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Season 1: Unpacking Those Shocking Moments. Contains spoilers. Play button link. Jonathan Nolan on Directing Westworld. S1 E4: Maeve Gets an Answer. S1 E7: Dr. Ford's Blood Sacrifice. S1 E Dr. Ford's New Narrative. Interviews with executive producers, directors, staff writers and more.

The candid creative offers a taste of what it's like to work on sets as massive as those featured in the sophomore season of the drama. Interview With Director Richard J. Behind the Scenes With Lisa Joy. The co-showrunner offers insight into her directorial style for Season 2, Episode 4, "The Riddle of the Sphinx.

Behind the Scenes With Ali Naqvi. The producing director's assistant shares what inspired him to work in television and foster his creativity. Behind the Scenes With Elizabeth Castro. The cast and crew take you behind the scenes of Seasons 2 and 3. Season 2. S2 E1: Creating the Drone Hosts. S2 E2: Creating an Evocative Location. Call her Wyatt. S2 E4: Creating the Delos Experiment. S2 E5: Creating Shogun World.

S2 E6: Inside the Cradle. What are the back-ups for host brains? Series co-creator Jonathan Nolan, actor Jeffrey Wright and more explore the rationale behind the technology in the Cradle. S2 E7: Creating Chaos in the Mesa. The creators and cast explain how they amped up the intensity in the Mesa shootout scenes. S2 E8: Creating Ghost Nation. S2 E9: Deconstructing Maeve. S2 E Creating the Valley Beyond.

Season 3. S3 E2: Creating Warworld. S3 E3: Creating Charlotte Hale. What is it that makes you who you are? S3 E5: Creating a Car Chase. I tried, in my conservative logistic sense, to pare it down, and every time I did, he went, nope, jack it back up. S3 E6: Creating Halores. This season sees Dolores trying to improve her version of Charlotte Hale, which involves forming a better relationship with her family. We very carefully kept them apart, knowing they were going to collide with one another, so when we got them together, the sparks would fly.

S3 E8: Creating the Season Finale. Go Inside Season 3. Welcoming Aaron Paul. Delighting in Power. Taking Down Incite. Inside the Season 3 Finale. The actors behind Dolores and Caleb discuss filming the action-packed episode. Looking Back on Season 3. Who Said It? Westworld stars quiz each other on which character said which iconic lines. Evan Rachel Wood and Aaron Paul. Tessa Thompson and Thandiwe Newton. Experience Westworld in Virtual Reality Enter the Mesa and find your path to consciousness in the Westworld Awakening virtual reality experience.

Season 1 Episodes. Relieved, he spots a friendly face: Ashley Stubbs, the former head of Delos security. They are surrounded by a buzz of private military contractors, including Maling. Bernard is troubled to see Delos security executing hosts, including Rebus.

Still passing as human, Bernard voices his concerns, but Strand insists drastic measures are needed to secure the park. Costa cuts off the host's scalp, revealing the maze carved into it. The team reviews the host's most recent memory and sees Dolores on a murderous rampage, stating: "Not all of us deserve to make it to the Valley Beyond.

Hale questions how the hosts are suddenly able to wield weapons. Bernard realizes that Ford must have made fundamental changes to the park's gameplay. The guests become defensive, murdering a harmless stablehand. Futilely trying to save the host, Bernard hits his head, causing his previously self-inflicted gunshot wound to reopen, cortical fluid dripping out of his ear.

Negotiating between her given roles as the sweet Rancher's Daughter and Wyatt, Dolores resolves to find her own voice—one that tells the captured guests that the reckoning is here. She leaves them precariously balanced on crosses of wood with nooses around their necks—and rides away with Teddy. A pair of rogue hosts shoot at him.

Unarmed, he tackles one of them and uses him as a human shield, steals his gun, and shoots down the other host before entering a cabin to tend to his wounds and obtain his signature black hat. The boy addresses him as William and explains he's found the center of The Maze, but now he's in a new game; he must find The Door. The Man in Black shoots the boy and rides off. If Maeve protects him, Lee says, he'll lead her to an updated map. Maeve and Lee make their way to the control room where dead bodies lie everywhere.

They enter the lab, and Bernard is startled by a faceless drone host. Hale logs into the internal communications server, but learns Delos won't send a rescue team until they receive a package: Peter Abernathy. The decommissioned host contains data the company will protect at all costs. He leverages this mesh network to locate Abernathy. Hidden from Hale, he steals cortical fluid from another host to buy himself some more time. They continue the investigation and come across a lake, incredulous that Ford was able to create it without anyone knowing.

They see hundreds of dead host bodies floating in the water, including Teddy. Strand pushes Bernard again for information. Bernard is able to break through the haze of his addled memories as he replies: "I killed them. All of them. She routinely responds: "I'm in a dream. You're in our world. Ford enters and asks Arnold if she's ready for presentation, but Arnold protectively insists recent improvisations haven't fully adjusted.

