(SPOILERS) An Tribute to Maeve, Ford and Bernard of 'Westworld'

I normally prefer not to base investigations into public opinion via Youtube comments/votes, but based on what I see on most of the Westworld videos featuring Thandie Newton's Maeve Millay, it seems like she's one of the least popular characters for people out there. I have to admit I find it a bit odd. how there's in certain points an almost overwhelming degree of hate towards her whole plotline as I find it so essential to the show, that if you didn't like it, I can't imagine how you'd like the show itself.

Well anyway, I personally found Maeve's own separate story-line, disconnected from most of the other narratives in the grand story of Westworld yet every bit as important in getting deep down into its central themes, extremely compelling. Part of it comes from the fact that in episode 1, we are already given glimpses into Dolores (Evan Rachel Wood) and her journey towards finding the truth about her origins and growing consciousness; her arc, though very much ased around manipulation of the audience, largely takes center stage, and thus Maeve's own thematically similar, but stylistically rather different, exposure to the Reveries update, has to be dealt with on the margins on the plot initially. 

Even within these limits, Newton's performance is extremely compelling as her character creation of the host madam of the Mariposa Saloon, the visual presentation of her character, and the editing of her scenes, leaves us with a vivid impression of Maeve's place within Westworld even if she's kept at an enigmatic distance thus far. The saucy innuendos are all entertaining in terms of content, but Newton adds even more to them by treading the fine line between artificiality and sincerity. In that Maeve, within the universe of Westworld, is a bit of a crafty sort anyway with her enticement of customers, and her foul-mouthed and uncouth nature makes her an interesting foil to the earnest and clean-cut Dolores; but also entirely genuine in terms of believing in all her motivational mottos, and caring/protecting the girls under her tutelage...but there's also the minor issue of her being a host. 

Newton, much like Wood, is really quite impressive in playing out this combination of real 'feeling' to her character without compromising the 'artificial' nature of their characters' origins. Maeve's storyline, due to being largely developed in the margins, requires a bit of a sudden shift when memories of her 'past' come through Dolores' phrase, 'these violent delights have violent ends', Newton builds up to the climactic moment incredibly well, and makes this jarring change from the confident madam to onr plagued with memories of a distant 'past'. 

The best part of her performance kicks in, though, when Maeve begins to 'wake up' when she's being shut down, exposing her to the behind-the-scenes world of the park. I love how the screenplay essentially thrusts such a self-assured character into an environment which completely and utterly confounds her. 

It all feels entirely natural to the character thanks to Newton's performance, and the payoff is remarkable due in particular to one amazing sequence where, having sort of befriended technician Felix (Leonardo Nam). she encourages him to take him on a tour of the 'upstairs' facilities where hosts are being created, and programmed with lifelike attributes. Newton, the beautiful orchestral arrangement of 'Motion Picture Soundtrack', and the direction combine into a near-wordless, heartbreaking sequence where Maeve finds her whole worldview, all confidence in autonomy and free will entirely shattered. 

After that point in the narrative, the character of Maeve begins another switch to becoming an altogether different sort of character, getting Felix and fellow technician Sylvester (Ptlomey Sclocum) to 'enhance' certain attributes of her to make her an altogether more powered-up host. Newton is remarkable in portraying these intensifying powers and intellect of Maeve, and the assurance with with she struts around Westworld without fear or death, knowing she can control anything, is terrific. 

She gradually brings a deadly edge to her character that comes out in short, effective and menacing bursts that make it clear that she was never a character to be messed around with. Combining these newfound abilities with her established street smarts as a madam, she twists the two bumbling technicians aroudn her finger with ease, and has a bit of cheeky fun in bringing the bandit Hector (Rodrigo Santoro) over to her side. But she also importantly never compromises the sensitive side of her character. Her reactions to her best friend's lobotomy, and realization that for all her newfound powers and autonomy she's still a pawn in Ford's game, are moments of humanity that makes the final decision of her character very profound. 

Newton shares one scene with Anthony Hopkins' Ford and a few with Jeffrey Wright's Bernard, and they're a set of fantastic scenes too. 

In her scene with Ford and Bernard, who witness her deranged and grieved state after witnessing the murder of her child, Newton is an incredible mess of emotions, Hopkins is so callously incisive but strangely fatherly, and Bernard is just Bernard, watching, observing. 

The other two major scenes, with Bernard and Maeve, are brilliant. Both happen in succession after the revelations behind Bernard's character, and Newton and Wright play beautifully each other as a host who's found a certain degree of contentment in her consciousness, and the man who's spent his whole life to studying and creating hosts only to discover he's one of them in such a repressed flurry of emotions and confusion at what is going on around him. Their scenes are actually rather emotionally charged, but in a very particular sort of way that I'll get onto in a bit. 

