Tag Archives: Science Fiction

Tears in Rain: A World Repeating

* Spoilers below for Blade Runner and Blade Runner 2049*

Saying goodbye to Blade Runner 2049

I felt compelled to watch Blade Runner 2049 one more time. When the eye opens to behold a fractal of solar farms repeating across Californian fields, Blade Runner 2049 ascended from mere story into an experience, one to be savoured in the cinema before it disappears.

In revisiting Blade Runner 2049 last week, a line from the original Blade Runner circled my mind.

‘All those moments will be lost in time, like tears in rain’

A nihilistic statement about human impermanence spoken by dying replicant leader Roy Batty; after a fraught cat and mouse game between him and blade runner Deckard through a crumbling L.A. apartment block. Having won the fight and Deckard bound to fall to his death from the rain soaked rooftop, Roy saves Deckard. Reflecting on what he has witnessed as his four year lifespan reaches its end, Roy’s soliloquy reframes his struggle for a longer life into the most human desire, to have enough time leave a mark on the world.

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Deckard saved by Roy

Staring at the ensuing erosive tide of eternity, we distance our mortality through legacy like a raft amid darkened storms. The physical shell dissolves into a husk but a part of what we were remains on this plane, even if just for a moment longer. Accepting death, Roy saves Deckard in a last bid to remain in this world through the memories of another.

A World Repeating

Surveying Blade Runner 2049, Roy’s words have been proven wrong. The world of 2049 is seared by the actions of Blade Runner in 2019. After the murder of the replicants’ creator Tyrrel by Roy’s hand, the Tyrrel pyramid once the apex of the L.A. skyline lies dark and dormant. Replicants now have embedded memories just like Rachael, an experimental Nexus-7 replicant. Assumedly, the Blade Runners have been eventually replaced with replicants due to Deckard’s flight from L.A.

Observing Tyrrel’s dead pyramid for a second time in Blade Runner 2049, the perspective is changed. Looking from the ground up,  the palace has become the cornerstone for the headquarters of Tyrrel’s successor, Niander Wallace (Jared Leto). Layering the new atop the old, Blade Runner 2049 is the reincarnate of the world and the people from 2019.

The marks of  Blade Runner’s 2019 still linger in the physical space of 2049. Tyrrel’s pyramid is silent and the L.A.P.D. remains, anchoring the two worlds together by the thread of action and consequence. Yet in the characters of Blade Runner 2049 do the echoes from 2019 meld together. Created by Wallace to be his assistant, Luv embodies the polar extremes of replicants in Blade Runner. Luv is both Rachael and Roy, caring and cruel, childlike yet ruthless. She can be devotedly attentive, caring for the crazed industrialist Wallace even when he disembowels a newborn replicant. For those who cross her, Luv is a sadistic monster, shedding tears as she kills and cruelly toying with victims before death.

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Luv attacks

The parallels between industrialist Niander Wallace and Blade Runner‘s Eldon Tyrrel are clear. Industrialists who save humanity from crisis through invention. Tyrrel’s replicants propel humanity to the stars and Wallace’s synthetic farms keep Earth’s civilisation alive following environmental collapse. Fathers to the replicants, the pair are gods flawed by vision. Tyrell is a god of wisdom distracted by hubris. His eyes, bulging in their thick glasses, have the appearance of seeing but his pyramid is an ivory tower, obscuring Tyrrel’s understanding of what the replicants are. Wallace is a crazed oracle, accepting that replicants are the slaves to build a new human civilisation, he is literally blinded by his prophecy of spreading mankind far beyond the solar system. Tyrrel and Wallace may or may not see the replicants for what they are, but both are in the rut of complacency of the master, to believe that the slave will never rise up.

Not Heroes: Deckard and K

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Madam forewarns the breaking of the wall and the world

Writing this piece was partially inspired by a Washington Post article about Blade Runner 2049 by Alyssa Rosenberg. The article is an interesting read but what sparked my attention was the title;

Blade Runner 2049 is about learning that you are not the main character in your own story.’

Speaking after finding Rachael Tyrell, L.A police chief Madam confides in K, saying

‘The world is built on a wall that separates a kind, tell either side there is no wall, you’re brought a war.’

