Westworld Reduces, Reuses, And Recycles

Our EPIC OLD-SCHOOL RECAP of Westworld's fifth episode of the season hits a new level of blood and gore, so make sure to keep your Delos-branded barf bag handy!

The sound design is horribly good as we open inside the lab, where kleig-lit workers cart around the bodies of the hosts we last saw floating in the water. Bernard watches as a tech uses that fast-moving helmet thing to slice open the skull of a host and pull out its hard drive. Strand crosses the room toward Costa, asking what they've recovered from the hosts thus far. The answer isn't good: about a third of the hosts appear to be "virgin, like they never held data to begin with." Even worse, the cradle -- which we heard about a couple of episodes ago -- is beyond repair. This means the host backups have all been destroyed. What do you think these two pieces of information mean? Is it possible that the hosts were making more hosts? Are the ones in the water empty duplicates of the ones we know and love, perhaps, made even as the hosts eradicated the possibility that their own selves could be reborn? Am I already this deep into speculation in the first paragraph? Strand is more upset at all the lost IP, but still has the foresight to mutter, "How did all these disparate threats come together to create this nightmare?," as we watch Bernard gazing at Teddy's naked body atop a pile of hosts. "If we figure that out, we'll know how the story turns." Okay, show, think I got it.

Hey, remember how Maeve and her gang were menaced by a top-knotted guy with a sword? We're back on that one now, with her team meeting the swordsman -- and he is, indeed, a Japanese guy IMDB tells me is named Musashi -- with a mix of bemusement and annoyance. Just as the group prepares to gun him down, they're lassoed into submission by Musashi's men. Maeve tries her robot-commanding skills out by telling him to lay down his sword and set them free. As Musashi lowers his sword, Maeve smiles smugly, but that was a celebration too soon. Instead, Musashi says, "Gag this one," in Japanese, indicating Maeve to his men. Do you think that as part of every Westworld audition, actors are screen-tested on how they look bound and herded along by their captors? This time it's Maeve and her gang's turn, as Musashi marches them past the bodies of what Sizemore says are "local police" (within the park narrative, I think he means, not actual cops from the area). "Captured by samurai cop killers, fuck me!" Sylvester whines as he stumbles along. "Can't you say something to them?" he asks Lutz. "I'm from Hong Kong, asshole," Lutz snarls back.

During the walk, Sizemore has time to explain Shōgun World to Maeve: it's "an experience for the guests who find Westworld too tame. We based this park on Japan's Edo period," which Wikipedia tells me was a time between 1603 and 1868, characterized by "'No more wars' and popular enjoyment of arts and culture." But to Sizemore, it means the park is "for a true aficionado of artful gore." So, it sounds like he means they based it on movies about that general area of Japanese culture, the same way Westworld is based off westerns, not history itself.

Musashi keeps messing with Hector, prodding him with a long barbed stick. After Hector snaps and begins threatening Musashi, a female member of his group rides up to him. The two converse in hushed Japanese as Maeve listens in. "You understand them?" Hector asks Maeve. "You all do," Sizemore tells him. Maeve is "consciously fluent in dozens of languages" to better play her role as madam, but all of them have the code that enables comprehension "buried somewhere." In fact, that's the big tip-off that the "infection" that first hit the Westworld (and Raj) hosts has spread here, because the hosts should have switched to English as soon as they heard Sizemore speaking it. It's also why Maeve couldn't command them, because she didn't try to boss Musashi around in Japanese.

Eventually, our friends and their captors reach a traditional-looking Japanese village. (Look, I'm acutely aware that I'm no expert on Japanese culture and, like Delos, mainly have references from movies and museum visits. I'll do the best I can here!) A stringed instrument -- maybe a Shamisen? -- begins to pluck out a tune. But what is it? I'm fumbling for that the same way Maeve's gang seems to be fumbling to figure something out. "This all feels a little too familiar," Armistice says as they walk down the dirt street through town. Then the musical theme reveals itself: it's "Paint It Black," by The Rolling Stones, which you might recall as the theme played in Westworld, as well. The town, Maeve's gang is starting to realize, is Westworld through a Japanese lens. As that revelation takes them, Musashi is approached by a cop, who accuses him of stealing the horse he's riding from a fellow officer. "His Sodegarami, too," Musashi says via subtitle as he extends the weapon and nearly decapitates his accuser. Hopping off the horse, he tosses the sodegarami to his colleague and picks up a rope instead, entering a building. The colleague removes her hat, and we see that she's got a big-ass tattoo of a dragon on her face. "I'll be damned," Armistice says. "It's us."


