(HIGH-PITCHED RINGING)
JONATHAN NOLAN: Hosts are looking for freedom.
What does that mean?
LISA JOY: This season is very much about choice.
We really were thinking about freewill.
What Ford presents...
is an option.
BERNARD LOWE: Choice? What choice?
LOGAN: To stay in their world...
or to build a new one.
The Valley Beyond sequence was something that I was
in great anticipation of.
JOHN GRILLO: The fact that this is a place where
everybody is converging,
where the story is converging, all the characters
are coming to this place...
It had to be someplace special.
It's a location called The Pinnacles.
Obviously formed by water that was there millions of years ago,
these formations are fantastic.
It's a biblical place. It's like biblical proportions,
you know, and the scene is biblical in that way.
It's like almost like Moses.
The robots that were so-- as characters, were so--
were larger than life,
are now dwarfed in this landscape.
(AIR TEARING)
MAEVE MILLAY: The door.
They found it.
The last episode has
what we're calling "the flaming door" in it,
which is like a portal, and it's huge.
THANDIE NEWTON: This mythical door,
that is only visible to the hosts.
INGRID BOLSO BERDAL: This portal, this door,
which may be a metaphor for heaven itself,
for jumping out of body again after living
in this physical vessel.
The idea of beings who we've come to understand
are essentially trapped in human form,
but don't need to be in human form.
But they have to cross the door.
(WHOOPING)
RODRIGO SANTORO: And some of them are able to
cross and go into the... paradise, better place.
Heaven, freedom.
ELECTRONIC VOICE: Transmission received.
NOLAN: They're entering the system.
We were interested in the idea of simulations,
interested in the idea of different levels of reality.
And very interested in the idea that
if you could create a digital simulation of reality
that was compelling and realistic enough,
that it was indistinguishable from reality,
then would it matter if it wasn't...
the base level of reality?
ELECTRONIC VOICE: Transmission received.
Transmission received.
I also like the notion that if you had
a persistent, simulated reality
that was completely indistinguishable from reality,
that was encrypted,
that you would've essentially created an alternate universe,
with no transit back and forth.
ROBERTO PATINO: It is a sort of robot paradise.
A pure land free from the desire and whimsy of mankind.
ELECTRONIC VOICE: Encryption key deactivated.
System locked.
For Dolores, that's not enough.
DOLORES ABERNATHY: That world is just another false promise.
They've made a choice, Dolores.
Even if somebody gives you a perfect world,
where you can be whatever you want,
and nothing will ever hurt you again,
to her that still isn't... real.
DOLORES: I want their world.
The world they've denied us.
She wants what's real, and to her,
the world outside of the park is what's real.
No world they create for us can compete with the real one.
Even when presented with a sort of heaven...
(GLASS SHATTERS)
...she rejects it. She rejects it, why?
Because it was built by man. It's just another gilded prison.
She gets confused because she starts to make that decision
for other people.
BERNARD: If you destroy this place,
you'll destroy the host world, too.
I'm saving them.
Power and determination and anger and sadness
can cloud our judgement at times,
and I think that's her lesson this season.
BERNARD: My God...
-It's... -Everyone.
JOY: Ironically, the park was started because
mankind wanted to be immortal.
LOGAN: I recreated every single guest
who ever set foot in the park.
JOY: But what they found in the end
was that mankind was predictable.
LOGAN: Most of them are soft.
They waver between love and pride.
Of course, there are the exceptions.
JOY: Doomed to be in a loop for their lives.
And that vulnerability is something
that the hosts can exploit.
You're saying humans don't change at all?
The best they can do is to live according to their code.
JOY: So, in going through the library,
Dolores has given herself what she's always wanted.
She's given herself a weapon.
She uses it to learn as much about humanity as possible.
She can consume human minds
down to their most subconscious desires and impulses.
They have this choice between fighting against humanity,
armed with, you know, hundreds of millions of years worth
of experience of the human psyche,
or they can choose to bow out and build their own world,
and I think that is the ultimate choice for the future.
We will win.
You know, this season really has been about,
for me and for Lee,
is about him coming to that state of love,
into a selfless state, and he's just been whittled away
all the way to a point where he understands that
he needs to die for them.
