Episode 6 - 11 - 12

Howdy and how do, adoring public. I guess this week the big news is the ubiquitous deflation of Prometheus (called it). Most people were disappointed for reasons they couldn't quite put their fingers on. Personally, I put a gigantic finger on Damon Lindelof, the "Lost" co-tard, who has again shown his alacrity for creating a good idea and then sharting it down his leg with poor execution masquerading as existential ambiguity. As an Alien prequel, it's inconsistent; as a metaphor on myth and creation, it fails due to a lack of internal logic; as a postmodern pastiche of Stanley Kubrick and Scott's own oeuvre, it baffles; as a space-chiller, it occasionally succeeds; as a visual deployment of ideas, it works, but the parts do not make a compelling whole. Ridley Scott has entered a weird phase of his own postmodern cycle, couched within the existing cultural postmodernism, wherein he references and/or inadvertently parodies his own canon. Like a cocktail party guest who makes his greatest remark five minutes in, he can only stand around awkwardly, gesturing to his lauded moments with increasing desperation, unable or unwilling to move on.

The Boom Operator felt the film was serviceable, citing the use of non-digital effects and the admittedly great performance from Michael Fassbender.

We heard music from the following:

Predator, 1987 - Alan Silvestri
Project Metalbeast, 1995 - Conrad Pope
Poltergeist II: The Other Side, 1986 - Jerry Goldsmith
Prometheus, 2012 - Marc Streitenfeld

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