Brett's Blade Runner 2049 Notes

Blade Runner 2049 (2017)

Major concentration of superclass futurist/predictive programming messaging in opening story scroll alone: massive collapse of ecosystems in 2020 (climate hysteria) leads to return of hyper-post-apocalyptic conditions until Wallace’s “mastery of synthetic farming” (GMO propaganda ramping onto pro-synthetic biology propaganda) returns this to normal post-apocalyptic.

The opening story screen also sets up the mind control themes, explaining that the new generation of replicants manufactured by Wallace Corp. are much more controlled than the older, less tractable models. Higher performance, more control—a la Monarch. Of course, there are other meanings behind this theme: newer, higher-performance (more spergy), more socio-politically docile humanoids being sent to hunt and kill older, more resilient, more refractory humanoids can be seen as a metaphor for post-millennial generational warfare.

In keeping with these themes of more control and more NWO advancement through crisis-reaction-solution power politics, the totally synthetic environment of the original Blade Runner is now even more synthetic, more dead. The world of Blade Runner was dying, like Western culture, but this world is already dead.

Background

Associate producer Donald Sparks has some sus credits, both among his 10 producer credits and among his more numerous Second Unit Director credits.

Similar sus-ness with Andrew A. Kosove. Broderick Johnson also seems to be part of the same team.

Executive producer Frank Giustra came out of the Hollywood gutter in terms of his production credits.

Executive producer Bill Carraro is very sus.

Executive producer Yale Badik has only three production credits, including this. His latest is for 12 Strong, a movie made with the full support of the DoD and US Army.

Movie

Anti-Anthropology

K says to Joshi: “I've never retired something that was born before.” To which she responds, “What's the difference?” And then he says, “To be born is to have a soul, I guess.”

“A real boy gets a real name,” i.e., Joe, as his AI girlfriend tells him, making the obligatory Pinocchio reference (cf. Spielberg’s AI).

This conceit of having love turns robots into a procreative species is a Trojan horse to sell a loveless Luciferian evolutionary worldview to a wide audience. (Consider that K’s wooden horse resembles a Trojan horse.)

Consider, however, the line from Freysa of the replicant freedom movement: “If a baby can come from us, then we are our own masters.” This is a major piece of hangout, revealing that attacks on the family and the procreative capacity of humans are actually undermining human freedom while promising liberation.

Mind Control

The eye-scan (post-Kampff-Voigt) test here is so transparently a mind control device that it removes any doubt from it vis-à-vis Androids and Blade Runner. Clearly, the repetition of certain trigger words is directly analogous to twilight language. This may also be Revelation of the Method, as these scenes are meant to affect the viewer’s consciousness as well, in an even more intense way than the analogous scenes in Blade Runner.

Note that they could have implanted any memories they wanted in K but chose to implant traumatic memories, the better to make him an effective delta. The memory designer, Dr. Anna Stelline, says it’s a real memory, but how can anyone really tell, and does it really matter if your controllers determine your experience anyway? (See note about the ending under “Etc.”)

The Leto/Niander Wallace[1]character represents the future new model elite, a hybrid of the tech mogul/demiurgic supervillain and the transhumanist cult leader, who openly calls himself “God” and constantly uses Biblical language is subversive ways. He is the tyrannical false god to which the elites aspire, the god that the Gnostics believe created the false simulation world we live in in order to lord it over his creation. Consider the following quote, referring to his manufacture of replicants:

We make angels...in the service of civilization. Yes, there were bad angels once. I make good angels now. That is how I took us to nine new worlds. Nine. A child can count to nine on fingers. We should own the stars. Yes, sir.

The backstory on Wallace is presented most fully in the second anime short on the disc. After the blackout that was caused by the super-advanced replicants, the manufacture of…

Monarch

Ballerina holograms.

A woman in the apartment building calls him a “tinplate soldier,” i.e., a windup toy, a toy soldier, a delta.

One of the questions he’s asked during a Kampff-Voight test is, “Do they keep you in a little box?” Which evokes the kind of trauma-based conditioning that Whitley Strieber, e.g., thinks he was subject to at a “school for the gifted in Mexico.”

They use the “butterfly” quote from the first Blade Runner, when Deckard is auditing Rachel: “You got a little boy. He shows you his butterfly collection, plus the killing jar.”

K grew up in an orphanage, where all the kids have shaved heads (cf. The Visitor) and work in a sweatshop. The guy running the place offers to sell him children.

K learns he has a dead twin sister—a detail lifted from the life of PK Dick, whose twin sister died weeks after birth.

There’s a giant bell jar in Deckard’s bar.

Predictive Programming

Dave Bautista replicant from beginning is a “protein farmer” growing bugs. Eat da bugs.

Replicants have a Neuralink-style built-in, chipped interface.

Events are set after a catastrophic blackoutthe effects of which compare to that of the thermonuclear war that preceded events in the first Blade Runner (and in DADOES). The WEF, the US government, and others have been playing up the threat of an “attack on the power grid” and other failures of electrical and digital systems since at least a few years after this film was released.