The world of Blade Runner is the wall, the barricade between replicant and man. Blade Runner and Blade Runner 2049 are one conflict, each side pushing at the boundary entrapping the other, be it a life longer than four years or the gift of children. Deckard and K, pawns from the beginning dragged unwillingly into a larger fight. Deckard is forced from retirement during Blade Runner to draw out Roy and the other rogue Nexus-6 models. K is commanded to destroy all traces of Tyrrel’s secret of replicant reproduction. Deckard is almost a villain in Blade Runner as he coldly tracks down the escaped Nexus-6 models. After every killing, the replicants become more human and childlike. In Blade Runner 2049, Deckard is not the wise man who can answer K, but an old outlaw hiding in the bones of a dead city, pursued for what he knows rather than for any threat he poses.

Against the foreground of Blade Runner’s events, Deckard and K are the heroes of their own stories. They are two characters from different sides walking towards the wall. Finding the wall absent, each discover their humanity. Both begin their long walk towards the wall assured of the structure of the world and their place within it. Deckard firmly believes he is human and that replicants are simple machines, until meeting Rachel and almost being killed by Roy. In finding love with Rachel, Deckard questions his assumptions about replicants and whether he is indeed human. Deckard’s crisis about his own existence is clearer in Phillip. K. Dick’s ‘Do androids dream of electric sheep?’, but it is still present in Blade Runner. Rachael is the catalyst for Deckard’s doubt about himself, remaining silent when Rachael asks if he has ever performed the Voight Kampff test on himself. By Blade Runner 2049, Deckard no longer distinguishes between human and replicant. When asked by K whether his dog is synthetic Deckard replies;

‘Ask him what he thinks.’

Deckard’s response repeats the understanding  he briefly flashes in a slow blink as Roy quietly dies at Blade Runner’s end. For Deckard, he finds his humanity through love, through empathy, in connecting with the replicants he has hunted so very well for so long.

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K gets to hold the hand of someone he loves, Joi

The mirrored reflection of Deckard, K walks from the opposite side towards the wall. If Deckard finds his humanity through discovery, K finds his humanity through loss. Deckard finds connection to the rest of the world, while K wants to be connected. A Nexus-9 designated to hunt the outlawed Nexus-8’s, K initially accepts he is a machine, telling Morton Sapper when asked if he likes ‘scraping shit’ that;

‘We new models don’t run.’

In K’s world, life is one where ‘Joi’ is an illusion and ‘Luv’ is a monster. The baseline K is routinely subjected to tests whether he has begun to see himself as human. The faults the test searches for are the desires we take for granted: ‘to be interlinked’; to hold the hand of a loved one, to be part of a family. Each question asked in the baseline are desires K hides even to himself. Desire make replicants human. For Roy it was legacy, for K it is love, to feel connected to the world. Believing himself to be Rachael’s child, K desperately searches for Deckard, asking him about the mother he never had and why Deckard left.

Rooftop Revelation

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K and Joi one more time

It is K’s A.I. girlfriend Joi that makes him believe he is unique, encouraging the search for Deckard and renaming K ‘Joe’. After losing Joi, K discovers he is the decoy, the replicant implanted with the fabled child’s memories. Rescued and tasked with eliminating Deckard by the replicant resistance, K encounters a gigantic sexualised version of Joi on a rooftop.

For Deckard and K, clarity comes atop the summit. Deckard is raised up from death by Roy, now Christlike with a nail driven through his palm, while K gets to see Joi one more time while staring at the city from a rooftop.  By calling him ‘Joe’ again, Joi’s programming makes K realise that he does not need uniqueness to be a person, to be connected. Raising Deckard’s pistol, K chooses his own path. K saves Deckard and the two men wash up from the water, arriving together at the wall which divides the world, cutting L.A. from the oceans beyond.

By sacrificing himself, K just like Roy connects himself to something greater, love and legacy. For many of us, our only legacy will be loved ones, the family that remain after we fade like tears in rain.

By Saul Shimmin

I have written more about Blade Runner here. If you have yet to see Blade Runner 2049, hopefully our review can persuade you.

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Looper: The endless circle

For his trickery, the Greek Gods condemned Sisyphus to the underworld. For his punishment, Sisyphus was tasked to push a rock uphill. No matter Sisyphus’ efforts, the rock would roll back down the hill before Sisyphus reached the summit, leaving him no choice but to start the task anew.

