WEBVTT 1 00:00:00.240 --> 00:00:02.520 Or that's the Clear Mobile parate. 2 00:00:02.799 --> 00:00:05.280 He knows a good thing when he hears it because 3 00:00:05.320 --> 00:00:10.039 it's only twelve ninety nine. Yes, only twelve ninety nine 4 00:00:10.080 --> 00:00:14.720 for unlimited five G data and calls. Yes, yes there 5 00:00:14.720 --> 00:00:17.640 are texts and that's why he's our top salesperson at 6 00:00:17.719 --> 00:00:21.320 Paris or Brave ninety nine Clear Mobile Keep it Clear 7 00:00:21.519 --> 00:00:25.079 powered by Vodaphone or Brave ninety nine activation for twelve 8 00:00:25.039 --> 00:00:27.600 You're a ninety nine nineteen gigabytes UK and EU roaming 9 00:00:27.679 --> 00:00:35.719 data for terms see Clear Mobile dot a emining. 10 00:00:32.479 --> 00:00:35.880 A live man like this man letting butterfly flaven his 11 00:00:35.960 --> 00:00:37.399 wing big down in the forest. 12 00:00:37.439 --> 00:00:40.280 Man, it gonna cause a tree fall, letting five thousand 13 00:00:40.280 --> 00:00:40.880 miles away. 14 00:00:40.920 --> 00:00:49.039 Man, nobody seen, nobody else. You don't need no man. 15 00:00:49.119 --> 00:00:54.600 We don't like you, and you got back. That's the man. 16 00:00:54.960 --> 00:00:56.200 Don't black a name on the pane. 17 00:00:56.359 --> 00:01:07.760 Right, all right, Thomas, welcome back to the Jay Burton Show. 18 00:01:07.760 --> 00:01:09.079 How you doing, man, very well? 19 00:01:09.120 --> 00:01:10.000 Thanks for hosting me. 20 00:01:11.400 --> 00:01:15.159 Yeah, man, So you and I are continuing our discussion 21 00:01:15.200 --> 00:01:19.719 of Blade Runner with the twenty seventeen half reboot half 22 00:01:19.760 --> 00:01:24.959 sequel twenty forty nine. Obviously, this movie is sort of 23 00:01:25.280 --> 00:01:28.079 in the right wing psyche right. You'll see you know, 24 00:01:28.120 --> 00:01:32.359 clips from it used constantly, But even aside from that, 25 00:01:32.560 --> 00:01:38.560 it holds up remarkably well. Denis Villeneuve is I mean, 26 00:01:38.680 --> 00:01:40.840 one of my favorite modern directors. There's some hits and 27 00:01:40.879 --> 00:01:44.480 some misses there, but it is a film worth watching. 28 00:01:45.480 --> 00:01:48.840 If you haven't seen it, it's a Google search away, 29 00:01:48.920 --> 00:01:51.959 you can find it for free, so highly recommend it. 30 00:01:52.000 --> 00:01:53.519 But Thomas, I guess I'll kick it over to you, 31 00:01:53.599 --> 00:01:54.480 is kind of an introduction. 32 00:01:57.280 --> 00:02:02.400 Yeah, I think, like I I think what I started 33 00:02:02.400 --> 00:02:07.439 to addressed the subject matter a little bit in our 34 00:02:07.439 --> 00:02:11.520 first episode. They had a twenty forty nine, I mean, 35 00:02:11.560 --> 00:02:15.319 and then I called myself, say, you reminded me that, 36 00:02:15.919 --> 00:02:19.639 you know, it warn'ted a dedicated episode. 37 00:02:20.080 --> 00:02:20.400 I was. 38 00:02:20.800 --> 00:02:24.120 I wasn't entirely surprised that the hate that the film 39 00:02:24.199 --> 00:02:30.240 got because you know, again that that that was basically 40 00:02:30.280 --> 00:02:36.439 a you know, a reflection of what the way the 41 00:02:36.439 --> 00:02:39.719 way the original was received in nineteen eighty two, you know, 42 00:02:39.840 --> 00:02:43.800 and I think a lot of people didn't really understand. 43 00:02:45.199 --> 00:02:45.639 What the. 44 00:02:47.280 --> 00:02:51.199 What the film was trying to convey, you know, and 45 00:02:52.520 --> 00:02:57.199 it was very much it very much honored the source 46 00:02:57.280 --> 00:03:02.479 material by retaining universe aspects of the plot and the 47 00:03:02.560 --> 00:03:06.159 narrative that are essential because, like we talked about last time, 48 00:03:07.439 --> 00:03:11.000 there very much is an alternative history aspect of Blade Runner, 49 00:03:12.080 --> 00:03:16.319 you know, and that's important because it's it's not it's 50 00:03:16.319 --> 00:03:19.560 not simply our future. It's a possible future that didn't 51 00:03:20.520 --> 00:03:23.599 come to pass, but aspects of which we recognize from 52 00:03:23.639 --> 00:03:31.319 our world, you know. And one of the strengths of 53 00:03:31.360 --> 00:03:37.719 it too is that you know, the