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Speaker 1: Welcome to Stuff to Blow Your Mind from how Stuff

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Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind.

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Speaker 1: My name is Robert Lamb. My name is Julie Douglas.

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Speaker 1: And in this episode, we're going to talk about a

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Speaker 1: little movie that came out this year called Prometheus. Of

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Speaker 1: this tiny, tiny, little indie flick. You probably have not

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Speaker 1: heard about it, tiny little viral marketing campaign on the web.

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Speaker 1: Maybe a TV added too. You know. Um names in it, Yeah,

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Speaker 1: up and coming guy by the name of Ridley Scott

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Speaker 1: and directed it. Yeah. So why are we talking about it? Well,

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Speaker 1: everybody is talking about it in one way or another.

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Speaker 1: And there there's a lot of talk about the science

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Speaker 1: in this film because we've discussed the importance of fiction,

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Speaker 1: the importance of science fiction before um, where we're creating these, uh,

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Speaker 1: these fictional versions of what the future will be, that

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Speaker 1: be like based on present technology, emerging technology, modern concerns,

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Speaker 1: modern fears, modern hopes, and then you wrap that all

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Speaker 1: up into a nice package and consume it. And uh,

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Speaker 1: Prometheus is one of, if not the biggest science fiction

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Speaker 1: films to come out in um really, for my money,

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Speaker 1: the biggest science fiction film to come out in a

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Speaker 1: while I can't remember the last one that I really

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Speaker 1: kind of got excited about and and and ultimately really

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Speaker 1: got my my mind moving in a scientific way, saying,

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Speaker 1: in the last ten years, can you think of anything

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Speaker 1: and that's been quite on this scale? Yeah? Not not

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Speaker 1: not quiet No. Um. So we are going to jump in, uh,

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Speaker 1: and we are going to discuss this film, but we

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Speaker 1: want to let you know that we are going to

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Speaker 1: have a clean divider between spoiler free and spoiler talk.

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Speaker 1: So from now until the commercial break that we take,

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Speaker 1: we promise to steer clear of any major spoilers anything

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Speaker 1: that happens in the you know, the later portions of

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Speaker 1: the film when once the plot gets moving and all that,

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Speaker 1: and we're and we're can also save our opinions for

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Speaker 1: the most part for that section as well. After the

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Speaker 1: commercial break, anything's game. So fair warning if you if

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Speaker 1: you have seen it, you can listen to the whole thing,

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Speaker 1: no worries. If you have not seen it and would

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Speaker 1: like to watch it spoiler free, then when you come

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Speaker 1: to the commercial break, pose it and come back after

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Speaker 1: you've been to the theater. So before we jump completely

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Speaker 1: into it, let's uh, let's actually requain ourselves or if

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Speaker 1: you have somehow missed that massive ad campaign um that

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Speaker 1: they launched online and on TV and probably in the

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Speaker 1: sky and in our skin for yeah and our dreams,

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Speaker 1: then here's the taste of what the movie is is about,

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Speaker 1: as much as we can convey in a purely audio environment.

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Speaker 1: So so here you go. Here's a little clip from Prometheus.

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Speaker 1: Please tell me you can read that. What are you doing?

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Speaker 1: I'm attempting to open the door. Wait, we don't know

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Speaker 1: what's on the other side. Sorry, remarkably humor beautiful painting.

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Speaker 1: It's a mural. Stop. Don't don't touch sorry, please, don't

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Speaker 1: touch anything. Kay. Oh no, the mules are changing. I

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Speaker 1: think we lived back to the others during the room

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Speaker 1: Charley David. What must they know? So that clip kind

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Speaker 1: of introduces the mystery and intrigue that unfolds as we

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Speaker 1: follow a crew of scientists and soldiers and explorers and

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Speaker 1: mysterious corporate people as they travel to a just an

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Speaker 1: exo planet in attempt to discover possibly the origins of life.

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Speaker 1: That's right, it's a trillion dollar trip. Yes, right, this

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Speaker 1: is uh not you know, some sort of weekend jaunt.

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Speaker 1: It's taken them two years and I don't believe that's

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Speaker 1: a plot spoiler at all. There two years to too,

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Speaker 1: it will take two years to arrive on this planet.

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Speaker 1: And uh, they are aboard the U. S. S c

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Speaker 1: SS Prometheus, which is a nuclear ion plasma engine fueled craft. Yeah,

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Speaker 1: and it is. It is really pimped out because this

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Speaker 1: whole venture in this film is is the product of

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Speaker 1: of this Peter Whalen character, this Whaland Industries, and and

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Speaker 1: this is a fictional congaboration of various, um, you know,

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Speaker 1: major tech company. So so think a little a little

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Speaker 1: bit of Branson inversion Galactic thrown in here, you know,

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Speaker 1: a little bit of Google, a little like any major

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Speaker 1: company that's really on the um you know, on the

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Speaker 1: cutting edge and the bleeding edge of technology. This is

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Speaker 1: an amalgamation of the VAT. And what I like about

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Speaker 1: this whaling character, to this Peter Whaland who's the head

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Speaker 1: of this corporation, is that he does have this Branson

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Speaker 1: like spirit in that he breaks all the rules. Right,

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Speaker 1: he's um, he's a pioneer. He is someone who lives

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Speaker 1: life to the fullest and he's interested in in exploring

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Speaker 1: every corner of the universe. And so I do think

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Speaker 1: it's a very engaging character, and I think actually get

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Speaker 1: that sense more from the promoes than the actual movie. Yeah,

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Speaker 1: they did some virals where he's doing a Ted talk,

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Speaker 1: I believe, and he's talking about, uh, you know, really

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Speaker 1: just something of his philosophy on on science and human achievement.

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Speaker 1: And I was thinking too that for for me, this

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Speaker 1: is the first time that something like that, this material,

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Speaker 1: this media that is not the movie itself, has really

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Speaker 1: enhanced my my enjoyment of the movie itself. Yeah, because

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Speaker 1: generally it's just one off stuff that is aimed at

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Speaker 1: getting in your theater, and they really were very interested

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Speaker 1: in getting you thinking about the film in the world

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Speaker 1: of the film prior to to you actually picking up

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Speaker 1: a ticket. And I love that they framed it in

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Speaker 1: the Ted dot com talk, you know, because and one

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Speaker 1: of the things they said actually is that they wanted

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Speaker 1: when they were advertising for the film, that they wanted

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Speaker 1: people to sort of engage on a different level and

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Speaker 1: to perhaps even be introduced to Ted dot com itself

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Speaker 1: if they never had listened to Ted dot com, which

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Speaker 1: is great because Ted, of course, I feel like most

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Speaker 1: of our listeners probably know Ted, and if you haven't

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Speaker 1: do check out the Ted Talks because it's it's amazing stuff.

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Speaker 1: Each one is a is a you know, deals with

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Speaker 1: mind blowing topics, generally around stuff that is that that

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Speaker 1: will or can change the world for the better. So

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Speaker 1: in eighteen minutes or less, Yeah, so Whaland Industries all

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Speaker 1: this technology. Um. So, the the ship in the film

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Speaker 1: and the characters in the film have a lot of

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Speaker 1: really cool gadgets, a lot of really cool science and

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Speaker 1: this is about a hundred years in the future. And uh,

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Speaker 1: and so we're gonna spend a lot of time in

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Speaker 1: this podcast just talking taking it bit by bit, this

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Speaker 1: little technology here, a little technology there, and discussing what

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Speaker 1: we thought about it, how it lines up with things

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Speaker 1: that we've discussed before on Stuff Toble your Mind. And

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Speaker 1: and then we'll also in the later half of this

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Speaker 1: podcast we'll also get into some of the cultural aspects

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Speaker 1: um and you know, in some of the grosser goofy

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Speaker 1: stuff as well. First, I should point out that this

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Speaker 1: was a science fiction film, a big blockbuster science fiction film,

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Speaker 1: so there are certain problems that are always going to

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Speaker 1: be present. For instance, magic gravity, magic artificial gravity of

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Speaker 1: borda spaceship, UM, really, the only film I can think

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Speaker 1: of that did not engage in magical unexplained gravity has

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Speaker 1: been two thousand and one, where were they actually put

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Speaker 1: some some forethought into what it would be like in

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Speaker 1: a weightless environment. How how you would you would simulate

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Speaker 1: gravity artificially through the use of rotation. Uh. You encounter

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Speaker 1: some legitimate or at least pseudo scientific excuses for artificial

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Speaker 1: gravity in hard science fiction, so specifically hard science fiction novels,

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Speaker 1: but you get into the realm of big space movies

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Speaker 1: and they tend to either give it, give it sort

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Speaker 1: of a half explanation, or just don't explain it at all,

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Speaker 1: or it's just assume that the years and somehow they've

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Speaker 1: mastered h creating this this atmosphere where they're not floating

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Speaker 1: around heship like even Danny Boyle's Sunshine. Did you ever

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Speaker 1: see that one? Didn't um Like they had Brian cox

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Speaker 1: Um on board to to to give them science advice

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Speaker 1: as they were filming it, and they still just went

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Speaker 1: ahead and had artificial gravity and didn't explain it. And

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Speaker 1: and some people were kind of like British science journalists.

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Speaker 1: Uh Ajana Aja was was a bit perturbed by this

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Speaker 1: and made kind of a stink about it. But it's

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Speaker 1: just it's generally it's what you're gonna get with science

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Speaker 1: fiction films. Likewise, sound in space. The first Alien had

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Speaker 1: sound in space. You encounter a little sound in space,

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Speaker 1: and this one you see a spaceship traveling through the void.

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Speaker 1: Somebody's gonna want to throw in the sound of thrusters.

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Speaker 1: Someone's gonna want to throw in the sound of an

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Speaker 1: explosion if something blows up in space. Uh. The only

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Speaker 1: exceptions to this rule really are two thousand and one

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Speaker 1: and uh and also the Firefly TV show did a

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Speaker 1: good job with this of keeping uh space soundless, but

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Speaker 1: then they made the Serenity movie and uh and clearly

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Speaker 1: you know, studio heads or whoever came in and said,

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Speaker 1: this is nice, but if you're gonna have a battle

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Speaker 1: in space, we want explosions. Well, and it is a

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Speaker 1: big blockbuster. You can't really, I mean, you can't help

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Speaker 1: but expect that the audience. You're watching a blockbuster science

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Speaker 1: fiction film, you go into it with those expectations. Anything

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Speaker 1: else is just a bit silly. But two thousand and one,

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Speaker 1: I will say, um that the absence of sound really

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Speaker 1: just makes it that much more alienating and creepy and wonderful,

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Speaker 1: and that's it's the granddaddy of all science fiction films

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Speaker 1: still still holds up today. A right, So we're gonna

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Speaker 1: discuss more of the the actual technology that we've seen

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Speaker 1: in the film, but first we need to talk a

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Speaker 1: little bit about um. Sexuality in Alien specifically, and uh

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Speaker 1: in panties actually factors into this as well. Okay, So

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Speaker 1: the reason why you want to talk about Aliens and

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Speaker 1: panties and space um is because Ridley Scott directed the

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Speaker 1: first Aliens Alien. Yes, that's part of the Aliens franchise,

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Speaker 1: and although Prometheus is not directly related to Aliens really,

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Speaker 1: Scott has said that it's part of the DNA of Alien. Yeah,

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Speaker 1: and it was at least at some point in its

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Speaker 1: development a prequel to Alien, and then to a certain

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Speaker 1: extent still is yes, yeah there there there's definitely some

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Speaker 1: themes that are explored in Alien, Alien one and some

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Speaker 1: of the other ones as well as Prometheus. So let's

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Speaker 1: talk about the pantalonies. Yes. Well, okay, so if you

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Speaker 1: you go all the way back to seventy nine, I

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Speaker 1: was like a year old and uh, and Ridley Scott

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Speaker 1: makes this film, and he really he in interviews, he's

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Speaker 1: been very clear that he set out to make a

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Speaker 1: slasher movie in space, a haunted house movie in space.

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Speaker 1: You have the alien spaceship, which is and the cramped

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Speaker 1: claustrophobic um uh Nostromo's ship in the original film, and

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Speaker 1: it's essentially a haunted house with a slasher aboard, only

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Speaker 1: it's a spaceship and an alien and and in the

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Speaker 1: three decades since that film came out, we've just layered

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Speaker 1: multiple layers of criticism and interpretation and UH and fanboy

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Speaker 1: fanaticism on top of that film and really built it

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Speaker 1: up into this great intellectual thing to cirt extent. I mean,

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Speaker 1: we we've on one level. You can't help but create

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Speaker 1: a lot of thought provoking content with this, because even

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Speaker 1: if you're saying, I'm just going to create a slasher film,

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Speaker 1: what is a slasher film? Well, you can get into

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Speaker 1: a lot of interesting commentary and discussion on that on

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Speaker 1: its own. There are people that argue that a slasher

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Speaker 1: film is essentially human sacrifice. That in the old days

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Speaker 1: you had you had males that wanted to dominate society

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Speaker 1: and to uh to counsel cancel out female power and

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Speaker 1: to um combat the female science of birth, you bring

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Speaker 1: about the male science of death. We've touched on this,

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Speaker 1: I think a little bit in episodes in the past.

