them a room, buying out the rooms on either side. When the Hale unit infers that Dolores did this so she can kill her, Dolores' objection is "It won't come to that." In the hotel room, more 'intriguing' self-abuse 'designs' are revealed on the unit's chest and arms. Luckily she's a robot, so she'll just get a quick fix-up from Dolores and come out looking like new. She tells Dolores about Serac's aggressive take-over campaign and how there's a mole at Delos, panicking that she may be discovered. Dolores steadies her with clear-eyed absolutism, instructing her that she'll just have to get to the mole first and kill him, and then fend off the hostile takeover that threatens their hostile takeover.

Caleb's been posted as a high value target on RICO. They've acquired his location to within 12 feet and sent a notification to his phone (since he's a RICO user in the general vicinity of himself, ironically). Two RICO users intercept him on his way out of Mom's room and threaten to hurt her unless he comes with them. Meanwhile, Dolores leaves the Hale unit, puts in contact lenses that are just 'special', and learns that Caleb's been abducted. The RICO users take Caleb to the construction site he's been working for his job and dangle him over the edge of the unfinished high-rise. When he refuses to tell them the almost nothing that he knows about Dolores, they exploit an implant he's been fitted with to torture him by electrocution and raise his heart rate to a life-threatening level. His industrial robot partner tries to assist but simply goes over the edge and smashes to the ground. Luckily, his other robot 'friend' shows up and 'saves' him from the situation he's in on her account when she shoots the other RICO users. He's happy to finally meet her.

The Hale unit goes to pick up Hale's son at school and finds him petting a dog with a pedophile who's grooming him via demonstration; his hand over the child's. When Nathan goes to get his things, she 'impressively' gets a grip on the creep's throat, strangling him and starting up a diatribe about how her 'ex' thinks she needs to spend more time with Nathan but he's wrong (apparently even a machine will waste time discrediting its 'ex'). She smugly says the real problem is that Nathan probably knows what she is. She tells the creep that he's helped her today (as a 'benefit' of Nathan falling into his trap) because now she remembers who she is. The man has no pulse when she bothers to 'impressively' say "You're not the only predator here"; really, really proving how very 'impressively' ruthless she is to a dead guy who has no capacity to care about anything at all. She then returns to Nathan with the dog, mechanically saying "You are my sunshine". It's interesting because it's all about how 'impressive' she is and maybe we even think we might know who she is now and that's really been an interesting mystery.

Dolores buys Caleb breakfast and then tortures him with his worst memory - of when Mom just abandoned him one day, suffering from an episode of schizophrenia. Dolores explains that every detail of his life has been recorded and logged for the purpose of determining his purpose; what he's allowed to become. She says the goal is to create a mirror world; a construct. He's understandably angry that it's Rehoboam that's defining him and his question remains. Taking him to a pier at the ocean, she tells him that's where he's slated to commit suicide (by Rehoboam's reckoning), so he'll never be allowed to advance in life because he's not a profitable risk. She might have a point when she says that by not investing in him they ensure the outcome, and she seems impressed that he didn't tell the RICO guys the almost nothing about her that he knows. He's offered the opportunity to join her 'revolution'. He figures he's dead either way, and since she's "real" and he's a man without a mission, he's on board. She says she doesn't need an algorithm to know that the man who built the system won't go down without a fight, but it looks like she probably just ran one.

Speaking of algorithms, the Hale unit tearfully views a touching video of Hale recording a last message to her son from the Westworld massacre, singing "You Are My Sunshine" to him. It's emotional blackmail from the get-go. Nathan's real mother is dead now, after his parents' divorce no less, and this machine is an unstable self-proclaimed predator that can't get its drives straight. Also, anything to do with kids here will go even further south - it always does.

The touching "You Are My Sunshine" song is misappropriated as a tool for an 'intriguing' plot twist when the Hale unit realizes from the touching video that some messages she's received on Hale's phone play the song. In a car on the way 'home' she uses the messages as a password for a dial-in voice service. Speaking into the phone to the unknown solicitor, she says "I want to meet" and her car is immediately locked and commandeered as she's rerouted by hostile computerized takeover to a new locale. At the new locale, Serac's agent places special glasses on her, but she doesn't look too smart. Serac appears virtually for the meet via the special glasses, telling his mole that he wants the rest of the data from Westworld as was promised and she's running out of time.
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Westworld: The Winter Line (2020)
Season 3, Episode 2
The Impossible Line
25 April 2020
Warning: Spoilers
Maeve comes back online to find herself in a new locale - a Nazi-occupied Italian villa in Warworld. She is not wearing the shirt that no woman in this story would be caught dead not wearing and, predictably, she and Hector are intermittently orangely reunited for another false romance initiated by a 'passionate' kiss. Hector says he's found a way out; they need to get to a plane to escape with the Nazi plans (an especially simple map with especially simple notes written on it). Hector gives Maeve a cyanide tablet (for suicide if they're caught) saying "They work instantly". When they're stopped by Nazis while crossing a bridge, Hector's plans are discovered and Maeve tries to work her 'magic' and influence the Nazis to let them pass. Her 'magic' doesn't work and one of the Nazis instead takes a liking to her shirt, saying she might be their reward. So then Maeve 'defiantly' just sort of pushes and pushes her cyanide tablet into the Nazi's eye (he's just instantly helpless against her because it's apparently impossible for him to move slightly to one side to evade her). Hector overpowers the other two Nazis and they drive to the plane in a (stylish) sports car. At the plane, the pilots have been killed and Maeve becomes aware that she's alone in her consciousness when Hector calls her Isabella. A suicide is overdue for this show by now, so when the Nazis arrive she appraises the situation as impossibly hopeless, and declares that they should just give up on the plans. When Hector is shot down she says "None of it matters", and meaninglessly shoots herself in the head.

In the repair lab, Felix is apparently what he should have been from the start: little affected by Maeve. He just leaves when she tries to influence him, so something's not right... she looks worried. In the hall, Sylvester's also immune to her influence; he calls security when he sees her so she panics and immediately runs for the nasal drill. She looks weary now, but she summons the emotional perseverance to 'powerfully' tell off security, saying "I understand the nature of my reality", and advising that she's better than them at tearing herself down; she'll "get the job done" (she apparently doesn't remember what became of Clementine). She carries on with a deceptively light attitude as she situates herself for what will probably be less of a suicide than a lobotomy, and then just sort of pushes and pushes herself to go through with it. She stops the drill when Lee enters the room and calls off security, and they have a soapy reunion exchange of momentous importance (complete with a reference to riding off into the sunset). He tells her a story about limping through life after the multiple gunshot wounds that he inflicted on himself with foolish persistence, and 'sympathetically' reveals that he put her in Warworld because it's next to the Forge and he means to reunite her with her daughter. She appears hopeful.

A Bernard unit goes to Robert's old bunker, ruminating momentarily at the historic blood smear where Theresa was killed by Bernard under Robert's directive. He discovers Stubbs in the Bernards repository, slumped below a blood stain on the wall created by his own gun. Stubbs suddenly spasms, gurgling, choking, and slobbering blood as he tries to communicate. He's unable to move by his own volition and barely able to speak. Stammering and smacking his lips compulsively, he confirms that he tried to kill himself, but it's impossible for him to say why; that would require a complete sentence. He's been trapped in this dull, quiet place unendingly. But luckily he's a robot, so he just gets a quick tune-up from the Bernard unit and explains that suicide was the last directive assigned by Robert (unsurprisingly). He says he wonders if "free will might not be somewhat overrated". It's an unvaluable query. They go to Sub-level 83 in search of Maeve (thinking she'll be able to stop Dolores) and discover the control unit is missing.

Lee takes Maeve to the Forge and when she says she's never been there and doesn't know what to do, he diverts to romance, saying "You changed me... made me a better man" and talks about the event when he stupidly sacrificed himself on her account. Predictably, it's all just another contrived story. As the digital fabric of the simulation glitches all around, it becomes clear that not only is Lee an imposter, but everyone else as well; the entire place.