"Yes, fine," Sizemore Jonah Lehrers. "I may have cribbed a little from Westworld. You try writing 300 stories in three weeks!" The Japanese version of Armistice -- who IMDB says is named Hanaryo -- dons arrows and a bow, and then steps behind the captives to use them as shields while she takes down more lawmen. Like Armistice, she is very, very cool.

Inside the structure, which appears to be this world's version of Maeve's saloon and brothel, Musashi approaches a man who'd been seated with two geisha-clad women. The man announces that he's "come all the way from China as the invited guest..." and that ellipsis is where Musashi (who's their version of Hector, if you hadn't guessed) slices him in the throat. Musashi says he knows who the man came to town to see: "And I know how much gold you brought." "All the businesses in the han, and you chose to rob me, Musashi?" asks a woman as she emerges from the side of the room. She's Akane, Maeve's cognate. They banter expositionally, with Musashi saying that he no longer serves the Shōgun, so he has to do something to entertain himself. Like Hector and Maeve, they have a really nice chemistry.

While her boss is flirting, Hanaryo continues to shoot down all the guys rushing to thwart their heist. Now on the street, she's nearly taken out by a man approaching her from the back with a huge length of hot iron, but is saved when Armistice yells, "Behind you!" Hanaryo picks up the tool, and as he says, "Even a snake can prove itself to be a dragon," he uses it to burn through the captives' bonds.

Inside the brothel, Musashi's men are unloading what I assume is the Chinese visitor's gold as three women watch. "Why don't we take this bitch for ourselves?" one of the bandits asks, but as he walks toward her, we hear a shot. It's okay, no one's hurt! It's Maeve, Hector, and the rest of the gang walking through the door, and Maeve shot into the air to thwart the assault. "I know how this story ends," Maeve says in Japanese. "Lay down your swords, and let's have a more civilized conversation." Maeve and Akane recognize each other for who they are, and the scene ends.

We're back in Sweetwater, with that good old player piano plunking out the Westworld theme. It's not doing so hot, though: its roll is crumpled and spattered with blood. It grinds to a halt as Dolores, Teddy, and her gang ride into town. Bodies still litter the street, as a shell-shocked-looking Teddy says, "Hell of a homecoming." "Sweetwater was never home to begin with, Teddy," Dolores tiresomely overexplains. "You and I were born long before this place even existed." I guess it's nice to see a lady embracing her age? The pair speeds up when they see the train, which is battered and still, filled with broken windows and smeared with blood. "Looks like she's taken some hits the past few days," Dolores says of the train. "But who hasn't?" She tells her gang to inspect the train, repair it, and "strip her for speed." Teddy won't be participating in the ride pimping, however, as Dolores tells him to come with her. As they leave, Phil (the tech Dolores abducted from the lab) looks at them, worried.

Dolores and Teddy enter the body-strewn saloon, where a man still sits playing cards, and one lonely sex worker wanders in the background. As Dolores grabs a bottle of whiskey, Teddy asks why she wants the train. "They've taken my daddy," she tells him, "so I gotta get it back." (Interesting choice of words there, "it" instead of "him." Hmmmm.) "Sorry, Maeve," the sex worker host says, apropos of nothing. "Didn't get much sleep last night." From behind her, Clementine watches her deliver the familiar lines, mouthing them along with her. Finally, Dolores tells the brothel host to knock it off, and sends Clementine off to help the others. Both comply, because per Dolores's edict they all have free will now! Teddy looks freaked. "It's like I told you, Teddy," Dolores says wearily. "This place was never home."

The Japanese counterpart to that last setting is far more serene, with a geisha doing a dance to the Westworld theme as our cast watches, all fresh-scrubbed and dressed like they're about to meet the great and powerful Oz. Hector stares at Musashi, Maeve watches Akane, and Armistice and Hanaryo sit side by side. As the dance ends, Maeve gripes to Sizemore, "When I asked for a civilized conversation, I meant the quickest way out of here, not all this." Sizemore tells her to chill: as with all the parks, hospitality leads to a new quest. Maeve also takes this chance to chide Sizemore for recycling not just the narratives but the characters themselves: "You've plagiarized our stories, our identities." "It's not plagiarism, it's supply and demand," says Sizemore. "If you're asking if you can trust Akane, the real question is, can you trust yourself?" "You know who I don't trust?" Hector interrupts. "Him," he says indicating Musashi. "Say the word and I'll skin him like a rabbit." As Hector stalks off, Sizemore says that the increased aggression is because they aren't supposed to be there. "Who knows how seeing your own doppel-bot is going to fuck with your cognition?" The risks associated with that are another reason to leave this park as swiftly as possible, Sizemore says.

