Toomorrow (1970) (part 3 of 10)
Right, so here we go. It’s that trope where technologically superior but dickless aliens rediscover the value of emotion from a bunch of colorful Earthlings. You know, it really says a lot about us that our sci-fi essentially always boils down to, “Hey, we know we humans might not be the smartest mooks in the galaxy. But we sure can teach you a thing or two about rock-and-roll music and punching people in the face!”
God, I miss Farscape.
Sorry, where was I? Right, right, dickless aliens.
Observer snarks that “young Earthlings” produce scads of this thing you call “music,” but Uptight Superior responds that in only one case has the blending of vibrations produced curative qualities. Listen, if the name “Adam Duritz” comes up in the next sentence, I’m pulling this recap over and shooting myself.
They’ve managed to get a brief mpeg of the source of the vibrations. Uptight Superior calls up a big diamond-shaped screen on which we now get a clip of the aliens’ salvation, which is… God, I can’t say it… Toomorrow, performing “Toomorrow”! Okay, buddy, I was almost willing to buy that human music could save your people, but—hahahahahahaha!! This is the point at which Observer should punch him in the face, if only he’d only been taught to do so by John Crichton.