In these memories, Arnold attempts to explain to her that she is truly alive, and that the maze is a kind of test of her humanity-“consciousness isn’t a journey upward but a journey inward”-but she is unable to fully grasp his meaning. The Man is enraged that the secret may be nothing more than a game, but Dolores is enveloped by memories of Arnold. Guided by patchwork memories, she leads him to the churchyard and unearths a miniature version of the maze from a grave that bears her own name. In the present, Dolores is by the church with the Man in Black, pressing a knife to his throat-because (“Westworld,” you kidder) she’s helping him shave. Arnold, her Geppetto, gently helps her up: her face and forearms are human, but the rest of her is a latticework of metal and plastic. But, by the end of the taut ninety-minute finale, Dolores would undergo the more transformative evolution. The episode began at the dawn of her creation, as she lay on a slab in a workshop. Throughout the show’s first season, Maeve, with her penetrating and cool violence, often seemed closer to liberation than Dolores, who was always _this close _to breaking down. Instead, the robots staged their liberation from within, and-thanks to an eleventh-hour flourish by Ford-arose to dominate Westworld, not to defy it. In fleeing their engineered lives and games, though, none of the show’s androids-nor, indeed, any of the humans-ended up making it out of the park’s walls. Among the guests, the cold-blooded Man in Black approached the center of the mysterious maze, an achievement that he hoped might herald an upending of the park’s unnatural order.
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Heading into last night’s season finale of “Westworld,” the show’s android hosts were poised to finally, as our President-elect might put it, throw off their shackles: Maeve was plotting an escape into the human world, and Dolores was moving closer to the core of her own memories and identity.