is heartbreaking in its gentle evocation of the memories, experiences, and passions that have driven Batty's short life". The Guardian writer Michael Newton noted that "in one of the film's most brilliant sequences, Roy and Deckard pursue each other through a murky apartment, playing a vicious child's game of hide and seek. As they do so, the similarities between them grow stronger – both are hunter and hunted, both are in pain, both struggle with a hurt, claw-like hand. If the film suggests a connection here that Deckard himself might still at this point deny, at the very end doubt falls away. Roy's life closes with an act of pity, one that raises him morally over the commercial institutions that would kill him. If Deckard cannot see himself in the other, Roy can. The white dove that implausibly flies up from Roy at the moment of his death perhaps stretches belief with its symbolism; but for me at least the movie has earned that moment, suggesting that in the replicant, as in the replicated technology of film itself, there remains a place for something human." After Hauer's death in July 2019, Leah Schade of the Lexington Theological Seminary wrote in Patheos of Batty as a Christ figure. She comments on seeing Batty, with a nail through the palm of his hand, addressing Deckard, who is hanging from one of the beams: Then, as Deckard dangles from the steel beam of a rooftop after missing his jump across the chasm, Roy appears holding a white dove. He jumps across to Deckard with ease and watches his hunter struggle to hold on. 'Quite an experience to live in fear, isn't it? That's what it is to be a slave.' Then, just as Deckard's hand slips, Roy reaches out and grabs him – with his nail-pierced hand. He lifts up Deckard and swings him onto the roof in a final act of mercy for the man who had killed his friends and intended to kill him. In that moment, Roy becomes a Christ-like figure, his hand reminiscent of Jesus's own hand nailed to the cross. The crucifixion was a saving act. And Roy's stunning last act – saving Deckard when he did not at all deserve saving – is a powerful scene of grace. Tannhäuser Gate The place named "Tannhäuser Gate" (also written "Tannhauser Gate" and "Tanhauser Gate") is not explained in the