One of the great things about astrology is the ability to use a chart for a myriad of purposes. When I did my shows over at Gaia, a lot of people were really switched on by how I used astrology, breaking down everything from 9/11, to the birth of Jesus, to Jack Parsons and The Babalon Working, to the refugee crisis. Astrology, when used creatively opens up a dimension of connections. Can astrology give us an insight into a fictional character and perhaps an overall view of the work that character is being portrayed in?
Blade Runner 2049 made it’s global debut on 10/3/17 and it’s US splashdown on 10/6/17. From an astrological perspective, the 10/3 date has the Moon in Pisces conjunct Neptune in Pisces, which is great for a film, especially a futuristic, moody-noir piece like Blade Runner 2049. While not quite full, the Moon is waxing, gaining momentum. In the US, it would debut on the Full Moon in Aries, the late, Harvest Moon. The opening on the 6th would be drowned in the ricochet cacophony of Las Vegas.
Stylistically, the sequel to Blade Runner is on equal footing with the original, as Ridley Scott’s cutting edge direction and effects would create the cinematic palette for cyber-culture emerging out of Silicon Valley, in the 1980’s and 1990’s. Blade Runner was iconic and an important film on many levels, a film that other science fiction films would be held up against and judged accordingly.
Denis Villeneuve (Scicario and The Arrival) proves to be Scott’s equal on the directorial front casting the world in 2049 as dystopian and nightmarish as it gets.
One of the themes that BR 2049 really builds on from the original is that we don’t know who the humans and cyborgs are. And when we do encounter a cyborg, like Rutger Hauer’s character, he’s even more human than the supposed humans. The sequel takes that idea even further. We know from the jump that Ryan Gosling’s (Scorpio) character is a Blade Runner and that means he’s a cyborg. He’s a man, er robot of few words. Gosling has this down pat and can emote intensity with a minimum of words as he had previously displayed in movies like, “Ride.” This is the distillation of the Scorpionic character.
Gosling gets embroiled in a serious case, where he has discovered that a Tyrell replicant, Rachel as played by Sean Young (another Scorpio) had miraculously given birth. This was impossible, and was considered “a miracle” by Sapper Morton, another Tyrell replicant played by the massive Dave Bautista. An android giving birth has the same resonance as Mary and the virgin birth and this becomes the core of the film. I’m issuing a spoiler alert, because in order for me to really dive into this, I’ll need to uncover all the aspects of this film.
As Gosling focuses his search on finding the special child, the offspring the android mama, we find out more about him. He has a holographic girl friend (Joi), ably and warmly played by Ana de Armas. She exhibits more human traits than human women, which in this film is hard to identify as gender isn’t mixed and morphed, but human and synthetic biology are. Blade Runner 2049 is a Trans-humanist wet dream. We emotionally identify with an android and are touched by his relationship with a hologram. This creates a sympathetic response between the audience and essentially AI. This falls in line with other pieces of predictive programming in the film. Biometric scanning is everywhere. Ninian Wallace, the world savior and creator of a new version of replicants is a digitally modified human, jacking into a mainframe by inserting a chip into his neck. A little BR 2049 trivia; Leto’s character was supposed to be played by David Bowie, but Bowie left the scene before production began.
Blade Runner 2049 plays the role of predictively programming the not-so-distant future, with biometrics, AI, synthetic/human interface and a very dark version of Agenda 2030, dystopian cities are always dark and grey, and work seems to evolve around some level of semi-organized vice. The underlying theme is that most of humanity has checked out and is off world, but there is hope! There is a savior. Here is where we get into spoilers, so if you don’t want this to interfere with watching the movie, stop right here, but if you do, read on.
Replicants, actors re-cycled, body doubles, duality this is the world of Blade Runner 2049, but in the midst of it all is a savior. This is the miracle child that was born out of Rachel’s (Sean Young) synthetic wound. Wallace (Leto) wants her because he can’t create enough replicants to meet demands, so he envisions this miracle child as being the missing link, and create whole colonies of replicants through their version of birth. He’s looking for this “angel” and so is K (Ryan Gosling). Along the way, Gosling begins to believe that he is that miracle, because he has the memory of being in an orphanage where he hid a small, wooden horse with the date, 6/10/21 on it. The memory is so real, that when he went to visit the orphanage, he actually finds the wooden horse where he left it in his dreams. For K, this is proof, however, we find out later that this was an elaborate ruse to confuse anyone looking for the child. Enter Dr. Ana Stelline (Carla Juri).
Stelline has the ability to create memories for replicants. Due to her compromised immune system, she’s like boy in the bubble, creating memories, mindscapes, and holographic environments. After nearly dying, K is told that the miracle is a she and not a he. For a few moments, K was closer to embracing his new found humanity, but it’s Stelline, not K who has the promise of synthetic creation embedded in her operating system. This is important to note because of the chart.
We know she was born on 6/10/21 in Las Vegas, which would make her of course a Gemini and not just any Gemini, but Sun, Moon, Mercury and the TN all in Gemini, but due to the fact that she lived in isolation, where people rarely came to see her, I had to place those planets in her 12th House, which would make her a Cancer rising. This makes a great deal of sense, because she was sent to an orphanage as a child (12th House) and moves out of that 12th House institution for another, dreaming memories of lives that have never been lives.
What’s interesting is that neither Mars or Venus have any aspects with Sun/Mercury/Venus. To me, that’s indicative of having little or no contact with people on a personal level, which plays out in the film, shielded from pathogens in a hermetically sealed environment. Another interesting aspect are the bi-quintiles between Pluto and the aforementioned Sun/Mercury/Moon. The bi-quintile is a degree of genius, angling in at 144 degrees, they like trines, but something a bit more special, more like a magical gift from the divine. Pluto here is playing the role of the progenitor, the creator god, and the bi-quintiles to Sun/Mercury/Moon are quite unusual, and lend a powerful connection to self, thought and feeling. Perhaps even a bit supernatural. This chart completely fits the character of Ana Stelline, from her constant incubation in the 12th House, to the ability to project dreams onto the collective via Neptune.
If the producers of the film wanted to cast the perfect chart for this character, they couldn’t have dialed up a more accurate template for Stelline, who becomes the cybernetic Christ embodied not by a man or even a woman, but an unusual offspring of something that theoretically never should have been.
Here is Sunday night’s live stream where I get into Blade Runner and a lot more.