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Speaker 1: So whereas women create with their bodies, men kill with

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Speaker 1: their hands and their weapons. And modern societies, of course,

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Speaker 1: we're not really all about human sacrifice anymore, but we

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Speaker 1: can still make movie after movie after movie in which females,

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Speaker 1: typically females that are engaging in um stereotypically unethical behavior,

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Speaker 1: are brutally murdered by a male figure. Okay, so what

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Speaker 1: we're seeing as a moral code in a lot of

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Speaker 1: these films. Yeah, So just even if you're making you're

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Speaker 1: trying to make just a slasher film, there's a lot

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Speaker 1: of there's a lot of problematic area already there. On

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Speaker 1: top of that, who you get to design your monster

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Speaker 1: for this film? But hr Geeger, whose big deal is

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Speaker 1: biomechanical designs of a typically sexual nature. Okay, when you

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Speaker 1: say sexual nature, I think what you're primarily saying is

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Speaker 1: that so many of his creations look like a fallust, yes,

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Speaker 1: thallust or yes, everything looks like genitalia to a certain extent,

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Speaker 1: stylized um hot leather genitalia is generally you say hot

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Speaker 1: leather genitalia. I don't know why hot leather. It's more

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Speaker 1: like a cold anyway, cold leather genitalia, let's say. And uh,

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Speaker 1: I mean that's the look of H. R. Geeker stuff.

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Speaker 1: If you've you've seen it everywhere. And this is the

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Speaker 1: mood that pervades the Prometheus for sure. Yeah, and um

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Speaker 1: bills over into this Alien one and the other aliens. Yeah. So, um,

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Speaker 1: but the panties, the panties getting back to panties, what

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Speaker 1: the panties have spawned? And when I say the panties,

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Speaker 1: that we're talking about Sigourney Weaver's character in the panties

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Speaker 1: in Alien one. Yeah, in in the original Alien film,

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Speaker 1: she's you have this whole crew, mostly male crew, and

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Speaker 1: one by one they're knocked out by this alien. Uh

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Speaker 1: it's bursting. It's basically impregnates one man through the face

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Speaker 1: and then burst out of his stomach. It and there's

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Speaker 1: and you sent me a really interesting article about how

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Speaker 1: it's sort of there's themes of rape in there as well. Yeah,

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Speaker 1: it's they're strong themes of of rape and sexual assault

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Speaker 1: because the creature is essentially sexually assaulting each member and

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Speaker 1: especially the male members. And uh, in the case of

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Speaker 1: the one character impregnating him more or less with this

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Speaker 1: violent uh, this violent vision of of pregnancy in which

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Speaker 1: the thing then grows in his stomach like a gastro

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Speaker 1: intestinal confusion of pregnancy, with this violent birth that kills

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Speaker 1: the mother slash father. Um. You know, so strong themes

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Speaker 1: of this um. And then it just goes, of course,

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Speaker 1: one by one, each character getting knocked off, and Ripley

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Speaker 1: Sigourney Weever's character remains really strong. UM. You know, you

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Speaker 1: can really get behind her as this strong female character. UM.

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Speaker 1: And then you have this scene towards the end of

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Speaker 1: the film that of course made a strong impression on

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Speaker 1: me when I watched it, UM as a like a

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Speaker 1: not a not a one year with that as a

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Speaker 1: as a you know, I'm I'm not going through puberty.

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Speaker 1: I watched Alien and there's this scene where oh, she's safe,

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Speaker 1: she's finally gotten away, she's blown up the ship, and

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Speaker 1: she decides, oh, now it's a good time to go

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Speaker 1: ahead and strip down to my underwear and then get

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Speaker 1: into my escape into my cryogenics pod and uh and

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Speaker 1: just sail home a little does she know the alien

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Speaker 1: is there watching her um and as she changes, so

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Speaker 1: the camera becomes the voyer, right, and the alien is

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Speaker 1: kind of the voyer because the alien is not really

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Speaker 1: attacking at first. He's just he or she is just

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Speaker 1: kind of hanging back and she doesn't know he's there.

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Speaker 1: And she's wearing really skimpy, simple underwear, but very skimpy.

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Speaker 1: I think you said it like looked like she's wearing

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Speaker 1: something a few sizes too small. Yeah, it looks like

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Speaker 1: plumbers crack underwear. It's actually an underwear that I've never

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Speaker 1: quite seen before. Maybe this exists out there and it's

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Speaker 1: in the future right right, where apparently everybody has plumbers crack.

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Speaker 1: But it's not ugly, but it is very Yeah, it's

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Speaker 1: not hyper sexualized, like she's not wearing like a G

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Speaker 1: string or anything. But it is a very sexual scene

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Speaker 1: because suddenly she's she's unclothed, she's vulnerable. The scenes are

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Speaker 1: shot in a way too. It's no accident that it's

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Speaker 1: a sexy scene and that and at any moment, this creature,

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Speaker 1: this phallic, monstrous, uh sexual monster is going to attack

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Speaker 1: her and then you know, and we just hope that

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Speaker 1: she has closed on by that point. Well, this has

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Speaker 1: spawned the whole cottage industry within academia of trying to

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Speaker 1: figure out what the panties mean. I mean, even probably

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Speaker 1: more so than the Buffy verse, right, um, because it's

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Speaker 1: it's problematic for people because they're analyzing it and they're like,

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Speaker 1: all right, all the sexual content. Um, a really strong

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Speaker 1: female character and like, I'm totally on board, and then

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Speaker 1: she strips under the panties and they're like deal breaker. Okay,

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Speaker 1: So we're we're talking about all of this because after

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Speaker 1: the commercial breaking and we get more into um some

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Speaker 1: some spoilers there, this is going to be a larger

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Speaker 1: part of our conversation then, but we wanted to go

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Speaker 1: ahead and seat it now. Alright, so more more on

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Speaker 1: the panties la. But but but in uh, in the

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Speaker 1: sperit of seating, let's talk about this this other theme

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Speaker 1: that runs through Prometheus. Pants for me. Yes, So we've

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Speaker 1: discussed pants fermia before, and specifically to the idea of exogenesis,

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Speaker 1: which is the notion that life originated elsewhere in the

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Speaker 1: universe and somehow found its way to the planet. Um.

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Speaker 1: This is this is dealt with right at the beginning

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Speaker 1: of Prometheus because you kick off the movie with this

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Speaker 1: tall pale um humanoid creature. Yeah, and he's apparently abandoned

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Speaker 1: on this desolate world by a spaceship that takes off

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Speaker 1: and then he uh, he drinks some sort of goop

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Speaker 1: and then he melts in his DNA like just becomes

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Speaker 1: this primordial gup that, uh, you get the idea is

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Speaker 1: going to spawn life on this planet that the Earth,

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Speaker 1: maybe another planet, we don't know. You see his body

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Speaker 1: breakdown and like the DNA ulysses just sort of merging

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Speaker 1: with the water. Yeah, and uh, and so this is

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Speaker 1: a fantastic idea of what exogenesis and to a certain extent,

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Speaker 1: pants Fermia might consist of. It's kind of like to

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Speaker 1: have a blender. You're throwing a little bit of pants

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Speaker 1: Fermian exogenesis and then throwing a little Charito of the

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Speaker 1: gods as well, Charito charoits of the gods of course,

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Speaker 1: the book by Eric von Denkan. And this is where

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Speaker 1: we could the idea that ancient astronauts visited Earth and

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Speaker 1: serve as the god figures of our mythologies. So while

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Speaker 1: this with their technology and taught us to do things

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Speaker 1: like baked bread and build pyramids, that sort of thing. Yeah,

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Speaker 1: it was interesting to me because I've always thought of

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Speaker 1: pantsopermia as being more like this tiny bit of bacteria,

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Speaker 1: and it is in the strictly scientific sense, right. So

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Speaker 1: to see this this um, this sort of titan like

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Speaker 1: human like creature, um like literally dissolve into DNA and

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Speaker 1: then spread his his pantsopermia in that manner, was it

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Speaker 1: was interesting. I mean, it's it's visually arresting. And I

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Speaker 1: should say that if nothing this film is will knock

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Speaker 1: your socks off. I mean, it is gorgeous, it's beautiful.

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Speaker 1: You can't help but inhabit the minds of the characters

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Speaker 1: um in this movie. Yes, Scott a always been a

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Speaker 1: faculous visual director, even films like Legend, which I don't

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Speaker 1: think has I wasn't a huge fan of the plot

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Speaker 1: line and legend or I'm not really sure that it's

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Speaker 1: important though, because the legend was just such a stunning Yeah. Yeah, um,

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Speaker 1: and that the devil in that it's just incredible. I

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Speaker 1: think we've talked about that before, but um, he is,

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Speaker 1: but he's anyway, So um, that's a whole other conversation.

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Speaker 1: So that is the opening sequence here for Prometheus. We

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Speaker 1: see this happening, and it is a really interesting way

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Speaker 1: to get into this idea of how did we actually

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Speaker 1: come to exist here on Earth in the first place. Yeah,

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Speaker 1: all right. Next on the list, suspended animation, crist status.

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Speaker 1: This factors into all of the the Alien franchise films.

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Speaker 1: It was in the first one. They wake up from

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Speaker 1: this quote unquote wake up from from this sleep, and

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Speaker 1: the plot begins and uh, and we see some more thing,

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Speaker 1: and that's the crew of the Prometheus have been traveling

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Speaker 1: for two years and they've been asleep, h quote unquote

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Speaker 1: asleep while David, the artificial human, the android of the ship,

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Speaker 1: learns languages and plays basketball and comes his hair while

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Speaker 1: watching Lawrence of Arabia, which is again another incredible scene

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Speaker 1: because you're trying to you know, you're sort of getting

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Speaker 1: your bearings in the in the film, and it looks

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Speaker 1: like he is the only person on the ship. And

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Speaker 1: played by Michael Fassbender, of course. Yeah, and he is

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Speaker 1: so good in this role. We'll talk more about the

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Speaker 1: significance of David later. So we recently did an episode

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Speaker 1: on Hibernation in which we discuss some of the some

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Speaker 1: of what we know about suspended animation and and and

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Speaker 1: hibernation in ways that we could artificially instill it. And

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Speaker 1: this is something that is of interest not only to

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Speaker 1: DARPA and NASA, but also just uh actually, like I

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Speaker 1: was gonna say, emergency room doctors. Yeah, you know, the

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Speaker 1: ideas like, all right, something is wrong. Let us chill

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Speaker 1: this out until we can actually treat it, or in

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Speaker 1: more extreme cases, chill it out until we can actually

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Speaker 1: find a cure for it. Right, Because if you have

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Speaker 1: some sort of trauma, you're bleeding to death, you're losing

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Speaker 1: oxygen to your brain, can you suspend that? And that's

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Speaker 1: what we're talking about suspended animation. So in that episode

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Speaker 1: of the Hibernation episode, we discussed methods to use both

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Speaker 1: chemical and thermal um techniques to put an animal under

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Speaker 1: into a hibernative state where their metabolism cranks way down

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Speaker 1: and and they're put into this not quite sleep phase,

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Speaker 1: but something that that you could call suspended animation UM.

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Speaker 1: And then there's a there's actually another interesting guy, this

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Speaker 1: guy Mark Roth, researcher at Fred Hutchinson Cancer Research Center

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Speaker 1: in Seattle, Washington, and uh, he's he's looked into a

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Speaker 1: short term suspended animation a lot because again, this would

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Speaker 1: be a way to stabilize patient center and trauma from injury.

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Speaker 1: Uh So, normally hydrogen sulfite is toxic, but Roth has

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Speaker 1: working on this technique where you can use it to

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Speaker 1: actually alter a million metabolism when it's applied in a

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Speaker 1: cold environment, resulting in this suspended animation uh type situation.