Outside the hotel, Arnold takes Dolores to a house that's under construction — his house, and, soon to be, his family's. The two stroll outside and overlook the city. Bernard insinuates humans don't deserve to see the world like hosts do. Dolores wonders if, those who choose not to see beauty in the world, "don't have the courage.

Dolores, along with Teddy and Angela, burst through the door after him. Dolores tells the guest: "No one is here to judge what we do to you. He addresses Logan as "Mr. Angela and Akecheta lead Logan to a cocktail party that also serves as a private demonstration. They challenge Logan to try and identify who isn't human.

He surveys the room and suggests he's not impressed, as the party guests are all "painfully human. Logan is the only human in the room. He gazes upon the hosts, including Clementine sitting frozen in place at a piano. Later, Angela and Logan have sex. As Angela gets dressed while Logan sleeps, Dolores watches from outside the bedroom. Her and Angela share a glance. He swiftly guns down the brothers and cuts Lawrence loose.

Later, at a saloon, the Man in Black tells Lawrence the truth about Westworld and how for the first time, "the stakes are real. Distress turns to anger, as Teddy yells: "What is this place? Teddy tells Dolores they are going to need allies if they hope to stand a chance.

Dolores forces a tech to revive a Confederado host, before heading out to recruit more of the outlaws. Though impressed with the technology, Delos does not see the value in a glorified theme park, but an escape from reality. William, however, insists guests who come to Westworld create their own reality.

He points out the business value in the guests lacking in inhibitions in the park — an opportunity to find out what their customers truly desire. Dolores insists they will have to fight for their freedom but Maeve simply just wants to pass freely. It's hostile between the two groups at first, but becomes clear that Dolores and Maeve are on different paths for now. They part ways peacefully. She proposes they join forces and argues they'll never make it to Glory unless they are under her command.

Craddock insults her and refuses. She tells Teddy: "Why don't we enlighten them? Dolores orders a captive tech to adjust the hosts characteristics and revive them. Craddock is terrified, but on board with Dolores' mission. She's called away by her mother, who stands at William's side, uncertain of Dolores. He approaches Dolores, but Delos intercepts him to discuss the progress of a project that could delay his retirement. The Man in Black quickly puts El Lazo in a headlock and holds a gun to his head.

Unphased, El Lazo says: "The game was meant for you William. You must play it alone. The Man in Black realizes, yet again, Ford has raised the stakes of the game. Leading Lawrence out of Pariah, the Man in Black says they are headed for his "greatest mistake. He bitterly voices regretting falling in love with her: "You're a reflection.

You know who loves staring at their own reflection? He mockingly says to her: "Have you ever seen anything so full of splendor? They discuss a shared passion for hunting. The exchange brings them back to the Woman's room. Wanting to have sex but sensing Nicholas may be a host, she proposes a method to prove his humanity and loads a revolver: "Simplest way to know for sure. Appeased, they have sex.

She and Nicholas search the camp and find two dead guests. A host holds them at gunpoint: "These violent delights have violent ends. The Woman grabs a gun and flees. A Bengal tiger emerges from the jungle and chases her to the park boundary — the edge of a bluff overlooking a large lake. The tiger charges at the Woman as she fumbles to load her revolver. She gets one shot in, just as the animal tackles her off the cliff. Momentarily relieved to be alive, she's cornered by a group of Ghost Nation warriors and captured.

Maling reports that systems are down, and bloodshed is rampant: "It's a slaughterhouse in there. Hale creates a diversion while Bernard successfully knocks out Rebus and hardwires into the host, adjusting his code. Reprogrammed Rebus returns to the camp and frees the captives, just as a group of Confederados approaches. Bernard and Hale intercept Abernathy, but he reverts to an older, menacing narrative.

Abernathy confronts two Confederados; Hale escapes on horseback, but soldiers take Bernard and Abernathy prisoner. The group is greeted by Colonel Brigham, who is skeptical of Dolores, but she warns that unless they join forces, they will never reach Glory. To prove the point, Clementine presents Brigham with a Delos security gun, and allows him to gun down the QA Responder they captured in the tech outpost.

Impressed, Brigham agrees to join forces. As Dolores comforts Peter, he snaps back into their old narrative; Dolores is pained by memories of the simpler times. Peter starts to glitch: "I need to get to the train. He runs a diagnostic, and determines Peter is wildly unstable and jumping between old roles. Bernard discovers the source of the malfunction — a large encryption key in Abernathy's system, the one that Hale and Lee placed there at the end of Season One.

