Fox

From the moment Ana is introduced, even before we meet her face to face, she is a mirror of K. They are copies of one another. Two people can't have the exact same genetic code, but the closest one can get is twins. They shared their defining memory and splintered off later in life as siblings do.

There was always meant to be two of them. The files say that one died from an illness and the other lived. We find out that Ana was stuck on-world from an illness that she developed. Only, she didn't die. She was left behind and abandoned to work for Wallace and other corporations needing her memory making services. Ana is the real girl and K is her ghost.

A life of freedom as long as it's behind glass. K has the same as long as he obeys the rigid system that keeps him tethered. Neither are truly living. It's escapism. They both dream of realities where they are loved. By illegally putting her memory into K, Ana created a family member. He's her copy—a sibling, a twin—someone who shared her life experience and could relate. Two children, protecting the only item they have left from a father who they had never met. As one, they had stowed it away in a furnace and enduring being beaten. They lived this. Together. Ana's last name of Stelline. Little stars. It beings to mind the Gemini zodiac sign. The twins. Castor and Pollux and their horses. K was the invisible companion of Ana, an unborn ghost. Maybe she imagined him when things got too dismal. Maybe she thought about having a brother or a sister. When the time came, she offered up the memory to the Wallace corporation so the burden of that childhood could be shared, understood. A sibling made reality. A ghost was made solid, living flesh. Who would have thought that replicant would come looking? Who would have thought Officer K would break every shred of genetic modification and careful conditioning to find her, his sister, while searching for answers because he cared, because he was part of Ana's scattered family and didn't know it.

Again, they mirror each other. In the same moment that Ana is looking at the snow falling on her hand, K is doing the same. Even in the end, they are connected. Left hand and right hand—two parts of a whole.

No one had ever come for K. He makes sure someone comes for Ana. He knows what it's like to want family so badly that your very bones ache, that you would kill another one of your kind for the first time for it. He found their father and brought him home. He was a good brother, a good son.

There is a void over Ana's right shoulder where K should be. Her ghost—her copy—has died even if she does not know it yet. His death in a roundabout way fulfills the prophecy of the DNA database findings. Two siblings, a boy and a girl. One dies. He haunted her before his inception and he haunts her still after his body is found on the stairs of the upgrade center. If only she had spoken up. If only K had told Deckard the truth. If only there had been another way to love someone without remaining a stranger.

At the risk of sounding like a broken record because I've honestly lost count of how many times I've said this, I genuinely believe Deckard would have shrugged and accepted the fact that he and Rachael had had two kids.

I think the three of them could have been happy together, but Blade Runner 2049 is a modern Greek tragedy seeped in the lore from thousands of years ago. There are no joyous endings here.

2000

He wakes up in the hospital after hours of surgery and barely surviving his botched bank robbery. His wrists are cuffed to the bed frame as if he is in any state to make a run for it. He has thirty staples in the back of his skull, his right leg in a cast, and is post-blood transfusion.

Romina, of course, isn't at his bedside. Neither is Robin. It seems he has burned all his bridges for good this time. He starts wondering if he is better off dead so he can't hurt anyone else when the door to his hospital room opens. A nurse walks in followed by a stranger in a suit jacket.

“Your lawyer is here,” the nurse says disdainfully.

Luke can't say he blames her. It seems kind of a moot point to get him representation now after all he's done. He knows what is next for him when he goes to court. The nurse leaves them alone and his lawyer that he didn't ask for and doesn't want pulls an armchair over to his bedside.

The first thing his lawyer asks is: “Want some gum?”

He sets a manila folder on the bed and takes a package of gum out of his breast pocket. Luke is high on pain meds but not that high. He doesn’t need some justice-loving cop sympathizer to patronize him right now.

“The hell kind of lawyer are you?” Luke grits out.

“Oh, I'm not your lawyer. That's just something I told the front desk to be let in through the doors.” His Not-Lawyer introduces himself as Donald Fitzroy. Turns out he’s worse than a lawyer, in fact he's CIA, and he wants to recruit Luke for an elite unit called The Sierra Program.

“Go fuck yourself,” Luke tells him. 

