ද පෝස්ට්-මොඩර්න් ප්‍රොමිතියස්

"**ද පෝස්ට්-මොඩර්න් ප්‍රොමිතියස්**" (සිංහල: "පශ්චාත්-නූතන ප්‍රොමිතියස්") යනුවෙන් හැඳින්වෙන්නේ ඇමරිකානු විද්‍යා ප්‍රබන්ධ රූපවාහිනී කතාමාලාවක් වන *ද එක්ස්-ෆයිල්ස්* හි පස්වන කථාවාරයේ පස්වන කථාංගයයි. මෙහි මුල් විකාශය 1997 නොවැම්බර් 30 දින ෆොක්ස් රූපවාහිනී ජාලය ඔස්සේ සිදු විය. කතාමාලාවේ නිර්මාතෘ ක්‍රිස් කාටර් විසින් රචනා සහ අධ්‍යක්ෂණය කළ "ද පෝස්ට්-මොඩර්න් ප්‍රොමිතියස්" යනු  "සතියේ රාක්ෂයා" වර්ගයේ කථාංගයකි. එනම් ස්වාධීන කථපුවතක් වන මෙය *ද එක්ස්-ෆයිල්ස්* හි පුරාණෝක්තිවේදය හා සම්බන්ධ නොවූවකි. මුල් විකාශයේදී ම මිලියන 18.68ක පිරිසක් නැරඹූ "ද පෝස්ට්-මොඩර්න් ප්‍රොමිතියස්" 11.5ක නීල්සන් ගෘහස්ථ ප්‍රමාණනයක් හිමිකරගත්තේ ය. 1998 එමී සම්මාන උළෙලේ දී සම්මාන හතක් සඳහා නිර්දේශ වූ මෙම කථාංගය එක් සම්මානයක් හිමිකරගත්තේ ය. මෙය සමස්තයක් ලෙස ධනාත්මක ප්‍රතිචාර ලැබී ය; ඇතැම් විචාරකයන් එය සම්භාව්‍ය කෘතියක් යැයි නම් කරද්දී තවකෙක් එය වැඩසටහනේ පස්වන කථාවාරයේ වඩාත්ම විස්මය දනවන තනි කථාංගය යැයි පැවසූහ.

කථාව ගෙතී ඇත්තේ එක්ස්-ෆයිල් නැමැති අස්වාභාවික සිද්ධීන් සම්බන්ධයෙන් විමර්ශනය කරන එෆ්බීඅයි විශේෂ නියෝජිත ෆොක්ස් මෝල්ඩර් (ඩේවිඩ් ඩකෝව්නි) සහ ඩේනා ස්කලී (ගිලියන් ඇන්ඩර්සන්) වටා ය. මෝල්ඩර් මෙම පාරස්වාභාවික සිදුවීම් පිළිබඳ විශ්වාස කරන්නකු වන අතර සංශයවාදී ස්කලීව මුලින් පත්කොට තිබුණේ ඔහුගේ බොරු හෙළිදරව් කිරීමටයි. මෙම කථාංගයේ දී මෝල්ඩර් සහ ස්කලී මැදිවියේ කාන්තාවක ගැබ්ගැන්වූයේ යැයි පැවසෙන අද්භූත ජීවියකු පිළිබඳ විමර්ශනය කරති. එහිදී ඔවුන් අනාවරණය කරගන්නේ ද ග්‍රේට් මුටේටෝ යැයි නම්කළ එම "රාක්ෂයා" සැබැවින්ම ෆ්‍රැන්කන්ස්ටයින්-ආකාරයේ වෛද්‍යවරයකුගේ ජානමය නිර්මාණයක් බවයි. මුලින් ප්‍රතික්ෂේප වුව ද, පසුව ජනයා ද ග්‍රේට් මුටේටෝව පිළිගනිති.

Carter's story draws heavily on Mary Shelley's *Frankenstein* and particularly on James Whale's 1931 film version of the story. The script had been written specifically with singer Cher and actress Roseanne Barr in mind, but both were unavailable at the time of shooting. Talk-show host Jerry Springer appeared as himself, and Chris Owens—who appeared in later episodes as FBI agent Jeffrey Spender—played The Great Mutato. The episode was filmed in black-and-white, with a sky backdrop created to imitate the style of old *Frankenstein* films. Owens wore makeup and prosthetics that took several hours to apply.

