To get people talking about a film, or better yet keep them talking about it, storytellers and filmmakers can choose one of two extremes to ensure conversation. The film can have everything to say, or it can have nothing to say. Anything in between can almost be ho-hum with clarity. Either route creates captivating and immeasurable levels of ambiguity that are irresistible for near-infinite discourse. The vagueness, obscurity, and uncertainty found in place of the devil normally found in the details was one of the driving forces that made 1982’s Blade Runner, and its seven different versions, an initially maligned vision that grew to become a revered science fiction classic. The power of ambiguity strikes again with its long-distance sequel.