Let's take a look at the future of Los Angeles 27 years from now in 2019. Hmm. Perhaps it's the recent past. We're looking for someone or something. More human than human. We're looking for the baddest blade runner of them all. Welcome to the WYCU, the Weyland Yutani Cinematic Universe. It's past time to take a look at one of the most enduring science fiction franchises.

Meta franchise and shared cinematic universe. Over the course of these four episodes of the ImplausiPod, we're watching all 19 movies and one series in the WYCU, but we're watching them with a twist. We're not watching them in release order. We're watching them chronologically as they appear in the timeline in universe, as they appear from historical times to the near and far future.

This is part two where we look at the Blade Runner universe, as well as a few titles that are tangentially connected to both Blade Runner and the WYCU, and try and figure out how it all fits together in this episode of the ImplausiPod.

Welcome to the ImplausiPod, a podcast about the intersection of art, technology, and popular culture. I'm your host, Dr. Implausible. So if we've been exploring the WYCU, the Weyland Yutani Cinematic Universe, what are we doing over in the Blade Runner extended universe? How did we get here If the Weyland Yutani Corp introduced in the first Alien movie in 1979 and an integral part of the series and Retconned as part of the Predator franchise in 1990s, Predator Two isn't even explicitly mentioned in the two official Blade Runner films.

I think it goes without saying the beyond. Here. Be spoilers. Buckle in. Sometimes these points of connection are needle sharp, just a tiny little fish hook to hang a thread on, but a single thread is all we need. If we look at the original point of connection, the franchisal intersection between the aliens and predator continuity, it was simply the.

Prop of an alien skull included in the set dressing of the spaceship in Predator two. Just something to fill out the background, but there was enough thread on that story hook to tie together two franchises and weave together multiple stories into a fascinating meta franchise. And while the Xenomorph skull serves as a quilting point there to the Predator franchise, we can now link another thread to the alien universe to earth's distant past back to.

2019, well, maybe not that far distant, but close enough to draw in the Blade Runner franchise, which includes both the original 1982 film as well as 2017s Blade Runner 2049, and a few tangentially related films. Let's say. Given all that, what exactly are we talking about here when it comes to the Blade Runner films and where would it fit within the timeline of the WICU?

Let's see how they're all interlinked. Yes, interlink,

interlink. Blade Runner is perhaps best described as a neo noir proto cyberpunk film set in the Los Angeles of the distant future of 2019. That's a lot of adjectives to describe what is essentially a sci-fi detective story directed by Ridley Scott off an adaptation of Philip K Dick's 1968 novel Do Android's Dream of Electric Sheep, and a screenplay written by Hampton Fancher and David Peoples.

The movie was originally released in 1982. And subsequently re-released multiple times after in slightly different versions, though we'll get to more on that later. Starring Harrison Ford, who was well on his way to becoming a household name after the first two Star Wars picks, as well as Rutger Hauer, Sean Young, Darrell Hanna, and her brother Larry, and Edward James Almos in his pre-Adama phase.

Blade Runner is a story of a near future earth that has developed some artificial persons called Replicants and uses them as slave labor in hazardous locations like off world colonies. Several of them escape and make their way back to earth where they blend in and try and get more life. When a police detective is wounded, while interviewing one, a retired officer named Deckard is brought back to track down the remaining replicants.

So I guess we could say it's really a story about immigration. Current events, so to speak. I'll leave it to the lister's imagination, what that makes. Deckard. The replicants are bio-engineered, but with a fatal flaw that they only have four year lifespan, so they set to work hunting down a means to extend this, we get dueling detectives as both Deckard and the replicants are chasing different targets through the cyberpunk city of a future Los Angeles.

The street level adventure takes place in and around the vendors, merchants, shops, and patrons of the near future that Just passed. Deckard follows the official channels and meets with the manufacturer of the Replicants, the Tyrell Corporation, and ends up talking with the founder, Eldon Tyrell. This takes place sometime after he had been a mentor to Peter Weyland, but we'll have to talk about that in a later episode.

Though it does look like there's a strong thread tied to that hook, Deckard tests, a young woman named Rachel, who he finds it very difficult to determine is actually a replicant due to Tyrell implanting memories in her so that her reactions are more genuine. They meet a bit later after a nightclub visit and interview goes poorly. 