the the antagonist 54 00:03:37.960 --> 00:03:44.400 really two kay and the resistance that he discovers, the 55 00:03:45.120 --> 00:03:50.599 depth and substance of which is an open ended question, 56 00:03:50.680 --> 00:03:54.719 and it's not clear if you know, there the resistance 57 00:03:54.759 --> 00:04:00.759 that is developing among the the current generation replicants, sort 58 00:04:00.759 --> 00:04:05.599 of the most human of all there before created. It's 59 00:04:05.599 --> 00:04:08.960 not clear if this is just something that's conceptually brewing, 60 00:04:09.000 --> 00:04:13.479 as it were, or if it is a real, you know, 61 00:04:14.599 --> 00:04:18.600 mobilized tendency that is on the cost of changing the world. 62 00:04:18.680 --> 00:04:22.639 But regardless, it is obvious in everybody's mind, and particularly 63 00:04:23.160 --> 00:04:26.720 you know, that's the biggest potential danger to the to 64 00:04:26.800 --> 00:04:32.879 the current order. But uh, you know, and the Wallace 65 00:04:32.959 --> 00:04:37.680 Corporation and the character of Neander Wallace. You know, I 66 00:04:37.879 --> 00:04:40.160 think Jared Leito is actually a good actor. I know 67 00:04:40.240 --> 00:04:43.639 that a lot of these fanboy types savage him is 68 00:04:43.639 --> 00:04:47.439 some terrible actor because he offended them by his portrayal 69 00:04:47.480 --> 00:04:51.000 of some comic book ip or something. I don't fully 70 00:04:51.079 --> 00:04:55.000 understand it, but you know, the Wallass Corporation, it's not 71 00:04:55.160 --> 00:04:58.720 just some reducts of and the character of Walls themselves. 72 00:04:58.720 --> 00:05:01.480 It's not just a reducs a tyro. Oh, he's not 73 00:05:01.519 --> 00:05:05.040 even really a villain, you know. Like I mentioned before, 74 00:05:05.199 --> 00:05:11.439 I don't think he's He's willing to forego conventional morality 75 00:05:11.560 --> 00:05:15.920 to realize his ambitions. But he's not just playing god 76 00:05:16.079 --> 00:05:19.040 like Tyrrell was, you know, and he's not. He's got 77 00:05:19.040 --> 00:05:25.319 a vision for the enduring posterity if the human species. 78 00:05:26.279 --> 00:05:29.480 That's why he's doing everything he's doing, you know, and 79 00:05:30.759 --> 00:05:42.199 the whole uh the Nexus uh nine replicans, you know, 80 00:05:43.720 --> 00:05:47.560 coding memories into them that they themselves were aware are 81 00:05:47.560 --> 00:05:55.519 not actual experiences. That's actually quite humane because it's you know, 82 00:05:55.600 --> 00:05:57.040 from their inception. 83 00:05:59.079 --> 00:06:00.199 In Nexus nine. 84 00:06:00.120 --> 00:06:03.160 Are aware that of what they are, you know, so 85 00:06:05.120 --> 00:06:11.879 that eases some of the most brutalizing and existentially terrifying 86 00:06:11.920 --> 00:06:14.600 aspects of of their existence. 87 00:06:15.240 --> 00:06:24.040 You know, and similarly to it, the UH. 88 00:06:24.199 --> 00:06:26.959 The implication too is that there's a there's an in 89 00:06:27.160 --> 00:06:32.680 universe progression of the moral understanding around the replicants. 90 00:06:33.120 --> 00:06:34.519 It's not an accident that k. 91 00:06:38.199 --> 00:06:43.199 Is uh, you know, a replicant, and the implication is 92 00:06:43.240 --> 00:06:50.399 that Blade Runners are all replicants because he's not capable 93 00:06:50.439 --> 00:06:58.279 of disobeying a natural human, you know, So that removes 94 00:07:01.519 --> 00:07:07.639 potential insubordination from the equation and uncomfortable questions relating to 95 00:07:08.800 --> 00:07:11.399 you know, the ethics of of of chain and command 96 00:07:11.439 --> 00:07:18.800 and things. But also you know, it's one of the 97 00:07:18.920 --> 00:07:26.319 big subtext of the original Blade Runner is that Deckert 98 00:07:26.360 --> 00:07:30.000 is slowly losing his mind because he's he's. 99 00:07:29.839 --> 00:07:33.439 Paid to murder people, you know, and. 100 00:07:35.120 --> 00:07:41.959 That's not the sort of thing one wants police officers 101 00:07:42.000 --> 00:07:43.279 to be habituated too. 102 00:07:45.120 --> 00:07:45.319 You know. 103 00:07:45.680 --> 00:07:51.439 And there's an understanding of I think that's really kind 104 00:07:51.439 --> 00:07:55.040 