Ed Harris

We are presently in a golden age of television. It would be nearly impossible for one person to sort through all of the television at our fingertips and decide what is or isn’t the best. This is where the Emmy Awards come in.

While this density resulted in excellent episodes, it has also proved to be a drawback, as the show’s plotlines have grown increasingly convoluted.

Many questions running through the season are answered, but their answers are traded for new questions about the larger implications of the plot reveals.

Like last episode, this episode of “Westworld” includes an abundance of exposition via flashback, specifically of one event: Juliet’s suicide.

This episode — the title of which is the Lakota word for “remember” — explains Akecheta’s backstory and the park’s opaque dynamics in a near-perfect set-up.

While this episode ramped up the action, it didn’t shy away from posing the philosophical questions “Westworld” is known for.

This episode of “Westworld” kicked off the second half of the season — from this point on, we can expect the plot arcs to finally come together.

In the wake of the hosts’ revolution, this season of “Westworld” consumes itself with exploring a different relationship between life and death.

In the first three episodes, there are already at least three different timelines and a number of disparate storylines and characters converging.

Some may respond to Aronofsky’s new film thinking it to be an excessive use of his poetic license.