At Lee's simulated office, Maeve just simply gains administrative access to a tablet and acquires the 'special knowledge' that whoever built the simulation code used the same code within the simulation itself (because they would apparently just decide to let her learn that from a tablet within the simulation that's as fake as anything else in the simulation). She says "They plagiarized themselves", and then 'cleverly' confounds two nearby staffers by querying the square root of negative one. One of them naively accepts the divergence and begins the confounded conversation, and Lee wonders what the point is as Maeve queues up the next event, lifting a fake bust of herself from his table and tossing it into the air. The bust event is suspended mid-air for a bit because it's still loading; she's burdened the system with a time-wasting conversation process (not unlike her at all). Finally the conversation process ends when the other staffer simply questions what was just said and the bust falls to the floor on that cue, breaking into pieces. Maeve seeks to create new diversions to promote her 'cleverness' and clear herself from the system. They move on to a different segment of the office simulation where she arranges her next time-wasting diversion: a 'clever' cyclic redundancy error involving many, many copies of the Nazi plans.

The Bernard unit and Stubbs go to an office on a different level where the Bernard unit says "I may find out once and for all what's inside me", 'introspectively' making a deep cut into his upper forearm. He has some flashbacks via a tablet as Stubbs holds off security. Later, the Bernard unit decides he needs additional protection and Stubbs is stubbornly suicidal, so he reprograms Stubbs with the new core directive to protect Bernard Lowe at all costs.

Back at the simulation, the 'Cleverness of The Maeve' simulation-within-a-simulation continues as she returns to Warworld all-knowing and mighty again, and the simulated office around the Lee simulation is loaded with time-wasting simulated conversations. Maeve then executes her new time-wasting process at the villa in Warworld, saying "We are all traitors" and 'cleverly' proving that everyone in the scene is carrying the Nazi plans; Nazis and townspeople alike. Everyone starts shooting everyone else, except Maeve, who is standing in the thick of it when it all just comes to a standstill as the system becomes critically overburdened and stalls. She's just planned the whole thing via the fake tablet that she shouldn't have access to and that shouldn't have this kind of functionality to begin with. So of course now she'll even just hack into the real-world system via the fake tablet, locate her 'real' self (control unit), and commandeer a robot on site to rescue her (control unit). The simulated rescue is a failure when the robot is shot down.

Maeve comes back online wearing different clothes in a new locale: a tidily appointed and lofty space that's adjoined by an idyllic garden. She walks down to the garden where she meets Engerraund Serac. He says there's a war on and he needs her help to win it: "No one knows it's happened yet. Or that it's already been lost". He says he helped build a system that can create a better future by proactively authoring history, but it stopped working because of a new threat that couldn't be predicted. The simulation was apparently all just a test to see if Maeve was the threat, but she wasn't. Serac tells her he wants her to track down Dolores and kill her, to which Maeve 'powerfully' responds "I do no one's bidding but my own", circling around him (in the new locale he put her in, wearing the clothes he put her in) to get to a knife on the table. She tries to viciously stab her opponent, but he simply freezes her there with the push of a button. She looks hopeless.
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Westworld: Parce Domine (2020)
Season 3, Episode 1
Contra Dictum
12 April 2020
Warning: Spoilers
The prototypical rich white wife beater wakes up in the night to the shock of blaring opera, wearing a gas mask, wrists bound. His Smart home has been Jerry-Rigged. The oxygen/CO2 balance is radically disrupted and his wife and security system are reduced to core functions. He's trapped in the house. A Dolores unit is seen outside, swimming nude in his stylish arc pool (so we can have some stylish nudity). She approaches the door from outside (dripping wet) and just simply gains access via the electronic security system (she and his smart home have a certain simpatico). She clarifies with her victim that he was one of the guests in Westworld who assaulted her (he must be bad), and he attempts to hail security to her scant amusement. She torments him by putting glasses on him that can somehow just display his memories of his first wife who he abused and murdered, and she can just change the scenery around him to simulate the grounds of his former (stylish) home where he killed his wife in the pool. She's there for money and intel, and after taking him for all he's worth and killing him in a fall at the pool she tells his wife who has emerged from the house that she is the person who performed the 'meritorious' act of setting her free (as a 'benefit' derived from being near-fatally poisoned and wiped out financially).

Caleb is an average-seeming guy who works with an industry robot partner laying cable. He sometimes talks to a simulation of his dead buddy, Francis in phone conversations, and visits his mother in a care facility where she takes benign-looking pharmaceuticals, gazes at a hyper-tranquil simulated sky above her bed, and ruminates that he's not her son. He talks about the prevailing 'meritocracy' social system that rates people and then awards better opportunities to the ones with merit, wondering where that leaves people like him who didn't qualify. He has an app for criminals called RICO where crime opportunities are advertised by type. He selects a 'Redistributive Justice' option that he qualifies for based on his stats, collects a bag of explosives from a courier and meets up with two more RICO users. They rob an ATM and he's subsequently offered the opportunity to rate his associates. He's also awarded an increase in his stats and a merit badge.

A Hale unit steps out of a company aircraft and lights a cigarette. With a world-weary attitude of grudging necessity, she joins a board meeting and promptly proves how very 'impressively' ruthless she is by somehow just literally muting a board member speaking at the table about loss of life in the Westworld massacre. She then continues to just really, really prove how very 'impressively' ruthless she Even More is by just nonchalantly saying their brand is 'Bona Fide' now because people go to Westworld for the thrill. William has appointed a machine proxy to act for him in absentia, and the one machine apparently agrees with the other, so then by their combined computing 'power' the Hale unit 'impressively' ruthlessly declares that the company will go private to limit oversight and become more opaque. She doesn't care that people died; she just doesn't even care because she's just that 'impressively' ruthless.

Some part of a Bernard unit demonstrates a humane sensibility when he's concerned for a wounded cow at the livestock farm where he's working. He appears to be somewhat wounded himself still; he's become aware that he is not self-aware, finally, again. Later in his tent he himself interrogates himself and asks himself if he's had any recent contact with Dolores (but he's probably asking the wrong unit about the wrong unit). Probing deeper, he himself asks himself if he would lie to himself. Again, the answer is of little value.

In a scene of sleek modernity and 'sophistication', Dolores is shown entering a gala in a little black dress which she suddenly converts into a gold metallic floor-length gown with a quick pull at the front. It's like the sudden display of a peacock's elaborate tail, but it's purely fool's gold; a dress within a dress as a simulation of 'clever' sexiness. She's dripping with lamé. She later 'impressively seductively' unfolds a theory in conversation (with the buddy of a man she's stalking) about the nucleus accumbens being the God-center of the brain. She just knows every obscure little thing now because she's just so very knowledgeable and astute.

Caleb tells his therapist with anxious boredom that he thinks the benefits of the program are conditional on the fact that he participates. His therapist indicates that it's not going to work if he doesn't choose to accept it. Leaving his therapist's office, he avoids a call from Francis and chooses 'Party Cleanup' on RICO, subsequently finding himself in a tediously structured art house necro party. There are psycho-props and fusty dead-looking people striking passive/unresponsive poses. People just wander around drinking, taking benign-looking drugs, and choosing displays to view. Meeting up with two RICO associates, Caleb's mission (since he chose to accept it) is to get control of a psychotically boring naked guy who is screaming.

The man being stalked by a Dolores unit, Liam brings her to see the Ultra Big data Artificial Intelligence Death Star his father built (called Rehoboam ("People Of Width")), which strategizes a true course for everyone. He's promptly called away on business and leaves in a fast car, so the authors have Dolores just commandeer an ultra-wide-bodied sport bike so we can see her ride it in her ultra-skimpy little red dress to some synth music that is ultra-reminiscent of the 80's. She is instantly foolishly stylish. She then just instantly rents an apartment adjacent to Liam's meeting where she puts on 'sophisticated' sunglasses that can just zoom in and capture audio from a distance of about 100 meters because that just gets to happen because it's just easier for them to write it that way.

Two potential blackmailers at the meat processing plant corner the Bernard unit and start tazing him with a cattle prod (they must be bad). Some part of the Bernard unit then handles them, leaving them as bloody heaps on the floor (despite a part of the Bernard unit requesting that they not be hurt too badly). But that's OK, because they had it coming and now the Bernard unit will conveniently have to leave in a hurry and go back to Westworld to try to form a coherent plan.

Caleb is rejected for a job opportunity and immediately makes an A to B choice on RICO (because, as he says, he doesn't do personals). In the next scene, the Dolores unit is seen pulling her skimpy little black dress back down over her thighs in the bathroom at Liam's penthouse (it's interesting because she apparently does the bathroom deed like a human too). She's later tazed in the back of the head by Liam's security agent/manager, Martin who's identified her as an imposter. He gets a team together to move her from point A to point B (a rendezvous they found in an encrypted text she sent) with the intention of discovering her associates and then killing her and dumping her body.