of on the nose in the original Blade Runner, that 105 00:07:56.519 --> 00:08:02.480 this is the replicant. Technology is very much uh. Social 106 00:08:02.480 --> 00:08:06.920 conventions and ethical paradigms are still very much in development 107 00:08:07.000 --> 00:08:10.240 around what is new technology, and there's always a punctuality 108 00:08:10.279 --> 00:08:17.839 equilibrium to technology that alters social and political paradigms. And 109 00:08:17.920 --> 00:08:22.720 undermines cultural and moral assumptions. But in the case of replicants, 110 00:08:23.199 --> 00:08:27.519 there's a there's a deliberate euphemism invoked around them, because again, 111 00:08:27.560 --> 00:08:31.800 they're they're not androids, they're not robots, they're they're human beings, 112 00:08:32.039 --> 00:08:38.679 they're biological, you know, and they they they can't. Depriving 113 00:08:38.679 --> 00:08:44.120 them categorically of their humanity is very much a fiction 114 00:08:44.840 --> 00:08:52.960 that is uh essential to rationalizing their their brutal existence, 115 00:08:53.759 --> 00:08:59.360 which is totally subordinate to naturally birth humans, you know, 116 00:08:59.679 --> 00:09:05.399 and uh, wall is acknowledged. Neander Wallace acknowledges that, and 117 00:09:06.120 --> 00:09:11.200 his whole, his whole ambition is, you know, to unlock 118 00:09:11.480 --> 00:09:19.399 Terrell's secret of you know, replicants that can naturally reproduce, 119 00:09:20.279 --> 00:09:26.639 because again that's you know, the human species needs to 120 00:09:26.720 --> 00:09:36.399 populate the galaxy in his estimation, lest it face ultimate extinction, 121 00:09:36.960 --> 00:09:40.519 you know, really an unconceivable timeline where man doesn't migrate 122 00:09:40.600 --> 00:09:43.120 off world, you know, And the only way to accomplish 123 00:09:43.159 --> 00:09:47.639 this is essentially through the mass production of superior people, 124 00:09:48.399 --> 00:09:51.039 you know, who can then reproduce themselves, either you know, 125 00:09:51.519 --> 00:09:57.679 on board generationships or on off rold environments that are 126 00:09:57.919 --> 00:10:03.919 you know, until until archaeological infrastructure that can sustained life 127 00:10:03.960 --> 00:10:10.720 is built is very hostile to it's a human life, 128 00:10:11.919 --> 00:10:18.399 you know. So it's sort of a natural progression, you know, 129 00:10:18.559 --> 00:10:26.519 decades on from the original in terms of ethical paradigms 130 00:10:26.559 --> 00:10:35.519 and sociological adaptations to this new reality. And also, you know, 131 00:10:35.639 --> 00:10:41.679 just the the trajectory of new technology, because you know, technology, 132 00:10:41.799 --> 00:10:55.159 especially especially things that are inherently problematic ethically, they you 133 00:10:55.159 --> 00:11:02.399 know this, it develops its own momentum, you know. That's why, 134 00:11:03.440 --> 00:11:05.679 that's why the that's that's that's why the Cold War 135 00:11:05.840 --> 00:11:11.000 strategic arms race was so dangerous, particularly as human decision 136 00:11:11.039 --> 00:11:15.960 makers were increasingly sidelined in favor of you know, albeit 137 00:11:16.200 --> 00:11:20.879 at that juncture primitive machine intelligence, but just the existence 138 00:11:20.879 --> 00:11:21.480 of such. 139 00:11:22.960 --> 00:11:26.519 Weapons themselves changed everything. 140 00:11:27.200 --> 00:11:31.720 And you know, the metaphor of a Pandora's box might 141 00:11:31.720 --> 00:11:38.559 be over done, but it's apropos because man isn't really 142 00:11:38.600 --> 00:11:42.600 at the helm, you know. And then in the world 143 00:11:42.639 --> 00:11:45.320 of Blade Runner, obviously you're talking about you know, the 144 00:11:45.360 --> 00:11:51.720 technology in question is uh, consciously self aware of human 145 00:11:51.759 --> 00:11:55.000 beings with agency, something that. 146 00:11:56.720 --> 00:11:57.639 Obviously is. 147 00:12:00.399 --> 00:12:05.320 A totally anarchic variable that isn't present in the case 148 00:12:05.360 --> 00:12:10.840 of you know, inert technological modalities. But even in the 149 00:12:10.879 --> 00:12:22.080 case of those that aren't alive, you know, institutions and 150 