Blade Runner

Ridley Scott is one of the crew's favorite film directors due to three films: Blade Runner, Alien, and Gladiator. All three of these we consider to be anti-NWO flicks. Blade Runner and Alien we even consider to be companion films: BR concerning the on-world events of a corporate-ruled society, and Alien the off-world.

If you do any reading about the film or the book Do Androids Dream of Electric Sheep? you will probably come across the phrase "what it means to be human" as the main theme of these two works. We, however, believe the film explores the question of what it means to be a slave.


As the film opens we see a craft flying over Los Angeles in 2019. During this flight the camera cuts between an eye and a pyramid structure.


These pyramid-like structures are the Tyrell Corporation. As the craft flies toward these buildings the viewer notices that they are the largest structures to be seen, and as our Lead Film Critic's former art history professor once said, "If you want to know what a culture values most, look at it tallest buildings." Here the corporate pyramids' prominence is symbolic of its dominance.


The juxtaposition of the eye and pyramid create a subtle allusion to the pyramid and eye of the Great Seal. The Tyrell megacorporation is the New World Babylon. The name "Tyrell" means "thunder god." Zeus, the god of thunder, was king of the gods; Tyrell is king of the corporate world, the beast of Revelation, ruler of the Corporatocracy.



In the Tyrell pyramid, a blade runner, Holden, administers the Voight-Kampff test to a suspected replicant, Leon. These replicants have become so advanced that the only way to distinguish them from humans is through the empathy test as androids are not capable of empathy as humans are.

The methods by which this empathy test is administered is via eye scan as empathy-inducing questions are asked. The eyes being the "windows to the soul" reveals a soul or lack thereof.

Holden is killed by the replicant.


We then get a look at this future society: a dark, bleak world under corporate control. In this world we see corporate gang signs "tagged" all over the buildings: Coke, Pan Am, Koss, TDK, et cetera. These are not mere advertisements, these are signs of ownership, marking their territory.

A blimp passes over the streets broadcasting the message, "A new life awaits you in the off-world colonies. The chance to begin again in a golden land of opportunity and adventure."
Then: "This announcement has been brought to you by the Shimago-Dominguez Corporation. Helping America into the new world."

This multinational corporation, besides from helping America into the new world, promises a new life, the chance to begin again. The Corpocracy is god and savior, offering the chance to be "born again" in some type of heavenly off-world colony.


On the streets we see the future of the multicultural agenda. Deckard can't communicate with the food vendor and probably can't read half the signs posted around him; he can't even understand the other policeman when approached. Cutting the lines of communication, so to speak, is one of the fundamental tactics of an assault; it causes confusion, conflict, and frustration.

This society is the goal of the Globalist Corpocracy: an easy-to-control mixed bag of cultures with no identity or sovereignty. Individuals and small groups are isolated and powerless; they have nothing to fight for and no one to stand with, and therefore pose no threat to the ruling class.

From Capitalism Magazine's Multiculturalism's Real Agenda: "Multiculturalism's goal is not to teach about other cultures, but to promote--by means of distortions and half-truths--the notion that non-Western cultures are as good as, if not better than, Western culture. Far from "broadening" the curriculum, what multiculturalism seeks is to diminish the value of Western culture in the minds of students. But, given all the facts, the objective superiority of Western culture is apparent, so multiculturalists artificially elevate other cultures and depreciate the West." (Elan Journo)


With Holden dead, Rick Deckard is brought in and coerced into finding the other escaped replicant "skin jobs" who are trying to get into the Tyrell Corp. After Deckard refuses the job, Captain Bryant threatens Deckard, "If you're not cop, then you're little people."


Deckard goes to the Tyrell Corp to put the machine to one of the new Nexus 6 replicants.


The first image we see inside is an owl, an important symbol for the elite representing wisdom. There's too much info to get into here, but if you're interested in the owl, go here, and scroll down to "owl".



At Tyrell, Deckard meets Rachel, who is a Nexus 6 replicant but doesn't know it.


The Nexus 6 replicants are the creation of Dr. Eldon Tyrell; his company's motto is "more human than human." Tyrell tells Deckard that the replicants are implanted with memories in order to create an emotional cushion for them, which makes them easier to control.

This concept of implanting a false reality into the mind-controlled slaves begins to expand for us the theme into a wider realm. The replicants have been elevated to near human levels, while this technology effectively lowers humanity to a replicable level. The Nexus 6 skin jobs don't realize they are replicants, while the humans don't realize the fascist, ruling class is incrementally enslaving them; like the Nexus 6 class, the Corpocracy is essentially creating a slave race of humans.

Goethe: "None are so hopelessly enslaved as those who falsely believe they are free."