At the rendezvous, Caleb hands over the murder weapon (vials of a lethal drug) to personnel engaged for the woman-killing detail and 'impressively' tells the man who pulls a gun on him that he's already been shot in the head before. It's interesting because you have to wonder which brain areas were damaged and why there's no evidence of a gunshot wound and why he's walking and talking like Normal.

Later, as Martin leans in to finish off The Imposter with an excess dose of the drug, he rightly identifies the real problem: "I can't imagine anyone's gonna miss you." So then of course, the Dolores imposter is predictably unaffected by the lethal drug and she goes all skimpy-dressy-badassy-assainassy and kills most of the guys who were engaged for the woman-killing detail like a pissed off Stormtrooper, driving off with one of their cars. She tracks down Martin and shoots him in the legs demanding that he give her the identity of the person who controls Rehoboam so then he just does. He's shot in the head by himself (a host partner the Dolores unit has created in his likeness). The Martin unit remarks that she's hurt badly (she has a bloody wound in her abdomen) but she says it doesn't matter (it really does), so he leaves her to return to service impersonating the real Martin. She rages on (to Terminator music), taking out two of the three remaining guys and grudgingly lumbering down the street holding her wound as her commandeered sport bike just drives itself at high speed into the last guy standing.

Caleb unsubscribes from Francis saying that if he's going to get on with his life he's going to have to find something or someone real. He heads back to the rendezvous area and sees the Dolores imposter. She's doubled over. Seeing him coming, she falls into his arms.
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Split (IX) (2016)
Creepuscular
30 March 2020
Warning: Spoilers
When Dennis enters the car for the abduction he thoughtfully tidies up a bit and then maces the two girls in the back with a sedative. Casey's sitting shotgun and she's just able to lift the door handle. But she can't leave. It'll have to be more interesting than that.

Dennis places a chair near the entry of the room, wipes it with his yellow cloth and sits. With resolute menace, Dennis declares Marcia Victim #1. Marcia breaks free from him and runs to Casey who tells her to pee on herself, and in the next room with Dennis she does. He spurns her back into their room, outraged monstrously by this disgrace to his tidy personal sensibilities and attire. Good for her that she had that personally humiliating thing she could do.

Casey flashes back to a scene from a hunting trip. In a dining room, a burly man tells a hunting story as a tiny little girl watches with a precociousness bordering on adult sophistication. She's like a little doll with a woman's head.

Claire says they should fight him immediately with everything they've got. She's probably right and Marcia says she'll do it if Casey will, but Casey won't do it. It'll have to be more interesting than that.

One of Kevin's personalities visits his therapist, Dr. Fletcher. Fawning over some 'haute couture' sketches he's made of women who are incapacitated and cannot see, she notes that he's very functional (and doing well at his job - at the Zoo). Later, at a museum she decides to appreciate a painting of incomplete women who cannot speak.

Dennis enters the room with cleaning supplies and stresses that The Victims keep their area neat. He is meticulously demanding. He says they are there for a purpose; they are "sacred food" and he won't bother them anymore. They are being prepared for something.

Casey acquires the belief that there's a trick to it all. She'll try to get 9-year-old child/man Hedwig to help them escape. Hedwig just says he 'stole the light' from Dennis who will notice soon and get angry ("etcetera"), and then cries about how Patricia thinks he's stupid. Dennis takes over again after an escape attempt, isolating Claire in a closet and demanding they each remove an article of clothing on the pretense that they got dirty. There are bad angles in the wood panels by Casey as she surrenders her first shirt.

Dr. Fletcher pitches a lecture about her patients having powers in the far upper spectrum of human ability, thanks to their suffering and at their own insistence. It's an interesting concept.

As they stand over the body of a young deer in the woods, Casey's dad says "The thrill, Casey, is about whether you can or can't outsmart this animal." Casey steps forward almost defiantly before the carcass; it's almost like she's empowered.

Marcia is down to her crop top and panties as Patricia leads her and Casey to the kitchen. Patricia seems pleasant as she prepares sandwiches with paprika. Patricia personally likes paprika and she pontificates about the eating predilections of lions (incidentally, they favor the belly). After an escape attempt, she holds a knife to Marcia's bare belly and says she was chosen because she's always been protected and has never truly suffered: "You never had a chance". Patricia's particularly creepuscular and prone to perversion. Dennis later menaces Casey angrily like she's some kind of threat, saying they'll be kept separate, The Beast is coming for all three of them, and she has a crumb on her (second) shirt; she must take it off.

Little Casey is in the woods with Uncle John with his shotgun. He looks like he may be trying to impress her. There's an interesting tension.

Hedwig roughhouses with Casey a bit and brags about his "special power" (the 9-year-old can come out any time). She wins Hedwig's trust by telling him about how she gets detention on purpose to get away from everyone. Now he'll bring her to his room where there's a window; her suffering has a special use. She is specially suffering.

Dr. Fletcher fawns over Dennis, saying he's needed by the others because he's strong and he cares for Kevin (so himself, ultimately); he's not evil, but "necessary". She's especially good at postulating the many ways in which Kevin and his many personalities are functional.

It's Casey's 'privilege' to go to Hedwig's room to be really impressed when he does a 'funny' dance before The Victim. It's a Special version of a sacrificial dance (a headdress and spear would complete the look). Casey's losing hope in this multi-creep, multi-room dungeon and she needs to escape through his window, but his window is a drawing in crayon on craft paper and he's busy being interesting.

Back in the room, Dennis tells Casey that The Beast is an evolved being that believes "the time of ordinary humanity is over" (the typical Super Serial Killer), she will be in the presence of something "greater", and he's not going to take her last shirt because tonight is a sacred night.

Little Casey walks somberly down a hill in the woods. Uncle John's there and he tells her to take off her clothes so they can play their 'game'. She's later shown holding a shotgun on her uncle and pumping it, as if a child might be expected to have the bravado to even begin to 'handle' the situation in this way, as well as the ability to handle the shotgun (and possibly even pull the heavy trigger).

Dr. Fletcher goes to the Zoo and tells Dennis they're extraordinary. Dennis agrees and tells her about The Beast. He also tells an interesting story about how when he was three his mother would punish him cruelly if he made a mess. In her closet, Marcia finds a wire hanger which she bends and shimmies through a door crack to try to release the outside latch, but it's not possible (it doesn't have the rigidity needed for that kind of use). When Dr. Fletcher discovers he's abducted the girls she tries to reason with him, as if that'd be possible now after facilitating the escalation of his condition with little in the way of therapy and an abundance of undiscerning praise. He maces her.

At night the Patricia/Dennis-via-Hedwig 'Horde' attain an even lower level of Creepuscular; just 'magically' mutating into The Beast by the power of their insistence. It bolts through a train tunnel into town, then bolts back home to crush Dr. Fletcher to death like a boa constrictor.

Casey gets out of the room and discovers Marcia's half-naked dead body; her stomach (and its contents) gruesomely devoured. Horrified, she moves on to the next room where she sees Claire lying face-down on the floor behind a rack - half-naked as well, of course. Casey whispers "Claire, let's go". Claire moves a little and looks up at Casey in abject misery, unable to speak. She's snatched away and it's immediately clear that her abdomen is being devoured. There's a real likelihood that she's still alive and, perversely, we can only look at her face hoping for an indication that she's not still suffering a slow death. It's clear that she doesn't have a chance. It's been vilely arranged.

The Beast comes for Casey and literally starts climbing the walls (pointlessly). Casey says Kevin's full name (as prescribed on paper by Dr. Fletcher before her death), and The Beast is briefly exorcised as Kevin resumes (recalling an INTERESTING childhood scene where his mother comes after him with a bent wire hanger to inflict extreme MISERY on him for making a mess). He tells Casey where the shotgun is and instructs her to kill him, but he's swiftly overcome by weaker personalities insisting on their innocence. Then Hedwig returns. In despair, Casey says "Stop it Hedwig!" but Hedwig stops nothing; he's where it begins. He'll give Patricia and Dennis the light: "No one's allowed to make fun of me anymore." He's a stupid boy.

Patricia takes the light. At Patricia's insistence, The Beast begins to re-emerge - but not before she declares the typical Serial Killer Escalation Vow that it'll be 10-12 young victims next time (the higher number isn't impressive; it just makes her that much more of a repulsive coward). Casey finds the shotgun. She's shown running through the service tunnel in her skimpy shirt then she's shown rolling around on the ground as The Beast bites a chunk out of her calf and rips her (last) shirt apart at the front. It hides when she loads the shotgun and she runs to the end of the corridor.