00:12:22.759 --> 00:12:31.759 conceptual structures and paradigms, both open ended and algorithmic need 151 00:12:31.840 --> 00:12:36.440 to be devised to control these things, because you know, 152 00:12:36.960 --> 00:12:39.399 man is not at the helm of his creation more 153 00:12:39.440 --> 00:12:45.679 often than not. And you know, so I think I 154 00:12:45.720 --> 00:12:53.360 think the world building was incredibly deep and it like 155 00:12:53.399 --> 00:12:57.919 I said before, I think do Anderd's Dream of Electric 156 00:12:58.000 --> 00:13:01.159 Sheep is a great is a great book. It's a 157 00:13:01.159 --> 00:13:04.279 great story, and the world building in it is awesome. 158 00:13:04.440 --> 00:13:08.279 And that's an outlier. I don't think Philip K. Dick 159 00:13:08.320 --> 00:13:13.919 that generally wasn't a strong suit, you know, but it's 160 00:13:13.960 --> 00:13:18.320 really it's not just effectively conveyed and Blade Runner the 161 00:13:18.360 --> 00:13:23.879 novel and the films, but it's an essential aspect of 162 00:13:23.919 --> 00:13:29.159 the narrative and that's what makes it compelling, that's what 163 00:13:29.320 --> 00:13:32.440 makes it profound. But that's also what allows you to 164 00:13:32.480 --> 00:13:37.759 suspend disbelief. And I think an I mean, admittedly there 165 00:13:37.840 --> 00:13:40.639 might be a bias inherent here because of where I 166 00:13:40.759 --> 00:13:48.639 live and Milo Call in particular is very much the 167 00:13:48.720 --> 00:13:52.960 model for cyberpunk sorts of ips and things. 168 00:13:53.840 --> 00:13:55.519 But Blade Runner came. 169 00:13:55.399 --> 00:14:01.480 True in substantial capacities in a way that other dystopian 170 00:14:03.440 --> 00:14:08.799 fantasies and and and movies and novels didn't, you know. 171 00:14:08.960 --> 00:14:15.960 And I think that that alone makes it a highly 172 00:14:15.960 --> 00:14:20.519 significant cultural product, you know, in a way that other 173 00:14:20.559 --> 00:14:24.559 things aren't, you know. I mean, these days almost everything 174 00:14:24.639 --> 00:14:28.399 is somewhat politically coded when you're talking about entertainment brands 175 00:14:28.440 --> 00:14:34.480 and things. You know, obviously there's there there, there's Hollywood 176 00:14:34.519 --> 00:14:44.200 that's you know, constantly insinuating ideological signals into their propaganda. 177 00:14:45.159 --> 00:14:50.480 But you know, there is a robust independent film culture now, 178 00:14:51.360 --> 00:14:59.600 and almost unfailingly it's either in reaction to big media 179 00:14:59.600 --> 00:15:09.039 and le media and uh it's ideological persuasion or you 180 00:15:09.080 --> 00:15:17.000 know it's UH, or you know it's it's staking out 181 00:15:17.480 --> 00:15:22.639 theretofore UH unexplored UH in the sense in UH, you know, 182 00:15:22.679 --> 00:15:27.519 with in at least in cinema, unexplored UH territory with 183 00:15:27.639 --> 00:15:33.240 respect to political questions, you know, and Blade Runner it 184 00:15:33.840 --> 00:15:38.799 avoids that sort of on the nose and pedantic UH 185 00:15:39.759 --> 00:15:44.320 narrative that all too often stands in for real storytelling. 186 00:15:45.240 --> 00:15:51.600 But it it's a credible UH and very nuanced and 187 00:15:53.000 --> 00:15:58.840 complete world that is uh devised around it. I realized 188 00:15:58.879 --> 00:16:01.399 there's a lot there, but that's I mean to sort 189 00:16:01.440 --> 00:16:03.639 of frame the discussion that that's what I think is 190 00:16:03.720 --> 00:16:04.440 good about it. 191 00:16:06.519 --> 00:16:06.759 Yeah. 192 00:16:06.840 --> 00:16:12.559 I So the plot starts with Kay and sort of 193 00:16:12.600 --> 00:16:19.080 going out to a sort of retire this replicant Sapper 194 00:16:19.159 --> 00:16:24.240 Morton played by Dave Fatista, who I'll say he's a 195 00:16:24.360 --> 00:16:30.559 very good actor. He's probably the best wrestler to actor transplant. 196 00:16:30.679 --> 00:16:32.639 Like John Cena and The Rock are not real actors. 