Then a guy walks in the door and starts hollering, spurring Maeve to say, "Our quest, I presume." The man tells Akane that the Shōgun has set up camp nearby, with his army, and that he wants "the most ravishing dancer in the region, Sakura," to come to the camp so that he can "acquire her permanently." Sizemore whispers to Maeve that he recognizes this narrative, calling it "Army Of Blood." Meanwhile, Akane explains to the man that Sakura had been starved and abused before Akane took her in, and that she is not for sale. The man responds badly, saying, "When the Shōgun asks for meat, he does not wish to hear the story of the cow." Sizemore, who must be REAL FUN at movies, just finished telling Maeve that now Akane will hand Sakura over when Akane stabs the Shōgun's rep in the eye. "That's not supposed to happen," Sizemore says for the ten-thousandth time this week. "What have you done?" Musashi cries, because only he is allowed to slaughter authority figures. "Hired myself a ronin," she replies. Since the Shōgun is going to figure out that something went wrong, it's up to Musashi to get them out of there and somewhere safe. Sizemore proposes "Snow Lake," since it's a place from Sakura's memories that she says is "the only place [she's] ever known peace." It's also an access point that will get Maeve and her gang back into the tunnels, Sizemore mutters to Maeve. That spurs Maeve to offer to join them to help the fight. Musashi reluctantly agrees, and says they'll leave that night. Watching Akane and Sakura, Maeve remembers tucking her daughter into bed at night, and smiles.

After dark, we see black-clad figures running through the streets of the village. Maeve is seated with her eyes closed; she senses that something is afoot, and ducks a moment before a blade comes flying into the wall where her head was. As Hector springs up to fire on the attack, we see a partially-masked face. It's a ninja, Musashi says, as they look at the man Hector shot. And there's plenty more of them, leaping from rooftops to fight them. "Turn your weapons on your friend," Maeve instructs one of the ninjas. That seems to be working, but then a guy attacks Maeve from the back, covering her mouth and strangling her before she can get out the words to stop him. It seems like everyone on our side starts struggling in their individual battles without Maeve's powers, but then she somehow uses her mind (the mesh system Bernard told us about, perhaps?) to command her attacker to impale himself on a nearby blade. Hector looks at her in fear, as another ninja who'd been strangling Sizemore calls Maeve a witch, and then flees. The ninjas worked for the Shōgun, Musashi yells, just as Akane realizes that one of them managed to spirit Sakura away. "This is insane," says Sizemore. "Ninjas never show up in this story." Yes, Sizemore, maybe you noticed that something is going wrong at your place of work?

From outside, we hear marching and chanting. It's the Shōgun's army, which "never comes into town," according to Sizemore. And yet here they are. One of the members of the army hops off his horse and calls to Akane to come outside, "and face justice." They're here to "terrify the town into submission," Musashi says, revealing that he was once the Captain of the Shōgun's guard. Maeve asks Musashi to buy her some time so that she can get them out of this mess. Musashi agrees, and heads out to taunt the man who'd been calling for Akane, whom he calls Tanaka. Hector, Armistice, and Hanaryo appear behind him, the former calling Tanaka an asshole. Both groups go to battle, but our side doesn't have a chance, and is taken captive.

Dolores and Teddy ride down a dry and dusty trail, dismounting where her family's cattle used to roam. The pair used to spend a lot of time there, Dolores says, talking about making a life together. "Someday," says Teddy, who is not sure where Dolores is going with this.


