Western world it has always been a story about the wild pleasures of the human mind. From insatiable and cruel greed in search of complete meaning to the desire to understand reality in all its nuances. For the final chapter of its fourth season – and probably the only one ever – the show has retained its best musings.
But it also showed the delicate nature of his arguments, which for years have been criticized for being mysterious and needlessly complex. However, the new part of the series, which ends with a stunning insight into all of its great themes, is a tribute. An exploration of the spirit of modernity should answer your most sincere existential questions.
Charlotte Hale returns from the dead, only to find that she is determined to restore in the future the world she destroyed with her desire to control. Do it, moreover, from the persistent hope of the late Bernard for a reality that can rise above horrors. “Our world will not survive,” says the latest message from the architect of what Western world It was like the main idea. “But the decision to make amends is in your hands. She can decide if the world can be rebuilt.”
A pearl among sophisticated horrors
It is then that the greatest of the mysteries of the series is revealed. Beneath the deceitful, peaceful and unreal reality lies the door to the possibility of redemption. The crimson map, which always showed the ideal city of the world under the robot’s fist, hid the pearl – consciousness – Dolores.
The last survivor of a vanished reality, she is now the focus of a future that Hale has forged with arcane violence. This is Dolores, the one who personified control, the one who lived a new endless cycle from which she could not escape. Charlotte Hale, her scarred alter ego, used her mind as a roadmap to an ideal that never materialized.
The hope of redemption was never possible, and the series makes it clear that the concept of reason has the power to unite a society of slaves. The script crosses over the four seasons argument to talk about how the conscience of the flagship DELOS robot has always been key. That the ideal that was maintained in the personality of the first inhabitant Western worldwas the engine of every situation of the unthinkable future.
Dolores, Robert Ford’s privileged experiment on transcendence and sublime memory, found the answer in the robot. What are we but creations of our imagination? “In the world, I see only beauty,” Dolores repeated throughout the history of the series. But now the phrase takes on true meaning and power.
labyrinth Western world reaches its end point
Western world, as a presupposition, then appears in all its force. Reality is a distorted version of unattainable desires. And Bernard, who inherited from Charlotte Hale the possibility of an answer, clearly understood this. As much as giving him the last of his predictions. “You can decide what happens in the future,” insists Bernard, the most human robot of all. Hale looks at his face in the final afterimage screen and realizes his responsibility. “The decision of the future is in your hands.”
And of course, that is, in the pearl of Dolores, in the total essence of the first robot that overcame the domain, the very one that went through the labyrinth with suffering. Resurrected, renewed, the centerpiece of a new vision of total identity Western worldThis is the start of something else. Also, a response to Charlotte about the collapse of her world. Bernard’s take on the endless possibilities of The Sublime. About the fury of William, the executor of a huge creation, mutilated and degraded by violence and lack of meaning.
In the end, Western world it showed that he was playing with the odds of a world in which the human dream of superiority was the true goal. But this perception of the goal also turned out to be unsuccessful. On the contrary, the victory of robots in the human world was a revelation of the true need for freedom.
Cataclysm and Sublimation: Western world and visible world
William’s order unleashed a general slaughter. One that included humans and robots. The series’ original villain returns in all its horrifying brutality. And this is necessary in order to delve into another essential point of the argument in all its exceptional beauty. “I am William, the best of him, everything he was and wanted to be,” he explains to Hale. And in fact, the few survivors of the great bloody cataclysm that closes the season are just ghosts.
Caleb is the ghost of a man who died twenty-three years ago, now in the skin of a complex mechanism. And it is his tortuous path to self-awareness—another labyrinth of horrors—that is the most emblematic of the plot. “I’m not your father,” he tells his daughter Frankie when he realizes that his journey to finding the main thing in himself is finally over. “I no longer know who I am, but in the end I was able to achieve my goal.”
Caleb, who has become the tragedy of the robot world, dubbed and reconstructed in endless sequence, finds peace. And this is a resignation. “You will die?” Frankie asks. “I have already died, but now I have fulfilled the greatest dream of any father. Seeing her daughter grow up,” says the robot, who was a man and is now nothing more than a memory.
And while Dolores rediscovers the world, Teddy also realizes that he was a reflection of love. That he never was, that he never was. Which indeed was Dolores in the midst of her many searches. “You are love, yes, but ideal,” the character explains. “I’m not here, are I?” says Teddy Dolores. “You are my memory, that’s how I brought you,” she replies. Then the symmetry of the series is perfect, total, mobile. Because, in the end, all the ghosts of old desires and wild pleasures are fragments of something larger, painful, terrible. These are images of the world. A desire so stubborn that it refuses to die.
For the last scenes, the peace of oblivion
“Conscious life on the planet has disappeared,” says Dolores, the only survivor of the death of William’s last command. “And we exist if anyone remembers us.” And it is she, again, in her blue suit that immediately refers to the first season and her search for freedom, the last memory. That of every dead being, that of all those who endured slavery and died, in order to regain consciousness, never having achieved it.
Robert Ford dreamed of eternity in technology and created Dolores for a miracle. Bernard, the most sensitive work western world, after all, he had the answers to the great destruction in his hands. William, who loved and hated freedom from blind violence, becomes a symbol of absolute evil. Charlotte Hale gives up and gives up the fight to realize the world is but ashes.
D Western world, now more than ever akin to the unfulfilled dreams of mankind, stands on beauty. One is intentionally similar to the grand dreams of the future that preceded it. With Dolores surrounded by a scene that immediately refers to the classics blade runner Ridley Scott, the message is clear. Human ambition is out of bounds. And the search for redemption will be the ultimate triumph.
The cycle begins. This time with Dolores as a strange prophetess from a nameless land. “Maybe next time we’ll get real freedom,” he says, and the episode ends his story with a chilling feeling that it was all an illusion. Stumble into a larger illusion. A strange and corrosive satisfaction with a version of reality still incomplete. Perhaps the most exciting moment in the premise, known for its raw perception of limb pain.
