Ridley is no Kubrick! But is he the Edward Bernays of Our Technotopian Dismaland ?!


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This is NOT a Blade Runner 2049 review !

Not yet anyway ! At the time of writing this, we hadn’t seen it, but our “precogs” had already mapped out the high probabilities !

This is a suggested primer to understand what you may be about to  absorb, as you imbibe the granular synthesis ( * ) bits of one of the most awaited sci-fi sequel commercials ever made… It will likely make a few nods to the gonzo-philosophical genius of PKD, but it will be so fragmented from the original spirit of his work, you might as well be a half-life replicant viewer,  drowning yourself in a vat of Diet Coke.

How can we presume this ? One, because Hollywood productions are a conglomerate business, with millions of dollars invested, and strategies and formulas for return profits. These structures have long been the death of any authentic art production from any single auteur or collective authorship… Blockbuster movies are like the A.I. of cultural production, like a social software manufacturer churning out code for vested interest devices, nothing living and breathing can come out at the other end. There might be a few exceptions in the industry, but given Ridley’s track record it is highly doubtful he’s here to redeem himself and his production companies – RSA Films + Scott Free Productions – with the making of BR2. Secondly, well, we’ve said it many times before, but if there was any justice in the worlds of art and literature and mass media, Ridley and RSA should have promptly lost their license to touch PKD works in 1982!  You’ll have to read the links below to understand our take on that.

Sure, there will be a zillion banal debates about whether Denis Villeneuve, Hampton Fancher and Michael Green et al did a fine, a mediocre or a pathetic job…

But this entry is not to busy ourselves with whether or not this is a good Hollywood ride, if the Ridley franchise is good at novel adaptations or interpretations, or if the look and feel of 2049 is as well-projected as BR1’s 2019 scenarios from its 198o’s drawing board. In fact, given the current state of our civilization and planet, we don’t really give a shit about movie-making skills, we care about whether our culture is ripe ( and or royally fucked- ) enough to now imagine using mass media to get itself out of a pre-formatted idiot-user’s high-wired carnival abyss of tears… like tears in rain …

Our clock is ticking, but not any natural biological one, this one’s corporate, down to the grafted 3-D printed bones, Cat 5 storms, ocean acidification, the vanishing rain forests and total soil depletion, etc, etc….

We may be at the end of our species’ lifespans, if we don’t come up with a plan for re-ínventing our public platforms of communication, or as we’ve written before , we upgrade our collective intelligence !  The Cinematic Inc. Anthropocene has put us all on an epic and fragmented crash course ! But we don’t have to follow its low-grade abuses … and sad plot finales … nor its final solutions !

( Interestingly, this article – ‘Our minds can be hijacked’ – appeared this week in The Guardian, about the development of technologies that are luring us further away from our “cerebral sovereignty” – our XLt term. And this pinpoints one of many Technotopian-meets-Krapitalism dilemmas we allude to with our warnings of the abysmal trajectories.  And there are certainly more destructive fronts than merely what net culture has in store for us. )

So back to Blade Runner 1 + 2 : Why pick on these seemingly innocuous little Hollywood sci-fi  thrill rides ?  Because we’d just like to do what little part we can now to avoid the next 30 years of the next generation gulping the Spectacle Kool Aid discourse, and missing the point of what high art can be as our destiny, our compass, our friend… and not our arch-enemy !

And as XLterrestrials we are bound by duty to defend the true intellectual source material upon which a sticky bastardized goldmine web has been spun … and to analyze the dangerously seductive Hollywood products, which, especially in the sci-fi mode, are usually embedded with all kinds of corporate futurist advertising.

Btw, we’ve written alot over the years – see a couple sample links below – about just how embarassingly mangled PKD’s original Electric Sheep ( #DADoES ) got in Ridley’s Ad-man-machine, but if you need a refresher … consider the Cop on A Replicant Date Rape Romance angle from Anita Sarkeesian’s Feminist Frequency… New CLip !


And we’ll probably find fit to expand on this new theory of Ridley as the Edward Bernays of Our Technotopian Dismaland after we see the new one.


Ok, 2049…  Stay tune, we’re going deeper in ….

* Granular Synthesis – a poeticly-digressive wiki footnote – or in short, for our purposes, just think a sampled, simulated exercise, w/ little relationship to the original, or the whole.

Coming SOON to the Cinema Multiplex ruins near you !

And in the meantime, these podopologs from 2015 and 2012 … explain a little bit about our personal (-ized) encounters with The Ridley(s) :


Man Castle Ridley, The Illiterate Commercial


And lest we forget, there was his brother and partner in the game, Tony Scott, ( pic: Here, giving a hug to his pal Jerry Bruckheimer  ( producer of such propaganda gems as Top Gun, Pearl Harbor, Blackhawk Down ).

Driving Over The Edge of A Flat Screen World !

to be cont.

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