By James Hibberd
November 30, 2016 at 08:56 PM EST
John P. Johnson; HBO
  • TV Show

Westworld is rolling out its last batch of photos for its final episode of the show’s first season — and they’re pretty intriguing.

One image below has Dolores Abernathy (Evan Rachel Wood) and the Man in Black (Ed Harris) walking together into a graveyard — and past a marker with Dolores’ own name (with bell on a string going into the grave — which was used to prevent somebody from being buried alive…).

Another has hosts Maeve (Thandie Newton), Hector (Rodrigo Santoro), and Armistice (Ingrid Berdal), along with human bodyshop worker Felix (Leonardo Nam), together backstage looking like something big is about to go down (Hector must be miserable in that baggy white coveralls; it’s not a good look on him). Plus, there’s poor Teddy Flood (James Marsden) giving us a shocked look. 

Sunday’s 90-minute finale, “The Bicameral Mind,” returns showrunner Jonathan Nolan behind the camera as director. Along with his fellow writer-producer Lisa Joy, Nolan has promised that the last episode will solve most of the show’s biggest mysteries, while setting up plenty of anticipation for season 2. Be sure to come to after the finale for our deep-dive recap

[ew_image url="" credit="" align="none"] Entertainment Geekly is a weekly column that examines pop culture through a geek lens and simultaneously examines contemporary geek culture through a pop lens. So many lenses! I finally saw Her this week and now all I can think about is Fight Club. Surface-level, I'll admit: Not much in common. Fight Club is badass and bloody and chilly and exhaustively cool. Her is mournful and sweet and confessional and strenuously twee. Fight Club is a dude movie about dudes who can't stop talking about what dudes they are; Helena Bonham Carter plays the local representative of The Female Gender as a Manic Pixie Dream Madonna-Whore Complex. Her is about one man surrounded by women: An ex-wife, a bad date, a best friend, a woman who is everywhere and nowhere at once. But the two movies rhyme somehow. Ed Norton in Fight Club isn't too different from Joaquin Phoenix in Her: They're both lonely guys with banal-chic office jobs and chic-banal apartments. They wander through gorgeously art-directed mega-cities that are sort of Los Angeles and sort of near-future and sort of nowhere and everywhere all at once. They both have imaginary friends who complete them but also challenge them. Both films feel like they have A Lot To Say about the modern era. That's obviously true of Fight Club, where half the running time is monologues by Brad Pitt that all sound retroactively like particularly energetic TED talks. Nobody really makes speeches in Her; Joaquin Phoenix gives another one of those performances where the mere act of completing a sentence reads like a triumph of the human spirit. But anyone who spends any considerable portion of their day on the internet recognizes how Her keys into our contemporary life. It takes all the barely understood social norms of our digital moment -- online dating, start-up business culture, Siri, Google Glass, the normalization of casual gaming, the renormalization of mustaches -- and ages it forward into conventionality. They're both Big Idea movies, presenting worldviews through the perspective of their lonely-boy heroes. Phoenix's Theodore Twombly is a spiritual descendant of Norton's nameless narrator -- although since Norton is only a few years older than Phoenix, it's probably more accurate to consider them contemporaries. Norton shot Fight Club when he was 29, and you can read the film as a kind of death-metal quarter-life crisis. Her, by comparison, is filled with thirtysomething bruises. (It's a divorce movie.) And then there, lurking just over the shoulders of the onscreen protagonists, are the directors. David Fincher and Spike Jonze both came up through the '90s music-video renaissance. They have almost nothing in common stylistically and barely even seem to occupy the same dimensional sphere, but their films share a certain rigid stylistic exactitude. You imagine that Fincher spent days getting Brad Pitt's jacket just the right shade of red, and you imagine Jonze spending months finding just the right balance of red-orange for Joaquin Phoenix's shirt and computer and lampshade combo. When you put the two films together, they tell the story of a certain kind of contemporary person -- urban, male, upper-middle or just upper, utterly desperate and possibly suicidal. Both movies are rife with anxiety. It's there all over Fight Club. There were better movies released in 1999, but I'm not sure there's another movie that more accurately conjures up the terror lingering beneath the surface of pre-millennium America. We're in a cultural phase now that prefers to recall the '90s with rampant nostalgia -- understandable, given the very real terrors that waited in the next decade -- but Fight Club is not a happy movie. The protagonist works in a pre-Google cubicle farm that suggests Dilbert rebooted into post-apocalypse. The men in the movie are frustrated with, well, everything. But especially women. You could make the argument that both Fight Club and Her represent a certain kind of male fantasy. Fight Club has been so appropriated by frathouse culture that it's easy to overlook just how weird its perspective on sexuality is. In one of the film's more quotable scenes, Brad Pitt says: "We're a generation of men raised by women. I'm wondering if another woman is really the answer we need." He says this while taking a bath, talking to Ed Norton, who's just hangin' out a couple feet away. It's like the Generation X version of the Snails & Oysters scene from Spartacus. It's not clear if the subtext is intentional. Idea-wise, Fight Club is sort of a sawed-off shotgun. This is why, when I was a teenager in 1999, I thought Fight Club was the awesomest movie of all time. A decade and a half later, the film has aged weirdly. Most of its concerns feel cliché. (IKEA, amiright guys?) It's very much an Angry White Man movie, the kind of film that Michael Douglas used to make all the time. Project Mayhem is either a deconstruction of fascism or accidentally fascist. It makes punching people look absolutely beautiful. The film ends with a man and a woman holding hands staring at a city exploding in front of them. It might actually be a happy ending. So it's a young man's movie, and it's also a '90s movie. In Her, the new world has long since arrived. Los Angeles looks like Shanghai. Everyone spends at least half their life online. There's a sense that everything can be crowdsourced. (Love letters are written for you.) Like Norton, Phoenix's Theodore spends much of Her in conversation with a character who's not quite real. Samantha isn't Tyler Durden, but she kind of is. She's not just in Theodore's head, but she exists purely to react to Theodore's will. (Samantha's interaction with other OS figures -- which occurs very distantly in the movie -- almost feels like a more pacifistic Project Mayhem.) And whereas Fight Club ultimately buys completely into its protagonist's worldview -- culminating in the weird moment of self-realization via semi-suicide -- Her offers all kinds of challenges for Theodore. His ex-wife thinks he's half a lunatic for falling in love with a computer. Samantha's steady rise to consciousness transforms her from an ideal dream-girl to a genuine girlfriend -- and all of the romantic complications that implies. (At one point, she stops taking Theodore's calls.) It feels a little bit like Fight Club -- for all its bluster and swagger and the 2-a.m.-at-a-rave Dust Brothers soundtrack -- is a movie about fear. And Her -- for all its dreamy sadness and melancholy dust mites and the 2-a.m.-in-your-bedroom-crying-over-a-breakup Arcade Fire soundtrack -- is a movie about acceptance. The former feels a bit like a pre-apocalyptic film, where the characters ultimately feel more comfortable burning the world to the ground and starting over. Her finds that same world a few years and several cultural eons later, a world where it's possible to build yourself a very happy island. (Norton's monochrome-corporate office is replaced by Phoenix's color-blasted start-up.) It's post-dystopian, in a way: The story of someone living in a world that only barely resembles reality as our grandparents understood it, who nevertheless engages in a serious attempt to achieve some kind of human connection. If Fight Club is about the thrill of isolationism -- of cutting yourself off from a world gone mad -- then Her tries to rediscover the thrill of entanglement, and of making a genuine connection. Like Fight Club, Her ends with a man and a woman staring out at the skyline of a metropolis. In Fight Club, the man takes the woman's hand. In Her, the woman puts her head on the man's shoulder. In Fight Club, the city falls away, making way for some new world. It's a fantasy -- and an attractive one, anticipating our whole modern vogue for post-breakdown sci-fi adventures. In Her, the city remains. Maybe Her is more pessimistic: This strange world is here, and we can't do anything about it. Or maybe it's actually saying: This strange world is here, but at least we're in it together.

