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parties but that he can watch them. That he can skirt on the edge and dr<strong>in</strong>k a little. Both<br />

with<strong>in</strong> and without.<br />

“I was with<strong>in</strong> and without, simultaneously enchanted and repelled by the<br />

<strong>in</strong>exhaustible variety of life.”<br />

That’s from Fitzgerald’s The Great Gatsby, a book which itself completely<br />

revolutionizes the idea of the ‘American dream’ and ties it straight <strong>in</strong>to the human<br />

experience. A book which shows its protagonists as rubb<strong>in</strong>g elbows with the ‘capitalist<br />

mach<strong>in</strong>e’ but yet not a true part of it, both a character and a narrator. Deckard is a lot<br />

like the protagonist of The Great Gatsby, Nick Carraway, especially more so <strong>in</strong> some of<br />

the Theatrical Versions. He narrates the film yet is a character of it, giv<strong>in</strong>g the audience<br />

some grounds to question his narration and the possible bias beh<strong>in</strong>d his words. We<br />

know his op<strong>in</strong>ion of people, but thankfully this isn’t a story be<strong>in</strong>g told straight from<br />

Deckard’s lips but from Ridley Scott’s eye.<br />

And Scott shows the full face of this ‘capitalist mach<strong>in</strong>e’ as, ultimately,<br />

destroy<strong>in</strong>g. That eventually capitalism will completely erode away mank<strong>in</strong>d’s<br />

<strong>in</strong>dividualism, that our skies and cities will be populated both by gas but by the neon<br />

flurries and that we (ourselves) as human be<strong>in</strong>gs will fail to show compassion for when<br />

we create life. That we will simply boil it down to whether or not it’s of “benefit to the<br />

public.” Our ‘consumerist’ appetites always cloud<strong>in</strong>g our vision.<br />

So who is responsible for this ‘capitalist mach<strong>in</strong>e’ gone wild?<br />

There are no real political systems or governments or presidents or even<br />

dictators <strong>in</strong> Blade Runner’s world but <strong>in</strong>stead just a conglomerate of corporations and a<br />

police state affair. The Tyrell Corporation be<strong>in</strong>g the dom<strong>in</strong>at<strong>in</strong>g force, it seems, as it<br />

produces life itself and bases its very existence around the sole idea of ‘commerce’.<br />

If we come back to Deckard and Rachael’s first meet<strong>in</strong>g, Deckard eventually<br />

says that Replicants are either “Benefit of a hazard.” Is there some irony <strong>in</strong> that? Is<br />

Deckard a benefit to humanity? Are blade runners?<br />

Deckard, if he is a Replicant as I well believe, <strong>in</strong> his say<strong>in</strong>g of this is ultimately<br />

ironic. The ‘capitalist mach<strong>in</strong>e’ that created his very job clouds his vision to his<br />

statement. He doesn’t see humanity <strong>in</strong> these mach<strong>in</strong>es, until the end of the film - when<br />

he possibly sees it himself too - with this then he is a ‘benefit’. He does ultimately show<br />

to humanity that humans can evolve and be compassionate to the Replicants, that we<br />

can change our ways. Isn’t that what we should do? Feel for one another and jo<strong>in</strong> hands<br />

and s<strong>in</strong>g and dance <strong>in</strong>to the socialist nights?<br />

To the ‘system’, however, Deckard is not a benefit. He is a hazard. Kill<strong>in</strong>g Zhora<br />

and Pris, lett<strong>in</strong>g Leon die and with Batty swallowed up by his longevity he has<br />

completed a good portion of his job. He just can’t br<strong>in</strong>g himself to pursue Rachael,<br />

<strong>in</strong>stead fall<strong>in</strong>g <strong>in</strong> love with her. This ‘capitalist mach<strong>in</strong>e’ would then pursue Deckard<br />

soon after he turns his back on them, truly show<strong>in</strong>g just how the ‘capitalist mach<strong>in</strong>e’<br />

values love... humanity.

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