But Donald Fitzroy doesn't take his words at face value. Luke knows why— they both know he has very limited options. Life in prison at best, death row at worst. Or he could go with Fitzroy and work for The Sierra Program. On paper he will have died in the hospital due to complications during surgery. His son, Romina, and anyone who ever had the unfortunate luck of meeting him will never know what becomes of him. Luke Glanton will be a ghost. A Gray Man, as Fitzroy puts it. And when he says it like that, the choice is clear.

Luke's never been the type to make good decisions.

2024

Luke Glanton is gone. From traveling-stunt-man-turned-bank-robber-deadbeat-father to CIA spy. He is Sierra Three. Sort of. 

The Sierra Program is dead in the water, but he knows how to stay afloat. Something serious went down in Europe last year, and the CIA has been scrambling ever since. With Fitzroy dead and this Carmichael asshole at the forefront of CIA operations, Luke plays his cards carefully. As Sierra Three, he works at Carmichael’s beck and call so long as he doesn’t want a bullet in the back of the head for just being associated with Fitzroy's defunct program.

In his time working under Fitzroy, his roles were often the same. Undercover work in gang settings, gathering information on low lifes and eliminating threats to national security. He was plenty good at blending in with the criminal scene. Even though he's learned several new languages, a dozen different fighting techniques, and how to assimilate into different classes and societies with ease, he still often feels like the uneducated screw up he was in his youth. If anyone from his past could see him now, he is sure they would think the same.

But he puts aside his identity crisis in favor of survival. That means he doesn’t argue when he is sent on his latest mission to a strip club of all places, and not even a high end one. It's a run down club in the outskirts of Seattle. His target is a bouncer at the club. According to Carmichael, his target is the cause of all of the CIA's woes for the past eighteen months. Sierra Six.

They finally tracked him down here in the bustling city, living the quiet life with Fitzroy's niece. Luke knows Six's mindset in choosing this place to lay low. It's a tourist-frequented city, which means it's populated enough to blend in but not so riddled with crime as to have too high of a police presence. If Six is anywhere as skilled as Luke is, which he suspects is more than likely the case after reading about the events that unfolded in Prague, Six chose to work nights here because no one would suspect a super spy to be a club bouncer of all things.

Luke has no loyalty ties to anyone from The Sierra Program. He has never been that attached to his identity as Sierra Three, nor has he ever felt the need to kiss up to Fitzroy for pulling him out of that grave he dug for himself. Fitzroy picked him because he was young, desperate, and knew his way around a motorbike. Not because he cared about second chances. With this in mind, his mission is simple: eliminate Sierra Six.

He bides his time, spending a couple hours at the bar, occasionally tipping the dancers to give him an excuse to stick around. The club bouncers have two shift changes as the men switch out for their lunch breaks. Luke is getting a lap dance from a freckled redhead (she's probably a lovely woman, but he chose her on purpose because she looked nothing like Ro) with his eyes on the front door to keep watch. Around two in the morning, Six heads outside after his break to stand guard. Ten minutes later and the lap dance is done. Luke gets up and tips the dancer extra well because it isn't his money anyway and she deserves it. 

He stumbles out of the bar, playing the part of drunken clubber with ease. It's a show he has put on a hundred times before, because people tend not to question someone who looks like him behaving like a fool. He leans heavily against the dirty wall of the club, standing close to Six but not too close.

He fumbles with a pack of cigarettes, pretends to almost drop one, and asks Six, “You got a light, man?”

Six's face is neutral, the skin around his eyes creasing just a little in a betrayal that he feels something from this interaction. Maybe disgust, maybe pity, maybe irritation from being disturbed at his post. But he silently pulls a lighter out of his pocket and lights up Luke's cigarette when he holds it out. As he does this, Luke deftly pulls his pistol and presses it against the soft part under Six's ribs. 

Six's neutral expression turns cold and he makes a low sound in his throat. Before he makes a move, Luke hisses in his ear, dropping all pretenses of drunkenness, “If you want the girl safe, you listen first.”

The girl is Claire Fitzroy, who appears to have become something akin to Six's adoptive daughter. She is obviously important to him from the way he stills and levels Luke with a killer glare. Too bad looks aren't deadly, otherwise they'd both probably be long gone.