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Speaker 1: All right, so when you're in this suspended state, the

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Speaker 1: body can better cope with deadly oxygen deprivation the results

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Speaker 1: from shock, massive blood loss, and heart attacks. So yeah,

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Speaker 1: it's really cool because if you give someone hydrogen sulfide,

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Speaker 1: which is what he did with animals, um, what it

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Speaker 1: does is it knocks you out and it might cause

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Speaker 1: the oxygen to not bind. So it's kind of like

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Speaker 1: a game of musical chairs there, and that can manipulate

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Speaker 1: your metabolism. And he was actually inspired by this because

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Speaker 1: there was a skier I want to say she was Swedish,

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Speaker 1: but she was caught, um frozen to death for like

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Speaker 1: five hours or something, and she came out of this

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Speaker 1: kind of suspended animation completely fine. And so that's kind

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Speaker 1: of what got him to think about this idea of

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Speaker 1: hydrogen sulfide, which we produce in tiny amounts in our

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Speaker 1: own bodies and what would happen if you expanded that

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Speaker 1: amount And it's not hard to sort of see that

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Speaker 1: technology now being realized in the year twenty nine d

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Speaker 1: three for two years, I don't know, but you know,

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Speaker 1: the five hours now that we know has happened at

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Speaker 1: least accidentally or as a byproduct of an accident. Could

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Speaker 1: that be extrapolated to two years maybe, but we know

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Speaker 1: that that the foundation is there. Yeah, So I ultimately,

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Speaker 1: I ultimately liked what they did with it, and this

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Speaker 1: if for no other reason, they really made a point

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Speaker 1: of making waking up from crime status kind of grows.

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Speaker 1: People were throwing up all over the place. They're clearly

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Speaker 1: they look like they're they're had. They have the worst

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Speaker 1: hangover imaginable. And uh, and we were when we were

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Speaker 1: discussing hibernation and the artificial hibernation and the potential that

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Speaker 1: it could be used for long term space travel. We

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Speaker 1: brought that up that in science fiction films that they're

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Speaker 1: a lot of times it's it's not this traumatic wake up. Uh.

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Speaker 1: And we even put a call out to listeners as said, hey,

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Speaker 1: if you've seen something we're waking up from suspended animation

425
00:24:52,600 --> 00:24:54,720
Speaker 1: and science fiction film is actually traumatic, let us know.

426
00:24:55,160 --> 00:24:57,000
Speaker 1: And and in fact, one of our a couple of

427
00:24:57,000 --> 00:25:01,520
Speaker 1: our listeners pointed out the film Pandorum, which which also

428
00:25:01,560 --> 00:25:05,399
Speaker 1: featured people waking up in a very adult, physically disruptive state.

429
00:25:05,880 --> 00:25:09,000
Speaker 1: So I liked what they did in this film with that. Yeah,

430
00:25:09,080 --> 00:25:11,040
Speaker 1: that was very realistic. And again, all of this is

431
00:25:11,080 --> 00:25:14,840
Speaker 1: about building a world that you can really believe in.

432
00:25:14,920 --> 00:25:18,000
Speaker 1: And yes that there are perhaps some holes in different

433
00:25:18,000 --> 00:25:21,960
Speaker 1: places that we'll discuss later on, but really Scott does

434
00:25:22,040 --> 00:25:24,280
Speaker 1: do such an amazing job of making you feel like

435
00:25:24,320 --> 00:25:28,400
Speaker 1: you're inserted into this world that could happen in three possibly.

436
00:25:28,440 --> 00:25:31,800
Speaker 1: Speaking of inserted, the next bit we're going to discuss

437
00:25:31,960 --> 00:25:37,800
Speaker 1: is the Medpods seven twenty I, which is introduced early

438
00:25:37,840 --> 00:25:39,440
Speaker 1: on in the film. You see it on the ship

439
00:25:40,040 --> 00:25:43,040
Speaker 1: and we'll we'll discuss it a little more later, but

440
00:25:43,119 --> 00:25:45,960
Speaker 1: I'm just you know, this thing is gonna be used.

441
00:25:46,240 --> 00:25:49,880
Speaker 1: It's like it's the can. It's like it's gonna go off.

442
00:25:49,920 --> 00:25:51,520
Speaker 1: You know, it's going to factor into the plot if

443
00:25:51,560 --> 00:25:54,199
Speaker 1: you introduce it in the way they introduce it, and

444
00:25:54,240 --> 00:25:57,879
Speaker 1: it's uh, it's really snazzy. They introduced this cool um

445
00:25:58,160 --> 00:26:00,720
Speaker 1: outline of the various parts as part of the Vieral marketing,

446
00:26:00,760 --> 00:26:03,919
Speaker 1: and so it has comfortable limb restrates, a liquid spray

447
00:26:03,960 --> 00:26:07,600
Speaker 1: and aesthetic, a laser scalpel, air tight operating shield, computer

448
00:26:07,640 --> 00:26:12,040
Speaker 1: controlled robotic surgical arms, vital sign sensors, and an adjustable

449
00:26:12,160 --> 00:26:15,000
Speaker 1: titanium base. UM. Though we are told from the get

450
00:26:15,040 --> 00:26:17,240
Speaker 1: go that it is UM, that it is a rare

451
00:26:17,320 --> 00:26:19,480
Speaker 1: piece of technology in the future, that they're only like

452
00:26:19,520 --> 00:26:24,280
Speaker 1: twelve of these things. Yeah, it's now today we do

453
00:26:24,480 --> 00:26:29,160
Speaker 1: have we do not have bona fide robotic surgery where

454
00:26:29,160 --> 00:26:31,520
Speaker 1: where a robot is carrying out medical procedures on a

455
00:26:31,520 --> 00:26:33,920
Speaker 1: regular basis on its own. We have the Da Vinci

456
00:26:33,960 --> 00:26:36,919
Speaker 1: system UM that continues to to show a lot of

457
00:26:36,960 --> 00:26:40,679
Speaker 1: promise and UH and generally robot assisted procedures. Where we

458
00:26:40,720 --> 00:26:42,840
Speaker 1: have the bull's eye right now, the idea that let's

459
00:26:43,280 --> 00:26:47,000
Speaker 1: let's work on robotic systems that can aid a surgeon

460
00:26:47,560 --> 00:26:52,760
Speaker 1: in UH daring the surgery or telesurgery systems that can

461
00:26:52,800 --> 00:26:56,920
Speaker 1: allow a surgeon to perform a procedure from the other

462
00:26:56,960 --> 00:26:59,800
Speaker 1: side of the world, from another country, another city, remotely

463
00:27:00,080 --> 00:27:03,480
Speaker 1: through robotic cans. And if we reach the point where

464
00:27:03,520 --> 00:27:06,679
Speaker 1: we have robots working side by side with humans in

465
00:27:06,680 --> 00:27:09,760
Speaker 1: a surgical environment. We can create USI we can we

466
00:27:09,760 --> 00:27:13,000
Speaker 1: can better adapt them to learn from their human surgeons,

467
00:27:13,520 --> 00:27:16,359
Speaker 1: and eventually reach the point where we could have technology

468
00:27:16,400 --> 00:27:19,040
Speaker 1: like we see in the movie where you have like

469
00:27:19,480 --> 00:27:23,080
Speaker 1: an autonomous procedure or UM, something that you can program

470
00:27:23,440 --> 00:27:25,560
Speaker 1: because because the idea when you're introduced to it, it's

471
00:27:25,600 --> 00:27:27,159
Speaker 1: it's like a bead with a shell over it, and

472
00:27:27,200 --> 00:27:29,879
Speaker 1: you climb into the bed, push whatever you need done,

473
00:27:30,000 --> 00:27:31,320
Speaker 1: and it'll do it. It's like, oh, I mean my

474
00:27:31,359 --> 00:27:34,320
Speaker 1: tonsils out, Just punch it in. It's pretty brilliant, Press

475
00:27:34,320 --> 00:27:37,439
Speaker 1: send and then lay back. Yeah, and we'll talk more

476
00:27:37,480 --> 00:27:40,840
Speaker 1: about why it's brilliant and uh terrifying and wonderful a

477
00:27:40,880 --> 00:27:43,960
Speaker 1: little bit later. But let's get to something um that

478
00:27:44,200 --> 00:27:46,919
Speaker 1: borders sort of on what we've talked about, is brain

479
00:27:47,000 --> 00:27:51,840
Speaker 1: mapping or even brain memory storage. Yes, because as we mentioned,

480
00:27:52,480 --> 00:27:54,800
Speaker 1: when we're on board the Prometheus at first, everyone is

481
00:27:54,840 --> 00:27:59,160
Speaker 1: in crist status status and David is walking about doing

482
00:27:59,160 --> 00:28:02,919
Speaker 1: this thing, combing his hair but also checking on the

483
00:28:03,000 --> 00:28:06,760
Speaker 1: dreams of the individuals that are that are under in

484
00:28:06,800 --> 00:28:09,560
Speaker 1: their in their crested spots, right, So he just places

485
00:28:09,560 --> 00:28:13,000
Speaker 1: a hand on on their little pods and their information

486
00:28:13,040 --> 00:28:17,160
Speaker 1: comes up. So presumably the reason why he can UH

487
00:28:17,480 --> 00:28:21,600
Speaker 1: check in on their dreams or check out their stats

488
00:28:21,640 --> 00:28:24,280
Speaker 1: in general is just to make sure that they're okay

489
00:28:24,320 --> 00:28:26,960
Speaker 1: when they're in this state. UM. But it is very

490
00:28:27,000 --> 00:28:31,680
Speaker 1: interesting because we've talked about how the National Science Foundation has,

491
00:28:31,800 --> 00:28:34,359
Speaker 1: you know, I think there's last year awarded a half

492
00:28:34,440 --> 00:28:37,239
Speaker 1: million dollar grant to the Universities of Central Florida at

493
00:28:37,359 --> 00:28:40,960
Speaker 1: Orlando and Illinois at Chicago to explore how research researchers

494
00:28:41,040 --> 00:28:45,720
Speaker 1: might use AI archiving and computer imaging to create digital

495
00:28:45,760 --> 00:28:48,680
Speaker 1: lifelike versions of real people. You're talking about here is

496
00:28:48,720 --> 00:28:51,040
Speaker 1: a backup system for your brain. Yeah, which is a

497
00:28:51,040 --> 00:28:54,520
Speaker 1: whole hunting. It's just the technology is just very barely

498
00:28:54,560 --> 00:28:57,760
Speaker 1: touched on in this film. But you people can and

499
00:28:57,840 --> 00:29:02,160
Speaker 1: have created entire science fiction and UH properties just based

500
00:29:02,200 --> 00:29:06,080
Speaker 1: off of this this idea. UM. In the last couple

501
00:29:06,120 --> 00:29:08,880
Speaker 1: of years we saw were signed to the University of California, Berkeley.

502
00:29:09,080 --> 00:29:13,920
Speaker 1: Um UH toyed around with reconstructing the internal quote unquote

503
00:29:13,920 --> 00:29:17,560
Speaker 1: movie that plays in a person's head by using fm

504
00:29:17,640 --> 00:29:21,360
Speaker 1: R I scans UH and having having patients look at

505
00:29:21,680 --> 00:29:24,320
Speaker 1: or testas look at films and then watching what their

506
00:29:24,320 --> 00:29:25,640
Speaker 1: brain is doing when they look at that, and then

507
00:29:25,640 --> 00:29:29,480
Speaker 1: trying to match it up later and uh and yeah,

508
00:29:29,480 --> 00:29:32,240
Speaker 1: it's it's pretty interesting. It shows some promise for a

509
00:29:32,280 --> 00:29:37,640
Speaker 1: potential future in which we could use um, really laser

510
00:29:37,720 --> 00:29:41,640
Speaker 1: attentive fm ri I data to tell what's going on

511
00:29:41,680 --> 00:29:43,120
Speaker 1: in a person's head to the point where we can

512
00:29:43,120 --> 00:29:46,360
Speaker 1: actually get an idea of what they're envisioning. And it's

513
00:29:46,400 --> 00:29:49,360
Speaker 1: extream that in Prometheus that they're playing the dreams, because

514
00:29:49,360 --> 00:29:51,640
Speaker 1: that definitely serves the plot, right, so we can get

515
00:29:51,640 --> 00:29:54,240
Speaker 1: some exposition on the characters. But if you want to

516
00:29:54,240 --> 00:29:56,720
Speaker 1: try to fit it into this this um this world

517
00:29:56,760 --> 00:29:59,040
Speaker 1: that real Lea Scott has created, it would make sense

518
00:29:59,080 --> 00:30:02,360
Speaker 1: that David would check can on those dreams and um,

519
00:30:02,400 --> 00:30:03,960
Speaker 1: you know, but there would be something that you could

520
00:30:04,000 --> 00:30:06,720
Speaker 1: administer if someone were saying having nightmares for hours on

521
00:30:06,920 --> 00:30:10,280
Speaker 1: end or um that they just seemed unsettled, like all

522
00:30:10,320 --> 00:30:12,320
Speaker 1: of these would sort of be clues to how the

523
00:30:12,360 --> 00:30:14,760
Speaker 1: person is actually doing in this state. And also a