Dolores realizes Delos is using her father to smuggle information out of the park. Hale's crew of QA arrive and start firing at Brigham's troops. Dolores, Teddy, and Craddock watch from the top of the fort. As Bernard tries to fix Peter, two QA responders storm in, capturing the glitching host and taking him to Hale. Dolores storms out of the fort to rescue her father, but Hale escapes with Peter in tow.

Dolores orders Teddy to split up the horde to find her father. At Dolores' command, Angela fires her gun, setting off the nitro — taking out the entire contingent of QA and Craddock's men. Dolores commands Teddy to execute Craddock and watches as Teddy can't bring himself to pull the trigger. Suddenly, they are ambushed by a group of Ghost Nation warriors; Maeve tries to use her commands on them, with no effect. They flee, and Lee leads them to an elevator where the trio narrowly escapes.

Maeve pries the truth out of him: Lee had an Isabella of his own, who didn't actually die, but left him because his lifestyle "lacked stability. A QA responder, set ablaze, runs by. Armistice, wielding a flamethrower, approaches and leads the group to a lab where Felix and Sylvester are tied up.

Maeve releases them, predicting they could be useful on their mission, and the group boards an elevator that takes them topside. Lee finds a severed head in the snow and recognizes its armor, realizing to his horror where they must now be… He rushes back to the group to warn them, but it's too late — a samurai charges at them from the shadows. Antoine Costa informs Strand that not only have a third of the hosts been wiped clean of data, but that the Cradle was severely damaged: the hosts' backups are gone.

Maeve orders a samurai to release them. She believes her voice commands are still working as he lowers his sword, but then he commands his men to gag her. As the samurai lead their captives to a village, Lee explains to Maeve that Shogun World is designed for guests who found Westworld "too tame.

They arrive at a village, which Armistice notes, "feels a little too familiar. Lee defends his plagiarism: "You try writing stories in three weeks. Musashi kills a few guards as he looks for gold, but stops at the sight of Akane, the madam geisha.

Outside, Armistice warns her equivalent, Hanaryo, of an attack from behind. Grateful, Hanaryo frees the group. Musashi's crew readies to flee with the safe, until Maeve fires a warning shot. Knowing how the story ends, she orders them now in Japanese to lay down their swords and have a conversation. Akane agrees; Maeve and Akane recognize their bond. Akane refuses; Sakura is not for sale. Privately, Lee explains to Maeve that it's part of this loop: Akane must give up Sakura.

Akane bows and tells the emissary, "Here is my price," and stabs him in the face with a blade. Akane tells Musashi that the Shogun will soon seek vengeance: they need to escape. Lee suggests Snow Lake — Sakura's birthplace, and an access point back to the underground tunnels — as a way out. As Musashi fends them off, Maeve verbally orders a ninja to turn on his own men.

Another ninja sneaks up and covers Maeve's mouth. Pinned against a pillar, Maeve is about to lose consciousness as her eyes narrow on her attacker. A static sound rises in Maeve's ear as she accesses her attacker remotely. The ninja releases Maeve and self-impales. Hector and Lee take note of her seemingly newfound telepathy. Lee realizes that the Shogun's army has marched into town. A commander orders Akane to face justice.

Inside, Musashi, a former captain in the Shogun's guard, says the Shogun will terrorize the town. The four are quickly overpowered, but their diversion allows for Maeve and Akane to sneak off with Sylvester, Lutz, and Lee. Maeve refuses. The group arrives at the Shogun's camp and is granted an audience. Posing as the Imperial Chinese envoy that Musashi murdered in the mountain town and his entourage, Maeve presents the Shogun with gifts, but the Shogun is unimpressed and begins to glitch.

It's clear that the Shogun is not awake: his cognition is damaged. The Shogun explains that in order to protect his men from Maeve's "mystic commands," he commanded them to burn off their ears. When he presents Sakura, Akane steps forward. The Shogun proposes a deal: If she and Sakura dance for him tonight, he will free them both. Akane accepts. She reminds him it was never their home. She orders her horde to inspect the train, repair it and maximize its speed in the process.

Dolores leads Teddy into the Mariposa and explains they need the train to find her father. She wasn't able to rescue Peter Abernathy, but learned of his destination: the Mesa. Dolores leads Teddy to a bedroom where they finally have sex for the first time. Later that night, Dolores wakes Teddy, and explains the impending battle, and his role in it: "These past few days, I've seen you so clearly… and I've seen you're not gonna make it.

Despite his warnings that these extreme changes could severely damage Teddy, Dolores proceeds. As Maeve speaks, Akane feels Maeve's power. Maeve replies, "Freedom. The Shogun orders them to stop and crosses the stage. He deems their appearance perfect, but with one detail missing… then drives his sword through Sakura's stomach. Akane must continue with her dance in order to survive.