197 00:16:32.720 --> 00:16:37.240 Dave Patista is quite good and he plays a very 198 00:16:37.440 --> 00:16:40.919 is an understated performance. He's not hamming it up, and 199 00:16:42.360 --> 00:16:44.919 Kay brings him in. This is kind of the first 200 00:16:44.919 --> 00:16:49.639 part where you see the both the expansion of our 201 00:16:49.759 --> 00:16:52.919 view of the world of Blade Runner and also the cinematography, 202 00:16:52.960 --> 00:16:56.399 which is excellent. He's on this kind of outlying protein 203 00:16:56.559 --> 00:17:00.720 farm outside of Los Angeles. It's sort of this these 204 00:17:00.720 --> 00:17:05.119 greenhouses full of you know, synthetic grubs growing analogae. It's 205 00:17:05.160 --> 00:17:07.000 it's pretty gross, but it is kind of a cool 206 00:17:07.039 --> 00:17:10.000 extension of it. So, you know, he brings him in 207 00:17:10.640 --> 00:17:13.400 and his drone, which he you know, sends out to 208 00:17:13.440 --> 00:17:17.079 scan the area, finds something at the base of a tree. 209 00:17:17.839 --> 00:17:21.200 Finds a box full of bones, so of course, you know, 210 00:17:21.240 --> 00:17:23.839 he brings it in. Turns out that these are the 211 00:17:23.880 --> 00:17:28.440 bones of Rachel correct from the first movie, and they 212 00:17:28.440 --> 00:17:30.799 bring it back, they look at it, and what they 213 00:17:30.839 --> 00:17:33.680 find out is that what's really shocking, and this is 214 00:17:33.720 --> 00:17:36.720 sort of the insiding incident of the story, is that 215 00:17:36.759 --> 00:17:41.160 she died in childbirth. A replicant gave birth, which you 216 00:17:41.200 --> 00:17:44.359 know as as Madame or Madam. His kind of superior 217 00:17:44.680 --> 00:17:47.680 at the police department says like, this breaks everything, This 218 00:17:47.759 --> 00:17:50.920 blows up the world. And she says, you know, there's 219 00:17:50.960 --> 00:17:54.759 a wall, and continually we see this visual of the 220 00:17:54.920 --> 00:17:59.279 sea wall protecting Los Angeles from you know, this kind 221 00:17:59.279 --> 00:18:01.680 of raging sea, and she says, if that wall falls 222 00:18:01.759 --> 00:18:06.720 down the divider between you know, replicants and humans, it's chaos. 223 00:18:06.880 --> 00:18:11.240 It's a war of extermination. And so that is, you know, 224 00:18:11.359 --> 00:18:15.319 sort of the inciting incident. Very quickly, we were introduced 225 00:18:15.319 --> 00:18:19.279 to several things about k One my favorite, or perhaps 226 00:18:19.319 --> 00:18:23.680 the most interesting character in this is Joy, and Joy 227 00:18:23.960 --> 00:18:28.440 is this sort of digital assistant slash girlfriend. We see 228 00:18:28.480 --> 00:18:35.440 advertisements for this everywhere and basically she exists to sort 229 00:18:35.440 --> 00:18:39.240 of it's kind of like a stand in social function 230 00:18:39.920 --> 00:18:43.279 or k as well as other people epectively, you buy 231 00:18:43.319 --> 00:18:48.559 a subscription with his bonus from you know, taking in 232 00:18:48.640 --> 00:18:52.880 this this replicant he buys basically a piece of technology 233 00:18:52.880 --> 00:18:56.480 that allows him to carry her wherever he goes. There's 234 00:18:56.519 --> 00:18:59.000 a little jingle that goes along every time she wants 235 00:18:59.039 --> 00:19:01.359 to talk to him. You'll hear that repeated over and 236 00:19:01.400 --> 00:19:05.759 over throughout the film. And again this is interesting because 237 00:19:05.759 --> 00:19:09.119 we see an extension of an idea from the first Joy, 238 00:19:09.200 --> 00:19:13.079 at least it seems, is partially sentient. She does things 239 00:19:13.200 --> 00:19:16.759 later in the film that violate her programming, and you know, 240 00:19:16.839 --> 00:19:22.039 ultimately she is destroyed or killed and point is so 241 00:19:23.000 --> 00:19:28.559 Joy initially when we see her is sort of sliding 242 00:19:28.640 --> 00:19:33.079 into his life. We see this kind of juxtaposition between 243 00:19:33.119 --> 00:19:36.599 what he is doing and how this digital hologram is reacting. So, 244 00:19:36.640 --> 00:19:39.759 for instance, we see him, you know, pouring her a drink, 245 00:19:40.279 --> 00:19:43.440 pulls out the whiskey, you know, pours two glasses drinks 246 00:19:43.480 --> 00:19:46.799 one then the other. This this hologram is projected on 247 00:19:46.960 --> 00:19:50.240 top of what's really happening. We see this happen multiple times, 248 00:19:50.920 --> 00:19:53.519 so we see, you know, he's making this kind of 249 00:19:53.599 --> 00:19:57.440 like disgusting rehydrated noodles, and over top of it, it 250 00:19:57.640 --> 00:20:01.960 projects the you know, the wonderful meal that his you know, 251 00:20:02.039 --> 00:20:07.680 digital girlfriend has made for him. Yeah, when it realizes, yeah, yeah, 252 00:20:07.720 --> 00:20:10.000 and this will come back to this character because again 253 00:20:10.039 --> 00:20:12.880 it's it's fascinating how she reoccurs through this. 254 00:20:13.119 --> 00:20:14.839 Well, so it's not clear entirely. 