Secret Society Symbolism In Blade Runner

One of only two science-fiction films made by Hollywood visionary Ridley Scott, the other being Alien, Blade Runner is about far more than Harrison Ford hunting down and “retiring” rebel replicants. The first Philip K. Dick big screen adaptation the film is an undisputed cult classic and stands today as arguably the best sci-fi movie ever. Its dark, post-apocalyptic and even post-organic urban setting providing one of the few really believable sci-fi backdrops in all of cinema history.
 
Combined with larger questions about the nature of reality and what it really means to be human it’s this convincing and well thought out sci-fi world Scott creates that invites five cuts and frequent re-watching. Almost more like a novel than a film, noticing something new with each visit.
 
Ridley Scott’s vision of a future Los Angeles couldn’t be much more different to the city we know today, though, it’s a lot closer now than it was in 1982 when Blade Runner was released. With its colossal skyscrapers, heavy pollution and torrential downpours Scott’s future Los Angeles looking more like a darker New York even DC Comics’ Gotham City. Like Alien before it, the film presents a “used future” only this time it’s nature itself that’s falling apart not just a spaceship. Climatic change apparently wiping out most animal life to the point where artificial copies are far more common and affordable and humans (those who can afford it) are forced to retreat to the “off-world colonies.”
 
Perhaps the strangest thing about Scott’s future LA, though, is that it is riddled with Illuminati imagery and symbolism. Perhaps the most obvious example of this parapolitical iconography has to be the “all seeing eye.”
Blade Runner opens with an extreme close-up of Harrison Ford’s character Rick Deckard’s eye and there are numerous other eye shots throughout the film. Eyes being important to the plot because they’re the only way to tell the difference between replicants (artificial humans) and real humans. Replicant eyes involuntary glowing in certain scenes. However, is this really the all seeing eye of the Illuminati?
 
In his DVD commentary for The Final Cut Scott did admit that the eye imagery was meant to be reminiscent of George Orwell’s dystopianNineteen Eighty-Four and that it was meant to imply that the world of Blade Runner isn’t that far removed from the totalitarian regime depicted in that classic novel. Orwell’s Nineteen Eighty-Four, of course, being a favourite tool of conspiracy theorists for explaining the kind of New World Order that they believe the Illuminati are covertly constructing around us. Some researchers even speculating that Orwell, a former officer in the Indian Imperial Police, might have even based his novel largely on insider knowledge rather than being simply writing fiction.
 
Again echoing Orwell, in his DVD commentary Scott explains that he and the writers envisioned Blade Runner as a future completely economically, technologically and politically dominated by three or less mega-corporations. In effect, it is a world caught in the iron grip of total corporatism: a situation disturbingly close to today but still a somewhat novel idea back in 1982.
 
The largest and most powerful of these new inter-planetary superpowers is the Tyrell Corporation. Named after its founder and almost God-like creator of the Nexus-6 series replicants: Dr. Eldon Tyrell. A mega-genius with like Dr. Frankenstein and the Illuminati little or no qualms about the morality of his experiments: creating artificial men and women with at least equal intelligence to their genetic designers … only to live a mere four years max as nothing more than off-world slaves before their “retirement.”
 
Tyrell’s company motto “more human than human” can’t help but ring some alarm bells for anyone who has ever seen Alex Jones’ internet blockbuster Endgame. In the documentary film, Jones chronicles the secret elites plans to wipe out a staggering 80% of mankind and replace the human species with what they believe is the next stage in human evolution: the post or transhuman. This great evolutionary leap would be the perfect blending of man with machine, with cybernetics and genetic engineering at their zenith point, in other words, the partly organic “more human than human” replicants of Blade Runner.
 
However, it’s the Tyrell Corporation’s taste in architecture and wild life that really sounds the Illuminati alarm. The Tyrell Headquarters are a gigantic seven hundred stories tall pyramided shaped skyscraper. Perhaps resembling an Aztec or Ancient Egyptian pyramid.
 
A classic symbol associated with the Illuminati, the pyramid has always been an icon of authoritarianism and higher power. A meeting place between Heaven and Earth where great Kings and High Priests became gods in their peoples’ eyes. Ridley Scott and/or screenwriter David Peoples couldn’t have picked a more appropriate design for the headquarters of the powerful Tyrell Corporation that dominates the Earth and “off world colonies” in the year 2019.
 
In a documentary, Dangerous Days: The Making of Blade Runner, accompanying the DVD release of The Final Cut it’s explained that a pyramid was chosen because in an older script Tyrell was exposed to be a replicant copy. The real Tyrell having died and been cryogenically preserved in a giant glass sarcophagus at the centre of the pyramided complex. Tyrell HQ, in effect, then was originally envisioned as being a kind of tomb like the pyramids of the Pharaohs. Be that as it may, perhaps there is a better reason for the strange choice of 2019 architecture.
 