She elegantly dances across the stage towards the Shogun, bowing before him. As she rises, she swiftly removes her hidden knife, stabs him, and saws his head off. The Shogun's guards restrain her and the others, forcing Maeve to kneel next to Akane in preparation for execution. But Maeve again harnesses her new inner power, wordlessly commanding the Shogun's earless men to kill one another.

Now we use it. Bernard wonders what will happen if Dolores outgrows "this place" and "us. Dolores suddenly switches tone, reprimanding Bernard for how he delivered his thoughts, referencing Arnold: "He didn't question whether or not he had agency, whether or not he had the right to end me or himself. Their exchange was a test, she reveals, one they've done multiple times "for fidelity.

Teddy Flood — now with a ruthless edge thanks to Dolores' adjustments to his character — shoots one tech in the head. He assures a stunned Dolores they will find her father. They board the train and head to the Mesa. Akane drives a blade into Sakura's lifeless body, and cuts out her heart. One of the Shogun's commanders, Tanaka, emerges with his men and his captives; Hector, Armistice and Musashi. Maeve tells Tanaka she's come for a trade: Tanaka's men's lives for her friends.

Tanaka insists Akane must meet justice for killing the Shogun. He witnesses an attack on a woman inside an art gallery, the only witness in a string of what has already been vicious murders by butcher knife, all women, all unconnected. He just wants to leave, but he has to stick around to give more details.

And then, lo and behold, he grows more and more intrigued and involved in the case till, of course, he and his girlfriend become a target by this sadistic killer! All of this is handled by Argento as if they're not the conventions that we all know in this kind of thriller; he approaches all of them with a fresh take, and adds in doses of unexpected humor to keep things interesting the painter behind the possible clue-painting with the killer in a field and his cats is incredibly funny.

But it would be just one thing if Argento kept at making near-golden Hitchcockian ideals and the pulpy juices of a genre piece moving along. Argento is out to depict a sense of paranoia, growing and growing upon an aesthetic that is not quite the Master of Suspense, and not quite your common Dirty Harry thriller though Ennio Morricone's score sounds like a mix of his quintessential touch and some Lalo Schifrin thrown in for good measure.

In a sense Vittorio Storaro's cinematography throws one off guard; it's at times not so shot like your common thriller, but as something more ambitious, something that drills away through its premise to dig up any pure cinematic threat to the characters. This might sound a little pretentious, but just watch certain sequences, like when Sam is being trailed by the man in the yellow jacket, or when the second female victim is seen, point of view changing without a beat misses on either end.

Thanks to Argento's backup of Storaro and Morricone, he has here a twisting tale of a psycho killer with an artistic edge. It's clear to see, even with the ending that yells out as Psycho exposition rip-off, that he was on his way to a solid career. Beautiful women are being brutally slaughtered all over Rome, and when American Tony Musante witnesses an attack on a woman in an art gallery that he can't get to, he ens up involved in the case, that is after being questioned as a suspect.

It's quite difficult to watch the scene where he desperately tries to get to the woman in the lock building as she begins bleeding profusely, assuring her that help is on the way. The owner of the gallery have to be married to his victim, and other attacks occur that show the female victim being stalked and eventually slashed all over their body. The real horror all of these attacks is that the slasher doesn't seem to want the victims to die, just suffer. In many senses, this film is ahead of its time, closer to some of the slasher thrillers of the late 70's and early 80's.

Certainly there were films that dealt with women being attacked in violent manners like this, but none so graphic and certainly none so horrific in presenting the fear that these women have to endure. There are a lot of shocking surprises along the way, and several twists at the end that are truly horrifying to watch, causing many viewers to most likely turn away at that point. When all is revealed, the derangement of the culprit is almost a vampire like in its force of evil.

The repeated cry of "You're going to die! This first offering from acclaimed director Dario Argento was made before he really got into his stride. This is a straightforward mystery-cum-thriller, packed with suspects, vital clues and plenty of twists, but the horror is restrained to a few murder scenes.

Argento's later trademark gore is also missing here, as there's nary a drop of blood in sight. This doesn't make this a bad film, but at the same time it's clear that his skills would grow as time went on. While Argento has not yet polished his own unique techniques, there are a lot of elements in the film which pop up in his later work - take for example the influential p. Another highlight is the scene where hero Tony Musante is stalked through the streets by cameoing assassin Reggie Nalder who enjoys taking pot shots at his victim - very stylish, and very Hitchcock.

It's just a shame he didn't take a more prominent role. Saying that, the rest of the cast all give assured performances, especially Tony Musante as the charismatic lead. Suzy Kendall also gives a solid performance as his girlfriend who thankfully has only a minimum of histrionics aside from one perilous moment.

The identity of the killer is an unusual and clever one, well utilising an opening 'mini mystery' which was later used so well in DEEP RED, and Argento keeps the mystery elements flowing with threatening telephone calls, minor characters getting bumped off and plenty of shocks and scares.

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