We also soon meet Roy Batty, the leader of the Nexus six, who pursues his own investigation on the street and connects with another Nexus six named Pris, who has ingratiated herself with one of Tyrell's chief engineers. Sebastian, though he doesn't have his brothers, Darrell and Darrell living with him,

Unless they're actually puppets. Batty gets Sebastian to take him to Tyrell, where he literally meets his maker and is informed that unfortunately, any attempt to extend his four year lifespan would result in catastrophic mutations and or painful death. Given this news, I think he takes it rather well.

Deckard catches up to Batty back at Sebastian's recently vacated home apartment complex and attempts to complete his assignment. He's nearly slain by Pris, but turns the tables and then engages in a wall smashing fight, ending on the rainy rooftop, one of the all time great soliloquy in cinema. It is really a great one.

I'd like to read the quote in full quote. I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watch sea beams glitter in the dark near the Atan Hauser gate. All those moments will be lost in time, like tears in rain. Time to die. End quote. I know I don't even do it justice, but that's just epic.

Blade Runner is ultimately a story about humanity, about what it is that makes us human, about what we do with more life we have and how it is finite and precious. What would happen if you come face to face with your maker and learn that you are the way you are due to decisions made by a company? Would you react any differently?

There are questions we'd each have to ask ourselves when it comes to Blade Runner, the movie. A fun thing for me personally was that I quote unquote saw the movie shortly after release, but didn't actually watch the movie until around three years later, when I was in my teens. I picked up the single issue, Marvel Comics adaptation of the movie that was released around the same time in

1982 if what is left of the search on the internet is still to be believed. And I read the heck outta that, just like any kid. Blade Runner is a seminal work in cyberpunk cinema it defines so much of the Neo Noire feel that many of the works in the genre emulated in the much the same way that the movie Tron from the same year defines so much about cyberspace.

We talked about Tron recently in a episode, if you want to track that down. So. Well, it might not be an influential work in something like the Appendix W on War Hammer 40 K. Aside from the Tyrell archeology showing up in things like the hive planets of Necromunda. Blade Runner is most definitely an influence on Appendix C or the cyber pedia or cyberpunk bookshelf or whatever we end up calling it.

Much like other works we've talked about. Both in the WYCU and the Appendix W. There's a lot of ancillary tech in the Blade Runner universe, throwaway shots and effects that have as much or more impact than the tech. The movie is ostensibly about in honor of how much there is here in this two hour movie.

Let's run through some of them. First off, the spinners, the iconic flying cars. Some days it feels like they're the most fanciful piece of tech in the flick. And then the next day you see a video of someone modifying a drone for single person carrying capacity, and maybe you feel like they're right around the corner.

Even the ground-based cars in Blade Runner had a near future vibe over-engineered and heavy and well driving on the heavily trucked streets of a modern city. You wouldn't be shocked to see something right over a blade under there too. The digital image processor the Deckard uses to hunt for clues seems to be beyond us, but the hyper scaled enhancement of modern photo software isn't that far off.

The cyber eyes seem to be inching closer to reality too, but these are closer to genetically designed than constructed the way we think about it. They have more in common with the bio-engineered animals. Even those seem to be more likely ever since Dolly was cloned and with de-extinction programs like that of the group working on the woolly mammoth fitting right in. The voight-kampff test used by Decker to test Rachel.

Basically an embodied turning test made real. Seems like we'll need one right around the corner as well. AI detectors built into our desktops and, uh, phones at every moment. And the vast building of the Tyrell Corporation shows up later in cyberpunk fiction and gaming as an arcology, a massive self-contained building, housing, people, offices, factories, and often food production, retail and entertainment.

We don't have them here really, but. There are some proposals and we might see them in our near future. The giant video to billboards adorning the sides of skyscrapers have finally become a reality. Thanks to cheap LEDs powering everything from Times Square, the sphere in Las Vegas and Shinkasen in Tokyo.

Even the all around hairdryer thing that Zhora uses can be found online for purchase, though it hasn't become quite as institutionalized as we saw there. One of the things that may have contributed to the amount of ancillary tech that we see is that often it is actually just that tech devices things, not just software on a screen, but the imaginative ways of thinking about our electronic interactions within a near future material world.