"I guess I just wanted to see it one last time," says Dolores. But what if that "someday" were right now, asks Teddy. What if they just avoid the coming fight? After all, if they're now truly free then they're free to walk away from all this, right? Instead of answering this like she's in an actual conversation, Dolores asks Teddy if she ever told him how her family almost lost its herd of cattle. "No, because that never happened, and that 'memory' was written by some weaselly guy who's currently in a far more compelling plotline," Teddy fails to respond. So, I guess it's Story Time With Dolores again. Here's the deal: these (imaginary) cattle were getting infected with bluetongue, the same disease her dad was babbling about back at Fort Forlorn Hope. Though they quarantined the infected, the illness continued to spread. That's because the disease is insect-borne -- in this (imaginary) case spread by flies -- and therefore impossible to contain. "How do you stop a sickness like that, one with wings?" Dolores asks Teddy. "I'd give them shelter," Teddy responds. "House the weakest in a barn away from the flies until it passed." As he says this, Dolores gets a sad but slightly condescending smile on her face. "You're a kind man," she tells Teddy, the way we tell a loved one that, no, they do have a lovely singing voice. Her dad burned the infected, Dolores says: "Made a pyre that went on for days and it stank, but flies hate smoke and the herd lived. Think about what you said." Oh, Teddy, you don't want to be with a woman who constantly compares you to her dad (or calls her dad "Daddy"). Trust me on this.

We return to the far fresher-feeling Shōgun World (seriously, it seems like the folks in Westworld are just vamping right now) to see Maeve in yet another fabulous kimono, and Sizemore in a changshan (which, yes, isn't Japanese but there's a reason for this). Despite the fact that they're both sparklier than they've been in days, Sizemore is crapping himself. He says that if the Shōgun is "awake" enough to be deviating from the narrative as he has been, our group is doomed. He votes that they bail and head to Snow Lake and its access point, then travel by tunnel to find Maeve's kid. "Why should we all get killed over a literal sex machine?" Sizemore asks. Maeve shoots him a look, responding, "That machine's name is Sakura. You can't keep doing this, giving us people to love, then getting upset when we do." When Sizemore protests that this love is just code, she disagrees, pointing out again that she's coded to care about no one but herself, and yet here she is. Sizemore takes this moment to pivot to Maeve's weird ninja mind control moment the previous night. "He took one look at you and self-impaled," he says, in case we hadn't been paying attention. "How did you do that?" Maeve says she doesn't know, which is convenient because I guess if she did, she could just use her brain to rearrange everything, and we wouldn't have a show. When Sizemore pursues it, saying that she wasn't using voice commands, she says, "I think I'm finding a new voice." Lutz interrupts them, saying, "Our transportation is ready."

And the transportation kind of sucks! At least, it does for Lutz and Sylvester, the latter of whom, as a redhead, must be really suffering in the sun. They're pulling an enclosed rickshaw and gaping at the bodies tied to trees along the road, many of which appear to be Delos security. This seems to help the humans realize that rescue isn't on the way, as they had hoped it might be. Sizemore, Akane, and Maeve walk ahead of the wagon, with Maeve promising Akane that they're going to get Sakura back. When Akane tells Maeve, "This is not your fight," Maeve stops, takes her hand, and says, "You're right. It's ours." Sizemore decides this is a good moment to go take a pee right by one of the hanging men. As he urinates, he spies the dead man's walkie-talkie, and pockets it.

"It's time to sell this ruse," says Maeve, ushering Sizemore and Akane into the rickshaw and walking ahead. As they draw closer to the outpost, Lutz asks how many men are in the Shōgun's employ. "Between the camp and the town, hundreds," says Sizemore. "So Maeve's going to freeze all those assholes, we're going to make off with that geisha, or we're going to die?" asks Sylvester. Nice explainer, bro!

When they get to the border of the camp, everyone hops out of the rickshaw, and all five of our gang (Akane's face obscured by a veil) heads in on foot. As they walk in, the Shōgun's MC hollers, "Introducing the envoy from the Chinese empire, his wife, and their esteemed translator." Ohhh, okay! So they've basically assumed the identity of the guy Musashi killed back at Akane's joint! I get it! Sizemore's the Chinese guy, from behind her veil Akane is his wife, and Maeve is the translator. Hey, it's definitely color-blind casting!

The trio kneels on mats before the Shōgun's dais. He's presented with their gift, presumably the gold item Musashi wanted to steal: it's a sculpture called "Guardian of the Three Provinces," says Maeve, and was cast by the Emperor's personal goldsmith for the Shōgun. "We regret that we have nothing for his esteemed daimyōs," Maeve says, indicating the men kneeling around her. They don't respond or react, which worries her. "It's like they had no idea what I was saying," she mutters to Sizemore. The Shōgun tosses the gift to the ground and starts listing all these big battles he's won; as he does so, we see that something clear is leaking from his ear. He's stuttering, asking, "You call this trash a tribute?" "Shit," Sizemore says. "That's cortical fluid. The Shōgun's not awake." "He's broken," Maeve finishes. The malfunctioning Shōgun then starts laughing, saying he was just kidding, of course they're welcome. But that, too, is a gambit, before he announces, "When my ninjas told me they'd encountered a witch, I had to protect my men from mystic commands." Showing our friends that the jig is up, the Shōgun has one of his soldiers pull up his helmet. His ear is yucky, gross, and mangled shut.


