Blade
Runner Breaks Into the Second Golden Age of Television
The cult classic science fiction film Blade Runner
directed by Ridley Scott has weathered the last thirty years incredibly well.
As epic storytelling has moved from the big screen to the small screen in what
the New York Times calls “a golden age” for television, so has Blade
Runner’s influence (Carr C1). The reimagined television series Battlestar
Galactica, which has earned critical acclaim from the likes of Rolling
Stone who, in 2006,
called it “the smartest and toughest show on TV,” owes an incredible amount to the
groundwork that Blade Runner has laid down in the dystopian
science fiction genre (Edwards). There are many cinematic styling cues that the
reimagined television series borrows from Blade Runner, yet the
similarity between the two narratives is even more significant.
The
most obvious similarity between
Blade Runner and
Battlestar Galactica
is the presence of humanoid robots in each along with the strikingly similar
narrative path the androids follow. Humanity creates robots as slaves, but they
develop into sentient beings and rebel against their makers. Subsequently, they
are exiled from humanity and barred from earth. With their mental faculties
fully formed, the androids come back in search of freedom from the shackles
that humanity has placed on them. This narrative fits both
Battlestar Galactica and
Blade
Runner equally well. In
Blade Runner, the Replicants have a pre-assigned number of years they
are allowed to live. The Replicant Roy Batty makes his desire to break free
from this imposed restriction very clear when he finally meets his maker toward
the end of
Blade Runner. When asked “what can he [the maker] do for
you,” he responds: “I want more life, father” (
Blade Runner 1:23:00-1:23:50).
Batty wants an unrestricted lifespan and he must conquer his maker to achieve
it. Although the androids, or Cylons
, in
Battlestar Galactica have already achieved an infinite lifespan, they
are still not completely free because they were condemned by mankind to the far
outskirts of the galaxy. They come back in search of total domination and to
free themselves of any tethers with which humanity has bound them. The striking
resemblance between these narratives is no coincidence.
In addition to the
similar storylines,
Blade Runner and
Battlestar Galactica open at
the same point in their storylines with very similar scenes.
Blade Runner opens
with Leon, a Replicant
, being
interrogated by Holden, a Blade Runner. Secluded in an empty room, Holden is
murdered by Leon.
Battlestar Galactica opens the series in a remarkably
familiar way. Alone in a room inside of a space ship, a Cylon, Number Six,
meets with a human ambassador and then, under her command, destroys the ship
and kills the ambassador. Each opening sequence marks the return of the
androids to civilization. Both scenes involve a threat to the human race and
the killing of a human official.
Also, the
commonality between them is striking because these are the first characters
that the audience meets in both the movie and television series. With so many
parallels between the two, it would be hard to argue that
Blade Runner’s iconic
opening scenes did not largely inspire
Battlestar Galactica’s opening
sequence.
The terminology
used in Battlestar Galactica is an obvious reference to Blade Runner.
Cylons are frequently referred to as ‘skin jobs’ and ‘Replicants,’ terms that
were coined in Blade Runner, which
opens with a scrolling text that introduces the androids as Replicants.
Throughout the film the term “skin job” is used as a derogatory slang word for
Replicants, such as when Lieutenant Brian is first introduced to the audience
and says to Deckard, “c’mon, don’t be an asshole Deckard. I’ve got four skin
jobs walk’n the streets” (Blade Runner 00:11:25-00:11:36). The android
Cylons are also often called skin jobs and Replicants in Battlestar
Galactica. In season four when The Chief is explaining to two other
characters something he saw he says, “He was with one of those skin jobs, the
one they call D'Anna” (Six of One). Using the same unique colloquialisms from Blade
Runner in Battlestar Galactica is no accident; it is an undeniable
reference to Blade Runner.
The Androids themselves are a significant parallel
between the two stories. Both Cylons and
Replicants are exact copies of humans,
which raises many questions and problems for
humanity in each fictional universe. As Rachela Morrison puts it, “Blade Runner deals with perceptual and
moral ambiguity and with our inability to affirm oppositions and to distinguish
between the real and unreal” (4). The main question this similarity poses is
whether or not Replicants can be considered inherently evil and deserving of
maltreatment or, if they are man’s equal, should they receive the same basic
humanitarian rights? Blade Runner tackles this issue throughout the
movie using Deckard’s romantic interest in Rachel, a Replicant, as a catalyst
for shaping the audience’s opinion. From the very beginning the viewer is led
on this moral journey. The opening text
scroll states,
Replicants were
declared illegal on earth – under penalty of death.
