The Alien franchise has always been deceptively auteur-driven. For as much as it is undeniably a monumental work of science fiction that has been franchised across the decades and turned into an established intellectual property in its own right, each installment has been singularly driven by the inspirations, aspirations, and ambitions of its own respective filmmaker.
The original 1979 film, Alien, is full of the kinds of heady themes and thoughtful craft that would come to define Ridley Scott’s work over the ensuing years. The 1986 sequel, Aliens, is about as James Cameron as a film can possibly be, full of bombastic military action and raucously satisfying storytelling. Even Alien 3, whose production has been publicly bemoaned by its director for decades now, is a potent encapsulation of the kinds of somber and harrowing tales of morality that David Fincher has made a career out of crafting.
More recently, Scott returned to the franchise with Prometheus and Alien: Covenant, each of which saw the franchise evolving and mutating alongside the storied filmmaker, giving way to far more lyrical and meditative works.
It is into this lineage of filmmaker-driven projects that Noah Hawley (the showrunner behind prestige genre projects such as Legion and Fargo) steps into with the latest entry into the overarching Alien franchise, the first television series, Alien: Earth. And wonderfully, the first episodes of the series see Hawley deliver an opening that is both quintessentially Alien and quintessentially his own.
Alien: EarthIt’s remarkable because it accomplishes something the series has been aiming for over many years in just a few minutes: introducing the famous Xenomorph to Earth. Previous entries, likeAlien 3 and Alien: Resurrection, had each toyed with the idea of having portions of their respective stories set on Earth, but ultimately scrapped the idea.
1. Almost immediately, Hawley’s show kicks into high gear, throwing the central conflict right into the thick of things. This change of scenery not only raises the stakes considerably, but also creates a grander and more expansive feel than we’ve seen before. Thankfully, Hawley and his crew are up to the task. 2. The series wastes no time, launching into a fast-paced beginning that immediately puts the core struggle front and center. Moving the setting to the planet’s surface escalates the tension and provides a broader, more epic perspective. Luckily, Hawley and his team prove more than equal to the challenge. 3. Hawley’s series quickly accelerates, plunging the central conflict directly into the action on the planet’s surface. This shift in location not only intensifies the stakes, but also delivers a greater sense of magnitude and breadth. Fortunately, Hawley and his team are well-equipped to handle this ambitious undertaking.
The sets and worlds of Alien: EarthThey are incredibly large and widespread. The real-world sets are already huge and detailed, but they’re made even bigger with digital enhancements and CGI. Production designers Andy Nicholson and Jason Knox-Johnston create a complete and believable world for the show that feels real and is full of atmosphere.
1. The technical integration of these components is flawless, resulting in several truly astonishing scenes in the initial two episodes. Hawley, along with Dana Gonzales (the director of Episode 2, “Mr. October,” and the showrunner’s longtime cinematographer), employs the camera to depict the widespread chaos and devastation that this narrative unleashes on an immense scale. 2. The flawless meshing of these technical aspects creates some truly stunning scenes within the first two episodes. Hawley and Dana Gonzales, the director of Episode 2, “Mr. October,” and the showrunner’s regular cinematographer, use camera work to investigate the massive panic and destruction caused by this story on an incredibly large stage. 3. The seamless technical connection between these aspects generates some legitimately awe-inspiring moments in the first two episodes. Hawley’s direction, along with that of Dana Gonzales (director of Episode 2, “Mr. October,” and Hawley’s longtime cinematographer), uses the camera to delve into the vast panic and devastation that this story unleashes across a canvas of unbelievable proportions.
Just as these two formal methods are combined to create a more unified piece, Hawley approaches the narrative aspects of the.AlienA franchise that embraces both comprehensive and forward-thinking principles.
