More than just a box office flop that resurrected itself in the midnight movie circuit, Blade Runner (1982) achieved extraordinary cult status through video, laserdisc, and a five-disc DVD collector's set. Blade Runner has become a network of variant texts and fan speculations—a franchise created around just one film. Some have dubbed the movie "classroom cult" for its participation in academic debates, while others have termed it "meta-cult," in line with the work of Umberto Eco. The film has also been called "design cult," thanks to Ridley Scott's brilliant creation of a Los Angeles in 2019, the graphics and props of which have been recreated by devoted fans. Blade Runner tests the limits of this authenticity and artificiality, challenging the reader to differentiate between classic and flop, margin and mainstream, true cult and its replicants. Sean Redmond excavates the many significances of the film—its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director’s Cut form, then further revised in a Final Cut in 2007, and what this means in an institutional context