Westworld is branching out into other parks, but the title of the show is still Westworld, so it's understandable that it would want to use those other parks as a means of reflecting back on characters from the Westworld park. The best art often affirms some aspect of our own life or world. No longer stuck in her little loop, but able to form useful alliances with humans, maybe she's the show's true hero. Maybe this is why Maeve is becoming increasingly all-powerful: because she's the real robot messiah, not Dolores.
It's the same arc undergone by Truman in The Truman Show and Neo in The Matrix trilogy (two cinematic works that share much in common with Westworld thematically).
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Maeve was a character in a story, but now she is awakened to the falseness of that narrative and she is free to write her own story. But it also winks toward Maeve's backstory, which she relives in traumatic flashes as Akane's daughter lies impaled by a cruel shogun on stage. The vengeful dance of Akane (or "Akane no Mai") that gives this week's episode its title winks toward Lady Snowblood, which famously inspired Quentin Tarantino's Kill Bill, Vol. While the black-hat bandit Hector forms an immediate dislike and distrust of his ronin doppelgänger, Musashi, played by Hiroyuki Sanada ( The Last Samurai, The Wolverine), Maeve's motherly instincts see her identify strongly with the geisha Madame Akane, played by Rinko Kikuchi ( Babel, Pacific Rim). What makes Maeve more relatable now is the fact that she herself can become a participant in new stories and find something to relate to in those stories, much like the audience. This week, however, made great strides toward establishing the already sympathetic Maeve as a more relatable character, even as she manifested mysterious robot telepathy powers. Until now, Bernard had been the most relatable character this season, as he has something of a dual nature that sees him interacting with humans and hosts on both sides of the fence. This has left something of a vacuum to fill in Westworld as we are now watching a show where robots run around in diffuse, Game-of-Thrones-like subplots while humans cower and cuss. Westworld's pilot episode also gave us a clear homage to Ford's The Searchers, re-framing the famous shot of a woman's silhouette standing in a doorway looking out on the frontier landscape.
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Kurosawa, it should be noted, was influenced by the use of windows and wide-open spaces in the westerns of John Ford and there are other instances where the inspiration between genres runs both ways, such as the 2013 Japanese remake of Unforgiven, where Ken Watanabe took over the role originated by Eastwood. They have identical tropes but are set within different cultures." You had this wonderful call and response between these two genres - with the gunslinger and the ronin. "My older brothers and I watched Sergio Leone Westerns and Kurosawa's classic samurai films and were fascinated to discover they had the same plot. In an interview with Entertainment Weekly, he said: Nolan grew up on Leone's films and was well aware of the Kurosawa connection. The shot of Teddy (James Marsden) disembarking the train in Sweetwater back in the show's pilot episode was an intentional homage to a shot from that movie. Westworld co-showrunner Jonathan Nolan has name-checked Leone's Once Upon a Time in the West as one inspiration for the show.
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