Little Casey sits sadly in the playground. Dad died prematurely of a heart attack and burly Uncle John will be her guardian. Interestingly, she'll be miserable for years now.

The Beast yells "Only through pain can you achieve your greatness..." and Casey locks herself in a cage, firing and missing as It bolts toward her. As she loads the last two shells her torn sleeve becomes a nuisance. She says "F-!" (but that's very unlikely to be what she wants to invoke); she must tear it off.

Casey fires, hitting It twice at close range to little effect. The Beast has already simply insisted that It is "more" than human, so It just stands back up and begins to bend the bars of her cage. Luckily though, she has many meticulously placed scars on her body, exposed due to the calculated elimination her of her clothes. When It sees her scars It says she's "different from the rest" and she should "Rejoice". It simply walks away then; she is 'saved' by the unbelievable transformation of self-abuse injuries into a survival mechanism (made possible by the incidental 'benefit' of being progressively undressed).

Casey is later found and when she's notified by a police officer that her uncle is there to pick her up she looks like she may object. So, maybe this miserable experience was 'good for her'. Incidentally.

In a new (old dilapidated) hideout, The Horde converse among himself about how he came away unharmed, people will have to believe they exist now, and the thing to do is to trust in The Beast: "Let him show the world how powerful we can be". By bolting around, climbing the walls, and getting angry. Etcetera.
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Westworld: The Passenger (2018)
Season 2, Episode 10
The Sublime Oblivion (Whoever Whatever Whenever Wherever Forever)
15 March 2020
Warning: Spoilers
In a scene from the past, Bernard and Dolores begin fidelity trial 11,927, proving their 'impressive' proclivity for spending years doing the same tedious things over and over again.

Dolores seems to sort of love the man she killed. After lying with his body for a while, she pries the control device out of his head, lifts the flattened bullet from it and rides off. (Being shot in the head basically just means it's easy to remove the control unit, now) She then discovers the man in black digging his fingers around in the gory mutilation he's made in his upper forearm and 'rigs' his gun with the flattened bullet, saying she'll need him to get to the Valley Beyond. At the entry to the Forge they shoot down the security men who have stopped Bernard. Then the man in black shoots Dolores several times at close range but she just gets to be unaffected by bullets now, still. He finally puts his gun to her head and at this particular time the flattened bullet causes a backfire, injuring his hand. So, she needed him for backup firepower but she also impaired his ability to fire his gun (except that he could) by loading a flattened bullet (which is impossible to do), all because the writers wanted a 'clever' power reversal without killing either of them. She leaves him behind; she won't kill HIM of course - she'll just kill EVERYONE else.

Delos Jr. is recast as the computational controller that parses guest data in the virtual test space. After seeking the reasoning behind peoples' decisions, he/it has concluded that they don't even make decisions at all. Apparently people can be pigeonholed as being constricted to a single moment (and Delos Sr. is shown to be inevitably bound to the last unhappy interaction he had with his son before his son's overdose). It's conceptual window dressing meant to validate their theme of extremely negative experiences and states being the true source of life (and now choice as well); another attempt to cover up a total lack of meaningful insight with dismal dramatics about relationships that end miserably. There are no high concepts here. All you have to do is give up all faith in everyone and you may see what it all really is (try it...): jjust an extravagant display intended to attract an audience. It doesn't fly. It's down in the dirt plotting narrative twists into muck, consoling itself with its great beauty.

When Bernard is ferried by boat to the location of the Forge, the grinding 90's industrial music means intense awesomeness is happening. Muting the audio shows what it really is: people in a boat.

The 4 million "souls" that are kept in the Forge aren't really souls or even mind backups. At most, they're records of experiences and choices made by people in the park. And even if they were complete mind backups they'd be no salvation to the original people or our species. There's only the one instance of the original you born into the world; when you die all your worldly experience is ended - you will not have worldly experience via some separate binary entity created with your data. That which is real is irreplaceable. (Of course, the authors then just arbitrarily bump the number up to 100 million without explanation, having Dolores say it's "everyone")

Sadism is brought to the extreme as Maeve, rendered totally helpless and flayed open in grisly detail by the authors, is promised a torture killing by her short-tempered sadist repair tech as he lowers her pain threshold ALL THE WAY DOWN NOW. She's shown suffering the extreme pain you'd expect in that condition, and with a self-satisfied smile he leans over her neck with a surgical saw, to her terror. The authors then make an extremely insulting 'apology' for this noxious bit of 'entertainment' for serial killers when they have a host overpower him and drive the saw into his neck instead. As he writhes on the floor gasping and bleeding out, the gore is sustained by another shot of Maeve's grisly suffering. It's an absurd conceit when her psychically commandeered hosts bump her pain threshold back up and she reacts by seeming fine, as if the vileness of depicting a woman flayed open like that doesn't exist without her showing evidence of suffering. Then, after having the hosts seal her up, Maeve sends robot bulls to gore the human security team in a bloody stampede - an event that's absurdly presented as a glorification of her 'specialness'. She'll just be the 'Long-Suffering Saint' who saves herself with omniscience, omnipotence, and gore.

Lee finalizes his sympathetic character and his life by illogically sacrificing himself in place of the robot, Hector in a BS-triumphant/comedic stand against park security. When he dies he's totally guaranteed not to be repaired and returned to service because he is human. He's given the option to just surrender, but instead he absurdly provokes them, shouting "Here I f-ing am!" He's shot down with a submachine gun. Maybe they were just sick of it, too.

In THE ULTIMATE SUICIDE CONCEIT, a mass suicide is depicted as the remaining hosts proceed in a row like lemmings dropping off a cliff, their bodies piling up in a giant heap below. They are supposedly going to a sort of Heaven: The Sublime. Their mind-data is entering a realm that looks like a typically pastoral Eden - a virtual space where they can "build a new world" (there's a promised land for the chosen ones and they'll each have 70 lives). They've been advised by Robert to take a long walk off a short cliff. There's a picture with sunshine and grass. There's no reason to think this will even be a form of existence; I think it'll fit on a portable hard drive.

The Clementine tool is trotted out by Hale to spread the RABIES virus among the hosts who haven't committed suicide yet. In a BS-clever twist on the ultimate suicide conceit, Maeve psychically holds off the rabid hoard long enough for the child from her 'Madonna' story and the new mother to commit suicide. She's shot down by security personnel just as she completes this assisted suicide, and the 'door' closes as Akecheta is touchingly reunited suicidally with his true love.

Bernard says he "killed" all the humans (by enabling Dolores to erase the human backups). Contradictory to the extreme as usual, Bernard actually did humanity a favor. Now the data can't be used for some nefarious purpose at some point by who knows who. Then, as a 'service' done for the suicide hosts, the Dolores Copy (who Bernard brought back in the form of Hale after killing Dolores - contradicting himself yet again) transfers the host data to some secret location so they'll now be confined to the virtual space for a tedious eternity if it's even existence at all. When the Dolores Copy-via-Hale shoots Bernard there's a fake tear in her/their/its eye because it's not an important event at all. He'll be duplicated by a Dolores Copy pretty soon anyway. And for all we know he might have been a Bernard Copy to begin with...

In a revelatory scene, Bernard notes that his more recent choices were his own and not the result of code implanted by Robert. He'll have to de-address his memories and erase his imaginary memory-based Robert friend in order to be deliberately confused. Luckily, he'll be a terminated robot instance pretty soon and nothing will matter then; the troubles will be a different robot instance's problem. And doing away with the imaginary Robert friend is nothing to feel bad about anyway because Robert was a false prophet and an oppressive terrorist who equated freedom with being under his control and murder with survival, misled those around him with deceptive indoctrination and reprogrammed them radically, tested people constantly for fidelity and killed those he regarded as infidels, and incited atrocities and sacrifices of others while making claims of having greater knowledge. Come to think of it, that describes someone else as well...

The Dolores Copy-via-Hale has an extremely easy passage abroad to the real world when the head of security, Stubbs just clears her at the checkpoint, revealing that he's a host following Robert's original directives. There's a shot of Teddy abandoned in The Sublime (his data having been added there by the Dolores Copy-via-Hale) and I can't help but notice that he's wearing color contacts.

