The show had an expert use computer simulations to try to argue that the formation was intentionally created, and it’s interesting that the show refers to skeptical views of the Guardian as an optical illusion with the word “apophenia” (seeing patterns that don’t exist) instead of “pareidolia” (seeing familiar patterns in vague, abstract, or natural patterns). The show presents these mutually exclusive ideas as though they were harmonious. Henry says that humans could not have made a geoglyph on their own and needed aliens to do it for them, while Tsoukalos differs and says that First Nations people in Alberta carved it themselves because they were trying to signal space aliens. William Henry and Giorgio Tsoukalos claim that only space aliens could provide the answer. For no good reason, they use part of the time to give us a history of the carving of Mount Rushmore, which is a mountain carved from stone, while the Badlands Guardian is made from soil and clay. It’s not wholly inappropriate, though, since Serling was an ancient astronaut believer who hosted In Search of Ancient Astronauts, the ancestral TV special that eventually gave rise to Ancient Aliens, both being adaptations of Chariots of the Gods.Īnyway, the first segment tries to make the case that the Badlands Guardian is an intentional carving and not a natural formation, and David Childress shows up to tell us that archaeologists are “often mistaken” about what is artificial and what is natural. I still hate the new opening sequence, especially its invocation of the Twilight Zone by using “There is a door…” and imagery recalling Rod Serling’s title sequence.
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