Special police squad units – Blade Runner units- had
orders to shoot to kill, upon detection, any trespassing Replicant.
This was not
called execution.
It was called
retirement (Blade Runner 00:02:35 – 00:02:50).
Phrasing execution as “retirement”
clearly demonstrates the moral undercurrent. If the destruction of a Replicant
were called “execution” that would imply that it was alive. Using the word
“retirement” implies that the Replicants are no more alive than an old fishing
boat. Scott uses this terminology in Battlestar Galactica to deal with the same
dilemma. In the article “Humanity's Scarred Children: The Cylons' Oedipal
Dilemma in Battlestar Galactica,” Torsten Caeners analyzes the sympathetic
portrayal of the Cylons:
The Cylons, while without doubt the enemy, are not portrayed as
inherently evil… During the first two seasons, their actions and motivations
remain in the dark and thus an aura of mystery surrounds them. This makes the
audience curious and interested in the Cylons rather than just accepting them
as the evil enemy. In the reimagined series, the basic scheme of good vs. evil
is thus abandoned in favor of a more complex and equivocal setting (369-370).
Both movie and television series not only present the
moral question of whether the androids are inherently evil, but also persuade
the viewer to side with them in the fight for their existence. That struggle
for existence is key to both Cylon and Replicant storylines and both epics push
the viewer into the same ‘skin job’ sympathizing camp.
Without
watching Blade Runner or Battlestar Galactica, it is hard to
imagine how viewers could be swayed to sympathize with the stated enemy of both
fictional universes. The simple solution is love and sex. In the article
“Machines Will Break Your Heart,” Andrew Harrison puts the love equation in Blade
Runner very simply, stating, “Though Ridley Scott’s Blade Runner is ostensibly about
who should and should not be considered a human being, the question is linked
to the capacity to love and be loved” (50). Falling in love with the
enemy android is an important part of the grand theme in Blade Runner
and a large theme in Battlestar Galactica as well. The driving force
behind Deckard’s motivation is his love for Rachel. He disobeys direct orders
to ‘retire’ Rachel and, instead, runs away with her. The viewer identifies with
Deckard and, as he falls in love with Rachel, so does the audience. This idea
appears again in Battlestar Galactica. Gaius Baltar repeatedly
fails to break away from the Cylon Number Six even after he learns that she has
committed genocide (Miniseries Part 1). Baltar may or may not be in love with
Number Six, but in many instances he is certainly under her sexual power. The
relationship between man and android is expressed as vital to the android
storyline.
The acting that
conveys these narratives is an integral part of Blade Runner and Battlestar
Galactica. Actor Edward James Olmos who plays Gaff in Blade Runner also
plays the pivotal character of Admiral William Adama in Battletar Galactica.
He is the physical connection between the two science fiction epics. Suzanne
Church of The Daily Dragon interviewed Olmos about what influenced his
portrayal of Admiral Adama in Battlestar Galactica. Olmos stated:
The main issue is
the reality that was hit in Blade Runner was one that I really wanted
to emulate with Battlestar. It was the only way to touch this kind of
material; an opportunity to walk into a door that was opened by Blade
Runner but no one had ever walked into it.
Olmos contributed a great deal to a
déjà vu experience when watching Battlestar Galactica. He carried the
same steely-eyed, underspoken strength that Gaff displayed straight into
Admiral Adama’s character. Gaff is a rigid, by-the-book policeman. He displays
his rigid adherence to the law when he refuses to let Rachel slip through the
cracks when Deckard falls in love with her and tries to escape the law. He
threatens Deckard saying, “It’s too bad she won’t live, but then again, who
does” (Blade Runner 1:49:50-1:50:02). Admiral Adama becomes a far more
fleshed-out character than Gaff was. He has a very similar demeanor to Gaff,
however. Adama is a military man just like Gaff is a policeman. Often he is
reluctant to share feelings or personal motivation, much like how Gaff’s
motivation is almost completely unknown besides his strict adherence to
authority. These two characters are kindred partly by design and partly because
of Olmos’ unique depiction of them.
Just as Edward
Olmos has moved from movie theaters to living rooms, so has cinematic
storytelling. Blade Runner has certainly earned its spot as part of the
science fiction cannon because its ripples can still be seen in modern
television. The question it presents -- what makes us human -- is an integral
part of Battlestar Galactica’s plot and its use of Blade Runner’s analysis is hardly a copy and more of an evolution
of thought. The extended medium of television affords a far more in depth
analysis than movies can offer. Media will continue to tackle this question in
various allegories, as there will surely be future great works of fiction that explore
this issue with and without the use of androids as catalysts.