In The Terminator, Kyle Reese (Michael Biehl) and The Termintator (Anrold Schwarzenegger) are sent back to the past from a future where robots have risen up against mankind. The presence of both Kyle and The Terminator create the future apocalypse for different reasons. Kyle’s romance with Sarah Connor, whom he has been sent from the past to protect, leads to Sarah bearing their child, who becomes the future resistance leader, John Connor. The Terminator’s remains, following its destruction, are obtained by the U.S. government, leading to the creation of Skynet, the computer system behind the robotic uprising.

Time travel stories are a realisation of fate. Characters travel backwards in time, hopeful that they can change their path, only to find that like Sisyphus’ rock rolling back down the hill, their actions in the past perpetuate their future, binding them to an infinite struggle to reach the summit, their infinite loop.

At its heart, Looper is about a man’s inability to escape his destiny of becoming a monster.

The world of Looper

Set in a quietly dystopian vision of Kansas City in 2044, Looper exists in world where time travel is invented in the 2070s and exploited by criminal syndicates who send their victims back 30 years, where assassins, called Loopers, dispatch them.

Looper‘s main character, Joe (Joeseph Gordon-Levitt), is a Looper, and like all other Loopers, will one day be forced to kill his future self from the 2070s. This act, called ‘closing your loop’, was created by the crime syndicates for fear of the unforeseen consequences if a Looper, later in life, interacted with his victims from the 2070s thereby endangering causality. Nor do the Loopers know when they are about to kill their older self, as their victims arrive from the future with their faces covered by sacks.

The plot begins with the Loopers around Joe closing their loops with increasing frequency, on the command of a mysterious new figure in the 2070s who has taken over all five crime syndicates, known simply as The Rainmaker.  Old Joe quickly arrives and escapes, hell bent on killing The Rainmaker; who in 2044, is a child living in Kansas City. Joe attempts to hunt down and kill Old Joe or face a gruesome death at the hands of the crime syndicates.

‘I could see how you turned bad’: What Joe becomes

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(Old Joe becomes what he is meant to be)

Before Old Joe arrives, local crime boss Abe (Jeff Daniels) reveals what Joe would have been if he had not become a Looper. Speaking with fatherly affection, Abe recalls recruiting Joe as the youngest Looper ever, after he caught Joe robbing one of his fronts.

‘This kid, like an animal…. you looked at me and I could see it…the bad version of your life… I could see how you turned bad. So I changed it, I cleaned you up and put a gun in your hand…I gave you something that was yours.

Abe’s prophecy sadly rings true after Old Joe’s arrival. We witness the timeline Old Joe comes from, where Joe kills his older self and embarks on his retirement. Joe heads to Shanghai and falls into the bad path of his life which Abe foresaw. Squandering his retirement fund in 7 years, Joe becomes a psychopathic assassin and gang leader, spreading violence and spilling blood across Shanghai.

Old Joe appears reformed when he meets up with Joe in their favourite diner, condemning Young Joe as ‘A killer…a junkie. A fucking child mentality…what’s mine, my life…you’re so self-absorbed’. Yet Old Joe has only worsened, willing to kill children he suspects might be the Rainmaker so that he can still meet his wife and never lose her.

The inevitable bad path

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(The Eiffel Tower behind the needle, a sign of what could have been and what will always happen)

Joe’s work as a Looper and his wife are both a temporary leash restraining the monster he is. Once back in the past, Old Joe completes his transformation when faced by Abe’s gang, butchering them while he takes on the air of a demonic figure, bloodied and silent staring back at Abe’s security camera before killing him as well.

Before his death, Abe recognises that Old Joe was destined to descend into the bad version of his life, shouting out to Old Joe that

‘I guess I put the gun in that kid’s hand, huh? I guess everything comes back around.’

Sisyphus can push the rock each day, straining to reach the summit, but every day will begin anew, with Sisyphus still struggling uphill. Joe, like a figure found in Greek myth, is predestined to follow ‘the bad path’.