And that's why you never put a Q-Tip in the canal, kids! Jk they didn't have cotton swabs in feudal Japan. As Maeve looks around, she sees that the same is true for the ears of all the troops around her. Looks like Maeve better get to figuring out that "new voice," and fast. "The legendary Sakura will be on display this evening," says the Shōgun, as the girl rises from the corner where she'd been kneeling. "Of course, we'll clean her up for tonight," he adds, roughly pulling her hair from her face. Akane starts to her feet, but a guard blocks her from getting close to the girl. The Shōgun strides toward her and lifts her veil, shocked to discover that it's Akane beneath the gauze. He starts hollering at her that even though she killed his emissary (check) and his ninjas (not directly), she didn't flee -- she "chose to tempt the dragon. Why?" Akane responds, "Even dragons conduct business," which is also the working title for that Game Of Thrones workplace comedy spinoff coming this fall to NBC. "Give Sakura to me," says Akane. "I will pay any price." Any dragon would tell you that that's a horrible way to begin a negotiation, but whatever. The Shōgun goes into a reminiscence about when his cows got bluetongue he saw Akane dance when she was "a fresh-faced maiko" as opposed to the grizzled crone she is now. His price, he says, is to have Akane perform with Sakura. Apparently, they already have a number rehearsed, because Akane wordlessly agrees.

It's nighttime in Sweetwater, and Dolores and Teddy are watching their crew work on the train. Repairs should be completed by morning, she says. "To go where?" Teddy asks. "Exactly where we thought," says Angela, riding up from behind. She has a captive -- apparently, she was able to catch up to Charlotte's dune buggy, which had spirited Abernathy away from the fort. Angela wasn't able to get Peter back, but she snagged one of the Delos security guys, who says (after a well-placed kick) that the group is headed to the mesa. "We're going home, Teddy," says Dolores, telling Angela to load everything up onto the train. "Let's find a spot for the night," Dolores tells Teddy; just because her gang is working all night long doesn't mean she has to. The pair walk up the stairs to what I believe was Dolores's home, and enter her bedroom. Dolores sits on the mattress. "What you asked today," she says, "about walking away, making it on our own. Would you want me to say 'yes' even if I was only going to disappoint you?" "I'm not some stranger, Dolores," says Teddy. "Coming from outside, looking for a pretty lie. I've known you my whole life. Where we go, we go eyes open. Together." They kiss, and then they have sex. I think it's the first time on this show that a sex scene hasn't felt a little off, maybe because they're both consenting robot adults? Also, James Marsden has a very nice butt, especially when you realize that he is 44 years old!

From Teddy's rump we go to an ass of another variety: the Shōgun. It's nearly showtime, and Akane and Maeve have been ushered into Sakura's tent. Sakura winces when Akane embraces her, since at some point that day she got a moderately-sized back tattoo of a cherry blossom tree.


Honestly, I've seen better work. I guess hosts also don't seep pus the way people do, because otherwise, this soon after a tattoo, that robe Sakura's wearing would be soaked in goo. (I'll tell you about the shirts I ruined during my full back tattoo sessions some other time.) Covering Sakura up again, Akane says, "Don't worry. Great things lie ahead for us."

Akane then goes into the same "this is a new world" speech Maeve used to give in the saloon. Sizemore, you so lazy. Maeve joins her at the "You can be whoever you want" part. Soon Akane can be who she wants to be, too, Maeve tells Akane. As Akane sits down to do her own makeup, Maeve tells her that she has a daughter: "I think she would love to meet you." "Where is she?" Akane asks. "A new world," Maeve replies. "Just like the story. I can take you there, both of you." Maeve also warns Akane that the new world will reveal that "every story you've lived here is a lie." And with that, the sound design indicates that Maeve is giving Akane a mental push (the host mesh network strikes again, I assume) to what Maeve says is "freedom." It seems like it's too much for Akane, though, who stammers, "No, please." "You're right," Maeve says, relenting. "Some things are too precious to lose, even to be free." She visualizes her daughter as she says it, just in case there's a viewer who hadn't heard that Maeve is into her kid.