But before that, just a bit on Sir Anthony Hopkins who plays the mastermind behind the park, who alongside Ed Harris makes for the two biggest names on the show. We all know and love Sir Anthony, largely for Hannibal Lecter in Silence of the Lambs, a very different sort of genius to the one we find on the show here, but also similar in some ways. Dr Robert Ford, unlike his Casey Affleck namesake, is far from a meek or pathetic man. In fact, I can best describe him as a sort of deconstruction of another genius philanthropist/inventor of Michael Crichton's creation, the creator of Jurassic Park, John Hammond, but veering far more towards the novel's interpretation of the character. Funny thing is, though, Hopkins does have a few 'inspirational' moments like Hammond's in how Ford so eloquently expresses the ideals of the park, and his passion for his storylines like these next two scenes. He tears apart inadequate work and shows a surprising degree of sensitivity to his good friend Bernard in his farewell scene; this is not your standard cold villainous performance, there's a surprising amount of emotional depth and warmth behind it.

And interestingly, even as the cold, manipulative Ford who shows a general disregard and distaste for humanity, Hopkins does have a certain amiability to his approach, his character's intellectualism being rather brilliantly approachable in a distinct sort of way. Every one of his grand speeches and theories are brought to life so eloquently with that Shakespearean tongue of his, and are often carried with such enthusiasm and style, that when he twists them into more malevolent ends, it makes it all the more bone-chilling.

In addition, he has a marvelous little things Hopkins does with his eyes, mouth, and of course his tongue that makes his performance even more memorable. Look at for example, this initial interaction with Dolores where there's such a cold biting edge to his line deliveries, but through his physical language you can detect hints of the twist that's to come; then in that unforgettable 'blood sacrifice' scene that strange little tic he does with his tongue when going in for the kill, so to speak, after so beautifully, horrifically expressing why Theresa needs to go, turns the scene from great to masterful.

As great as Ford is on his own, his greatest scenes are definitely with Bernard. Hopkins and Wright are such a brilliant combination, and I think the two scenes below are great examples of how: watch what a sense of camaraderie they have together a two great minds in the first scene, and how the second one transitions into such a heartbreaking portrayal of a man being controlled to terrible ends by a man he'd considered his friend.

Which brings me to Jeffrey Wright, as Bernard...and Arnold. And many other things, really. Wright has by far the most challenging role in a series chock full of them. He has to take a rather quirky but understated sort of character, who's not the most overtly showy role in the series (initially) and make him interesting, then later on in the last few episodes reveal the twist to the character without comrpomising his earlier portrayal, and fitting all the twists within his portrayal. Now the writing behind the character is brilliant in terms of how he's used within the narrative, and the characters he interacts with; as are the terrific aspects of the direction which through Bernard's perspective, mask certain clues to his true nature from view, and utilize a very specific soundtrack for moments involving 'Arnold' that prevision the final twist. Then there's Wright, has a bit of a Mark Rylance thing going on with his performance here. In many scenes he's doing so much with his performance that seems utterly effortless, and so natural and flowing without having to force it. You get so much insight into the character of Bernard even when he's wordlessly in the background of the scene, as Wright implants so many subtle quirks into Bernard that make him both stand out but also feel very much a realistic character. He also does a great job of striking up an odd but very effective chemsitry with Ford, of course, but also his co-worker Elsie, and his lover Theresa. Then in the moments where he recollects the memories of his deceased child he's incredibly moving.

All of these aspects of Bernard, of course, contribute to his final twist, which is downright amazing. The first being that Bernard is a host. Wright is absloutely amazing in gradually having his character piece together and break down, in a very subtle fashion, as a result of finding out about his host origins.

Then even better is the scene where he awakens from sleep mode, and overflowed with emotions at having committed the horrible action of murdering Theresa. It's spellbinding work that completely earns that emotionally hefty moment. I love how Wright moves from a very controlled aritificality to an oh-so-human flow of emotions before an onslaught of anger is quelled with Ford's control over his body. It's all suggested through such subtle physical acting that is truly the best acting I've seen all year.

Of course, after this there's yet ANOTHER twist: Bernard is a replicant of Arnold, Ford's former partner. There were scenes before the reveal featuring Wright as Arnold, and he is just great in suggesting a very different sort of man - warmer, more extroverted and confident in himself - but with the same sort of quirks, just toned down a bit. Wright's journey to discovering this aspect of himself is fantastic as he not only distinguishes between the two personae, but also brings such incredible power to the moment Bernard must accept that his memories are not his to be cherished, but rather copies of Arnold's own memories. There's such fascinating little touches to each of his scenes that make this probably my favourite performance of 2016.