Just like the villian and the hero embody different aspects of the theme (ie, underlying deep truth), aren’t the apparent polarities of “carrying the mystery” and “uncovering the mystery” a function of our human minds trying to grasp what our consciousness perceives as duality? Maybe “male” and “female” are THEMSELVES metaphors for the yin and yang of “the deep truth” - which is maybe: “There IS a mystery.”ĭo we get ourselves into trouble when we go too far down the road of literal interpretation? “No, really, dude… the the world was created in seven days. Some deep truths are here, which might get obscured by our human affection for categorization. But this discovery only leads to deeper and more profound levels of mystery. In Blade Runner 2049, the male has found and identified the female-borne mystery. How should we feel about despised and outcasted groups in society? Dare we dismiss them, as the culture in Blade Runner dismisses replicants, as “soul-less” or subhuman? What if we ourselves are members of such a group? What is “soul?” Where does it come from? Is it “divine?” What does “divine” mean? Does soul possess a life-imperative of its own, that is, will it find its way into any and every life-form? When a story works, as I would say this one does, the superficial mystery-Who is the replicant child?-is reinforced and made profound by the deeper levels of meaning that this mystery implies. In other words, K has uncovered the mystery … and this mystery is embodied in a female. Stelline is indeed the miraculous child he had been hunting. K gets a feeling about her.īy Act Three, K has tracked down the fugitive blade runner Rick Deckard (Harrison Ford) from the original 1982 movie. ![]() Stelline is by far the most empathetic (and human) character that K has encountered. Ana Stelline (Carla Juri), a “memory designer,” who herself, we believe, is a replicant and whose job is to create the artificial memories that will be implanted in other newly-manufactured replicants.Ĭarla Juri as memory-maker Dr. ![]() If our principle holds true, the story’s mystery will be carried by a female.Īfter many a twist and turn (during which K comes to believe that he himself is that mysterious child), he encounters Dr. K is assigned by Joshi to find and, in the name of world order and stability, to kill this child.Īct Two consists of K’s odyssey attempting to fulfill this assignment. That’s an earth-shaking event in the futuristic world of the story because it means that manufactured entities have the potential for becoming human, for actually possessing souls. Joshi ) learn that somehow, against all logic and design, a replicant (we don’t know who) has conceived and given birth to a child. the story’s inciting incident, when K (and his human superior, Lt. He accepts his role and has no aspiration to defy or overthrow it. K is a replicant himself, and he knows it. K is a blade runner-a professional operative whose job is to hunt down and kill the manufactured humans called replicants. In Blade Runner 2049, the male principle is embodied by “K” (Ryan Gosling). But, if the story is a good one, this revelation only leads to a deeper mystery-a mystery that sheds light on some profound aspect of life or love or the human condition. As does the “male” lead.Īct Two becomes the male lead’s quest to get to the bottom of the mystery. We, the reader/audience, get hooked by this. The inciting incident of any story (remember, I’m generalizing shamelessly) is the introduction of the mystery. ![]() The male’s role is to uncover the mystery. Warshawski or any of the powerful female leads in Game of Thrones, etc.) Diana in Wonder Woman or Sara Paretsky’s tough private eye V.I. (Bear in mind that the “male” in our story could be a female, e.g. If, as we have proposed in earlier posts in this series,
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