The blackout is caused by an EMP weapon (which are constantly depicted in popular blockbuster movies), used by […used by rebellious replicants.] When the power comes back on, all the financial data was “wiped clean,” as in the scenario at the end of Fight Club, a film we’ve shown to be engaging in similar WEF-style predictive programming.

Having Elvis, Marilyn Monroe, and Frank Sinatra as hologram performers possibly points toward to a future of totally digitized performers (a la Simone), apart from alluding to the industry “handling” of at least Elvis and Marilyn.

Illuminati Symbolism

Eyes everywhere again: eye-scans, washing the eyeball….

One of the replicants in the replicant freedom movement group, Freysa, has removed her eye to escape surveillance, which hearkens to the entertainment industry trope of selling one’s soul (giving an eye) for “freedom.”

Pyramids in the ruins of Las Vegas.

Degradation of the Feminine

Once again, no marriage and the standard representation of a female is as a whore, with the society even more skankified and degenerated…only this time, we’ve got a boss bitch (Lt. Joshi) vs. a super boss bitch replicant (Luv, who’s trying to overthrow the cult leader/Demiurge and thereby become queen) to check the “strong female characters” box. Only the bigger boss bitch (Luv) can kill boss bitch Joshi.

The holographic images of the ballerinas represent the whore once it’s understood that these are Monarch figures: ballerinas are symbols of female sex slaves because the girls of the 19th-century Parisian ballet (and probably many other ballet theaters) were trained dancers and sex slaves for the wealthy patrons of the opera.

In the ruins of Las Vegas, there are gigantic stone-like sculptures of women in sexualized, orgasmic poses, which are the precursors of the gigantic holograms of blue- and pink-haired hoes—all of it reflecting the “cult of the goddess” which has prevailed over the Blade Runner civilization and which revolves around female sexuality and which is evidently part of the dissolve phase, tearing down older forms of morality and social organization.

From my paper:

It is no accident that Edward James Olmos reprises his role as Gaff in Blade Runner 2049, where a miniature wooden horse replaces the unicorn. Nor is it an accident that, in a film saturated with mind control tropes, the high-tech psychological, replicant-detection testing apparatus of Androids and Blade Runner has become a method for monitoring and controlling the internal state of replicants.

It is also significant that the protagonist, K, is identified as a replicant at the outset, whereas Deckard was only subtly implied to be one at the end of the previous film. The contrast between old replicants (like those in Blade Runner) and the new models corresponds more generally to the difference between humans and replicants but suggests that everything in this advanced Mercurian society is mind controlled to a greater degree than in the earlier film: even the humans are basically replicants, and anyway, the viewer couldn’t swear to which characters are replicants or not. The old replicants, we learn early on, were prone to rebellion (the basis of the plot of Androids and Blade Runner), whereas the newer ones are more docile—all of which signifies that, in the future of the futuristic Blade Runner world, all entities are under even more pervasive and sophisticated mind control as a basic condition for the “advancement” of the Mercurian project of perpetual transformation. Transformation entails greater and greater control, which is inversely correlated with tolerance. The real contrast is between those subjects that are more or less mind controlled. As a quality, “humanity” must be eliminated because it is synonymous with inner freedom and volition, i.e., with resistance to mind control.

The wrinkle in the plot of Blade Runner 2049 is that the replicants are not only still capable of independent thought and action but on occasion are miraculously able to reproduce like humans. The bounty hunter/blade runner exists in the covert interstices of a Mercurian system whose prime directive is a perpetual transformation that eventually necessitates total control over all of its members in order to force change, even when that change destroys the integrity of the organisms that make up the system. The blade runner is a mind-controlled participant in a mind control operation designed to conceal from the public the nature of a system that requires its compliance only to the extent that that public is not completely mind controlled. The film ultimately vindicates this process by allowing the supposedly mind-controlled advanced replicants—those most removed from humanity—to overcome their controller by ostensibly becoming more human, i.e., recovering the ability to reproduce naturally. Evolution, linchpin of the transhumanist worldview, is vindicated, and the audience is sated—satisfied and stupefied, as Machiavelli would say. In reality, there is absolutely no reason to believe that hypothetical future androids would ever “evolve” the capacity for mammalian-style procreation. These fictional works do reveal, however, the tendency of Mercurian socio-political systems toward totalitarian regulation of all aspects of life, culminating in total control of the mind. Tolerance is then only an instrumental, ephemeral value in such systems, mainly employed to dissolve local and rival systems. In the long-run, Mercurianism deals with the “problem of tolerance,” of behaviors that do not conform to the values or further the goals of the system, by attempting to eliminate volition.

Wooden horse as Trojan horse obviously

Misc.

Russianized instead of Asianized (with a caution dose of Africanization) for PC reasons, plus possible misdirection (getting people to fear Russia instead of the forces making the future depicted in the movie).

Is the memory maker (Dr. Ana Stelline) at the end that the whole story has been a dream/simulated memory?

[1] Is the name an allusion to Alfred Russell Wallace, whose theory of natural selection preceded Darwin’s but who was devoted to spiritualism and other occult religious currents of the era?