![]() ![]() To intervene, to save her, is a barrier she cannot transcend, but she still experiences the human feelings of pain and empathy. To Luv, this replicant woman is her family, her kin, and she stands in motionless quiet agony watching this murder. Wallace uses a knife to slice open her gut and womb, the way you might slaughter livestock. “Dead space between the stars,” he remarks with terrifying indifference. Wallace butchers a newborn replicant, a short-haired woman covered in an ambiguous yellow fluid, scared, trembling and useless to Wallace because she (like all replicants) is barren. Luv’s first very-human tears come as she witnesses a murder. Like so many people who feel helpless in today’s society, Luv is a prisoner to her programming. ![]() She weeps when they suffer and is heartbroken when they die, but is incapable of acting to stop either. Look to how Wallace, a figurative Pharaoh who lives inside a massive shadowed Pyramid, schemes to enslave all replicant life and their potential offspring, treating them like the Hebrews in Genesis-built civilizations off the “back of a disposable workforce.” And yet, as she simply must follow the orders of Wallace, she feels love for her own species. For her, catharsis and change comes hard if it comes at all, an arc that is more intimately human than K’s fairy tale of self-discovery. But while K represents our desire for change and catharsis, Luv is more vividly human. In sharp foil to Luv, K is a lost soul trapped in cyberpunk melancholy, a blade runner on a quest for meaning amidst absent identities and a girlfriend that’s more hologram than human. She is Niander Wallace’s ( Jared Leto) right hand, a henchwoman designed for obedience and matter-of-fact control. ![]()
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