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This shows up in the beginning of the film, with David the android, presented as a perfect being, named after Michelangelo's famous sculpture that was said to reference an idea form. David, through dialogue with his creator, Peter Weyland, determines that his own capabilities greatly exceeds the capabilities of humans. Weyland's response is to order David to fetch him tea. (Note that Weyland is undone in Prometheus by his own pride that he can acquire and control the alien tech, only to be killed summarily by an awakened Engineer, with as little regard for Weyland as one might have for an insect one crushes. The title Prometheus is a reference to the mythical theft of fire, and the double-edged sword of technology.)

Scott reflect's the possible fate of humanity in the fate of the alien Engineers. Even in the first film, the setting is a defunct base that became defunct when the Xenomorphs broke loose. (In Prometheus, we actually get to see a record of the events that preceded the first Alien film.)

This shows up in the beginning of the film, with David the android, presented as a perfect being, named after Michelangelo's famous sculpture that was said to reference an ideal form. David, through dialogue with his creator, Peter Weyland, determines his own capabilities greatly exceed the capabilities of humans. Weyland's response is to order David to fetch him tea. (Note that Weyland is undone in Prometheus by his own pride that he can acquire and control the alien tech, only to be killed summarily by an awakened Engineer, with as little regard for Weyland as one might have for an insect one crushes. The title Prometheus is a reference to the mythical theft of fire, and the double-edged sword of technology.)

Scott reflects the possible fate of humanity in the fate of the alien Engineers. Even in the first film, the setting is a base that became defunct when the Xenomorphs broke loose. (In Prometheus, we actually get to see a record of the events that preceded the first Alien film.)

Covenant's final sequence, where David plays the Entry of the Gods into Valhalla, thinking himself a kind of god.

Covenant's final sequence, where David plays the Entry of the Gods into Valhalla, thinking himself a kind of god, especially when we know he's just a mad hermit/malfunctioning android.

The choice of Ozymandias is in no way random—the central theme of the poem is vanity in the sense of Ecclesiastes. (Weylan is an Oymandias, a king of the kings of industry, but in the end, everything crumbles before his eyes.)

And what could be more prideful than:

Covenant's final sequence, where David plays the Entry of the Gods into Valhalla, thinking himself a kind of god.