David Bowie's single 'Space Oddity' depicts the character Major Tom as cut adrift from Earth on a perilous mission into inner space. This chapter focuses on the Thomas Jerome Newton figure, in Nicolas Roeg's The Man Who Fell to Earth, as reporting a creative substrate to identity and promotes a promethean reading of the protagonist in opposition to the film's presumption of his linear evolution. It considers Deleuze's notion of "becoming", as formulated from his early works to later collaborations with Guattari. The argument that the language of the film appropriates oppressive figurations is something a Deleuzian reading is only able to respond to by first addressing its own androcentric metaphors of becoming and its paralysis of the subject. The chapter argues that Deleuze's conceptualisation of becoming-woman also appropriates historically oppressive figurations, central criticism is of his apparent short-term memory, the very discontinuity Deleuze and Guattari seize on in order to rupture the "gigantic memory" the being-man constitutes.