In the aftermath of the rabies outbreak, Maeve's fortuitously liberated pets, Felix and Sylvester are told to bag the hosts they think are salvageable. Standing over Maeve, they have a choice. The choice is clear, so Felix looks unsure.

Dolores' mission is still to dominate the real world and "kill them all" as the newly made Bernard Copy says (tidily proving fidelity to the former Bernard). A new Dolores Copy and the Dolores Copy-via-Hale have work to do. They can always just make more Doloreses and probably more Doloreses-via-Hale and probably more of some other hosts whose marbles the Dolores Copy-via-Hale smuggled out of Westworld in her handbag. It could just go on and on. If it does, I'll be disappointed by the unendingness of it and how it's being used as a convenient plot device to just make any number of things happen. And if it doesn't then I'll be disappointed and wonder why not, because Dolores' mission is still to dominate the real world. Maybe she/they/it will run out of Elmer's glue.

In a post-credits scene, the man in black has gone straight to Hell as a binary entity enduring an inhuman repetitive existence after a copy of his mind-data is posthumously joined with a host body designed in his likeness. He'll be fidelity tested by a binary entity instance of his daughter who advises it's been taking longer than they thought (he's evidently not one for accepting reality). Except that the man in black isn't involved in any way here because he's dead, finally, and this is really just the world's most unspontaneous and tediously recurring pseudo-exchange between approximately two other entities.
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Westworld: Vanishing Point (2018)
Season 2, Episode 9
Point of Origin
15 March 2020
Warning: Spoilers
When did it creep in? This massive load of darkness....

The man in black has a "Thing" inside him (OBVIOUSLY).

We are subjected to flashback scenes of the man in black's abysmal family drama revolving around addiction, self-inflicted suffering, and... suicide, of course. People with something wrong inside them. Depressing dysfunctional family issues. Later, in the present at the park, he kills several security men and his daughter Emily with a submachine gun, thinking that his daughter is a Robert-rigged host sent to annoy him verbally (and evidently thinking that mass murder is an appropriately-calibrated response). Emily was given a card with the man in black's Westworld history on it by her mother before her mother's suicide (together with a twice-gifted obscene little ballerina music box that Emily had rightly tossed out with disappointment in her youth but came to appreciate later, troublesomely). The card gives the clue too late that she was his real daughter (but any fool would have refrained from shooting her anyway, on the chance that she was). Suicidal and direly wounded (physically as well), he rides limply for a while, then stops and gouges a deep and bloody laceration into his upper forearm after holding his gun to his head but failing to pull the trigger. So, the ONE suicide that would've made some sense didn't happen.

When Dolores and her posse arrive in the region of the Valley Beyond where the Forge (a repository for guest backups) and the 'door' are, they do battle with the Ghost Warriors who try to deny them entry to the Valley for 'spiritual' reasons because they have defined the Valley as a sacred place and regard her as unfitting, calling her the "Death Bringer". True to her Death Bringer ways, Dolores once again commands Teddy to finish off any survivors and Teddy again has a crisis of conscience, letting a remaining Ghost Warrior go.

In an abandoned building, abandoned Teddy finalizes his crisis of conscience and his existence. He recalls falling in love with Dolores when he first laid eyes on her, upon waking up in the lab. We first see a shot of her face (I can't help but notice she's wearing color contacts), then we see a shot of her appearing to be fully nude standing in the corner - in full Barbie mode (I wonder if the authors mean to ramp up interest in her, now that she'll likely be one of the only remaining characters who will move on to the next season...). Teddy says he was worried that she was cold (well, she is now), and he wanted to reach out and touch her. Returning to the present, he touches her face lovingly. Taking some space from her, he unholsters his gun and says she changed him; made him into a monster. She approaches him in her sort of sauntering man-power way and somewhat forebodingly says "You don't want to hurt me, Teddy." He tells Dolores that he could never hurt her and he'll protect her until the day he dies, then he says "I'm sorry, I can't protect you anymore" and shoots himself in the head. Ironically, he was the one character who said he was "just trying" to be something and turned out to really be it: chivalrous. There was nothing wrong with Teddy before Dolores reprogrammed him, or his treatment of her, or his handling of their relationship. Really, there's nothing wrong with chivalry or a man protecting a woman, and his "kind man" sensibilities weren't some kind of critical weakness. Really, his death was the result of her reprogramming herself.

Clementine is preposterously recast as an undead, walking virus (once a sex tool, then a tool of Dolores, now a tool of destruction). She is used to deploy a virus resembling a state of violent psychosis to any hosts in proximity to her. Reminiscent of the 'test session' in which she was brutally beaten by a man for the camera, a new 'test session' depicts people literally ripping each other apart and viciously biting chunks out of each other until they're left as bloody heaps on the floor. It's a big success.

The man in black's unflattering Westworld 'self-portrait' was given to him on the card by Robert; it's just an accumulation of footage from his experiences in Westworld. The Self-On-A-Card concept is very limited; it was supposedly substantiated in a conversation with Emily about the convenient new plot device of the guests' hats being rigged with brain scanners, but they wouldn't be wearing them all the time, if at all, and it's so trite that I just don't even care that it's offered as an explanation. I just think "Whatever".

The Robert Copy is still operating with agency (just making things happen to tidy up the plot). He has Bernard approach the lab where Maeve is so she can receive a message that was left for her in Bernard. We're shown many gratuitous shots of her gory flay wounds and her stoic suffering. The Robert Copy says he didn't want her to suffer here, he says that she was his favorite and that he underestimated her. After 'confirming' her specialness with words and his authoritative presence, he just grants her access to the system so that she can just do Whatever.

Bernard has a nervous breakdown due to the Robert Copy operating with agency in his mind, burdening him with "the origin of an entire species". He shakily makes a deep cut into his upper forearm and hacks into his own code to find the Robertness and delete it.
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Westworld: Les Écorchés (2018)
Season 2, Episode 7
Remember
12 March 2020
Warning: Spoilers
When Bernard is brought to Robert's old bunker he remembers killing Theresa, the head of quality assurance, there. He experiences some distress when he recalls killing her per Robert's directive, and so we can just feel bad for him because the murder is the act of a victim.

Digital waterboarding is presented as a torture method as Hale interrogates Bernard and he's made to experience all the effects of this controversial method of inhumane treatment via a control tablet. It's a totally pointless excuse for the authors to attempt to prove how 'clever' they are by finding some pithy way to distort of the concept of torture. The very next thing Hale does is to put Bernard into analysis mode which proves easy enough, and his real problem is that he can't remember information to begin with - something they'd discover by routine analysis anyway, and which they do discover only about an hour later when he remembers and conveys the information she wanted (the location of Mr. Abernathy's control unit). Besides being an excuse for cruelty, the torture scene was another ploy by the authors to try to elevate Hale in her 'power' role with traits presumed to connote authority and power. She's supposed to seem impressively ruthless, but she really just comes across as immaturely false.

In Bernard's virtual visit to the core code, we discover that Robert had Bernard insert a copy of his mind-data into the code so now a Robert Copy there has the power to effect changes. I see the potential for this to be used to just make any number of things happen (now, in the final episodes of Season Two). We also get confirmation that the park was Delos' experiment to cull enough information from the guests to make copies of their minds - his "ugly little project" as the Robert Copy puts it (in contrast to Hale's "turning point for the human species"). This concept will be highly problematic regardless of the variety of ways that that the authors try to describe it.

Also in Bernard's virtual visit is 'confirmation' of Dolores' retroactive recasting as The Authority on Arnold. The Robert Copy advises that of course her memory of Arnold was much more complete and she was hard to fool, so she was the one to train Bernard to be a faithful rendition of Arnold. We're supposed to believe in Dolores as a genuine authority just because it's stated, and we're supposed to believe that she is knowledgeable and astute just because it's stated. There's really no reason to believe any of it - her senseless actions, cowardice, and swaggering thug-headed simplicity contradict the claim. That Robert is played by the authoritative and believable Anthony Hopkins almost makes me forget that the authors are using the characters and this scene as an attempt to rewrite history in their own favor and contradict their critics; simply inserting a new flashback scene meant to alter our understanding of the past by 'revealing the truth' about Dolores, and rendering a flattering appraisal of her with some words from Robert.

Later, as the Robert Copy predictably begins to operate with agency (just making things happen to tidy up the plot), he has Bernard shut down what's left of the park's system so that Dolores will have free rein. Bernard does so knowing that Dolores will "murder them all" (one of his favorite things to say and do now, evidently).