A sleeping Teddy is awakened by Dolores, who's already up and fully dressed following their evening of robot intercourse. "There's something I have to show you," she says. "Ugh, I'm sleeping, just tell me in the morning" is what any real person would say, but I guess Teddy's code means he's the kind of weirdo who asks no questions, because he gets his full Old West getup back on and walks into the town's dimly lit general store in the dead of night with his homicidally sketchball girlfriend. "For days now, I've been questioning my feelings for you," Dolores tells Teddy. "How much is real. How much is the story I was made to believe." Exactly what you want to hear right after you fuck a verifiably violent person and then walk with her in the dark! "But tonight I know it was all true," Dolores concludes. Teddy can be excused for looking a little smug here, I think. He walks up to Dolores and kisses her. "They built us to perform for them, for each other," Teddy says. "That's over. I saw you tonight, Dolores. And you saw me." Awkward turn of phrase, Teddy, as Dolores repeats that line, and you have to wonder if she's also talking about how she saw him release Craddock and his men back at the fort. "These past few days, I've seen you so clearly." As she says it, Dolores grabs a lamp and walks into an adjacent room. We hear the buzzing of flies, and see a decomposing body (so: human, not host). "I've seen you're not going to make it," Dolores adds. "What is this, Dolores?" Teddy asks, because no one likes to have their post-coital nap punctuated with some rotting person. "This is what I don't want you to become," says Dolores, as the buzzing of flies grows louder. "There's a swarm descending, just like the bluetongue when I was a girl." I ASSURE YOU, SHOW, WE GET IT. GOD. "If we're going to survive, some of us will have to burn," says Dolores... she opens a door at the back of the room. In comes Phil the Delos tech and a couple of other members of the gang. Teddy looks pretty fucking pissed as the guys flank him and grab his arms. As he struggles, Dolores says, "I wish there was another way, Teddy. But where we're about to go is no place for a man like you." "You sure you want this?" Phil asks Dolores. "With changes this extreme, without a full reset, I can't guarantee he'll hold together." Dolores is roughly as blithe about this as I am about unplugging a device from my laptop without properly ejecting it, and replies, "To grow, we all need to suffer." Phil pulls out his tablet and turns a bunch of Teddy's levels way, way up, then hits "Upload." A freeze-frame indicates that Teddy's aggression and hostility have been maxed out, while his compassion has been lowered to one bar. Well, this opposite-Stepfording should be fun for James Marsden!


Maeve is kneeling against the wall of the encampment when the Shōgun summons her. "I want you right where I can see you," he says. Maeve kneels beside him at the end of a stage area, as Sakura and Akane enter. They raise their hands to begin their dance, but the Shōgun tells them to wait. He says he's astonished by Sakura's perfection, but that there's one thing missing. He then draws his sword and drives it through Sakura's midsection. She falls to the ground, blood spurting, as Maeve gets to her feet. Akane struggles to keep it together as the Shōgun says, "As I promised, she's yours. Now, dance." Looking on, Maeve is visibly distraught. She recalls being slumped on the floor with a knife in her gut, watching as MiB shoots her daughter. She sinks back to her knees as the Shōgun resumes his seat. Akane steps around Sakura's body and takes position. At the Shōgun's gesture, she begins her dance. Sizemore, Lutz, and Sylvester watch, faces somber. As Akane makes her way across the stage, she heads closer and closer to the Shōgun. You see where this is going, don't you? Eventually, she is right before him, and pulls a blade from her hair. She slams it into his neck, but that's not all: then she saws all the way around his neck, leaving his head just sort of hanging by a thread. He stands and takes a squashily staggering step or two before falling. Everyone, even Maeve, looks totally freaked out. "Assassins! Bring them here," a brainiac member of the Shōgun's posse yells. Maeve is pulled to her feet, then thrust to her knees next to Akane. "Bare their necks," the man yells. "Akane. You are a true mother," Maeve says. As the soldiers raise their swords, presumably to execute the women, we hear the sound cue that indicates Maeve's mind control thing. The men slowly turn toward each other, and slice each other's heads in two. Around them, all the Shōgun's men attack one another. As the men fight, Akane and Maeve each do their own cool slow-motion walks through the carnage: Akane to Sakura's body, Maeve toward Sizemore and Lutz. From the distance, a huge crowd of soldiers runs toward the tent. "Jesus, what do we do now?" asks Sizemore. "I told you I found a new voice," says Maeve as she pulls a bloody sword from the ground. "Now we use it."

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