Luke walks the both of them around the side of the club into a darkened alcove. The back door of the building leads out to the dumpster here. There's a security camera pointed right at the back door, which will come in handy in a moment. For now Luke stays in its blind spot and keeps his tone clipped. He doesn’t lower his gun.

“You have been compromised. Carmichael knows where you work, where you sleep, where you shop. If you want him coming after you then you should stay put. But if you want to stay alive you will leave tonight.” It's clear that these words are not what Six expected to hear. He doesn’t untense or lower his guard in any way, but he does give Luke a cursory once over. 

Here's the thing: Luke has no love lost over the death of Donald Fitzroy. He doesn’t care much for what happens to The Sierra Program, or how much the CIA is willing to sweep under the rug to keep business as usual. But Carmichael is a prick. He thinks he is the puppet master of all puppet masters, and believes people like Luke are born to live and die at his whim. People like Carmichael—who tout their status as Harvard graduates while walking over the real hard workers, who spit on people just trying to get by every day— they're the reason Luke got into this mess. And even though he can't get out of it, he can at least do something to make sure others have the chance.

Six asks, “Why don’t you just kill me? Afraid I might haunt you?” He's goading Luke, trying to get a rise out of him to see if he changes his mind. But Luke just smiles, tight-lipped and just short of sentimental. 

“Guess I have a soft spot for people trying to do right by their kids.” The words don't soften up Six's steely exterior. They aren't meant to. “Back up to be in view of the camera. I'm gonna shoot you in the right shoulder. It's gonna hurt like a mother fucker but I won't hit anything major."

“Then what?” 

“Then you drop dead and I shoot out the camera. You go ghost, and we never see each other again.” He hesitates for a moment. When Carmichael looks back on the footage, he's going to wonder what took them so long to get in frame. He'll need an alibi to avoid suspicion. “Punch me in the face first.”

Six either comes to the same conclusions about the alibi, or he is just that eager to land one on the guy who dared upend his carefully crafted retirement. Without hesitation he lands a mean right hook on Luke, the ring on his middle finger splitting skin and turning Luke's vision white for a hot second. He stumbles back but regains his footing moments later. He aims his gun. Six nods his assent and puts up his hands, backs himself up to be in view of the security camera.

“You're Sierra.” The way Six says it makes the words a statement rather than a question. It doesn't matter what Luke responds, because the truth is clear.

Maybe Luke has some loyalties to the program after all.

“And you're dead.” He fires a single, clean shot into the meat of Six's shoulder. Six goes down instantly and doesn't bother to muffle his groan of pain.

Luke steps up to him and shoots twice more in succession. His bullets find the concrete around Six, but Six jolts like he's been shot again. To the cameras it'll look like Luke is finishing the job. Maybe Carmichael will be fooled, maybe not. It's definitely possible that all this will have been for nothing, and he'll have someone eliminate Luke then send someone after Six once more. But there's still the chance that they'll both get out of this alive. Six will go off the grid with Fitzroy's niece and Luke will go back to doing the CIA's dirty work. It’s a chance they're both willing to take.

He looks down at Six and lowers his weapon. Six's eyes are shut and he holds his breath in a mimicry of death. The blood pooling under his shoulder is real. Luke looks into the security camera dead on. He makes sure whoever looks back at this footage gets a good look at his identifying tattoos, the unmistakable frown on his face. He points his gun up at the security camera. The blinking red dot speaks to him in a silent language. You'll never be free. Someone will always be watching over your shoulder. You’re just somebody's broken plaything.

Colt Seavers as Sidney Prescott

Final Girl Energy / Bad Luck Energy

Vulnerable characters with weaknesses but totally capable of kicking ass

Driver as Billy Loomis

Very crazy (that's why the girls love them)

Probably (most definitely) have mommy issues that they channel into one hobby

Holland March as Stu Macher

Class clown energy and WILL give in to peer pressure

Really bad at holding on to their guns

Sebastian Wilder as Gale Weathers

Blinded by their ambition for success

Characters that are kind of assholes to others until they find a love interest that softens them up

Ken as Dewey Riley

Goofy under appreciated characters with cool hats

Lovesick puppy energy

Jacob Palmer as Tatum Riley

Fashion icons

Fall under the slut character archetype, but they have hearts of gold and WILL fight for their friends