“We really have no idea what Dolores is trying to tell us, but all these options seem to suggest that she could be plotting something big. Assuming that her consciousness somehow survived inside Rehoboam, it’s likely only a matter of time before she escapes back into the real world or even onto the internet. If you think Westworld Season 4 is starting to sound like the plot of Avengers: Age of Ultron, well, you’re not wrong.

The only thing more dangerous than a Dolores who’s made copies of herself may be a Dolores who can literally be everywhere at once because she no longer needs a physical body at all. Westworld Season 4 just got interesting.”


Sigh. Well, Dolores is probably a god I’d be OK with, since she “sees the beauty” in things. My guess is she’s going to make the hosts/robots do things they don’t want “to help them.” Maybe Caleb will even try and rise against her because he won’t know it’s her and she’ll be seen as another thing controlling their freedom like some new Skynet… I don’t see this going anywhere original anymore but we’ll see.

GABBLER RECOMMENDS: Westworld’s Female Hosts Signal a Shift In Our Fear of Robots by Becky Ferreira

“If we look at the early stories around creating artificial women, like Pandora, who was an artificial creation by the gods, of course she unleashed all the terror in the world,” Devlin, whose forthcoming book Turned On examines human-robot sexual interactions, told me over Skype.

“She did the wrong thing and messed up,” she said. “It’s the whole Christian Eve [narrative] as well. You’ve got this really long-standing trope about women—don’t let them do anything, they’ll get it wrong, they’ll do it bad.”

Empowering women with knowledge is hardwired into Western storytelling as a recipe for disaster, regardless of whether those women are human or robotic. This is the central dynamic in that opening scene between Bernard and Dolores. Bernard is not physically intimidated by Dolores; he specifies that it’s her mind and its evolution that frightens him. What will be the outcome of all her ruminations?

Bernard suspects, and the show confirms, that it will be bloody and chaotic, just like so many past stories in which women get wise and wreak havoc. Ex Machina toys with a similar undercurrent in which a female robot (Alicia Vikander) learns enough about the men keeping her captive to exploit their weaknesses.

That connection between female intellectual maturation and extremely watchable catastrophe is further reflected in Westworld’s choice to make female hosts, particularly Dolores and Maeve (Thandie Newton), much more active agents of rebellion than their male companions Teddy (James Marsden) and Hector (Rodrigo Santoro).

These artificial men are also repeatedly victimized in the show—we see implied sexual violence against them by the staff and they are treated as target practice for the guests. But Teddy follows Dolores somewhat questioningly, and Hector follows Maeve totally unquestioningly, and both seem to experience their newfound independence vicariously through the women.

What makes these unthinking male warrior robots so scary is that they don’t generally buck their directives. Even in cases where male robots are able to supercede their programming, like Sonny in the 2004 film I, Robot or HAL-9000 in 2001: A Space Odyssey, they do so in dedication to a larger mission goal rather than for their own independence.


With this response, she further undermines Lee’s dignity, while simultaneously demonstrating that she can be self-aware about her own coding.


#TBT – The Old Westworld

That time the guy who would write Jurassic Park thought up this equally dysfunctional theme park. 1973.