255 00:20:15.000 --> 00:20:19.440 Obviously, on some levels he does become spontaneously sentient, but 256 00:20:19.599 --> 00:20:22.240 you know how much of her affection for him is 257 00:20:22.359 --> 00:20:26.279 just you know, the algorithm you know, prompting responses you know, 258 00:20:26.400 --> 00:20:30.079 as it gets to know him psychologically, you know, and 259 00:20:30.119 --> 00:20:30.559 it's just. 260 00:20:30.480 --> 00:20:32.759 Being you know, like a well, a well and a 261 00:20:32.799 --> 00:20:33.720 well programmed AI. 262 00:20:34.039 --> 00:20:38.480 Yeah, no, go ahead, oh certainly, and this will again 263 00:20:38.559 --> 00:20:41.279 Blater in a sort of famous for these shots of 264 00:20:41.720 --> 00:20:44.680 you know, the city with these kind of towering advertisements. 265 00:20:44.960 --> 00:20:47.680 And in addition to the little jingle, the joy jingle, 266 00:20:47.799 --> 00:20:50.559 the other thing is the tagline is she tells you 267 00:20:50.640 --> 00:20:53.319 exactly what you want to hear over and over and 268 00:20:53.319 --> 00:20:57.160 over again, which you know becomes relevant. So he decides 269 00:20:57.240 --> 00:21:00.000 to now that he knows about you know, these bone 270 00:21:00.279 --> 00:21:02.599 and knows that there are other replicants connected to this 271 00:21:02.680 --> 00:21:08.119 group that's been missing. He goes to Tyrell Corporation or 272 00:21:08.400 --> 00:21:11.240 the Wallace Corporations, which bought the remains of it, and 273 00:21:11.279 --> 00:21:14.240 we find out several things. One we hear about this 274 00:21:14.519 --> 00:21:17.599 blackout basically, the whole city lost power. 275 00:21:17.960 --> 00:21:18.480 It lost an. 276 00:21:18.400 --> 00:21:22.599 Immense amount of digital records, and so all records pertaining 277 00:21:22.680 --> 00:21:26.119 to you know, a certain period in time are spody 278 00:21:26.160 --> 00:21:30.720 at best. We also meet sort of the prime antagonist 279 00:21:30.799 --> 00:21:35.480 of the film, Love, who is another replicant. She's sort 280 00:21:35.519 --> 00:21:39.559 of the the head henchman. And she realizes as. 281 00:21:39.480 --> 00:21:42.319 Well, she's found like a female Roy Baddy in terms 282 00:21:42.359 --> 00:21:43.240 of capabilities. 283 00:21:43.440 --> 00:21:48.720 Yeah, and she realizes as well, oh no, there's a 284 00:21:48.759 --> 00:21:53.880 pregnant replicant. This matters obviously, you know. Wallace wants that 285 00:21:54.400 --> 00:21:57.559 because that is, as you've said, the thing, you know, 286 00:21:57.640 --> 00:22:01.160 Jared Leto desires most the ability to have them reproduce 287 00:22:01.200 --> 00:22:03.799 on their own instead of being manufactured. So this is 288 00:22:03.839 --> 00:22:08.480 sort of you know, the inciting lot. H Kay goes 289 00:22:08.519 --> 00:22:12.599 back to the scene of the you know, the opening 290 00:22:12.680 --> 00:22:17.519 to the movie and examines everything, right, and he finds 291 00:22:17.519 --> 00:22:21.880 several things. He finds, you know, a baby sock, and 292 00:22:21.920 --> 00:22:25.359 he finds a date, and the date sort of unlocks 293 00:22:25.880 --> 00:22:29.599 this memory. This memory is of him as a child 294 00:22:29.839 --> 00:22:33.119 running away from a group of boys with a small 295 00:22:33.279 --> 00:22:36.440 wooden toy with this same date carved on the bottom. 296 00:22:37.200 --> 00:22:40.799 And he tells this to his superior, who seems to 297 00:22:40.920 --> 00:22:43.759 try and come on to him. He you know, rejects 298 00:22:43.799 --> 00:22:47.680 her advances, but nonetheless he you know, is talking about 299 00:22:48.160 --> 00:22:52.039 this memory he has connected to this same date that 300 00:22:52.119 --> 00:22:56.000 he sees carved on the tree under which Rachel was buried. 