524
00:30:14,800 --> 00:30:18,719
Speaker 1: mega company like Whaland Industries, there's also the the scary

525
00:30:18,800 --> 00:30:22,640
Speaker 1: idea that this enormous company is actually looking at my dreams,

526
00:30:22,880 --> 00:30:25,560
Speaker 1: so you know, imagine if your employer could see your dreams,

527
00:30:26,520 --> 00:30:28,680
Speaker 1: it would it would be weird, Like that time that

528
00:30:28,800 --> 00:30:32,400
Speaker 1: I dreamt that our boss was getting married, Like who's

529
00:30:32,440 --> 00:30:35,480
Speaker 1: marrying his wife again? Like they're reaffirming their vows and

530
00:30:35,480 --> 00:30:37,960
Speaker 1: they were going to do it in the office. Like

531
00:30:38,840 --> 00:30:40,240
Speaker 1: what if you saw it? What do you think? I

532
00:30:40,320 --> 00:30:43,920
Speaker 1: never knew about that drain? Oh I forget there was

533
00:30:43,960 --> 00:30:45,720
Speaker 1: something else kind of weird about it, but that's the

534
00:30:45,760 --> 00:30:51,400
Speaker 1: only thing I remember, um wiping from brain. So yeah,

535
00:30:51,640 --> 00:30:56,600
Speaker 1: there's there's this idea that that this technology in would

536
00:30:56,600 --> 00:30:59,160
Speaker 1: be in full use, that that you would have a

537
00:30:59,200 --> 00:31:01,719
Speaker 1: backup of your that you would be able to monitor

538
00:31:01,760 --> 00:31:04,600
Speaker 1: someone's streams along with their vital signs. All right, well

539
00:31:04,640 --> 00:31:08,280
Speaker 1: we're gonna take a quick break here and when we

540
00:31:08,360 --> 00:31:11,720
Speaker 1: come back, um, all bets are off and we will

541
00:31:12,040 --> 00:31:15,640
Speaker 1: spoil any and everything in the film. So uh pause,

542
00:31:15,960 --> 00:31:18,440
Speaker 1: pause this podcast. If you have not seen it, go

543
00:31:18,480 --> 00:31:21,600
Speaker 1: out and see it right now whatever you're doing, see

544
00:31:21,640 --> 00:31:23,600
Speaker 1: in the theater or rent it whatever, and then come

545
00:31:23,600 --> 00:31:31,200
Speaker 1: back and we will we will discuss what happened. All right,

546
00:31:31,240 --> 00:31:34,240
Speaker 1: Well we're back and uh so, yeah, the rest of

547
00:31:34,280 --> 00:31:37,600
Speaker 1: that movie happened, didn't it? Oh yeah, and this thing

548
00:31:37,680 --> 00:31:40,080
Speaker 1: happened and then there was a fire and then boom

549
00:31:40,160 --> 00:31:43,440
Speaker 1: and that was the end. Well, and so there you go.

550
00:31:43,560 --> 00:31:46,680
Speaker 1: Plot spoilers. Yeah, yeah, no, it's it's so much more

551
00:31:46,720 --> 00:31:50,280
Speaker 1: involved than that. In fact, just this morning, Holly Fry

552
00:31:50,560 --> 00:31:55,600
Speaker 1: of Pop Stuff and another editor, Chris opens Chain opens Chain. Uh,

553
00:31:55,680 --> 00:31:59,560
Speaker 1: we're having a very heated discussion about the movie. Yeah,

554
00:31:59,640 --> 00:32:03,840
Speaker 1: they were. It was very interesting. Um, I lingered, because

555
00:32:04,080 --> 00:32:05,520
Speaker 1: you know, I have some of that I felt like

556
00:32:05,560 --> 00:32:08,600
Speaker 1: the Devil's Advocate. I had some of the same perspective

557
00:32:08,640 --> 00:32:11,000
Speaker 1: of both of them. The audiences have been a little

558
00:32:11,000 --> 00:32:13,840
Speaker 1: split over it because on one level, you have individuals

559
00:32:13,840 --> 00:32:17,440
Speaker 1: who really came into this with lofty expectations. Uh. Like

560
00:32:17,480 --> 00:32:21,360
Speaker 1: I said, that Original nine film, like we said earlier,

561
00:32:21,520 --> 00:32:26,920
Speaker 1: has thirty years worth of of of of fan enthusiasm

562
00:32:27,080 --> 00:32:29,720
Speaker 1: and cultural study and just it's become a part of

563
00:32:29,720 --> 00:32:32,640
Speaker 1: our culture, you know, in those three decades. And so

564
00:32:32,720 --> 00:32:34,800
Speaker 1: you have this film that comes along, and it's a

565
00:32:34,920 --> 00:32:38,560
Speaker 1: very ambitious film and uh and really sets out to

566
00:32:38,560 --> 00:32:42,880
Speaker 1: to equal those thirty thirty years worth of um of

567
00:32:42,960 --> 00:32:46,280
Speaker 1: ideas that have built on top of Alien and U.

568
00:32:46,560 --> 00:32:48,640
Speaker 1: I mean I I really enjoyed it. I thought it

569
00:32:48,720 --> 00:32:51,120
Speaker 1: was great, but that was interesting though. Is like for

570
00:32:51,200 --> 00:32:55,560
Speaker 1: someone like myself who has seen Aliens three, you really

571
00:32:55,640 --> 00:32:57,920
Speaker 1: enjoyed it or may not have seen Alien and Aliens

572
00:32:58,040 --> 00:33:01,240
Speaker 1: the previous one I may or may not happen, but

573
00:33:02,520 --> 00:33:04,880
Speaker 1: it was a lost decade. I'm just kidding. Um, but

574
00:33:05,200 --> 00:33:06,640
Speaker 1: we're gonna get like a whole bunch of emails now

575
00:33:06,680 --> 00:33:09,160
Speaker 1: where people bet Julie you should see Alien. Well no, no,

576
00:33:09,320 --> 00:33:12,400
Speaker 1: this is I mean, I mean obviously like this is

577
00:33:12,440 --> 00:33:17,720
Speaker 1: something that's going to happen because through this whole process anyway, Um,

578
00:33:17,760 --> 00:33:20,760
Speaker 1: it's been very interesting me to now go back and say, Okay,

579
00:33:20,840 --> 00:33:22,760
Speaker 1: let's go and look at all the films it then,

580
00:33:23,200 --> 00:33:25,760
Speaker 1: But you have been steeped in it. You've been steeped

581
00:33:25,800 --> 00:33:28,920
Speaker 1: in the mythology, wouldn't you say? Um, it's been a

582
00:33:28,920 --> 00:33:31,680
Speaker 1: part of my life ever since I was old enough

583
00:33:31,720 --> 00:33:34,720
Speaker 1: to watch the original Alien, probably on like a cable

584
00:33:34,800 --> 00:33:37,720
Speaker 1: or something. And you have that Sigourney Weaver panties poster

585
00:33:38,280 --> 00:33:41,120
Speaker 1: and you're I, I do not have in your office poster,

586
00:33:41,240 --> 00:33:44,400
Speaker 1: but I definitely had it in my mind. Um as

587
00:33:44,440 --> 00:33:46,760
Speaker 1: a young kid. I think that's scene probably influenced a

588
00:33:46,760 --> 00:33:48,600
Speaker 1: lot of of young boys, and she was kind of

589
00:33:48,640 --> 00:33:50,280
Speaker 1: like I was sending the other day, shoot that scene.

590
00:33:50,640 --> 00:33:52,600
Speaker 1: That was she was kind of the Barber Ella for

591
00:33:52,600 --> 00:33:54,560
Speaker 1: for my generation. I see that. I see that, and

592
00:33:54,600 --> 00:33:56,480
Speaker 1: I think it's probably a positive thing because even though

593
00:33:56,480 --> 00:33:58,400
Speaker 1: she was in her in her underwear and how and

594
00:33:58,480 --> 00:34:01,959
Speaker 1: even though that kind of erupts some feminist arguments for

595
00:34:02,000 --> 00:34:04,800
Speaker 1: the film and in some cases, weirdly enough, is embraced

596
00:34:04,800 --> 00:34:08,080
Speaker 1: by think some people say no, let's let's take the panties,

597
00:34:08,120 --> 00:34:11,920
Speaker 1: and still she's ultimately power are less sexualized character than

598
00:34:11,960 --> 00:34:16,160
Speaker 1: Barbara Ella. Yeah, yeah, Well, Richard Adam, the director of

599
00:34:16,440 --> 00:34:20,719
Speaker 1: Um of Barbara far different director than really Scott. But

600
00:34:20,800 --> 00:34:24,440
Speaker 1: my point is that that we both have different experiences

601
00:34:24,480 --> 00:34:28,520
Speaker 1: with with the franchise, and we both, I think, for

602
00:34:28,560 --> 00:34:32,839
Speaker 1: the most part, really embraced this film, uh, and that

603
00:34:32,920 --> 00:34:36,560
Speaker 1: it is visually spectacular and it does have so many

604
00:34:36,560 --> 00:34:40,000
Speaker 1: different intriguing elements that will linger far after you've seen

605
00:34:40,000 --> 00:34:42,080
Speaker 1: the movie. Yeah. I love the cosmology of it and

606
00:34:42,080 --> 00:34:46,160
Speaker 1: the design of it. And and I should also point

607
00:34:46,160 --> 00:34:50,160
Speaker 1: out that I am a total fan of sci fi horror,

608
00:34:50,200 --> 00:34:53,400
Speaker 1: like any horror that takes place in space. UM, I'm

609
00:34:53,440 --> 00:34:56,160
Speaker 1: generally on board for it. Be it a be an alien,

610
00:34:56,280 --> 00:35:00,200
Speaker 1: be a pandorum, be it be even even some thing

611
00:35:00,239 --> 00:35:03,359
Speaker 1: like the Nightmare on the Nightmare Name Street. He hasn't

612
00:35:03,360 --> 00:35:07,560
Speaker 1: gone into space yet, but the Friday where Jason is

613
00:35:07,600 --> 00:35:12,680
Speaker 1: in space, Jason X right an awful but self aware

614
00:35:12,760 --> 00:35:15,160
Speaker 1: to a certain extent. I even I even enjoyed that film,

615
00:35:15,200 --> 00:35:19,880
Speaker 1: So you know, um, so again, I really had a

616
00:35:19,880 --> 00:35:23,040
Speaker 1: great time. And uh and and I felt like it

617
00:35:23,480 --> 00:35:26,400
Speaker 1: it matched my expectations rather well. Yeah. And that's not

618
00:35:26,440 --> 00:35:28,959
Speaker 1: to say again that it's not a flawed movie, because

619
00:35:29,000 --> 00:35:31,239
Speaker 1: it is in some ways. I mean some well for me,

620
00:35:31,280 --> 00:35:34,399
Speaker 1: I should say, like, you know, some of them. I've

621
00:35:34,480 --> 00:35:38,640
Speaker 1: talked about some of the dialogue. Yeah, it's when the

622
00:35:38,680 --> 00:35:41,560
Speaker 1: when the most relatable character in the film is an

623
00:35:41,600 --> 00:35:46,480
Speaker 1: android or a squid monster, then then you know that

624
00:35:46,800 --> 00:35:49,280
Speaker 1: maybe that's saying this is not the most character driven

625
00:35:49,320 --> 00:35:52,399
Speaker 1: motion picture out there. Um okay, but I think there's

626
00:35:52,440 --> 00:35:54,400
Speaker 1: a reason for that, because I think that David is

627
00:35:54,440 --> 00:35:59,239
Speaker 1: someone that you can project everything onto David being the android. Um,

628
00:35:59,520 --> 00:36:01,480
Speaker 1: you know, how could you not. I mean, I've I

629
00:36:01,600 --> 00:36:03,520
Speaker 1: fell in love with David. I thought that, you know,

630
00:36:03,560 --> 00:36:05,799
Speaker 1: he's such an interesting character, and a lot of that

631
00:36:05,800 --> 00:36:08,360
Speaker 1: has to do with Michael Fastbender in the way that

632
00:36:08,400 --> 00:36:12,480
Speaker 1: he was so nuanced in his betrayal. Well, let's uh,

633
00:36:12,560 --> 00:36:14,680
Speaker 1: let's discuss him a little more. But first let's listen

634
00:36:14,719 --> 00:36:17,040
Speaker 1: to a little clip of David interacting with one of

635
00:36:17,120 --> 00:36:20,279
Speaker 1: his human crew members. Am I interrupting? I thought you

636
00:36:20,440 --> 00:36:26,359
Speaker 1: might be running low? Put yourself a glass? Thank you?