As well as power and authority, the pyramid is also the perfect physical representation of compartmentalisation: the Illuminati system of control. The pyramid has been interpreted by conspiracy researchers as a symbol for a dumbed-down humanity at the base with a tiny enlightened capstone elite ruling on top, and reflects exactly the kind of Orwellian society seen in Blade Runner.
 
Finally, if all this Illuminati imagery and symbolism wasn’t enough, when Deckard (Harrison Ford) first visits Tyrell’s office he is greeted by a replicant owl. Yet another, be it much less well known, Illuminati symbol. The owl according to Ridley Scott is Tyrell’s official mascot and emblem.
 
In the film that really put him on the map, Dark Secrets Inside Bohemian Grove, Alex Jones exposed how the global elite meet in secret each year to take part in a strange and bizarre ceremony called the “Cremation of Care.” An event at which, as outlandish as it sounds, involves the worship and even mock human sacrifice of an infant to a deity they call the “Great Owl of Bohemia”: a giant 45 foot stone owl god, reminiscent of the ancient Canaanite horned ideal Moloch, who, according to the Bible at least, really did have children sacrificed to it.
 
There are more examples of secret society symbolism in Scott’s other science fiction films. In Alien another company, this time called Wyland-Yutani, dominates human inhabited space in the 22nd century. Most casual fans of the Alien franchise are familiar with the company’s second logo designed by James Cameron for the second film in the series, Aliens, with the interlocked W/Y, but the original logo designed for Scott’s film was an Egyptian winged-sun emblem.
 
According to David Icke and other well known researchers in the fields of parapolitics and alternative history, “The Illuminati”, which Icke defines as a network of interlocking secret and quasi secret groups, are the “continuation of the Mystery Religions of Babylon and Egypt” in ancient times that practiced “sun worship.” With this in mind maybe the title of Ridley Scott’s new Alien prequel “Prometheus” shouldn’t be that surprising then when you take into account the abundance of potential Illuminati symbolism in Blade Runner and Alien. Prometheuswas the Titan in Greek mythology who stole fire from Zeus and gave it to mankind.
 
But Scott’s science fiction films aren’t the only examples of Illuminati architecture in Hollywood films. A pyramid on the planet Mars is featured in Total Recall (another Philip K. Dick film adaptation) starring Arnold Shwatchenegger, who according to Alex Jones’ 2000 documentary film, Dark Secrets Inside Bohemian Grove, has been an attendee at the mysterious summer camp event in northern California, at which the bizarre “Cremation of Care” ceremony takes place.
 
In July 2010 it was even reported that the California “Governorator” had given a speech at the super secret rich man’s retreat where political, business and Hollywood elites from the Bush’s to the voice of The Simpsons’ Mr. Burns, Harry Shearer, have admittedly attended.
 
Anti-New World Order filmmakers and secret society researchers suggest that, for the Illuminati conspirators the pyramid represents the compartmentalisation of secret knowledge from mankind. But even if the conspiracy theorists are correct about this why would any secret society, whether you believe them to be the Bilderburg Group, the Skull and Bones Society at Yale University, the Freemasons, or any others, put their secret symbols in big Hollywood films for everyone to see?
 
“I have heard that the popular culture is used as a tool by whatever elite, business, govt, Illuminati, etc., to both gauge and control the populace. That is, the conspiracy is the conspiracy theory itself, making its way into the mainstream culture, thereby usurping the power of the populace to alter it, because one can diminish some researcher or whistleblower as someone who ‘just watches too much X-Files,’” Dean Haglund, better known as Langly in the popular 1990s TV series The X-Files told me.
 
In a correspondence on Facebook filmmaker and Bilderburg researcher, Timuçin Leflef, told me, “there are several facets to it – including sacred geometry.” Other researchers such as Texe Marrs, author of Codex Magica, have suggested that the secret rulers of the world believe that they get paranormal powers from putting their secret signs and symbols on display, or hidden in plain sight. Hence the pyramid and all-seeing-eye on the back of the one dollar bill.
 
This was Christopher Knowles response when I asked the author of Our Gods Wear Spandex and The Secret Sun blog about secret society symbolism in Blade Runner: “Well, we know that Dick was all over anything weird or mystical, but I don’t think he had much involvement in the movie itself. Blade Runner kind of presents us with this kind of technocratic dystopia that some of these elite cult types would see as the paradise of their apotheosis. The cognitive elite in their penthouses and the poor, teeming masses huddled in the streets and the middle class a distant memory. The constant rain is kind of like the piss of the new gods in that regard. Maybe Scott incorporated some of those symbols as part of the overall social critique of this world that runs throughout the film. Maybe it was the screenwriter David Peoples, who also did similar films like Twelve Monkeys and Soldier.”
 
Knowles has speculated on his blog that sci-fi authors like Philip K. Dick might have used remote viewing or other psycic means to write their stories. Whatever the truth, the Illuminati imagery adds an extra layer to Scott’s dystopian future that most people will miss but still somehow know they’re missing somehow … pulling them back again and again.