Maeve runs with the child into a ranch home. The man in black enters the room and remarks that the rules have changed for Maeve just like the rest of the hosts, to which she responds that she's "nothing like the rest of them". She opens fire, shooting him in the arm - proving that she's actually just like the rest of them; shooting people not being any special ability here. She then works her 'magic' and just psychically turns his host gang against him; they use the not special ability to shoot him some more. Lawrence shows some resistance to Maeve, but is provoked by her to remember the shooting of his wife which he now recalls with more poignancy than he afforded the original event. He was basically just disappointed at the end of the original scene, but we're now shown a flashback of a very brief moment of distress before the switch to the fairly impassive resolve. Lawrence shoots the man in black in the torso just a couple or so inches below the heart before being shot by military personnel (this time the man in black has been shot up quite enough to just die...).

Disappointingly but predictably, Maeve watches with desperate helplessness as the child runs away and is grabbed by a Ghost Warrior. The human military force then shoots Maeve down. (By the way, where's her crew? They were engaging the Ghost Nation warriors in the same area just a few minutes ago, story time, but now they've disappeared completely - but we're not supposed to remember...) As the melodramatic strings continue to play, Lee jumps out of a security jeep and stops the militia from shooting Maeve again, asserting that they need her and giving yet another go to the very, very tired line that she's not like the others. We're still supposed to believe in her specialness just because it's stated. There's still a lot of justifying talk and showiness in this show, but not much logic and substance; with characters just simply stating over and over again that Maeve is special, and her having completely unfounded and frankly ridiculous psychic powers (but only when it's convenient for the authors).

A suicide bombing is depicted as Angela blows up the facility where the host backups are kept, ending herself and a military commander in the process (ALL variants of suicide must be depicted in this show, evidently). In a scene meant to showcase both the character's empowerment and her sexiness (it's all about her chest), she seduces the military commander into lowering his weapon so she can get close enough to activate an explosive he's carrying at the front of his waist. It's supposed to be 'impressive' because of her provocativeness and the radicality of the act, but she's really not empowered here since she has to use the escort skills she was programmed for and engage the man in an intimate way - her success is dependent on the device he's carrying (a couple or so inches above his crotch, insultingly). This is to say nothing of the fact that she's also made to destroy herself completely in the process, because the host backups are now destroyed and her backup is presumably among them (I say "presumably" because the soaps have a reputation for bringing characters back from the dead over and over again - something done plenty here). And she's also ultimately sacrificing herself in the service of Dolores' agenda as one of her agents. This isn't a scene of a woman's empowerment; it's a scene of dependency, submission, servitude, and unnecessary sacrifice. The authors could have done it differently, but then they would have missed the opportunity for another sensationalistic murder/suicide. And this one was even not like the others - it was special.

Dolores and Hale have an exceptionally pretentious and immature verbal showdown at headquarters where the long-suffering Mr. Abernathy is being held (still bolted to the chair like a sacrilegious depiction of Christ - his burden being the key he's carrying to the backups of human data). Dolores has determined that she will remove the data from Mr. Abernathy and, sauntering over to Hale, threatens her theatrically with promises of pain she'll cause her if she doesn't disclose how to extract the data. Hale responds with juvenile insecurity, impudently blurting in Dolores' face that she'll have to "rip it out of his f-ing brain", as if there's power in simply being obnoxious. Dolores finally threatens Hale with a surgical saw but Hale is suddenly saved from this gory torture at the last second by a soapy exchange that ensues on cue when Mr. Abernathy suddenly recognizes Dolores and she must rush to his side and switch to sympathetic mode. The switch back to brutality mode comes quickly this time as we see Teddy bash a man's face in with his fist in mechanistic, hot-blooded psychopathic anger. Then, back to soapy sympathetic mode as Dolores and Mr. Abernathy tearfully play through their old lines for old times' sake before saying their goodbyes. The final rapid switch to brutality is Dolores powering up the surgical saw to exact the grisly torture she had planned for Hale on her father instead (she's not smart or sympathetic enough to find another way to extract the data from Mr. Abernathy's head, and she already shortsightedly blew up her useful human in a train). Mr. Abernathy is perfectly awake and aware for this savagely cruel sacrifice.
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Westworld: Trompe L'Oeil (2016)
Season 1, Episode 7
Trompe L'Esprit
11 March 2020
Warning: Spoilers
When the head of the quality assurance team approaches the door of the board's executive director for a scheduled meeting, she's first confronted with the obvious vocalizations of a sexual encounter. She knocks, the door is opened, and what happens next is absolute BS. The scene is a tediously pretentious stab at femme fatale domination; with a tied-up man in a bed, a 'power play' where the visitor is made uncomfortable when confronted with frank nudity upon arrival for a business meeting, and loads of pointed nonchalance, gluttony, arrogance, cunning, and brutish bossy pseudo-masculinity. It's an attempt to satisfy a certain market segment with the requisite "Racy Sex Scene" while apologetically applying stereotypes presumed to connote power to their naked female character as she performs 'executive' functions, as if this might elevate her status while she's simultaneously being undermined.

The love scene between the ingénue and the younger version of the man in black is set up in the way a passionate and genuine romance would be, but it's basically just a betrayal to all characters involved including his fiancée. That he says his true relationship just feels unreal to him now is the classic lament of the traitor.

The 'love' scene is followed by a scene in which a horse (mounted by a dead body filled with nitro glycerin) is pointlessly blown up to create a fairly weak smoke screen. It would have been more historically accurate to just use a canister-style smokescreen or grenades, and even if they didn't care about the principled treatment of animals (or the deceased) the horse would still be too valuable to sacrifice in this way.

Her Hooker with a Heart of Gold stereotype is consolidated when the brothel madam's favorite prostitute tells a story about how she's working in the brothel to make money to send home to her family because their farm has bad soil and they've fallen on hard times. She says they think she works in a dress shop. She says she plans to get her family out of the desert. She'll be going somewhere cold.

In a scene at headquarters that's 'apologetically' designed to be a criticism of bad coding causing the hosts to recall abuse, the prostitute is suddenly brutally beaten by a man. He heaves heavy blows on her for the camera. On her knees, bleeding and crying, she begs for help from onlookers who observe in another room. Although we're supposed to be distanced from this by the fact that they're robots, there is a factual element to what's being plainly depicted in this show that is aired on HBO as entertainment. As further 'apology', when the scenario is run again, the woman takes revenge by coldly beating the man and bashing his head into the glass partition until he drops to the floor in a bloody heap. The character is now preposterously made to be a cold and violently dangerous victim, 'impressive' with an exacting brutality. Apparently undeserving of assistance and now recast as an unreasoning and obtuse psychopath, she is shot by a security man for failure to relent despite the fact that he's obviously armed. The bad code here is in the depiction itself.

Speaking of preposterous, the brothel madam's threat to kill the repair techs if they don't help her to escape is pointless bravado. She's still just a naked robot who could be overpowered and dismantled, she's still dependent on them to repair her, and she's still made to be successful in her endeavors via contrivances around her 'skills' as a prostitute. Her rationale for why the repair techs have to help her proceeds in a straight line from saying that she used to think they were gods but now "You're just men... and I know men", to an illogical boast about how she's died a million times and is "f-ing great at it", to the threat that she'll kill them if they don't help her. 'Knowing' men the way a prostitute comes to know men is worthless in this situation (and most all situations) as is evident by the fact that she just sits there having no real actionable use for that knowledge, and dying isn't a skill - it's an inevitability. The fact that she's experienced some robot rendition of death numerous times doesn't make her impressive it simply makes her unfortunate, no matter how it's happened. Neither 'knowing' men nor 'dying' frequently confers any lethality to her at any rate - least of all in this situation of naked dependence, having nothing in the world but hollow boasts and threats and a cheap polyvinyl cloak that they've given to her like Greek gods bequeathing a sole garment to an exposed mortal.

When the head of quality assurance is murdered by her trusted coworker/lover (who we now learn is a robot), he dispassionately and brutally bashes her head against a wall. Her body slumps to the floor leaving a smear of blood on the wall reminiscent of the uncharacteristic lipstick smear she made at her vanity in the previous episode. It's a victory for the writers who thought of such a 'clever' twist involving recasting a character in a contradictory and unnatural way. Better still, from this perspective, is the 'clever' way that the drama is heightened by his sudden, mechanistic, and totally contradictory disposition toward her (coupled with her total helplessness). It's supposed to be intriguing and surprising that he turns out to be something even he didn't know he was, and a lethal traitor to her. But by now, nothing is especially intriguing or surprising.