637
00:36:26,400 --> 00:36:29,400
Speaker 1: But I'm afraid it would be wasted on me. You

638
00:36:29,480 --> 00:36:32,160
Speaker 1: think we wasted our time coming in, don't you? Your

639
00:36:32,239 --> 00:36:35,200
Speaker 1: question depends on me understanding what do you hope to

640
00:36:35,200 --> 00:36:37,320
Speaker 1: achieve by kind of have What we hope to achieve

641
00:36:38,239 --> 00:36:41,319
Speaker 1: was to meet our makers, to get answers where they

642
00:36:41,360 --> 00:36:46,239
Speaker 1: even made us in the first place. Why do you

643
00:36:46,280 --> 00:36:49,919
Speaker 1: think your people made me? We made you? Guess we could.

644
00:36:51,160 --> 00:36:53,719
Speaker 1: Can you imagine how disappointing would be for you to

645
00:36:53,840 --> 00:36:59,160
Speaker 1: hear the same thing from your creator? Huh? May I

646
00:36:59,160 --> 00:37:04,080
Speaker 1: ask you something? Please do? How far would you go

647
00:37:05,080 --> 00:37:08,680
Speaker 1: to get what you came all this way for your answers?

648
00:37:10,480 --> 00:37:13,320
Speaker 1: What would you be willing to do? Anything? And everything?

649
00:37:14,080 --> 00:37:17,200
Speaker 1: So that was a wonderful little scene. As if everyone

650
00:37:17,239 --> 00:37:19,680
Speaker 1: listening to this part has has either seen the film

651
00:37:19,800 --> 00:37:22,200
Speaker 1: or doesn't care about spoilers, It's the scene where he

652
00:37:22,320 --> 00:37:26,680
Speaker 1: is he's handing off an infected glass of champagne that's

653
00:37:26,800 --> 00:37:31,040
Speaker 1: infected with the the goo to one of the jerky

654
00:37:31,120 --> 00:37:34,760
Speaker 1: or members of the crew there. That's right to Halloway,

655
00:37:34,880 --> 00:37:39,239
Speaker 1: right and the beloved though of the film's heroin. So

656
00:37:39,280 --> 00:37:41,360
Speaker 1: it's kind of problematic for the viewer there because on

657
00:37:41,440 --> 00:37:43,480
Speaker 1: one level you don't really like the dude, but he's

658
00:37:43,480 --> 00:37:46,040
Speaker 1: not evil. He's not like Paul Riser and Aliens, where

659
00:37:46,040 --> 00:37:47,960
Speaker 1: you're like, God, this guy can't get an alien. It's

660
00:37:47,960 --> 00:37:51,200
Speaker 1: bally fast enough. No, he's just not that self actualized.

661
00:37:51,280 --> 00:37:53,360
Speaker 1: I mean, honestly, as a character, he's not that well drawn.

662
00:37:53,480 --> 00:37:56,640
Speaker 1: And but he serves a purpose, right, He's very passionate

663
00:37:56,680 --> 00:38:01,680
Speaker 1: about trying to find his make really um you know,

664
00:38:01,800 --> 00:38:06,600
Speaker 1: human species maker. And he's terribly disappointed because at this

665
00:38:06,640 --> 00:38:09,040
Speaker 1: point in the film he has not met his maker,

666
00:38:09,120 --> 00:38:12,080
Speaker 1: so to speak. And David's basically saying, oh, you're disappointed

667
00:38:12,120 --> 00:38:14,320
Speaker 1: in not meeting your maker, while I met my maker

668
00:38:14,360 --> 00:38:16,879
Speaker 1: every day of my life and is really no big deal, buddy. Yeah,

669
00:38:17,320 --> 00:38:19,480
Speaker 1: that guy is a bummer. So and that's what I

670
00:38:19,480 --> 00:38:22,600
Speaker 1: love about that um about that scene, and that's a

671
00:38:22,719 --> 00:38:25,560
Speaker 1: really well written scene. I think because it does show

672
00:38:25,880 --> 00:38:29,399
Speaker 1: this UM, this sort of complicated future where you have

673
00:38:29,440 --> 00:38:35,000
Speaker 1: an android who has learned to sympathize, understands empathy, understands

674
00:38:35,320 --> 00:38:37,560
Speaker 1: these human emotions. And that's an interesting thing to think

675
00:38:37,560 --> 00:38:40,319
Speaker 1: about with him, because he knows what empathy is, he

676
00:38:40,400 --> 00:38:44,760
Speaker 1: understands empathy. He is maybe is he capable of actually

677
00:38:45,040 --> 00:38:47,840
Speaker 1: he's capable of faking empathy for sure, but is he

678
00:38:48,000 --> 00:38:52,040
Speaker 1: really empathetic? Well? And what makes him what's the difference

679
00:38:52,040 --> 00:38:55,600
Speaker 1: between him an associopath? Right, and that he's programmed to do?

680
00:38:55,680 --> 00:39:00,400
Speaker 1: Specifically discussed in the past, how in treating psychopaths you

681
00:39:00,400 --> 00:39:04,600
Speaker 1: you teach them to pretend to be empathetic and UH

682
00:39:04,680 --> 00:39:07,080
Speaker 1: and to what extent is that solve problems? To which

683
00:39:07,280 --> 00:39:09,359
Speaker 1: what extent does it create a new problems? And if

684
00:39:09,400 --> 00:39:12,680
Speaker 1: your programmed to understand empathy and to exercise it to

685
00:39:12,680 --> 00:39:15,439
Speaker 1: a certain degree, there's the whole school of thought you

686
00:39:15,560 --> 00:39:17,920
Speaker 1: fake it until you make it, and through the process

687
00:39:17,960 --> 00:39:20,759
Speaker 1: you make it. So on one level, and again this

688
00:39:20,840 --> 00:39:23,480
Speaker 1: is you know, this is projection. You can't help but

689
00:39:23,560 --> 00:39:26,239
Speaker 1: think that David does have some sort of part of

690
00:39:26,360 --> 00:39:31,720
Speaker 1: his UH schematics UM in his programming that does feel

691
00:39:32,280 --> 00:39:34,520
Speaker 1: and that he does feel the slight that you hear

692
00:39:35,040 --> 00:39:37,360
Speaker 1: in that scene where Holloway is being kind of a

693
00:39:37,440 --> 00:39:41,000
Speaker 1: jerk to him and he's responding to it accordingly. M

694
00:39:41,200 --> 00:39:44,839
Speaker 1: It's just a really nice, nicely um handled scene, I think.

695
00:39:45,000 --> 00:39:47,480
Speaker 1: And speaking of encounters with creators, of course, one of

696
00:39:47,520 --> 00:39:50,600
Speaker 1: the ultimate scenes in the film is of course when

697
00:39:50,640 --> 00:39:55,279
Speaker 1: you have the old Peter Whyland uh um, and he

698
00:39:55,360 --> 00:39:58,400
Speaker 1: has he's he's strapped on his exoskeleton and he's walked

699
00:39:58,400 --> 00:40:02,200
Speaker 1: in and David, his creation, is there beside him as

700
00:40:02,239 --> 00:40:04,960
Speaker 1: they wake up. One of these engineers, one of these

701
00:40:05,000 --> 00:40:08,760
Speaker 1: mysterious space jockeys uh that of course originally are are

702
00:40:09,000 --> 00:40:10,880
Speaker 1: seen in passing as part of the set piece an

703
00:40:10,920 --> 00:40:14,040
Speaker 1: alien back in seventy nine. And now here's one alive

704
00:40:14,080 --> 00:40:19,200
Speaker 1: and awake, standing in front of his creation and his

705
00:40:19,320 --> 00:40:22,399
Speaker 1: creation's creation. Okay, so just to recap, Yeah, you've got

706
00:40:22,440 --> 00:40:25,080
Speaker 1: Peter Whalen, right, who has funded the trillion dollar trip

707
00:40:25,840 --> 00:40:29,960
Speaker 1: his creation and he's basically going, yes, he has been

708
00:40:30,080 --> 00:40:35,560
Speaker 1: from Spurns, which as you said, makes um, David fetch

709
00:40:35,680 --> 00:40:39,600
Speaker 1: my robotic pants and was like and you can tell

710
00:40:39,680 --> 00:40:41,799
Speaker 1: he's like kind of annoyed by he's doing because he's

711
00:40:41,800 --> 00:40:45,000
Speaker 1: programmed to UM. But as you pointed out that where

712
00:40:45,040 --> 00:40:49,719
Speaker 1: you're talking about our three generations of something, right, you've

713
00:40:49,719 --> 00:40:52,200
Speaker 1: got the engineer, which is what they've been searching for,

714
00:40:52,239 --> 00:40:57,160
Speaker 1: the the maker, right, this god like the god which yeah,

715
00:40:57,239 --> 00:40:59,400
Speaker 1: which we find out we share a dent of our

716
00:40:59,440 --> 00:41:04,080
Speaker 1: dna um through all sorts of different proceeds on the

717
00:41:04,120 --> 00:41:08,840
Speaker 1: processes on the ship. Uh. And it is a it

718
00:41:08,920 --> 00:41:12,319
Speaker 1: is a very interesting scene because the engineer is not

719
00:41:12,400 --> 00:41:16,120
Speaker 1: so happy to see what man has made or that's

720
00:41:16,160 --> 00:41:19,160
Speaker 1: what it's inferred, and man has made David right, this

721
00:41:19,320 --> 00:41:23,200
Speaker 1: eighth generation robot. Yeah, it's it comes out in the

722
00:41:23,200 --> 00:41:26,600
Speaker 1: film that the the goop that they encounter that gives

723
00:41:26,600 --> 00:41:31,560
Speaker 1: birth all these monsters, the that sexually destroy everything. Uh,

724
00:41:31,600 --> 00:41:34,759
Speaker 1: that it is a like a form of weaponized evolution,

725
00:41:34,920 --> 00:41:40,160
Speaker 1: weaponized organism UM, bio warfare life. You have bio warfare

726
00:41:40,360 --> 00:41:45,880
Speaker 1: intended to wipe out planet Earth, the idea of being Yeah,

727
00:41:46,120 --> 00:41:48,400
Speaker 1: but you get the idea that there's something about humans

728
00:41:48,440 --> 00:41:51,800
Speaker 1: that isn't they realized early on isn't gonna work. Um.

729
00:41:51,800 --> 00:41:53,680
Speaker 1: And if it was two thousand years ago, then you

730
00:41:53,719 --> 00:41:55,680
Speaker 1: know you can sort of maybe they're looking around, they're

731
00:41:55,680 --> 00:41:58,080
Speaker 1: looking at ancient Rome, and they're like, you know, we

732
00:41:58,200 --> 00:41:59,919
Speaker 1: checked in on them. They're not doing so hot. Let's

733
00:41:59,920 --> 00:42:02,279
Speaker 1: go and clean that slate and do something new. But

734
00:42:02,400 --> 00:42:06,160
Speaker 1: that plan falls through. So that plan falls through. Two

735
00:42:06,160 --> 00:42:09,319
Speaker 1: thousand years later, this guy wakes up. Not only was

736
00:42:09,360 --> 00:42:12,640
Speaker 1: the job not done, not only are these humans still alive,

737
00:42:12,760 --> 00:42:16,880
Speaker 1: but they have grown up, expanded out into the into

738
00:42:16,960 --> 00:42:23,759
Speaker 1: the surrounding universe, and have created their own blasphemous little creatures, uh,

739
00:42:23,960 --> 00:42:29,200
Speaker 1: created in their likeness beside them. So yeah, he's mad.

740
00:42:29,239 --> 00:42:33,200
Speaker 1: That combined with two thousand years worth of of of

741
00:42:33,200 --> 00:42:37,080
Speaker 1: of wake up grumpiness, results in a homicidal rampage. So

742
00:42:37,200 --> 00:42:40,160
Speaker 1: I read that Ridley Scott had intended these two thousand

743
00:42:40,239 --> 00:42:42,799
Speaker 1: years ago thing, this thing, this point where the engineers

744
00:42:42,960 --> 00:42:45,640
Speaker 1: had created this goo, to wipe out the earth because

745
00:42:45,640 --> 00:42:49,480
Speaker 1: they were now mad with their creation, uh, to correspond

746
00:42:49,719 --> 00:42:55,480
Speaker 1: with um Christ, and that the Christ figure might have

747
00:42:55,719 --> 00:42:59,600
Speaker 1: even been an engineer himself. So that I want to

748
00:42:59,640 --> 00:43:01,960
Speaker 1: see that that's sequel. We'll see. And now some people

749
00:43:02,000 --> 00:43:05,480
Speaker 1: will say, why wasn't that written in? And probably because

750
00:43:05,719 --> 00:43:07,759
Speaker 1: not everything needs to be written into the well that

751
00:43:07,840 --> 00:43:11,719
Speaker 1: was well, And then you start to look at some

752
00:43:11,760 --> 00:43:15,279
Speaker 1: of the other themes going on, um, certainly birth and

753
00:43:15,320 --> 00:43:17,880
Speaker 1: we'll get to that in a moment um. And the

754
00:43:17,920 --> 00:43:20,040
Speaker 1: fact that this is all taking place on Christmas Day,

755
00:43:20,800 --> 00:43:26,279
Speaker 1: so that kind of that certainly does yeah, because I

756
00:43:26,320 --> 00:43:28,440
Speaker 1: can't think, why is this on Christmas Day? Who cares?

