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His often self-indulgent visual schtick seems to impress people less, and of his most recent three movies, The Man Who Killed Don Quixote is perhaps more interesting for the catastrophic earlier attempt to film it chronicled in Lost In La Mancha than it is as a finished product, The Imaginarium of Doctor Parnassus is more famed for being the movie Heath Ledger died in the course of making rather than on its own merits, and The Zero Theorem is kind of grumpy and horrible. There’s a lot to dislike in that interview, but for me the final nail in the coffin is where he talks up a female character in The Man Who Killed Don Quixote as a young woman who “takes responsibility for her state”, which firmly places him as one of those libertarian dorks who puts such a high stock on the right to take responsibility for oneself he outright ignores all the respects in which someone’s situation might genuinely not be their responsibility or meaningfully within their control.Įven if you set that aside and exclusively look to his films, his recent output has faced a muted critical reception. For one thing, he’s made some rather clumsy and ill-considered comments about #metoo and the plight of the white man. Terry Gilliam’s star has declined in recent years. Continue reading “Primordial Resonance” → Little does he know that in Metropol he will find not just the power source, but his own history – and more about the fall of Man and the rise of the robots than is good for his peace of mind. Crispin is excited to see the big city – but something in Horatio’s core programming makes him highly averse to it. It soon becomes apparent that to complete their quest they must go to Metropol – the greatest, and indeed only, city of the age. Doomed to starve for want of energy if they don’t retrieve it or something of an equivalent power level, Horatio and Crispin must activate auxiliary power, scan the wasteland for energy spikes, and see what they can scavenge. One day, a big mean-looking robot busts through UNNIIC‘s hull and steals the power core, leaving the ship powered down. Horatio is on Version 5, which means he’s been rebuilt several times his memory of his origins, and those of UNNIIC, are fuzzy to say the least, but he takes solace in the religion of Humanism, which teaches that a deity called Man created machines to maintain the world on Man’s behalf. The crashed airship UNNIIC rusts in a vast wasteland the robot Horatio Nullbuilt spends his days attempting to repair it with the aid of Crispin, the wise-cracking floating buddy he made out of spare parts. At an indeterminate point in the future, humanity is extinct, but human creations live on.