[ew_image url="" credit="" align="left"] Growing up, I had the best of both worlds when it came to stories. I had Dr. Seuss and P.D. Eastman books being read to me, and I had some of the greatest animated films ever made on VHS -- The Lion King, The Fox and the Hound, The Little Mermaid, etc. If I'm being honest, I (and everyone my age) was spoiled. We were surrounded by quality entertainment, something I feel isn't as present for today's youth. I admit that this could be me partaking in the classic "Back in my day" speech, but I honestly don't think children's entertainment is held to the same standard it once was. That's not to say that there aren't great books or movies out now, but it is to say that I am hoarding all my copies of Put Me in the Zoo and Oh, the Places You'll Go! so that my kids will have them. All of this brings me to my recommendation for Hollywood's next feature-length adaptation: Are You My Mother? By P.D. Eastman. For those of you who haven't read it -- if you exist -- the story is exactly what it sounds like. In anticipation of her soon-to-arrive child, a mother bird flies off to find a worm. While she's gone, her baby bird hatches to find an empty nest. In an attempt to find his mother, the baby bird falls from the nest and begins his search. Along the way, the bird runs into a kitten, a hen, a dog, a cow, a car, a boat, a plane, and a crane snort, all of whom he asks, "Are you my mother?" Some respond, others don't, but either way, the baby bird gets the message. To spoil the ending, the crane takes the baby bird and places him back in his nest just in time for mom to return with a worm. Sweet, right? I think so. I also think it would make for a fun animated film. First of all, the baby bird in this book is freakin' adorable, which always helps. But more importantly, this is a classic story that could easily be stretched out to fill an hour and a half. Think Finding Nemo but on land and with the baby doing the searching instead of the parent. Throw in some Dory-like humor, and I'm in. And with it being an adaptation, there's obviously the opportunity to add a few more plot points. Maybe the baby bird takes a break to grab some lunch at a local diner where he meets another orphaned baby bird. This one's name is Josh, and he's been on his own for months, which means he's got a bit of a tough-guy persona. He thinks the baby bird -- whom he decides to call Pete -- should accept that his mother doesn't want him. Of course, it's not true, and Pete isn't one to give into peer pressure. The two set off on a journey together. Along the way, they stop to take a quick bath when they run into Sharlene, a baby duck who has lost her way. She joins their gang as the supportive, kind voice of reason. And with every animal Pete approaches, their gang grows, until finally, he's found himself a family. However, Pete still can't shake the notion that his mother is worried about him. He wanders off, upset that he still isn't happy. He misses his mom. And yes, this is the part of the movie that will make you cry. Cut to the ending where Pete is reunited with his mother, and he introduces her to their new friends. Mama bird adopts Josh and Sharlene, and the new family settles into its new community of cats, dogs, cows, and even a snort. The End. Now tell me: Would you take your kids to see this film?