## Plot 
The episode begins in the guise of a comic book; FBI special agent Fox Mulder (David Duchovny) receives a letter from Shaineh Berkowitz (Pattie Tierce), a single mother who claims to have been mysteriously impregnated, while unconscious, by an unknown presence 18&nbsp;years ago, resulting in the birth of her son, Izzy (Stewart Gale). Now, following a similarly unexplained attack, she is pregnant again. She has heard about Mulder's expertise in the paranormal from *The Jerry Springer Show* and wants him to investigate. Mulder and his partner, special agent Dana Scully (Gillian Anderson), travel to rural Albion, Indiana. They meet Shaineh and her son Izzy and learn that the description of the creature that attacked her, with a lumpy head and two mouths, is very similar to a comic book character invented by Izzy. His monstrous creation, called The Great Mutato, is inspired by a mysterious creature that has been seen by many of the locals. Izzy and his friends take the agents to a wooded area where they see Mutato (Chris Owens) from a distance.

They meet an old man who angrily tells them that there are no monsters and sends them to see his son, a geneticist named Francis Pollidori (John O'Hurley). Dr. Pollidori shows them his experiments studying the Hox gene using the fruit fly *Drosophila*. This presentation includes images of a fly with legs growing out of its mouth. He tells the agents that the same kind of experiment could, in theory, be performed on humans. Afterward, Mulder tells Scully that he believes that Dr. Pollidori, acting as a modern-day Victor Frankenstein, has created The Great Mutato. Later, Dr. Pollidori's wife Elizabeth (Miriam Smith) is knocked unconscious and is attacked in the same manner as Shaineh. At the crime scene, Mulder and Scully find a chemical residue from an agricultural agent used to anesthetize animals, which leads them to suspect Dr. Pollidori's father, who is a farmer. Dr. Pollidori comes to his father's house, angrily confronts him, and murders him. Later, Mutato, who lives with Pollidori Sr., finds his dead body and tearfully buries it in a barn.

Mulder and Scully go looking for Pollidori Sr. and find a shallow grave and photographs of the dead man with Mutato. Meanwhile, Dr. Pollidori leads an angry mob of townspeople to his father's house, demanding that Mulder and Scully turn the alleged murderer over to them. The agents find Mutato hiding in the basement as the crowd gathers upstairs. Someone accidentally sets the barn alight and in the ensuing confusion, the mob realize that the agents are protecting the monster in the basement. Mutato speaks to the crowd and explains that he was created 25&nbsp;years before, and that he is the result of a genetic experiment by Dr. Pollidori. Unbeknownst to his son, Pollidori Sr. rescued Mutato and cared for him, but was unable to provide a friend or a mate for the boy. The old man attempted to emulate his scientist son's experiments, and tried to create hybrids from his farm animals. Mutato asks Dr. Pollidori to create a female companion for him, but the scientist says that he cannot—that Mutato was a mistake. The townspeople realize that The Great Mutato is not a monster after all and Dr. Pollidori is arrested for the murder of his father. Mulder feels that it is unjust for Mutato not to get a mate and so he demands to see the writer: Izzy. In a fanciful,  Tabloid talk show host Jerry Springer appeared as himself. These casting choices went against a long-standing tradition on *The X-Files* of only casting actors who were not well-known.

### රූ ගත කෙරුම
 විසින් කතාංගය රූ ගත කලේ පුළුල්-කෝණ කාචයක් භාවිතා කරමිනි.|alt=The image shows a cross-section of a wide-angle lens.]]
The first five seasons of *The X-Files*, including "The Post-Modern Prometheus", were filmed in Vancouver.

### Music and cultural references 
The episode was scored by series composer Mark Snow, and was, according to him, his best episode score of the fifth season. He described the main theme as "a very dark, macabre, insidious sort of nasty waltz". Furthermore, the Frankenstein-like doctor shares the name—albeit with a slightly different spelling—of Shelley's contemporary, John William Polidori, who was present at the conception of her novel. Todd VanDerWerff of *The A.V. Club* reasons that the ending was not the actual conclusion of the episode, but rather the fanciful and elaborate happy ending that was concocted by Izzy Berkowitz, the writer of the comic book, after talking to Mulder. In this manner, VanDerWeff notes, "the episode abandons logic and reality and, for lack of a better word, transcends."