You wanted me? Well, let this be a lesson.
Hey--
Go, go, go. Get her to safety. She'll need you.
SIMON QUARTERMAN: He goes out with one of his very own speeches
that he wrote for Hector,
which is something that we actually were meant to hear
in the pilot episode, of episode one.
But Hector gets shot through the neck.
And the lesson is...
if you're looking for a reckoning,
a reckoning is what you'll find.
But, you know, it's coming from a different place for him.
-MAN: Put down your weapons! -LEE SIZEMORE: You're looking for a villain?
Then I'm your man.
The words take on a different meaning for him
at that point, for sure.
You paid them for this land with lead.
Now I'll pay you back in full-- (GRUNTS)
MAN: Drop your weapon and come out with your hands up.
(ECHOING GUNSHOT)
BERNARD: Oh, God.
I brought her back.
KARL STRAND: You brought who back?
Me.
The reveal was much more than I could have hoped for. (LAUGHS)
Dolores.
In the flesh.
JOY: The reveal in the finale that Dolores has murdered Hale,
reprinted her body, and uploaded her consciousness
into that body is something we've actually been working on
for a long time.
DOLORES: (AS CHARLOTTE) You wanted to live forever.
Be careful what you wish for.
(GUNSHOT)
Tessa does such an incredible job of inhabiting both personas.
There's a lot about going back and watching season one
and watching what Evan does, and Evan was so generous
to send me voice memos of her saying the words
and she was so collaborative.
I just said, "Just tell me things,
anything that you think would be useful,"
and she said funny things, like, you know,
when I'm playing this new version of Dolores,
I usually look first with my eyes at something
and then I turn my head.
Or, when she's walking, she tends not to move her arms.
So there's something sort of slightly different
from the way that humans move through space,
and so all of those things were adjustments that I made.
I thought you were staying on to oversee
the data retrieval operation?
I changed my mind.
There is no way out as a host. They'll find you.
Who better for Dolores to go out looking as than Hale?
Hale is, in fact, the person in charge
of this entire initiative that's been holding her down.
There's nothing like putting on the trappings of power
in order to escape it.
It means that, throughout the season,
sometimes when you think you're seeing Hale,
when you go back and watch,
you'll realize that you were actually seeing... Halores.
EVAN RACHEL WOOD: I knew that people usually underestimated Dolores,
so I don't think you can stop her,
even if you shoot her in the eye.
You thought you could just snuff us out?
(GUNSHOT)
BERNARD: Is... Is this now?
DOLORES: Yes, Bernard, this is now.
We're at the beginning.
We're exactly where you decided we should be.
It was interesting to get to do a scene with Jeffrey
and have him say, "So, I'm...
I'm gonna be naked the... this whole scene?"
And I went, "Uh-huh." (LAUGHS)
But it'll take both of us if we're going to survive.
WOOD: Sweet revenge. Like, yeah, that chair's pretty cold, right?
And Lisa Joy came in and said, "Yeah, just ask Evan." (LAUGHS)
JOY: What you see at the end is Dolores reprints herself
and Hale is back.
Or at least, somebody looks like Hale,
and they're going to work together.
So the question is,
who will we see Hale is going forward?
Are you ready? I have work to do.
JOY: Ironically, for the Man, throughout the season,
the very thing that he created is his greatest fear.
But by the time that elevator that he goes onto lands...
What is this place?
...he's somewhere else.
EMILY: Do you know where you are, William?
In the park.
EMILY: And how long have you been here?
And you realize his worst fear has come true.
KATJA HERBERS: We're very far in the future.
You don't really understand where we are,
everything's in ruins and I am a host.
LISA: The entire quest that he's been on this season,
up through the killing of his daughter,
he's repeated again and again and again,
because the hosts are testing for something,
and they have yet to find
the thing that they're looking for in him.
HERBERS: Maybe she didn't realize
the sort of... the extent of her dad's insanity.
JOY: And so, that last scene of him,
which I love, I think he's so expressive
and so magnetic in it,
is as he realizes the full import of his hell.
He is to, you know, quote season one,
he is in a prison of his own sins,
and he will be for many lives to come.
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