757
00:43:28,640 --> 00:43:31,640
Speaker 1: You know? Because they've got the Christmas tree out there. Um,

758
00:43:31,680 --> 00:43:34,560
Speaker 1: And it does make the reading a little bit more

759
00:43:34,600 --> 00:43:38,520
Speaker 1: interesting of what's going on. But again, you can throw

760
00:43:38,560 --> 00:43:42,080
Speaker 1: a whole Jesus plot line into it. Yeah, it's it's

761
00:43:42,120 --> 00:43:45,360
Speaker 1: pretty thick. Yeah, yeah, it gets really interesting. Uh and

762
00:43:45,480 --> 00:43:48,720
Speaker 1: problematic too. And I think this is what is driving

763
00:43:48,760 --> 00:43:50,560
Speaker 1: people a little bit crazy is that there are is

764
00:43:50,640 --> 00:43:53,680
Speaker 1: so cramp packed with with all these ideas, some of

765
00:43:53,719 --> 00:43:58,200
Speaker 1: the wonderful, if not overly ambitious film. Yeah and uh

766
00:43:58,440 --> 00:44:00,480
Speaker 1: and so some of it and there's things like I

767
00:44:00,560 --> 00:44:02,239
Speaker 1: have no idea why that head blew up. It was

768
00:44:02,280 --> 00:44:04,959
Speaker 1: a great from a horror movie perspective. It was great

769
00:44:05,560 --> 00:44:09,160
Speaker 1: when they bring the helmeted head and then they were like,

770
00:44:09,160 --> 00:44:11,919
Speaker 1: all right, reactivate the cellular tissue and they're like, let's

771
00:44:11,920 --> 00:44:15,080
Speaker 1: do it, and then it blows up. I don't Maybe

772
00:44:15,360 --> 00:44:17,160
Speaker 1: a listener can explain that scene to me. To me,

773
00:44:17,280 --> 00:44:19,560
Speaker 1: that was just the horror element of it, the element

774
00:44:19,600 --> 00:44:22,000
Speaker 1: of surprise because here they've got you know, they've got

775
00:44:22,000 --> 00:44:25,480
Speaker 1: an engineer's head that they found um in the pyramid

776
00:44:25,960 --> 00:44:28,760
Speaker 1: on the extra planet and they're they're doing some studies

777
00:44:28,800 --> 00:44:30,360
Speaker 1: on it. And so it was a little bit like,

778
00:44:30,440 --> 00:44:34,239
Speaker 1: here's this giant man head, um, let's reanimate it and

779
00:44:34,239 --> 00:44:38,600
Speaker 1: see what happens. Let's talk a little bit about well,

780
00:44:39,120 --> 00:44:42,560
Speaker 1: we should mention terraforming because in the in the film, uh,

781
00:44:42,880 --> 00:44:45,200
Speaker 1: Whaland Industries, well not so much in the film, but

782
00:44:45,239 --> 00:44:47,479
Speaker 1: in the viral material, there's a lot of talk about

783
00:44:47,480 --> 00:44:50,480
Speaker 1: how Whaland Industries is really into terraforming of the world

784
00:44:50,520 --> 00:44:53,759
Speaker 1: and setting up these colonial environments. Uh. And then we

785
00:44:53,880 --> 00:44:57,000
Speaker 1: encountered the technology of the engineers there. Everyone's able to

786
00:44:57,000 --> 00:45:00,320
Speaker 1: take their helmets off once they're on board the inside

787
00:45:00,320 --> 00:45:03,160
Speaker 1: the pyramid, and because there's some sort of terraforming taking

788
00:45:03,160 --> 00:45:07,319
Speaker 1: place there as well. And we've discussed terraforming before, and

789
00:45:07,320 --> 00:45:11,120
Speaker 1: it's certainly something that is on on the minds of

790
00:45:11,120 --> 00:45:14,840
Speaker 1: of the the loftier visions of human humanities future, the

791
00:45:14,880 --> 00:45:19,200
Speaker 1: idea that we could change Mars into a sustainable environment,

792
00:45:19,320 --> 00:45:21,560
Speaker 1: that we could colonize it for ourselves, and if we

793
00:45:21,600 --> 00:45:24,560
Speaker 1: find an exoplanet that's either a little too hot or

794
00:45:24,560 --> 00:45:27,160
Speaker 1: a little too cold, that we could even things out

795
00:45:27,200 --> 00:45:30,040
Speaker 1: with this the wee bit of terraforming and maybe not

796
00:45:30,120 --> 00:45:33,960
Speaker 1: destroy everything, because a lot of times the terraforming terraforming

797
00:45:34,000 --> 00:45:38,160
Speaker 1: technology is very similar to some of the more disastrous

798
00:45:38,239 --> 00:45:40,520
Speaker 1: things that we could do to our own atmosphere, such

799
00:45:40,560 --> 00:45:46,040
Speaker 1: as creating nuclear winter or or just drastic climate change.

800
00:45:46,480 --> 00:45:49,839
Speaker 1: But so basically, you could choose an exoplanet, get there

801
00:45:49,960 --> 00:45:54,000
Speaker 1: and do some experimentations either on the atmosphere there, or

802
00:45:54,080 --> 00:45:58,000
Speaker 1: you could be creating some sort of uh BioWare warfare

803
00:45:58,560 --> 00:46:03,239
Speaker 1: agent in the form of coup. Yes, and yeah, because

804
00:46:03,239 --> 00:46:05,719
Speaker 1: the coop is What's what I've found awesome about that

805
00:46:05,800 --> 00:46:08,000
Speaker 1: is that it's it's more than just a bioweapon. Like

806
00:46:08,040 --> 00:46:12,279
Speaker 1: it's more than just we've taken one organism and weaponized it,

807
00:46:12,360 --> 00:46:15,160
Speaker 1: or taken a couple of organisms and weaponized it. It's

808
00:46:15,200 --> 00:46:19,080
Speaker 1: kind of life itself weaponized, um, which is just a

809
00:46:19,120 --> 00:46:21,160
Speaker 1: great sci fi idea, and it's but it's the kind

810
00:46:21,200 --> 00:46:23,279
Speaker 1: of thing on a far lesser level that we humans

811
00:46:23,280 --> 00:46:27,640
Speaker 1: are already doing. Um. Some bioterrorism is essentially let's take

812
00:46:27,680 --> 00:46:30,560
Speaker 1: some anthrax. Let's take something that that is dangerous in

813
00:46:30,600 --> 00:46:33,120
Speaker 1: our environment and throw it at our enemy and maybe

814
00:46:33,120 --> 00:46:35,440
Speaker 1: they'll catch it. And that's as ancient as you know

815
00:46:35,560 --> 00:46:38,040
Speaker 1: siege environments in the Middle Ages, where somebody would take

816
00:46:38,040 --> 00:46:39,880
Speaker 1: a bunch of dead bodies or a dead cow and

817
00:46:39,960 --> 00:46:44,560
Speaker 1: catapulted into a besiege city to spread disease. But science

818
00:46:44,600 --> 00:46:50,759
Speaker 1: makes things, uh ever more problematic. So we have chimeric

819
00:46:50,880 --> 00:46:53,840
Speaker 1: organisms life forms to contain the genes genes from a

820
00:46:53,960 --> 00:46:58,319
Speaker 1: foreign species, uh, and we've we've actually toyed around with

821
00:46:58,800 --> 00:47:02,000
Speaker 1: using this technology to uh do not only do some

822
00:47:02,000 --> 00:47:03,960
Speaker 1: good stuff. For instance, we've been able to combine the

823
00:47:03,960 --> 00:47:08,360
Speaker 1: common cold with polio in a way that sounds horrifying,

824
00:47:08,440 --> 00:47:11,560
Speaker 1: but it actually may help us cure brain cancer. But

825
00:47:12,000 --> 00:47:15,279
Speaker 1: we've also toyed around with ways to combine smallpox and

826
00:47:15,360 --> 00:47:20,520
Speaker 1: an threax into a single bioweapon. Or also, during nineties,

827
00:47:20,560 --> 00:47:24,000
Speaker 1: the Soviet Union's Camera Project study the feasibility of combining

828
00:47:24,040 --> 00:47:28,560
Speaker 1: small box and ebola into one supervirus. So it's an

829
00:47:28,600 --> 00:47:31,560
Speaker 1: area that we've been looking into and it can potentially

830
00:47:31,600 --> 00:47:36,080
Speaker 1: lead to very chilling um ramifications that could backfire on us,

831
00:47:36,239 --> 00:47:39,120
Speaker 1: as it apparently backfired on the engineers in this film. Well, yeah,

832
00:47:39,120 --> 00:47:41,040
Speaker 1: that's the idea, is that the engineers on this exo

833
00:47:41,120 --> 00:47:43,719
Speaker 1: planet were perhaps wiped out by their own creation, right,

834
00:47:43,840 --> 00:47:46,520
Speaker 1: that this this creature that has spawned from the goo.

835
00:47:46,840 --> 00:47:49,399
Speaker 1: And when I think it's really interesting about this, it's like, hey,

836
00:47:49,480 --> 00:47:52,520
Speaker 1: let's let's not only just torch Earth, right, let's just

837
00:47:52,640 --> 00:47:56,000
Speaker 1: take out our creation altogether. But just in case anybody survives,

838
00:47:56,120 --> 00:47:59,200
Speaker 1: let's throw some goop at them that, you know, if

839
00:47:59,200 --> 00:48:01,800
Speaker 1: they interact with that, they're going to just date this

840
00:48:02,680 --> 00:48:07,080
Speaker 1: horrible creature which will then uh kill them. Yeah. I mean,

841
00:48:07,120 --> 00:48:09,279
Speaker 1: it's just's sort of like a you know, it's a

842
00:48:09,400 --> 00:48:12,759
Speaker 1: very buttoned up program of annihilation. And then we end

843
00:48:12,800 --> 00:48:15,640
Speaker 1: up with that scene in the in the in the

844
00:48:15,760 --> 00:48:21,080
Speaker 1: robotic surgery pot the med pod, where the character of

845
00:48:21,080 --> 00:48:27,319
Speaker 1: Shaw right, yeah, yeah, she is. She ends up with

846
00:48:27,320 --> 00:48:30,520
Speaker 1: the thing growing inside her is eventually like a squid

847
00:48:30,520 --> 00:48:33,920
Speaker 1: monster of some kind and uh and she goes to

848
00:48:34,000 --> 00:48:35,319
Speaker 1: use it and she's like, all right, I need to

849
00:48:35,360 --> 00:48:37,520
Speaker 1: put in this procedure to remove this thing growing in me.

850
00:48:37,760 --> 00:48:40,239
Speaker 1: And then she realizes that it's calibrated only for men

851
00:48:41,040 --> 00:48:43,800
Speaker 1: um which which leads one of the more horror because

852
00:48:43,800 --> 00:48:45,480
Speaker 1: the The idea of I need to go into this

853
00:48:45,560 --> 00:48:48,680
Speaker 1: medical chamber and have this thing removed for me from

854
00:48:48,680 --> 00:48:50,960
Speaker 1: me is pretty terrifying in and of itself. But then

855
00:48:51,120 --> 00:48:53,920
Speaker 1: to learn that the technology isn't even calibrated for females,

856
00:48:53,960 --> 00:48:56,160
Speaker 1: that's just like an extra level of oh, don't do

857
00:48:56,200 --> 00:48:57,640
Speaker 1: it all right. Then she has to go manual on

858
00:48:57,680 --> 00:49:01,160
Speaker 1: it and program it's okay, fine, abdomba a surgery. There

859
00:49:01,360 --> 00:49:03,480
Speaker 1: is a creature in my stomach, please take it out,

860
00:49:04,080 --> 00:49:09,480
Speaker 1: essentially telling the program that and luckily those yeah yeah, um,

861
00:49:09,600 --> 00:49:11,520
Speaker 1: or I think it's for an object or something like that,

862
00:49:11,600 --> 00:49:13,960
Speaker 1: so it identifies it in that way. But it is

863
00:49:14,360 --> 00:49:18,520
Speaker 1: that whole scene is terrifying and interesting. And she doesn't

864
00:49:18,560 --> 00:49:21,480
Speaker 1: say that she needs an abortion. She says she needs acessarian.