The others that the movie has had one of the longest Timeframes for its influence to be felt and that tech to be developed. It's a lot easier for throwaway tech to show up in the real world if you have a 40 plus year development cycle. Returning to the film, as we alluded to earlier, there are several different versions of the Blade Runner movie in existence.

The original theatrical cut, a director's cut released at the start of the home video era, and an ultimate cut, which came out. The main difference is the removal of Deckard's narration, which is a studio mandated edition before the movie was sent to theaters and put in there against Ridley Scott's wishes.

There's also an added scene with Deckard and Rachel making their way to the countryside, again, narrated by voiceover. The director's cut makes it more ambiguous That Decker himself may be a replicant, but for me, I think the theatrical version was burned into my brain at a young age, and that it seems normal to me, but the director's cut is an enjoyable watch as well, and not at all hard to follow without the narration.

Perhaps. We as audiences have gotten a little bit more savvy to sci-fi themes and tropes in the decades since the release of the film. It might be hard to prove, but one of the things that the various reissues and adaptations did was keep the single film franchise available and accessible for new audiences to find, whether it was from comic books like the one I read, or from the New Cuts, or for it always being available early on in new media cycles, which may be.

Aprocryphal, of course, but I recall it being available on DVD earlier than a lot of the other 20-year-old titles. There's always been a version of Blade Runner available, and the audience interest has driven a growth in transmedia storytelling in much the same way that we've seen before, both within the WYCU as.

With the Predator titles and outside with Tron and other titles as well. Blade Runner made the leap quite well. The video games with the number of games set within the universe, tasking you with using your detective skills to solve them. Much of the WYCU is driven by those transmedia connections, which sometimes fill in the gaps between the films and sometimes expand the scopes of the stories being told.

But beyond those transmedia connections, here's where it gets wild with how the Blade Runner franchise connects to the larger WYCU. Blade Runner is the first in the Blade Runner franchise Natch and the ninth movie overall in the expanded continuity. Even though we covered predator badlands in the previous podcast episode, we're not quite sure where that one pops up.

It is definitely after this, we've got a definitive connection and interlink.

Interlink. We jumped forward from 2019 to 2035 where Chicago seems to be somehow cleaner and less rainy than la, but still kind of a mess. After a top scientist takes the express exit from a high story corner office, detective Spooner is brought in to investigate the potential homicide by request from the deceased, despite it being ruled to suicide.

Impressive. Like I said, top science. The investigation points towards one of the latest model robots as a suspect, despite them having been installed with the three laws of robotics at the factory. We'll put a pin in those laws for a second and get back to them. Spooner is a cyborg, built stronger, better, and faster after a near fatal accidental run-in with a robot that led to the death of a young girl.

So he's got some robo beef and doesn't believe the marketing hype is a new line of robots is being rolled out across the country. This soon leads to an all out war against the robots, as the central AI that connects to all of them is using the bots to take control of humanity and stop the self-destructive course they're on.

I mean. The AI isn't necessarily wrong here, to be perfectly honest. Like the saying goes, every good villain should kind of have a point. Spooner and some others able to fight through the AI controlled robot hive mind to the central core inject it with some Nanite goop that was all the rage back in the 1990s

Comic books, which immediately ends the control of all the robots who are then decommissioned. It's here where our diegetic interlink appears: a, weyland yutAni logo was stenciled on a case. iRobot is a 2004 film starring Will Smith. That is loosely and I mean very loosely based on the 1950 novel by Isaac Asimov.

That is to say it's Asimov flavored in the same way that naturally flavored orange water may have passed within a few yards of an orange at some point. It's Naturopathic Asimov is what I'm saying. Directed by Alex Poya. Off a screenplay ostensibly by Jeff Vinter and Akiva Goldsman. The movie also stars, Bridget Moynihan, Alan Tudyk, Chi McBride, and a Returning Nowhere Man is the CEO of the corporation.

We're including iRobot in the chronology because of that Diegetic interlink that we just mentioned. Though it's a singleton and we're not included it in the Blade Runner franchise, it's just slots in here during our chronological rewatch sitting as the 10th movie overall in the WYCU. 

I'll admit, I came to see iRobot late as I didn't get a chance to watch it in the theaters and ended up seeing it on DVD. I was getting a better sense of movies based on the trailers, and this one didn't really appeal to me despite the subject matter and My having read the Asimov novel when I was young and impressionable. Of course, one of the big takeaways from Asimov's writing was the three laws of robotics, A set of rules that were supposedly hardwired in the positronic brains of the robots.