[ew_image url="" credit="Jason Merritt/Getty Images" align="left"] Thirty-three years ago today, the world was given a gift: Justin Timberlake. The singer, actor, and all-around dreamboat has given us so much in his 33 years, from his collaborations with The Lonely Island to his chart-topping albums. To celebrate this special day, we rounded up 33 reasons why we think the birthday boy is the bee's knees. Ain't nobody love you like we love you, Justin. 1. Because he was part of, nay, the star of, the best boy band of all time. 2. Because “D*** in a Box.” 3. Because he went to Taco Bell after winning three People’s Choice Awards. Talk about good taste in celebratory meals! 4. Because he based the video for “Mirrors” on his grandparents’ relationship and gave us something to watch when we’re in the mood to happy-cry. 5. Because without him, there would be no “Justin Timberlake Does Things” blog and that would be very sad. 6. Because a Marine asked him to be her date to the Marine Corps Birthday Ball and he actually went with her. On a related note, Justin, will you be my date to uh, life? 7. Because he co-starred in Friends with Benefits, the superior of the two 2011 romantic comedies based on sexy friendships. (OK, that one's a lie, No Strings Attached was also life-changing.) 8. Because he owns a Southern-inspired restaurant in New York called Southern Hospitality, meaning he probably is someone who is down to eat biscuits and gravy all the time. There aren’t enough of those people in this world. 9. Because he married Jessica Biel and therefore gave her the chance to wear the best wedding dress in the history of wedding dresses. 10. Because he played Sean Parker in The Social Network and all the sudden he was no longer Jason Sharp from Model Behavior. 11. Because he was once Jason Sharp from Model Behavior. 12. Because he knows how to dress. Except when he wears fedoras. But we'll let that slide. 13. Because he once dressed up as Ernie so he could attend Comic-Con in peace. 14. Because he was so great singing “500 Miles” and “Please Mr. Kennedy” in Inside Llewyn Davis that we kinda wish he would do a folk album next. Please, Mr. Timberlake? 15. Because his friendship was Jay-Z is adorable. 16. Because his hair was the inspiration for the now-classic term “ramen noodle hair.” 17.  Because he and his hair were able to move past the ramen noodle stage. 18. Because “My Love” is the love song of the century. No matter that there are still 86 years left in this century. 19. Because getting the Video Vanguard Honor at this year's VMAs meant lots of stage time, allowing JT to stage an NSYNC reunion and making hearts everywhere beat faster. 20. Because “Summer Love” from FutureSex/LoveSounds may be eight years old but is still the ultimate summer song. Take that, "Blurred Lines"! 21. Because he makes music videos that give us an excuse to stare at his face for minutes at a time. 22. Because boy can dance. If there’s a Magic Mike sequel, I nominate him for a role. 23. Because he hosts Saturday Night Live all the time and never fails at making us crack up. Ever. 24. Because he talked about how upset he was that critics were bashing him for his acting in Runner Runner in an interview with GQ and showed us that even the always-peppy Justin Timberlake has feelings too. 25. Because he has a beautiful friendship with Jimmy Fallon and they make beautiful videos together like 2013's “#Hashtag.” Hashtag #LOVETHEM. 26. Because he brought SexyBack. 27. Because he can cover a Jackson 5 song and actually do it justice. Evidence: His rendition of “Shake Your Body.” 28. Because he’s been entertaining us since he was just a little 10-year-old on The Mickey Mouse Club. 29. Because it was sad when he and Britney Spears broke up but “Cry Me a River” came out of it, so it was kind of worth it. 30. Because after singing “That Girl” at a December show in Kentucky, he let a guy propose to his girlfriend on stage. Aww! 31. Because he was the first celebrity to be pranked on Punk’d and got really emotional when Dax Shepard, playing an agent, told him the government took away his dogs and put them in a pound. Man loves his dogs. 32. Because those eyes. Those beautiful blue eyes. Sigh. 33. Because after 23 years in the entertainment world, we're still not sick of him. Not even close.

Also, in case you missed it, here’s the trailer for Sunday’s episode: 

HBO's ambitious science-fiction thriller 'Westworld' is based on the 1973 Michael Crichton film of the same name. The series developed by Jonathan Nolan stars Anthony Hopkins, Ed Harris, Evan Rachel Wood, James Marsden, Thandie Newton, and more top names.
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