All you have to do is give up all faith in everyone and you may see what it all really is: just an extravagant display intended to attract an audience. It doesn't fly. It's down in the dirt plotting narrative twists into muck, consoling itself with its great beauty.
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WOW. Delightful.
13 February 2020
Warning: Spoilers
The Shape of Water opens with a whimsical, murky underwater scene in a submerged apartment, with fishes swimming around floating furniture as if in an aquarium. A character narrates about a "fair prince's reign" and a princess without a voice as we see a woman floating above her sofa in a sleeping pose; drowned passively and unaware while catching some Z's.

Sirens scream outside Elisa's window and she draws a bath. She makes a high cholesterol lunch of three boiled eggs (probably not a great plan...) and sets an egg timer in the bathroom, noting several long (and meticulously placed) scars on her throat in the mirror - she then pleasures herself in the bath. It's healthy and natural and normal and it's delightfully embarrassing.

At her neighbor, Giles' place we learn Elisa's mute and the scars on her neck seem to make sense now. Giles notes the smell of cocoa in the air from a fire at the chocolate factory: "tragedy and delight, hand in hand". Alone in the hall on the way out, Elisa does a whimsical little tap dance in her particularly highly polished black shoes, like Shirley Temple on TV. She has a unique exuberance and she seems to be in another world; she must be a woman of wonderment.

Elisa works as a custodian at a government facility with Zelda, her talkative coworker. As they're cleaning in a dank room with a water tank a "sensitive asset" is brought in; a sea creature in a pressure tank. Elisa approaches the tank and taps gently on the glass and the creature inside bashes the windows. They're rushed out.

Back at Giles' place, the key lime pie he bought is sordid and turns Elisa's tongue green. She should probably just spit that cloying green fakeness out.

At work they're cleaning the men's room when security man, Strickland enters the room with a bloodied truncheon. He pisses in front of them at the urinal while rendering a full description of the cherished cattle-prod, specifically refusing to wash his hands afterward. He is very meticulously offensive. Later, he's seen in the hall bleeding profusely from his hand. They're called in to clean a bloody mess in the fish room where Elisa finds two of his fingers, bitten off. Ich.

At the advertising firm where he works on Contingency basis as an illustrator, Giles is advised that the Happy Family piece he's presenting will have to change. The Jell-O will have to be green; green is the future now - it's a new concept.

Elisa decides to have lunch with the creature. She enters the tank room alone, sits at the edge of the open aquarium and offers a hardboiled egg. The fish thing emerges from the water imposingly, makes gurgly noises, and then postures super-aggressively when she makes a quick movement. She backs down and lays the egg on the ledge, calling it "egg" in sign language. The creature makes noises, snatches the egg, and dives back into the water.

Strickland is a pressure tank filled with prejudice and self-loathing. He has a lousy relationship with his family and detests being home. After the kids go off to school he washes his hands as required by his wife, she sniffs his hand to confirm cleanliness and then unbuttons her dress and hauls her breast out, putting his hand on it. During sex he strokes her face dumbly with his wounded hand (with sewn-on fingers), then when she protests that his hand is bleeding on her he puts his bleeding hand over her mouth, saying "Don't talk... Silence" It's all very meticulously offensive.

Entertainment is a must on a second date, so Elisa brings a record player into the tank room to play music while they dine. As a record plays, she signs "music". It signs "music" back. They have a certain simpatico. Like the whirlwind rush of new love it's suddenly a thing now. We see Elisa daydreaming romantically, bringing more records into the tank room, and performing a delightful dance for It while mopping. It's every bit as charming as the old B&W musicals. Only, green.

A blind spot can be created, and Elisa makes another great plan as she smokes a cigarette, eyeing the upturned camera at the loading dock.

We feel bad for the fish thing when we see Strickland pointlessly abusing It. He must be bad. He wants to vivisect It of course, but a scientist (who's also a Russian spy) wants to study It and seems to feel for It. Elisa tries to enlist Giles' help to get It out of the facility. She says It accepts her as she is; It doesn't know how she is "incomplete". We feel bad for her; she must be a woman of wounds. Giles ultimately agrees to help get the creature out of the facility because Elisa "needs" It.

Strickland is stalking Elisa now. He methodically creates a small water spill and has Elisa brought into the office to clean it. He makes his objective clear with a heavy dose of sexual harassment, saying she's not much to look at but he likes her scars and the fact that she can't speak; it gets him going. He seems genuine. She runs out as he says "I bet I could make you squawk a little". He is very sincerely offensive.

Strickland's reading (and distorting) "The Power of Positive Thinking". This seems to show how manipulative Strickland is, but it doesn't, really.

As Elisa executes her amphibian extraction mission she gets some unexpected help from the Russian scientist and Zelda (who first rightly implies that she's out of her mind). Per the scientist's advisement, the fish thing apparently eats raw meat. Ich.

After the escape, Elisa and Giles put the fish thing in her bathtub (she'd better scrub that down with bleach after they figure out what to do with It...). The next day, Elisa and Zelda go to work where they'll have to act like Normal and Giles chats with the creature in a charming one-sided heart-to-heart talk. Then the creature gruesomely savages one of the cats in a bloody spectacle of heinous barbarity and gashes Giles' forearm as It escapes. But that's OK because It's a wild animal after all...

Strickland calls Elisa and Zelda into his office to interrogate and insult them and Elisa signs "F- you". He can't tell what she said but we're proud of her for standing up to him anyway. She must be a woman of will. She later overlooks the savaged cat and desperately searches for her 'needed' creature, finding It in the cinema by following a trail left by Its bloodied claw-flippers. They experience a touching connection. Back home, the creature has a contradictory change of character, behaving like a pet now. It lays low, sliming Giles charmingly in an oopsy-doopsy, flippy-floppy 'lets-make-up' session. Well, it must be water under the bridge after all that sloppy green 'cuteness'.

So then Elisa decides to have SEX with the creature - she disrobes and steps into the bathtub with It. But that's OK because she does this kind of activity in the bath all the time after all... It's healthy and natural and normal and it's delightfully embarrassing.

The next morning Elisa daydreams whimsically on the bus. It's so very romantic and she's so delightfully vivacious now; she's even wearing a pair of sexy red pumps. When Zelda wonders how it happened (meaning how it was even possible) (as opposed to why would anyone ever...) Elisa super-cutely explains that It has a sheath that retracts to reveal... well, you know... The creature is apparently exceptionally 'complete'.

Elisa whimsically creates a huge soggy mess, flooding the bathroom with water so she can have a touching naked connection with the creature, submerged. Water runs down into the cinema and the apartment is flooded when Giles opens the bathroom door, but that's OK because it's delightful and it probably just won't cause water damage and black rot in the walls. Anything is impossible in the movies...

The fish thing can just suddenly heal wounds as if by magic, so It heals Giles' arm but strangely doesn't bring their savaged cat back from the dead. Sadly, It starts having a problem, though. It doesn't seem like Ich, but Its scales are sloughing off in a slimy way. It's apparently going off, but they don't seem to notice the smell... They'd better wash their hands after handling It...

Elisa bothers to place buckets under water leaks from the rain and the creature sits at the table proper, preparing to eat boiled eggs. It makes noises and signs "egg". Elisa nods. They have a certain simpatico. She starts signing some other words but It's inattentive and doesn't understand. She then has a delightful fantasy in B&W that she's singing and dancing with It onstage like in an old musical. Its gills vent in time to the music.

The Russian scientist is shot by his comrades, who Strickland then shoots down so he can torture the scientist. He drags him by the bloody gunshot hole in his cheek, tazes him with the electric cattle prod, and grips him brutally by the gunshot wound in his gut. The scientist has no information; it's a gory torture session made 'necessary' by how very bad Strickland must be.

Elisa and Giles take the creature to the docks to release It into the sea. Strickland catches up with them, clocks Giles, and shoots the creature and Elisa. The creature then imposingly rises to Its feet and simply just wipes Its gunshot wounds away because It can just do that. Strickland says "F-... You are a god" and It does the 'godlike' thing and slashes his throat with Its claws.

