It's not long until we learn of Hap's final gambit. He's been plotting to transport himself and O.A., using three-armed robots programmed with the movements, to a universe where he and O.A. are still alive, still together, but don't believe in what they truly are. It's teased as far back as the trees, who tell O.A. that she'll be taken to another world where she's aware of her nature but doesn't remember it, and in the penultimate episode, where one character describes a universe where O.A. is known as something like "Brin" and Hap has an English accent. They wouldn't, you think, but then they do. The final scene, during which Hap's giant robots perform the movements that rocket him and O.A. into the real world -- our real world where Barack Obama was once president -- shunts them onto a TV set. O.A. is called Brit by an assistant when she falls doing a flying stunt, and Hap's American accent changes to a clipped English one as he climbs into the ambulance with his co-star.
It's hilarious to hear Jason Isaacs say, "I'm Jason Isaacs," and equally so to see Brit Marling literally present herself as nothing less than an all-powerful interdimensional being, as if Marling herself is winking at the fact that she's created her own universe in which she is, basically, a god: Yes, yes, I know. And yet, the utter sincerity in which that idea is posited, like every other insane, beautiful idea in the previous episodes, gives it some ring of possibility. If the multiverse is real, of course a world exists where five people are stuck underground in a glass prison doing synchronized interpretive dance. It's pure faith that gives beings like angels their power, and Marling undeniably proves this season that she can make us believe in anything she chooses. That's a power you could almost call divine.