Yup. Scott's heart lies with David more than anything else, this is clear, yet he still clearly lavishes over scenes like the medbay sequence which is honestly one of the best in the franchise. Just look
at that wonderful long-take during the fluting scene, not to mention how much attention he paid personally to the artwork made by Hatton and Hallet. The crew also are much more natural and far less goofy, albeit still foolish, they are at least consistently
foolish, unlike the likes of Milburn and Fifield (their deaths are great, however, that helmet melting, mmmm) and their interactions and dialogue are far more natural; no howlers like "I'm here to make money", "I love rocks", "nothing to contribute in the dead body arena", "maybe it's Martian piss", or Vickers' "father", etc. Covenant is a weird hybrid of often subverted Alien tropes and a Victorian Gothic horror ala Frankenstein, Dracula, etc, the entire second act is just...weird
, but provocative. The Bosch-esque necropolis visually is far more rich and striking than the lifeless terrain on LV-223, and the revelation that the titular creature and its life cycle reflects a deliberate perversion of human sexuality by a sterile machine going mad while demystifying, is bold and consistent thematically with Giger's aesthetic. There's also the through-line of Wagner combined with Shelley's poem that makes it much more thematically succinct and coherent than Prometheus overall.
David's motivations are clearly delineated from the opening scene, also; the creator/creation dynamic is more clearly presented with Weyland and David's dialogue exchange and interaction there and it also sets up Milton's influence throughout - the white room being heaven, Weyland being the Creator and David being the most brilliant angel that threatens his throne, etc.
Covenant asks the question - what if the Devil or Frankenstein's monster could create? I for one NEED to see David's planet of the juicy dongs.