865
00:49:21,520 --> 00:49:27,279
Speaker 1: That's what what she tells the computer and um And

866
00:49:27,360 --> 00:49:29,279
Speaker 1: of course I'm I'm not going to go into that

867
00:49:29,360 --> 00:49:31,520
Speaker 1: landscape because I really don't think that's what that scene

868
00:49:31,600 --> 00:49:33,879
Speaker 1: was about. It was about, Hey, I'm just dating an

869
00:49:33,880 --> 00:49:35,839
Speaker 1: alien and it's about to kill me and everybody else

870
00:49:35,880 --> 00:49:38,080
Speaker 1: on board. I gotta get it out. But it is

871
00:49:38,640 --> 00:49:41,520
Speaker 1: a terrifying scene because you are you, You feel like

872
00:49:41,600 --> 00:49:44,040
Speaker 1: you really inhabit the mind, or at least I did

873
00:49:44,080 --> 00:49:48,080
Speaker 1: of Elizabeth Shaw, where you're trying to get this procedure done.

874
00:49:48,120 --> 00:49:50,880
Speaker 1: You're inside the pod. You see your stomach basically about

875
00:49:50,880 --> 00:49:53,480
Speaker 1: to burst open. And not only you know, are you

876
00:49:53,480 --> 00:49:56,680
Speaker 1: about to undergo the surgery to remove this creature, but

877
00:49:57,040 --> 00:50:00,560
Speaker 1: it's now going to hang over you a little clamp

878
00:50:01,239 --> 00:50:03,800
Speaker 1: as you're trapped into this pot and you now must

879
00:50:03,920 --> 00:50:07,560
Speaker 1: extricate yourself from this situation. Yeah, and it's it's all.

880
00:50:07,600 --> 00:50:09,759
Speaker 1: It's kind of one of it's like the it's like

881
00:50:09,760 --> 00:50:12,440
Speaker 1: a sci fi version of the Cowboy scene where you know,

882
00:50:12,480 --> 00:50:16,480
Speaker 1: the cowboy bites a bullet and uh and um and

883
00:50:16,480 --> 00:50:19,520
Speaker 1: and performs his own surgery there by the campfire kind

884
00:50:19,560 --> 00:50:22,000
Speaker 1: of thing. Um and then I also, here's just a

885
00:50:22,040 --> 00:50:24,600
Speaker 1: little food for thought. Uh, to what extent is this

886
00:50:24,880 --> 00:50:29,800
Speaker 1: scene toying around with some commentary on American healthcare. Here's

887
00:50:29,800 --> 00:50:35,160
Speaker 1: a here's a device. It's calibrated mostly for males, uh

888
00:50:35,239 --> 00:50:38,560
Speaker 1: and uh, and a female is forced to navigate this

889
00:50:38,840 --> 00:50:41,279
Speaker 1: slightly foreign system to make it work. I don't know, well,

890
00:50:41,400 --> 00:50:46,760
Speaker 1: while she's having a virgin proof on Christmas Day. Yeah, yeah,

891
00:50:46,800 --> 00:50:50,600
Speaker 1: which again another whole spin on this. But it is,

892
00:50:51,880 --> 00:50:54,680
Speaker 1: it's it's it's uh. I think it's so nightmarish in

893
00:50:54,760 --> 00:50:57,520
Speaker 1: such a wonderful scene because you really can get behind

894
00:50:57,680 --> 00:51:01,360
Speaker 1: the technology and actually see at least not the alien

895
00:51:01,360 --> 00:51:03,879
Speaker 1: part or the creature part coming out, but see this

896
00:51:04,200 --> 00:51:08,000
Speaker 1: um technology being used. Yeah. I think that's why it's

897
00:51:08,080 --> 00:51:10,680
Speaker 1: so credible to me, like the scenes, I can really

898
00:51:10,719 --> 00:51:15,719
Speaker 1: sort of say, yes that that could exist in another thing,

899
00:51:16,080 --> 00:51:20,360
Speaker 1: another bit of technology that pops up exoskeletons. As we mentioned,

900
00:51:20,360 --> 00:51:22,960
Speaker 1: Peter Whalen shows up super old. I think he's like

901
00:51:23,480 --> 00:51:25,360
Speaker 1: a century old at this point. We're trying to figure

902
00:51:25,400 --> 00:51:27,720
Speaker 1: that out. I mean we were saying like one hundred

903
00:51:27,760 --> 00:51:30,920
Speaker 1: at the youngest today. I was making an argument that

904
00:51:30,960 --> 00:51:33,400
Speaker 1: he might be one forty today. I looked at the

905
00:51:33,800 --> 00:51:36,440
Speaker 1: timeline for Whitland Industries and like they have his birthday

906
00:51:36,440 --> 00:51:38,520
Speaker 1: on there, and he would be ninety nine or a

907
00:51:38,600 --> 00:51:40,680
Speaker 1: hundred alright, So they went a little bit nuts on

908
00:51:40,760 --> 00:51:43,520
Speaker 1: the old people makeup on him. The old people makeup

909
00:51:43,560 --> 00:51:45,800
Speaker 1: is interesting because like Chekhov has had a rule with

910
00:51:45,880 --> 00:51:48,040
Speaker 1: theater that if you have a young man in old

911
00:51:48,360 --> 00:51:51,320
Speaker 1: man makeup, he will be made young again by the

912
00:51:51,400 --> 00:51:54,120
Speaker 1: end of the film. And and from a sensible point

913
00:51:54,120 --> 00:51:56,120
Speaker 1: of view. Why have a young man play an old

914
00:51:56,160 --> 00:51:58,040
Speaker 1: man when you could just get an old man to

915
00:51:58,080 --> 00:52:01,000
Speaker 1: play an old man. Marthon Sido is out. They're old

916
00:52:01,040 --> 00:52:03,959
Speaker 1: as heck and ready to act every day of his life.

917
00:52:03,960 --> 00:52:06,480
Speaker 1: Get him in there, right, he'd be great for me.

918
00:52:06,520 --> 00:52:08,960
Speaker 1: I was thinking about it more in the context of

919
00:52:09,320 --> 00:52:12,000
Speaker 1: m Aubrey Gray. We've talked about him before. He is

920
00:52:12,120 --> 00:52:15,520
Speaker 1: the bio gerontologist who says that, um, we can live

921
00:52:15,560 --> 00:52:18,080
Speaker 1: to a thousand years old, and that the um in fact,

922
00:52:18,080 --> 00:52:20,239
Speaker 1: there's we have the first person to live to five

923
00:52:20,320 --> 00:52:24,640
Speaker 1: hundred has already been born. And he does this. Um.

924
00:52:24,680 --> 00:52:28,320
Speaker 1: He's created this theory through something called the longevity escape velocity,

925
00:52:28,360 --> 00:52:31,000
Speaker 1: and this is this idea that you can maintain your body.

926
00:52:31,120 --> 00:52:33,319
Speaker 1: We now have enough technology where we could do this

927
00:52:33,440 --> 00:52:36,360
Speaker 1: like sort of like a classic automobile. So when I

928
00:52:36,400 --> 00:52:41,080
Speaker 1: saw whaland um, you know, with his crazy, uh, squished

929
00:52:41,160 --> 00:52:44,479
Speaker 1: up old skin, I kept thinking, well, that doesn't seem

930
00:52:44,560 --> 00:52:47,120
Speaker 1: kind of in line with what might be available in

931
00:52:48,200 --> 00:52:52,279
Speaker 1: because already you see some women and men cruising around

932
00:52:52,280 --> 00:52:55,200
Speaker 1: who are eighty nine years old with you know, baby

933
00:52:55,640 --> 00:53:00,320
Speaker 1: fine skin, and they're hunched over in their old Schnell suits,

934
00:52:59,760 --> 00:53:02,160
Speaker 1: and so I sort of expected to see some of

935
00:53:02,600 --> 00:53:07,080
Speaker 1: more something like a more like the Uncanny Valley effect,

936
00:53:07,080 --> 00:53:10,160
Speaker 1: where you see that someone has been messed with on

937
00:53:10,200 --> 00:53:12,520
Speaker 1: a tissue level and they would just look grotesque in

938
00:53:12,560 --> 00:53:14,680
Speaker 1: some way. Yeah, I guess I tried to sort of

939
00:53:14,719 --> 00:53:17,839
Speaker 1: explain away the weirdness of old man makeup on younger

940
00:53:17,880 --> 00:53:20,160
Speaker 1: man by sort of thinking out it in those terms like, well,

941
00:53:20,200 --> 00:53:22,600
Speaker 1: he's probably had some some weird treatments at this point

942
00:53:22,640 --> 00:53:25,880
Speaker 1: to sustain him to this to this level, and maybe

943
00:53:25,880 --> 00:53:29,080
Speaker 1: that's why he would look kind of weird because maximum

944
00:53:29,120 --> 00:53:31,520
Speaker 1: sido is an old man in a in a in

945
00:53:31,560 --> 00:53:35,520
Speaker 1: our current age, what will old men look like, especially

946
00:53:36,200 --> 00:53:38,839
Speaker 1: severely rich old men look like a century from now.

947
00:53:39,320 --> 00:53:42,640
Speaker 1: But well, maybe one too many chemical peles, that's what

948
00:53:42,640 --> 00:53:46,239
Speaker 1: it looks like, honestly. But exo skeletons, though, he ends

949
00:53:46,280 --> 00:53:48,040
Speaker 1: up betting on the exo skeleton so he can walk,

950
00:53:48,280 --> 00:53:51,319
Speaker 1: And that is a very real technology we've discussed that

951
00:53:51,960 --> 00:53:54,319
Speaker 1: the Japanese are particularly interested in because it's all about

952
00:53:54,360 --> 00:53:58,359
Speaker 1: let's figure out ways to help older individuals continue to

953
00:53:58,440 --> 00:54:02,680
Speaker 1: move about their lives, to give mobility by augmenting them

954
00:54:02,760 --> 00:54:08,560
Speaker 1: with mechanical kind of mechanical braces. Uh. In some cases

955
00:54:09,000 --> 00:54:13,680
Speaker 1: things external robotic um build outs that will enable them

956
00:54:13,719 --> 00:54:16,480
Speaker 1: to walk or get up and down from from in

957
00:54:16,520 --> 00:54:19,600
Speaker 1: the bathroom easier, things of this nature. So we tell

958
00:54:19,640 --> 00:54:21,680
Speaker 1: you to see that in the film. And um, yeah,

959
00:54:21,719 --> 00:54:24,480
Speaker 1: because Japanese, the Japanese do have one of the largest

960
00:54:24,480 --> 00:54:27,200
Speaker 1: aging populations, so it does make sense that they would

961
00:54:27,239 --> 00:54:29,880
Speaker 1: be interested in that technology. But yeah, that was that

962
00:54:29,960 --> 00:54:32,840
Speaker 1: was a nice little um point there in the movie.

963
00:54:33,280 --> 00:54:35,920
Speaker 1: Al Right, well, let's let's come back around two Panties

964
00:54:35,920 --> 00:54:40,680
Speaker 1: again to close everything out. We were mentioning how and

965
00:54:40,719 --> 00:54:42,920
Speaker 1: if you want to learn more about this whole panties thing,

966
00:54:43,560 --> 00:54:47,520
Speaker 1: check out Woman the Other Alien and Alien, which was

967
00:54:47,760 --> 00:54:49,520
Speaker 1: by an author by the name of Tom shown and

968
00:54:49,600 --> 00:54:51,880
Speaker 1: appeared in Slate and he just really gets into the

969
00:54:51,920 --> 00:54:55,279
Speaker 1: academic discussions of really Scott's Alien film. And this was

970
00:54:55,280 --> 00:54:57,640
Speaker 1: published before Prometheus, so it doesn't get into that at all.