## පිළිගැනීම 
 was nominated for both Outstanding Writing and Outstanding Directing at the 50th Primetime Emmy Awards.|250px|thumb|right|alt=The picture shows several people sitting at a table. The one in the center has white hair and is looking up.]]

### Ratings
"The Post-Modern Prometheus" was first broadcast in the United States on November&nbsp;30, 1997, on the Fox network, and was first broadcast in the United Kingdom on March&nbsp;29, 1998, on Sky One. The episode earned a Nielsen rating of 11.5, with a 16&nbsp;share, meaning that roughly 11.5&nbsp;percent of all television-equipped households and 16&nbsp;percent of households watching television were tuned in. Nielsen ratings are audience measurement systems that determine the audience size and composition of television programming in the United States. It was viewed by 18.68&nbsp;million viewers.

### Reviews
"The Post-Modern Prometheus" received generally positive reviews from critics. Mike Duffy, a Knight Ridder correspondent, wrote a largely positive article on the episode, noting that although the episode was special, this did not make it feel like a gimmick. He wrote, "when most shows blow promotional smoke about 'a very special episode,' it's best to check the Hollywood Hype-O-Meter for wretched, excessive buzzing [but] what sounds like a gimmick—'a very special black-and-white episode' loosely based on the horror movie classic *Frankenstein* actually turns out to be a ripping good ride on 'X-Files' creator Chris Carter's wigged-out storytelling train." A review from the *Mobile Register* wrote that "Like the very best *X-Files* episodes, this one combines a generous amount of humor with its horror." In a review of the entire fifth season, Michael Sauter of *Entertainment Weekly* said that "The Post-Modern Prometheus" was the "most striking" of the season's stand-alone episodes. and, despite noting the silliness of the story and the fact that most of the characters function as stereotypes, wrote that "'Prometheus' just works".

Lionel Green of the *Sand Mountain Reporter* named the entry the greatest episode of the series and called the ending "one of the most uplifting finales in the series." Writing for the *Daily News*, Eric Mink gave the episode a rating of four stars and praised it as an outstanding episode in a weak early fifth season of the show. He said that the two leads acted flawlessly and that Chris Owens' performance as The Great Mutato was especially touching. He concluded that, "[w]ith Shelley's classic as inspiration, Carter and company have created a classic of their own." Matthew Gilbert of *The Boston Globe* called the episode "a memorable *X-Files* from start to finish", due in part to its "extraordinary visual flair" and "atmospheric black and white" footage. Margaret Lyons of *New York* called the entry "one of the great TV episodes of all time". Nick De Semlyen and James White of *Empire* named it the fifth "greatest" episode of the series and wrote that "[Chris Carter] plays with style and form, turning the entire episode into a loving homage to Universal monster movies in general and James Whale's 1931 Frankenstein in particular". In the 1999 FX Thanksgiving Marathon, containing fan-selected episodes, "The Post-Modern Prometheus" was presented as the "Best Stand-Alone Episode". Connie Ogle from *The Miami Herald* named The Great Mutato one of "the greatest monsters" that were featured on *The X-Files*.

Robert Shearman and Lars Pearson, in their book *Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen*, rated the episode two stars out of five and criticized various elements of the episode's direction. They wrote, "Chris Carter the writer has come up with something playful and light and charming. And Chris Carter the director has stamped all over it and made it so arch and obvious and dull that it kills it stone dead." She wrote that the episode "falls flatter than the chemical pancakes used to anesthetize the victims of this episode" due to its "collection of situations and observances that bear little relation to each other." Vitaris also criticized the scene wherein various characters are compared to animals, and commented, "the mean spiritedness of [the plot] is mind-boggling". Finally, she called the episode's conclusion a "false ending".

### Awards
The episode was nominated for seven awards at the 1998 Emmys by the Academy of Television Arts & Sciences, including Outstanding Directing and Outstanding Writing for Chris Carter. Graeme Murray, Greg Loewen and Shirley Inget won the award for Outstanding Art Direction. Carter was also nominated for an award for Outstanding Directing by the Directors Guild of America.

## සටහන් 
## පාදක සටහන්
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## බාහිර සබැඳි 
*"ද පෝස්ට්-මොඩර්න් ප්‍රොමිතියස් " සඳහා XFiles.com හි ඇති තොරතුරු 
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