Is Ridley Scott’s Prometheus a half-baked pile of philosophical babble, or is it more seductively an early harbinger of a kind of post-television cinematic narrative—filmmaking in the age of television? 
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    	            Is Ridley Scott’s Prometheus a half-baked pile of philosophical babble, or is it more seductively an early harbinger of a kind of post-television cinematic narrative—filmmaking in the age of television? 
Read more »