971
00:54:58,080 --> 00:54:59,839
Speaker 1: But yeah, he talks about how, you know, you had

972
00:54:59,840 --> 00:55:02,840
Speaker 1: in with a pro panties camp and an anti panties

973
00:55:02,880 --> 00:55:06,400
Speaker 1: camp when it came to academic discussion of Alien, and

974
00:55:06,440 --> 00:55:09,880
Speaker 1: then then you had some commentary that came along that

975
00:55:10,000 --> 00:55:13,000
Speaker 1: kind of attempted to bridge the two factions. It's true

976
00:55:13,120 --> 00:55:16,200
Speaker 1: there was a professor Creed who actually tried to bridge

977
00:55:17,000 --> 00:55:19,520
Speaker 1: that conversation by saying much has been written about the

978
00:55:19,560 --> 00:55:22,160
Speaker 1: final scene in which Ripley addresses before the camera, on

979
00:55:22,200 --> 00:55:24,840
Speaker 1: the grounds that it's voyeurism undermines her role as a

980
00:55:24,920 --> 00:55:30,440
Speaker 1: successful heroine. She wrote with an air of weary summary, Um,

981
00:55:30,600 --> 00:55:34,000
Speaker 1: but what if Ripley in her panties signifies the acceptable

982
00:55:34,040 --> 00:55:37,520
Speaker 1: form in shape of woman, the display of woman as

983
00:55:37,760 --> 00:55:43,200
Speaker 1: reassuring and pleasurable sign Yeah, yeah, I don't know, um,

984
00:55:43,200 --> 00:55:45,520
Speaker 1: but I did think it sort of casted Elizabeth Shawn

985
00:55:45,520 --> 00:55:49,600
Speaker 1: into this question mark of of where she is in

986
00:55:49,640 --> 00:55:54,560
Speaker 1: this moral code of horror films. Yeah, because she she

987
00:55:55,080 --> 00:55:57,400
Speaker 1: has sex in the film, but she has sex with

988
00:55:57,440 --> 00:56:01,240
Speaker 1: her Is there her husband or boyfriend, anna other whatever,

989
00:56:01,320 --> 00:56:05,680
Speaker 1: it's not morally subject the other character Clary's that they're on.

990
00:56:06,120 --> 00:56:09,839
Speaker 1: Surely sure least they're on who has a who has

991
00:56:09,840 --> 00:56:12,360
Speaker 1: a relationship there with or at least a brief relationship

992
00:56:12,400 --> 00:56:16,440
Speaker 1: with ins elbows character the captain. Uh, that just kind

993
00:56:16,440 --> 00:56:19,760
Speaker 1: of comes out of nowhere. But but it's again that

994
00:56:19,760 --> 00:56:22,080
Speaker 1: that's one of those things that is serving the plot,

995
00:56:22,120 --> 00:56:25,920
Speaker 1: and so it doesn't always ring true. Yeah, but but yeah,

996
00:56:26,000 --> 00:56:30,200
Speaker 1: she's not. The Shaw's character isn't tremendously sexualized in this film. Either.

997
00:56:30,640 --> 00:56:32,759
Speaker 1: She does run around in or underwear at one point,

998
00:56:32,800 --> 00:56:36,719
Speaker 1: which is just going to happen in an alien mythos film,

999
00:56:36,800 --> 00:56:41,120
Speaker 1: but but it's not. It's not like hyperly sexual. Okay,

1000
00:56:41,239 --> 00:56:45,520
Speaker 1: So she is the one who has the faith, and

1001
00:56:45,719 --> 00:56:49,880
Speaker 1: so she also is the one who is birthing on

1002
00:56:49,960 --> 00:56:53,680
Speaker 1: Christmas Day, the virgin birth. Uh so there is this idea.

1003
00:56:54,200 --> 00:56:57,440
Speaker 1: You know, we talked about the MacDonald horror complex sometimes

1004
00:56:57,520 --> 00:57:00,840
Speaker 1: subscribing women as either you know, um saintly and innocent

1005
00:57:01,120 --> 00:57:06,600
Speaker 1: or you know, um more like the Mary Magdalen um.

1006
00:57:06,680 --> 00:57:10,040
Speaker 1: And you do you come away from the film, at

1007
00:57:10,080 --> 00:57:12,600
Speaker 1: least I do, and feeling like there was she was

1008
00:57:12,800 --> 00:57:16,400
Speaker 1: embodying innocence to a certain degree. Yeah, yeah, I can

1009
00:57:16,400 --> 00:57:19,960
Speaker 1: see that for sure. So it is Yeah, essentially there

1010
00:57:20,000 --> 00:57:22,480
Speaker 1: is no sort of voyeuristick take on Elizabeth saw this

1011
00:57:22,840 --> 00:57:24,920
Speaker 1: and so is that pro feminist or is that just

1012
00:57:25,000 --> 00:57:27,960
Speaker 1: really getting her to you know, again this realm where

1013
00:57:29,160 --> 00:57:33,640
Speaker 1: sometimes women just get reduced to this one thing. Yeah.

1014
00:57:34,080 --> 00:57:38,280
Speaker 1: The monsters, for their part, remain hyper sexual U totally

1015
00:57:38,440 --> 00:57:42,960
Speaker 1: like hermaphrodites to a certain degree, right, some of them

1016
00:57:42,960 --> 00:57:48,160
Speaker 1: that seem phallic will listen become vagina like yeah, and uh,

1017
00:57:48,200 --> 00:57:52,160
Speaker 1: and that gets into the whole area of vagina dan

1018
00:57:52,240 --> 00:57:55,120
Speaker 1: tata and in phallic dentata if you want to know

1019
00:57:55,160 --> 00:57:58,160
Speaker 1: more about vagina dentata stuff. Mom never told you did

1020
00:57:58,160 --> 00:58:01,000
Speaker 1: a whole episode on this. So yeah, it's a reference

1021
00:58:01,000 --> 00:58:03,800
Speaker 1: to castration anxiety, which is just sort of perfect for

1022
00:58:03,840 --> 00:58:06,320
Speaker 1: a film like this, right, yeah, yeah that that like

1023
00:58:06,640 --> 00:58:09,440
Speaker 1: that doesn't happen. I think that's one of the for

1024
00:58:09,720 --> 00:58:11,360
Speaker 1: with for a film in which so many people die

1025
00:58:11,400 --> 00:58:14,560
Speaker 1: so horribly, it's it's amazing they didn't go to that

1026
00:58:14,560 --> 00:58:18,160
Speaker 1: that particular. Well, but though at the end there was

1027
00:58:18,280 --> 00:58:22,160
Speaker 1: there was some Legona Dantana going on, Oh yes, the

1028
00:58:22,280 --> 00:58:26,000
Speaker 1: squid monster that ends up taking out the engineer and

1029
00:58:27,440 --> 00:58:31,439
Speaker 1: face sexing and yeah yes, face sexing, yeah, which again

1030
00:58:31,480 --> 00:58:33,320
Speaker 1: falls light in line with the with the original ideas

1031
00:58:33,320 --> 00:58:36,440
Speaker 1: an alien where it's this weird like like it's it's

1032
00:58:36,440 --> 00:58:39,480
Speaker 1: sexual assault, but it's also falling back into what is

1033
00:58:39,480 --> 00:58:44,000
Speaker 1: apparently like a um like a childhood misconception about how

1034
00:58:44,120 --> 00:58:46,760
Speaker 1: sex may work and how babies work. The idea that

1035
00:58:46,920 --> 00:58:49,160
Speaker 1: the baby is put in through the mouth. Um. So

1036
00:58:49,200 --> 00:58:50,640
Speaker 1: some of the this is how deep. A lot of

1037
00:58:50,640 --> 00:58:54,000
Speaker 1: the commentary for Alien goes where they really gets into

1038
00:58:54,280 --> 00:58:57,360
Speaker 1: into the biologic confusion of the piece. You know that

1039
00:58:57,440 --> 00:59:00,880
Speaker 1: actually not to relate fist my daughter, but I mean

1040
00:59:00,880 --> 00:59:02,480
Speaker 1: she's there, here's old and she didn't ask me the

1041
00:59:02,560 --> 00:59:05,360
Speaker 1: other day why I swallowed her. Oh well there you go.

1042
00:59:05,480 --> 00:59:08,120
Speaker 1: So and I was amazed. I thought, oh God, she

1043
00:59:08,160 --> 00:59:10,440
Speaker 1: thinks I swallowed her because you know, you could say

1044
00:59:10,480 --> 00:59:12,760
Speaker 1: I was in your belly or whatever. Um. I did

1045
00:59:12,800 --> 00:59:15,480
Speaker 1: want to go quickly back to the creator thing because

1046
00:59:15,480 --> 00:59:18,840
Speaker 1: it's a huge theme of this movie is trying to

1047
00:59:18,880 --> 00:59:21,959
Speaker 1: find Um. It's not trying to find God per se.

1048
00:59:22,080 --> 00:59:25,320
Speaker 1: It's trying to find the answer to the question of

1049
00:59:25,320 --> 00:59:28,200
Speaker 1: why we are here? Who put us here? Um? Is

1050
00:59:28,240 --> 00:59:32,280
Speaker 1: there a reason for our being? Yeah? And it's um.

1051
00:59:32,280 --> 00:59:35,640
Speaker 1: And that's why this is sort of a movie that

1052
00:59:35,760 --> 00:59:38,680
Speaker 1: is I think so engaging, is because it is taking

1053
00:59:38,720 --> 00:59:42,640
Speaker 1: on this theme um and all that you do have

1054
00:59:42,720 --> 00:59:46,800
Speaker 1: this person of faith in Elizabeth Shaw. Uh, you also

1055
00:59:46,920 --> 00:59:51,240
Speaker 1: are running against these other moments where there is a void.

1056
00:59:51,920 --> 00:59:54,480
Speaker 1: And one of the things that I thought was very

1057
00:59:54,600 --> 00:59:59,920
Speaker 1: um interesting is when Whyland meets his maker, right, the engineer,

1058
01:00:00,680 --> 01:00:04,320
Speaker 1: and um, he's sitting there dying afterward, and David's head

1059
01:00:04,320 --> 01:00:07,439
Speaker 1: has been ripped off his robot body and they're having

1060
01:00:07,480 --> 01:00:12,320
Speaker 1: a conversation and Whalen says to him, there's nothing, and

1061
01:00:12,440 --> 01:00:16,280
Speaker 1: David says, I know, have a good journey, Mr Whalen,

1062
01:00:17,120 --> 01:00:19,840
Speaker 1: And so I thought, is this you know? That's that's

1063
01:00:19,920 --> 01:00:22,040
Speaker 1: I think part of the what the movie is trying

1064
01:00:22,040 --> 01:00:24,400
Speaker 1: to say too, is that there's always going to be

1065
01:00:24,440 --> 01:00:28,480
Speaker 1: the mystery. And you know, in the absence of answers

1066
01:00:28,520 --> 01:00:32,200
Speaker 1: there there's nothing. Um, and there may also be nothing

1067
01:00:32,320 --> 01:00:35,480
Speaker 1: even with the answers, because he did have his answer

1068
01:00:35,480 --> 01:00:40,040
Speaker 1: to a certain degree. Uh, so interesting food for thought there,

1069
01:00:40,160 --> 01:00:42,360
Speaker 1: all right, Well, I would like to invite everyone to

1070
01:00:42,440 --> 01:00:45,680
Speaker 1: take that food for thought, allow it to crawl down

1071
01:00:45,720 --> 01:00:48,840
Speaker 1: your throat and uh and grow inside you into something

1072
01:00:50,160 --> 01:00:54,480
Speaker 1: something more, even more meaningful, to state that. Uh. If

1073
01:00:54,520 --> 01:00:59,600
Speaker 1: you have any gestation thoughts, um our thoughts from your gestation, yeah,

1074
01:00:59,600 --> 01:01:01,200
Speaker 1: if you have a share them with us. Yeah, general

1075
01:01:01,240 --> 01:01:03,960
Speaker 1: thoughts about the technology in the movie, um, and the

1076
01:01:04,600 --> 01:01:06,720
Speaker 1: and the ideas in the movie and things we've discussed here.

1077
01:01:07,080 --> 01:01:09,800
Speaker 1: Let us know about those. Just fair warning. UM. If

1078
01:01:09,800 --> 01:01:12,680
Speaker 1: it's a spoilery discussion. We're we're not going to read

1079
01:01:12,760 --> 01:01:14,160
Speaker 1: any of that on the air. We'd still love to

1080
01:01:14,200 --> 01:01:16,640
Speaker 1: hear it, but it'll it'll end up just being for

1081
01:01:16,640 --> 01:01:19,920
Speaker 1: for our eyes only. Uh. If you won't want to

1082
01:01:19,960 --> 01:01:21,960
Speaker 1: interact with us and share stuff, you can find us

1083
01:01:21,960 --> 01:01:25,240
Speaker 1: on Facebook where we are stuff to Blow the Mind,

1084
01:01:25,400 --> 01:01:26,920
Speaker 1: and you can also find us on Twitter where our

1085
01:01:26,960 --> 01:01:29,560
Speaker 1: handle is blow the Mind. And you can always drop

1086
01:01:29,640 --> 01:01:36,880
Speaker 1: us a line at Blow the Mind at Discovery dot com.

1087
01:01:36,960 --> 01:01:39,520
Speaker 1: Be sure to check out our new video podcast, Stuff

1088
01:01:39,560 --> 01:01:42,200
Speaker 1: from the Future. Join how Stuff Work staff as we

1089
01:01:42,240 --> 01:01:45,800
Speaker 1: explore the most promising and perplexing possibilities of tomorrow.