The first replicant that Deckard locates and "retires" is Zhora, an assassin. We see Deckard shoot her in some kind of storefront with mannequins in a winter motif. The winter motif indicates that the shooting is done in cold blood, or without empathy on Deckard's part.


In further developing the blur between human and replicant, this scene shows an assassin killing an assassin surrounded by mannequins. They both have the same job: Deckard is forced to do it while Zhora is programmed, but their identities coalesce with the appearance of the mannequins and the idea of the golem. A golem is inanimate matter given life and a purpose by their creators--which, in this case, is the Kabbalist magician overlords. To the corporate fascist empire, people are merely human resources; Deckard is only a resource because he is good at what he does. He's a useful idiot.

Also consider this dichotomy in films like The Terminator, a manufactured assassin, or Full Metal Jacket, the "raw material" recruits being brainwashed and born again as killers.

The corporation too is a type of golem, itself having the legal rights of a "moral" personality: the corporate golem.


Deckard soon develops a relationship with the replicant Rachel after she saves his life. There are only a few humans that the viewer gets to know at any length in Blade Runner, and none seems to live an enviable life in this future world. Deckard has no family, lives alone, and doesn't appear to have any friends. When we first meet him he was out in the rain waiting for noodles--not exactly an idyllic retirement scenario. Now he's going for a skin job.


J.F. Sebastian is another human who lives alone in a large building that he is the sole tenant of. He does genetic work for Tyrell and creates his own "friends" at home.


Roy Batty and Pris seek out Sebastian as a means to get to Tyrell.


After Roy breaks Tyrell's neck, he goes after his eyes, or soul. In this scene Roy actually shows more anguish as he kills than we have seen from Deckard at any point in the film.


Deckard then arrives at Sebastian's house and kills Pris.


The final conflict is then between Deckard and the last replicant Roy, a combat model, designed to kill. As Roy nears the end of his 4-year lifespan his hand curls uncontrollably into a fist.



Reaching to the floor he removes a nail and pushes into his palm to regain some control. The 4- year life span is the "fail-safe device" designed to prevent the replicants from developing their own emotional responses and essentially becoming human.

It's a crime to be human, thus this nail through the hand hints at a crucifixion, or capital punishment. In order for a Corpocracy to ensure its rule emotions, human or otherwise, must be tamped and suppressed. The herd must be dehumanized automatons, easily manageable--this is the whole point behind water fluoridation: to make the public docile and apathetic.

There is one emotion that is cranked up, though. Fear.


After Roy breaks two of Deckard's fingers, their hunter/hunted roles are reversed. Roy says, "I'm going to give you a few seconds before I come," then begins counting. Now the blade runner is the target, running for his life

As Deckard tries to get away he almost falls from the building. Roy says to him, "Quite an experience to live in fear, isn't it? That's what it is to be a slave."

Living in fear equals being a slave. We need not elaborate here on the manipluation of fear by the media but this scene solidifies for us the central theme of the film and answers the initial question of what it means to be a slave. Living in fear means being a slave.


Just before Deckard loses his grip and falls to his death, Roy Batty (now holding a dove in his hand symbolic of a soul) reaches down and saves him. The irony of a combat model replicant rescuing a hired assassin from death indicates that Roy has developed emotional responses. He saved Deckard because it is a human instinct to help someone in danger.


As Roy dies the dove flies away representing his spirit leaving his body. As he became human, Tyrell's fail-safe shut his body down with a pre-programmed "kill switch." Consider the similarity to young boys who are laughed at and mocked for crying, then go up believing that "manliness" means not showing emotions. This is a psychological manipulation whereby people are conditioned to create their own internal kill switch: whenever an pre-programmed undesired feeling arrises, it is quickly beaten down into non-existence. Basically, the motivation for doing this is fear of what others might think or say because we've also been taught that conforming to the herd is more important than being a healthy, properly functioning human being.

The title Blade Runner suggests that Deckard (and by proxy, the viewer) is moving on a fine line--this line, we would suggest, separates freedom from slavery, the definitions of which are pruposely blurred and confused. The technological achievement of this future ruling empire is not so much that they've created replicants indistinguishable from humans, but rather that they've dehumanized humanity so much they they are indistinguishable from replicants. This is the real advancement.

We'll conclude with the words of O'Brien in Orwell's 1984:

"Do you begin to see, then, what kind of world we are creating? It is the exact opposite of the stupid hedonistic Utopias that the old reformers imagined. A world of fear and treachery and torment, a world of trampling and being trampled upon, a world which will grow not less but more merciless as it refines itself. Progress in our world will be progress toward more pain. The old civilizations claimed that they were founded on love and justice. Ours is founded upon hatred. In our world there will be no emotions except fear, rage, triumph, and self-abasement. Everything else we shall destroy--everything. Already we are breaking down the habits of thought which have survived from before the Revolution."