They are as follows. One, a robot may not injure a human being or through inaction, allow a human being to come to harm. Two. A robot must obey the orders given it by human beings, except where such orders with conflict with the first law. And three, a robot must protect its own existence as long as such protection does not conflict with first or second law.

This gives us a framework for the robots to act in and functions as a plot device for stories to be based off of. Within Asimov's works, the laws are also pretty sticky Memes and variations of them show up in stories by other sci-fi authors as well. The laws have been tweaked a bit, and a zero-eth law was added later.

The basis of which allowed Viki the AI in the movie to attempt to protect humanity from its own self-destructive tendencies. But we will hold off on this for a bit. I mean, we talk about it when we visit the foundation series sometime in 2026.

Like a lot of the sci-fi of the early two thousands. One of the things the movie does have going forward is the amount of ancillary tech that we see, including badge scanners, funky printouts, and display surfaces and the automobiles.

Often sci-fi vehicles look like something from a designer's prototype lab, which is funny 'cause it's true, but here it isn't just Will Smith's elite Personal coupe, but also the massive autonomously driven delivery vehicles with rolling slat sides that deliver the robots right to you, like an oversized Necron troop carrier.

Sorry, that last preference might be a bit obscure, but I'll let you, the listener, bing that up. Most notably, however, among the ancillary tech is US robotics itself. US robots and mechanical men Was the company responsible for building the robots in the original novel by Asimov in line with the Tyrell Corp and Blade Runner, or Weyland Yutani themselves, but one that ended up becoming a real company?

As the firm, US Robotics, the famous makers of early computer modems and networking hardware was named as an homage to the original novel, and now operates under the name USR as a division of a larger corporation. Overall, the hooks and threads here, tying this into the WYCU, are thin and given how the whole larger Asimovian robots and foundation universe connects together.

Perhaps we don't want to draw too tight of a connection, but what we're seeing here with the development of both cyborg humans and synthetic forms of life finds us with a degree of consilience and overlap with the other entries, and not just the sequence here, but also the broader WYCU. However, there was more going on in 2035 than we expected.

Interlink.

Interlink 

and I say there's more going on in 2035 because in 2036 the off world colonies are getting a little bit restless, much like they were back in 2019, but we might be getting a bit ahead of ourselves. In 1996, a secret government military program begins training children to become ruthless soldiers, not universal ones, mind you, but close enough.

After countless battles on multiple planets, a new program of genetically engineered soldiers promises troops that are better, stronger, and faster than the ones that came before. After an internal contest. The old models are reduced to KP duty and the defeated Kurt Russell, Todd, 3, 4, 6, 5, is dumped on a trash planet.

Yes. Much like Star Wars planets can only be one thing in this universe too. Turns out there are survivors of a crashed colonist vessel there, and Todd slowly ends up getting accepted by the village. When the genetically engineered soldiers end up at the planet on a recon mission, their commander orders 'em to assault the planet to gain some combat experience, and Todd goes full Rambo on them.

With Rambo mode activated. This isn't a close contest, obviously, and the MO movie ends with Todd and the surviving colonists and other soldiers making their way to the colonists' original destination. I don't mean to gloss over the details of the movie or give it short shrift, but the phrase, it's not that deep serves us well here.

It is mostly an action movie with little dialogue uttered by the protagonist. Soldier starred Kurt Russell in the lead role and was released in 1998. Directed by Paul Anderson and written by David Webb Peeples. The cast also included Connie Nielsen, Jason Scott Lee, and Gary Busey returning to the WYCU after his gonzo turn in Predator two.

Maybe it was a distant relative though, given the movie is set in 2036, not that distant from 1997 of Predator two. Hmm. Underneath the surface, Soldier asks us similar questions to Blade Runner, wondering what makes us human. With the older model soldiers potentially being replaced by the newer quote unquote model that has been genetically engineered.

This engineering isn't quite to the level of the replicants in Blade Runner, or at least not explicitly mentioned as such, but it could be, if we look at it ascance, we can see that there might be some overlap. Soldier doesn't quite give us the level of detail on the genetic engineering going on for us to really make a determination one way or the other.