When we witness Old Joe’s timeline unfold, a model Eiffel Tower is briefly glimpsed in the background as Joe spirals further into addiction. The tower evokes an alternative life for Joe, where he would have gone to his original retirement choice of France instead of China. A needle lays before the tower dominating the shot, symbolising that Joe’s choices throughout life have no weight. The needle would have still been there even if he had moved to France, leading Joe down the bad path Abe foresaw. It is inevitable because of one moment which shaped Joe forever, the loss of his mother as a child.

‘What’s mine’ and ‘What’s yours’

Joe perceives himself in Cid, Sara’s troubled young son and revealed to be the future Rainmaker. When asked about his mother by Cid, Joe reveals that she sold him for drugs. Joe escaped and in his words,

‘I saw myself over and over again, killing those men that bought me and got my mom on what she was on, until I met a man in the city (Abe) who put a gun in my hand, gave me something that was mine’.

The loss of Joe’s mother forges his looping destiny of ‘the bad path’. Fending for himself, Joe becomes like the gang members and drugs who forced his mother to abandon him, adopting their mentality of ‘what’s mine’, even praising these men to Cid as ‘the only kind of man there is’. Thrust into a life with no one to guide him, Joe walks through life fending for himself at the cost of anyone who crosses him, be it his friend Seth, his victims from the future, or the children he believes to be The Rainmaker.

Joe learns to change

Joe appears just as selfish as Old Joe, displaying no remorse for betraying his friend Seth and hunting Old Joe in order to save himself from Abe. Joe begins to change once he meets Cid, seeing himself in the troubled boy as they share their traumas with each other. Despite discovering that Cid is the future Rainmaker, Joe spares Cid, realising that unlike himself, Cid still has his real mother Sara, offering Cid the chance of being nurtured and guided away from his destiny of becoming the Rainmaker.

By sparing Cid, Joe rejects his ‘what’s mine’ attitude, recognizing in his final meeting with Old Joe that his selfishness will cause him to become the monstrous Old Joe. When faced with the opportunity from Old Joe to walk away from Cid and Sara and live your life’ Joe rejects the offer, screaming ‘Your life, my life, becoming you!’.

The rock rolls back

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(A constant loop)

Realising that Old Joe’s actions in the past will perpetuate Cid becoming the Rainmaker, Joe kills himself to prevent an endless loop of Old Joe and Cid both trying to kill the other to save their loved one.

Yet without Old Joe’s presence in the past, none of the events leading up to Joe’s death can happen. Once in the past, Old Joe irrevocably changes future events, not only creating the Rainmaker, but causing Joe to sacrifice himself for Sara and Cid. Joe may remove Old Joe from existing in the past, but the events in Looper are permanently changed by Old Joe’s presence. Old Joe’s sudden absence in the past causes a paradox in the past, resetting the timeline.

A loop can be a single circle, or two circles conjoined at the hip. Old Joe’s hunt for the Rainmaker causes one circle as Joe foresaw, with Sara’s death and Cid becoming the Rainmaker. Joe’s sacrifice causes a second circle. His death leads to a paradox, resetting the timeline we witness in Looper . The two circles feed into one another like a loop, with Old Joe returning after living his life, desperate to save his wife,  while Joe realises what he will become and resets the timeline. If the timeline resets, Old Joe does not change the timeline. Thus Joe will still lead the life that Old Joe had lead, becoming the monster we witness in Looper. 

 

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(Old Joe’s loop, gagged and dead)

Over and over again, Joe has lived the bad path, returning as Old Joe, creating the Rainmaker as he constantly fails to save his wife, while the Rainmaker searches for Old Joe. Looper concludes with Joe making the only choice he can, to reset the timeline and to refuse his task of pushing the rock back uphill in an infinite loop. Looper concludes with Cid still bearing a scarred jaw like the Rainmaker, a hint that Cid is still destined to become a monster, despite Joe’s efforts and that ultimately, Joe and Cid are two men both walking the bad path towards each other.

Joe may change as a person and sacrifice himself but his actions change nothing, just merely reset the loop like Sisyphus’ rock rolling back down.

By Saul Shimmin

Looper is available now on Netflix in the U.K. It has been available for a while, so watch it before it goes!

Rian Johnson’s next film, a little piece called Star Wars: The Last Jedi is quickly approaching its Christmas release date. Read Hagood’s thoughts about the recent behind the scenes video from Disney here.