301 00:22:56.680 --> 00:22:58.960 And so this is where we start to see him 302 00:22:59.000 --> 00:23:02.119 sort of deviate from his program. There is this memory 303 00:23:02.200 --> 00:23:06.640 that he has in himself seems somehow to be connected 304 00:23:07.119 --> 00:23:12.599 to this case. The conversations between Madam and Kay are 305 00:23:12.640 --> 00:23:16.000 really fascinating for a couple of reasons because one, she's very, 306 00:23:16.720 --> 00:23:19.559 at least initially very blase about the fact that he 307 00:23:19.680 --> 00:23:24.720 is not human. You know, she he when she charges 308 00:23:24.799 --> 00:23:28.799 him with killing this child ending this, he says, well, 309 00:23:28.839 --> 00:23:31.000 I've never killed anything with the soul before, I never 310 00:23:31.079 --> 00:23:33.839 killed anything that was born, and you know, she sort 311 00:23:33.839 --> 00:23:36.440 of throws back in his face, well, you know you 312 00:23:36.440 --> 00:23:39.160 don't have a soul and you're doing fine, you know, 313 00:23:39.279 --> 00:23:42.240 indicating this kind of distinction. You know, the idea is like, 314 00:23:42.319 --> 00:23:45.119 what is it to have a soul? Is it, you know, 315 00:23:45.160 --> 00:23:47.720 to simply be born? Is it, you know, as we 316 00:23:47.759 --> 00:23:50.039 see with Kay, to sort of develop your own consciousness 317 00:23:50.119 --> 00:23:51.720 or even any example of joy? 318 00:23:52.079 --> 00:23:52.160 Right? 319 00:23:52.319 --> 00:23:55.319 Can that be fully digital? And I think that's really 320 00:23:55.319 --> 00:23:58.200 the most interesting thing about the movie. What it's the 321 00:23:58.480 --> 00:24:01.319 sort of the question it's asking sammining from different angles. 322 00:24:01.720 --> 00:24:03.519 Well, yeah, and that's part of the genius of it. 323 00:24:03.720 --> 00:24:09.720 Like we greatly touched on before, is that the the 324 00:24:09.720 --> 00:24:13.200 the ontological subtext of the original Blade Runner is decord 325 00:24:13.240 --> 00:24:15.880 in the back of decord in Gaff's mind for that 326 00:24:15.960 --> 00:24:19.200 matter too, is am I a replicant? In a twenty 327 00:24:19.240 --> 00:24:22.240 forty nine case asking himself? Am I a human being? 328 00:24:23.160 --> 00:24:26.039 You know? And uh, increasingly, you know. 329 00:24:25.960 --> 00:24:34.160 The the criteria that disqualifies replicants from humanity is completely 330 00:24:34.240 --> 00:24:43.759 arbited for ee. And it's uh, it's it's it's at base. Uh, 331 00:24:44.200 --> 00:24:46.240 it's at base philosophical and political. 332 00:24:46.640 --> 00:24:46.839 You know. 333 00:24:46.880 --> 00:24:49.920 That's the metaphor of the of the of the wall 334 00:24:50.160 --> 00:24:55.079 that holds back to sea, you know. But that's also 335 00:24:55.119 --> 00:24:57.400 why that's also why Walls isn't really a villain. Well, 336 00:24:57.440 --> 00:25:00.400 Walls is trying to blow it up, you know, which 337 00:25:00.440 --> 00:25:02.039 is uh, ironic too. 338 00:25:02.519 --> 00:25:03.720 I mean, like a lot of uh. 339 00:25:05.279 --> 00:25:07.319 He kind of reminds me the character of Zepperoni and 340 00:25:07.359 --> 00:25:10.720 the Glass Bees. You know, Walls is manipulating everybody, you know, 341 00:25:10.759 --> 00:25:15.359 like La PD is a they they believe their mandate 342 00:25:15.480 --> 00:25:17.799 to be something totally at odds that Wallas is trying 343 00:25:17.839 --> 00:25:20.960 to accomplish. But you know, they're playing executive role that 344 00:25:21.039 --> 00:25:25.519 he wants them to within his grand scheme. You know, 345 00:25:26.319 --> 00:25:28.400 he's the most interesting character in the film, I think. 