But that's just one way to link it back to the WYCU. Soldier was described as existing within the Blade Runner universe by the writer David Webb Peoples a sidequel or spinoff. And aside from the aforementioned spinner on the junk planet, we see that Kurt Russell fought in some of the same battles as Roy Batty.

The TannHauser Gate and such, so that and the existence of the off world colonies themselves seem to be enough to connect them together. Even if the new model army soldiers might not be necessarily replicants, this would also put it second within our micro franchise and 11th within the larger WYCU.

Given the timeframe, it kind of does slot nicely in within the chronology though. We'll explore that a bit more in depth near the end of this episode. I don't think soldier really influenced much in terms of Appendix W, though the ridiculously oversized guns and the APCs do seem to draw a direct line between the real world and what we eventually see there, as does the genetically engineered soldiers.

Other than that, we're not seeing a lot of instances of ancillary tech, either other than some of the weapons tech, and it's almost kind of low tech in some instances, but it still fits within our timeline where those genetically engineered life forms are getting more prevalent back on earth. This is our last interlink.

Interlink 

Looks like a lot has happened in 30 years. We begin with some expository text letting us know that replicants still exist, but the Tyrell Corporation is no more having gone bankrupt after several rebellions, it has been succeeded by the Wallace Corporation, which has kept the Nexus product label for some reason.

Maybe this is like Lenovo buying the ThinkPad rights off of IBM, but you think that after your quote unquote product revolts, a couple times, someone in corporate might have put together a pitch deck for a new name. So maybe not that much has changed. After all, we're treated to a car flying over a desaturated landscape, past solar power collectors and blasted farmland where hydroponics reign supreme, like we're passing over the cucumber farms of Medicine Hat.

I'll admit that might be a niche reference, so you can bing that up yourself. The car lands by a blasted and desiccated tree, and the pilot gets out to meet the farmer whose hands deep in his aquaculture business of algae and mealworms. Turns out he's an escaped replicant who's been hiding under the radar and he has soon retired, but not without a wall busting fight worthy of Roy Batty and Deckard from 30 years earlier.

But there's more to the farm than expected. A LIDAR scan shows a chest that ends up containing human remains, humanoid at least. And this sets off our mystery for our detective, who we learned goes by Kay back at the police station without the escort needed for Deckard, we find out that Kay is a replicant, so nothing left ambiguity there.

Kay is shunned by the other officers and also needs to keep taking quote unquote baseline tests to make sure he is on the straight and narrow. I guess this is how they prevent the replicants from revolting it. Unsure. Kay lives alone in a small apartment with a holo girlfriend named Joy that he is clearly infatuated with.

She's kinda like the virtual opposite of Robert Ricardo's Doctor, but more along the lines of Cyborg Betty. So we have a relationship between two post-human characters, a genetically engineered human, and a virtual companion. It's wild stuff if you think about it, but maybe that's what it's all about, post-human relationships, because that's kind of what the first movie was about too,

when you get right down to it. Kay visits the Wallace Corporation as part of his investigation and we the audience meet with Wallace, the presumably Trillionaire, CEO, and designer of the company making replicants who has cyber eyes and a complete disregard for replicant life and is just as alien and post-human as the replicants and holograms.

Wallace also wants to find the secret for what was in the box, which contained the bones of Rachel from the first movie, who has apparently given birth, which means that Replicants may be able to reproduce. For Wallace, this would mean a massive expansion of his ability to produce colonists and labor for the off world colonies, as he wouldn't have to continue with the presumably slow process of creating

Full-grown replicants and could just let nature take its course. So much like the first film, we get that duality, that mirrors the structure of the detective looking for something that others want to find for their own ends. This might be a trope that is endemic to detective fiction, to be honest, but I don't consume or analyze a lot of detective stories.

It's worth looking into though. Kay's pursuit leads him to the memory of a specific date, 6 10 21, which would've been about two years after the first film, long enough time for the birth of a child if it was Rachel's. This leads him further on the hunt for the mystery through an orphanage and his own memories where he thinks that he might be the actual child.

A memory crafter trapped in an isolation bubble lets him know the memory's real, though. Real for who is the question. He finds Deckard in the radiated wasteland of Las Vegas, which doesn't look that different now that the tourists have stopped going. However, they're both ambushed by Wallace's Pursuit team who kidnaps Deckard and takes him back to L.A. Wallace offers Deckard a recreated Rachel in exchange for the information, looking as she did 30 years ago.