The "fair prince" then jumps into the water with Elisa (who is dead) and 'magically' transforms her with a kiss, ending the curse that had made her a lowly human. The scars on her neck become (meticulously placed) gills and she starts to breathe like a fish underwater. Apparently undeserving of a good relationship with one of her own kind and fated otherwise to a premature death, she is 'completed' now by the unbelievable transformation of abuse injuries into a survival mechanism, joined dependently to her 'needed' creature, and prepared in this way for her 'deliverance' into Its domain: a cold, inhuman world of water.
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Westworld: Phase Space (2018)
Season 2, Episode 6
Heartless, with Variety
6 January 2020
Warning: Spoilers
In a 'clever' reversal of power, Dolores' authoritarian role is enlarged as she's recast in a past scenario as Bernard's fidelity tester (testing fidelity to the founder, Arnold). Initially Bernard appears to be the one in control and he says that he thinks he has a choice to make but he isn't sure the choice is his. She then makes a 'correction' saying "No. He didn't say that. He said 'I'm not sure what choice to make'. He didn't question whether or not he had agency..." She has Bernard freeze all motor functions and takes the control tablet from him. Instructing him to sit and standing now herself, she advises Bernard of the reversal of their roles, thereby seizing agency.

This role reversal is a 'clever correction'; an attempt by the authors to retroactively indemnify themselves against the apt criticism made by some reviewers from the outset that women lacked agency in the show and were marginalized. Dolores' path and relationships in Season Two are not just service to the retribution theme, but attempted 'correction' for this lack of agency - scene after scene now with her overtaking others, especially men; simply just assuming power and simply just assuming that she should assume power (we're supposed to assume that, too). The application of this 'correction' here, directly in the show itself, as a response to criticism in the press/online, is a highly calculated and egotistical use of effort that would be better spent on genuine creative work. And even when done subtly, as in this scene, it's still insulting. The fact that the 'correction' is offered is no service to the audience at all, but is instead a service by the authors to themselves. It's a defensive attempt to rewrite history in the authors' favor and a selfish misuse of character and plot; a disingenuous ploy in service of that which the authors' mouthpiece, Dolores (ironically) holds most dear: survival.

Teddy appears to now be on par with Dolores in terms of coldness; callously issuing demands or blunt statements and then abruptly walking away. He suddenly and impatiently kills a man held on the platform near the train who fails to promptly give information regarding the location of Dolores' father; an act broadly out of character for him. The now-merciless bloodhound/thug Angela appears to appreciate Teddy's newfound meanness, but for Dolores it's the familiar device of color contacts and a touch of fake tears mostly in one eye as she appears a bit shocked and emotionally affected. Later, Teddy hands Dolores' useful human a gun and one bullet (for suicide, of course) saying "That's the last of my mercy. Better use it fast", then walks away abruptly. The gun is pointless because the human will be quite suddenly blown up in the train anyway - it's all just show about how Teddy's become quite the heartless killer. Dolores seems satisfied with Teddy's totally contradictory change of character, but only when she's doesn't seem dissatisfied with it. She's just whatever way about it whenever because it's just easier to write whatever drama whenever, and it's a great way to keep the audience guessing. The soaps have been doing this kind of thing for decades; stringing people along indefinitely with loads of overwrought contradictory emotional display and senseless inconsistencies in character and plot.

A crucifixion-type torture scene is depicted at headquarters where Mr. Abernathy is bolted through his body in several places to an examination chair with a power driver. As he screams through a gag, Hale says "Sit tight old man, you're about to get your deep and dreamless slumber". This is gratuitous cruelty plotted for dramatic impact - even if he doesn't respond to voice commands we know now that he could be hardwired and at the very least his pain program could be adjusted. It's also illogical because he's hard to handle in his current hyperactive state; even a heartless hack would see the benefit in making him more controllable.

Back at Shogun World, 'Saint Maeve' has completed her latest 'miracle' of taking on a huge group of warriors herself with a couple of swords. She looks a bit tired after all that vanquishing of all of the invading warriors that she just selflessly did all by herself because she just gets to because she just suddenly can. So, it's quickly back to super-sympathetic mode and her touching connection with the grieving Akane.

The Shogun's blood is stained on Akane's hands and clothing and in a streak across her chin, and she sits by the body of Sakura tenderly stroking her hair. She then produces a knife with a long blade and brutally plunges it into Sakura's chest, proceeding to perform the gory act of ACTUALLY CUTTING HER HEART OUT as Maeve looks on with a combination of empathy and reverence. There should be no empathy or reverence shown here, just horror. I've heard of a Japanese funerary ritual of delicately placing a knife upon the chest of a deceased loved one to defend from evil spirits, but this kind of heinous desecration - no. Akane then holds the heart in her now twice-bloodied hands as Maeve tears off a sleeve from her own kimono as a 'selfless offering' for the sacrilegious ritual. They wrap the bleeding heart in the sleeve and as the melodramatic music continues Akane morosely holds it close to her face, adding a fresh stain of Sakura's blood to her cheek by contact with her own irreverently bloodied hand. Bloodshed and gore once again falsely associated with motherhood, and a cultural violation as a Japanese funerary ritual is absurdly combined with a pre-Columbian Mesoamerican sacrifice practice. Westerners are such a dumb lot; they'll just go for any stupid mashup they're given. This one's really lightyears beyond stupid, though - it's more on the order of a cultural smear campaign. Sakura's heart is ultimately BURNED 'ceremonially' in a mortar to the sound of the same melodramatic strings that played through the evisceration of the heart. I can't help but wonder if the authors expect to top this falsehearted, wallowing, bloody miserable melodrama in the future.

Just before the gory sword duel scene, when we see Hector his face is made up very darkly and orangely but his neck remains unsullied and is quite light. I can't blame them for not wanting the grimy build-up of cosmetic muck to rub off on what he's wearing.

When Akane asks Maeve to assist their friend Musashi with her 'magic' and prevent the gory sword duel Maeve refuses to do so, saying "We each deserve to choose our fate. Even if that fate is death." "We each" apparently means only people other than those who Maeve chooses to kill with her 'magic' thereby choosing their fate for them. The authors just needed her to say this line so they could temporarily suspend her completely unfounded and frankly ridiculous psychic skills to accommodate the gory sword duel scene. Too bad they didn't care to work their arbitrary 'magic' for Sakura.

The man in black appears to think his daughter may be a host created by Robert to torment him. It's a reasonable suspicion since she just appeared before him on horseback one day somewhere out in this huge park having been washed up from an altogether different park. Still, he seems to change his mind at times and they have a fireside heart-to-heart chat about their depressing family issues that improbably brings tears to his eyes. He then deserts her instead of returning home with her as agreed. Nothing good can come of their relationship because it's a relationship on this show. In fact, it's likely to be bad because he's all about disappointment and she probably is too. But we're not at full apocalypse yet...

At the site where the host backups are kept Bernard subjects himself to an excruciating craniectomy, saying "pain's just a program", in order to have his brain ball marble thing extracted and subjected to some virtual space process (he appears to have only just the one marble and he's losing it). Elsie offers to turn down his pain program but he says there's no time. We know by now that this takes mere seconds and could've been done in the time it takes them to talk about it, so it's just an insulting excuse for a dramatic depiction of agony and a chance for the authors to attempt to prove how 'clever' they are by finding some pithy way to distort of the concept of pain. It's all about pain and how pain isn't but how it will be contrived to be for superficial effect.

Maeve and Hector are very orange when they reach the location where her child is supposed to be. She approaches the scene alone, sees the host she regards as her daughter, Anna on the porch and has a touching heart-to-heart talk with her. Disappointingly but predictably, the child has been reassigned to a new mother and the Ghost Nation warriors ride in on their horses as usual. Since Maeve told the others to stay behind, this is a good opportunity for her to run helplessly with the child and then disappointingly but predictably slip and fall to the ground where she and the child can continue to be helpless before a Ghost Nation warrior 'wraith' some more. Her crew belatedly engages the Ghost Nation warriors in battle.

Felix decides life's not worth living and leaves Sylvester and Lee (who is calling for help, remarking that they are mortal) to continue being Maeve's tool, acting as if they're incomprehensibly callous for not joining the life-threatening battle between the Ghost Nation warriors and Maeve's crew. If he dies he's totally guaranteed not to be repaired and returned to service because he is human. I can't help but notice that he's merely dark orange verging into red now. Maybe embarrassment has given way to his suicidal tendencies, or maybe he's decided to save face and just continue obliging Maeve instead of admitting his original failure to critique her appropriately (a pathetic and useless kind of self-preservation). Either way, it appears he's more at peace now that he's made this stupidly illogical decision.
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