346 00:25:28.599 --> 00:25:35.920 But that might be uh, I mean that that might 347 00:25:35.960 --> 00:25:41.240 be my own conceptual prejudice. But yeah, it's very there's 348 00:25:41.279 --> 00:25:43.160 a lot there. I had to watch it a few 349 00:25:43.160 --> 00:25:48.400 times to fully grasp all the key aspects of it, 350 00:25:48.440 --> 00:25:50.319 and I think that's one of the things that puts 351 00:25:50.359 --> 00:25:51.960 some people off about it. 352 00:25:51.960 --> 00:25:52.839 It's a film you've. 353 00:25:52.680 --> 00:25:54.720 Got to really engage with if you can't really just 354 00:25:54.799 --> 00:25:59.759 kind of passively watch it, you know. I I that 355 00:25:59.759 --> 00:26:03.079 that not just I mean, I'm sure that attention spans 356 00:26:03.079 --> 00:26:09.200 have diminished precipitously, but that even long ago. It's one 357 00:26:09.200 --> 00:26:10.599 of the things that put people off of a lot 358 00:26:10.640 --> 00:26:15.279 Alfred Hitchcock films, and that's something that put people off 359 00:26:15.279 --> 00:26:17.279 of Fritz Lang stuff. And I mean, like I said, 360 00:26:17.319 --> 00:26:22.920 I I maintained that Blade Runner is a spiritual sequel 361 00:26:23.039 --> 00:26:26.680 to Metropolis, you know, but it was the same thing. 362 00:26:26.720 --> 00:26:28.799 I mean, most people when they watch Metropolis, they're taken 363 00:26:28.839 --> 00:26:31.839 in by the visuals because Fritz Lang's visuals are are 364 00:26:31.839 --> 00:26:34.319 really wild and compelling. 365 00:26:34.440 --> 00:26:36.240 But you both. 366 00:26:37.519 --> 00:26:42.279 Metropolis and m You've got to really pay attention and 367 00:26:42.319 --> 00:26:48.240 be involved with those films otherwise you're you miss like 368 00:26:48.319 --> 00:26:52.160 key aspects of the plot and how it resolves and stuff. 369 00:26:53.720 --> 00:27:00.480 Yeah, so as we you're entirely correct, because look like 370 00:27:01.200 --> 00:27:05.039 this movie is you know, visually compelling and you can 371 00:27:05.039 --> 00:27:07.759 pick up on, you know, certain things, but it's pretty 372 00:27:07.759 --> 00:27:10.039 slow in the grand scheme of things. It's not really 373 00:27:10.079 --> 00:27:13.279 an action movie even compared to the first. You know, 374 00:27:13.319 --> 00:27:17.200 there are there is exciting things at certain points, but 375 00:27:17.240 --> 00:27:19.759 it's you know, all of three and a half hours. 376 00:27:19.799 --> 00:27:21.319 It's it's fairly long. 377 00:27:21.440 --> 00:27:25.720 Yeah, there's ten minutes so like violence and fighting, yeah. 378 00:27:25.000 --> 00:27:29.839 Yeah exactly. So part of the what develops next, and 379 00:27:29.880 --> 00:27:32.319 the reason I'm sort of going through this quickly is 380 00:27:32.319 --> 00:27:35.200 so that we can get to without context, this won't 381 00:27:35.240 --> 00:27:38.200 make sense, right, is that as part of this this 382 00:27:38.319 --> 00:27:41.559 quest looking for this child, you know, he has this date, 383 00:27:41.759 --> 00:27:46.759 and he has this memory of you know this saying 384 00:27:46.920 --> 00:27:49.680 this animal, this carved wooden animal with a date on it. 385 00:27:50.240 --> 00:27:53.240 And so when he goes to look for medical records connected, 386 00:27:53.720 --> 00:27:59.039 he finds two one male and one female, anomalous records. Right, 387 00:27:59.079 --> 00:28:03.279 they have the same It matches the birth date. So 388 00:28:03.319 --> 00:28:06.400 he basically looks into this and he finds that according 389 00:28:06.480 --> 00:28:09.359 to these records, which again because of this big blackout, 390 00:28:09.359 --> 00:28:14.319 are very spotty, they're manually sorted. And what's interesting is, 391 00:28:14.440 --> 00:28:16.880 you know, because he can carry a joy around with him, 392 00:28:17.079 --> 00:28:18.680 there are all of these scenes of the two of 393 00:28:18.680 --> 00:28:21.839 them interacting, and again she is transparent, and there's this 394 00:28:21.920 --> 00:28:23.920 great scene where he's looking into this. It sort of 395 00:28:23.920 --> 00:28:27.400 looks like an old school analog vision tester, right scrolling 396 00:28:27.440 --> 00:28:31.400 through these records, and she projects around him, over top 397 00:28:31.440 --> 00:28:33.759 of them, so you see their faces sort of layered 398 00:28:33.799 --> 00:28:36.960 one on top of the other. But he finds these two, 399 00:28:37.839 --> 00:28:42.240 these two incidents or these yeah, these two children seemingly 400 00:28:42.359 --> 00:28:46.680 with the same DNA, one male, one female. Females listed 401 00:28:46.720 --> 00:28:50.160