Except the dev team botches her eye color and Deckard refuses. As he is escorted out. Kay manages to force the spinner he is being transported into the ocean, and a fist fight with the other replicant ensues, with Kay narrowly winning. Kay takes Deckard to meet his and Rachel's daughter, the memory crafter in the bubble, and then lays down on the steps in the snow in LA

Directed by Denis Villeneuve and released in 2017. Blade Runner 2049 moves the timeline ahead by 30 years. Natch. The screenplay was written by Hampton Fancher and Michael Green and stars Ryan Gosling, as well as Anna D arma, Jared Leto and Harrison Ford and Edward James Olmos in a post Adama appearance.

2049 is the 12th film in the WYCU chronology and the third film in the Blade Runner meta franchise. Though by the time of its release, there were so many transmedia releases, tie in novels, shorts, and other pieces of content that it's hard to really pin down a number, like a lot of Denis Villenuve movies. I had to watch this at home as I run the risk of passing out halfway through the movie.

It is visually stunning though, and deserves to be seen on the big screen. Much like the first movie, there are a number of interesting ancillary tech pieces that feel like might be decent candidates to see some real world invention, like the personal home holograph companion, along with subscription plan and upgrade packages.

Natch, as well as the holographic costume overlay and the memory sculptor as an Etsy artist, but for a lot of the tech, the movie feels too recent to be to say for sure. While Blade Runner 2049 has strong ties to the original Blade Runner film, it doesn't really connect out from there to the larger WYCU.

That doesn't mean it isn't there as the more advanced models of replicant have more in common with the later synths that appear in Alien Earth and the Aliens franchise, though we'll get to those connections when we come across them.

Ultimately, there are two questions we have to ask about these films in the franchise. One, does it fit with the technology? And two, does it work within the chronology? I think the answer is yes to both, but with a big asterisk in both cases as well. Tech-wise, the films work. There's an interesting overlap between the diversity of approaches to transhumanism within the films, whether it is through life extension, artificial life cybernetics, genetic

Modification or psychological training. We see all of these throughout the films, and I believe we'll see more of these forms of life in the later films as well. So we'll stay tuned for how they connect in the next episode of the WYCU when we look at Alien Earth. The more challenging connection is the timeline.

Obviously Blade Runner now exists in our past with 2019 in the rear view mirror and the 2035 and 2036 of iRobot and Soldier coming up surprisingly quickly, and while humanoid robots are starting to feel like they're just around the corner, off world colonies are more than a little way off, despite what some techno optimists might have you believe.

I think the solution here might just be to move the entire mini franchise or a section of the WYCU ahead 30 years, though granted iRobot could stay where it is. This would put Blade Runner, the original Blade Runner at 2049 instead of 2019, like the original movie with soldier taking place in 2066 and Blade Runner 2049 in 2079.

This also keeps this entire chain ahead of all the Alien films because the earliest alien film Prometheus is about 2093 in terms of the chronology. So let's just give it a 30 year time jump, and that'll get us to the third challenge introduced by the films with the off world colonies of Blade Runner, and Soldier, particularly.

These are also meant to imply extra-solar, not just planets within the solar system, but outside of it. While the Predator films obviously had extraterrestrials capable of interstellar travel visiting Earth on a surprisingly frequent basis, human-driven off world travel doesn't appear to be in the cards

based on our current understanding of physics. It's the one big lie behind most science fiction stories that if you get past that or find a way to hand wave it to your satisfaction, well then you have a whole galaxy to explore. But who knows what horrors, lurk in interstellar space. We will step away from the WYCU to visit the Fallout Universe prior to the release of the second season with perhaps a few other holiday stops along the way.

But then we'll be back to pick up the final two parts of the WYCU early in 2026 with a look at Alien Earth and the Aliens Franchise. I hope you'll join us for those.

Once again, thank you for joining us on the ImplausiPod. I'm your host, Dr. Implausible. You can reach me at Dr implausible at implausipod.com and you can also find the show archives and transcripts of all our previous shows at implausipod.com as well. I'm responsible for all elements of the show, including research, writing, mixing, mastering, and music, and the show is licensed under a Creative Commons 4.0 ShareAlike license.

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