1. The premiere episode, entitled “Neverland,” begins by echoing Scott’s initial movie through both storytelling and imagery, and numerous allusions to various films are sprinkled throughout its duration. Nevertheless, 2. “Neverland,” the initial installment, starts with several narrative and visual echoes of Scott’s first movie, and the show is filled with references to numerous films. Yet, 3. The debut episode, “Neverland,” launches with a string of narrative and visual homages to Scott’s original work, and many of the movies are alluded to throughout the episode. Still,Alien: EarthIt’s equally prone to overturning and defying the expectations it establishes as it is to fulfilling them completely. The outcome is a piece that feels supported by the past, rather than constrained by it. This series introduces fresh peculiarities, beings, places, organizations, and individuals, which significantly enhances its quality.
1. Hawley’s writing in the initial moments of the show masterfully repurposes the foundational elements of the original 1979 movie, leading to a strikingly distinct outcome. 2. The show’s tone, rhythm, and dynamic movement are firmly set after the first episode’s opening scenes. 3. Hawley, along with editor Regis Kimble, borrows numerous stylistic approaches from Scott and his editing team, Terry Rawlings and Peter Weatherley, who worked on the original film, but they apply them to convey entirely different ideas.
Instead of trying to replicate scenes or rework musical cues from the movies,Alien: EarthHawley and his team appear to be drawing significant inspiration from the core elements of the original film, using them as a springboard for innovative concepts.
The show’s ensemble features a wide range of actors, each appearing completely immersed in their roles and the story’s setting. Timothy Olyphant deserves particular recognition for his performance, which is a delightful departure from his usual roles, and Alex Lawther shines as the perpetually optimistic Nemik inAndorIt only amplifies the impact of his world-weary and damaged persona, and Sydney Chandler’s portrayal as the lead actress is remarkably subtle and profoundly complex.
1. To avoid spoilers, Wendy, played by Chandler, is key to the show’s most daring creative choices and central themes. The role is risky and could have easily ruined the whole project. However, Chandler’s performance transforms what could have been a shallow portrayal into something genuine and moving. 2. I don’t want to reveal too much, but Chandler’s character, Wendy, is crucial to the series’ most innovative and thematically important aspects. The role is a double-edged sword that could have easily backfired and sunk the entire show. Fortunately, Chandler’s interpretation prevents a stereotypical portrayal, making Wendy feel real and impactful. 3. Keeping things vague, Chandler’s portrayal of Wendy is fundamental to the series’ most daring artistic risks and thematic explorations. The role is a potential pitfall that could have undermined the entire production. Yet, Chandler’s skill transforms what might have been a cartoonish figure into a believable and emotionally resonant character.
The score by Jeff Russo is great and does a wonderful job of balancing the tight-rope act of thought-provoking science fiction and firing-on-all-cylinders horror. The incorporation of distinct sounds from the original score, but often recontextualized either by distortions or invasive interruptions, is also inspired and feels perfectly aligned with Hawley’s approach to the visual work.
The first two episodes of Alien: Earth, “Neverland” and “Mr. October,” are articulate and compelling works of science fiction in their own right. Hawley and his team have delivered a series that is not looking to sit comfortably within the confines of what an audience thinks an Alien TV show should be, but instead bulldozes through those boundaries in surprising and entrancing ways.
While “Neverland” gets things off to a fascinating formal start, the narrative itself can feel occasionally touch-and-go as Hawley’s script strives to set all the various threads in motion. However, by the episode’s end, as everything is already beginning to culminate and the sheer size of the showrunner’s ambition is revealed, he more than makes up for it.
Also, for anyone not sold on the more thoughtful construction of the first episode, “Mr. October” features some of the gnarliest horror setpieces in the franchise’s history. This is a great start for Alien: Earth; surprising, thought-provoking, and outright terrifying.
Alien: Earth premieres with its first two episodes on Aug. 12 on FX and FX on Hulu.
Grade: B+
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This article was originally published on Muara Digital Team.net asAlien: Earth review: The TV series lands on scale, stakes, and surprising new ideas.
