"There was a time when nothing in cinema was more frightening than a xenomorph. HR Giger's nightmarish biomechanical hellspawn, dripping with fluids and Freudian discharge, was the gruesome, undisputed apex predator of movie monsters. It burst from your chest; it dissolved your face with acid; it splintered your ribcage like a pinata filled with blood and screams. It was unstoppable, unknowable, the kind of thing you'd expect to find at the bottom of your dishwasher after leaving it closed for 36 centuries."
"The fascinating thing about Noah Hawley's Alien: Earth (other than the fact it has completely ditched any alignment with those more recent films) is that it appears to have decided pretty early on that there's a new boss villain in town, one that's not quite so icky but infinitely more chilling: mankind. Hawley's show takes place in a world in which Earth itself not the cosmos has become the haunted house."
Xenomorphs originally served as cinema’s ultimate predators, brutal and unknowable, bursting from chests and dissolving faces with acid. Later prequels introduced Engineers and an android, along with a mutating black goo, shifting the source of terror toward godlike creators and bioweapons. Alien: Earth abandons alignment with those prequels and relocates horror to Earth itself, turning the planet into a haunted house. Corporations control biology, technology, and even consciousness; pre-teen minds are uploaded into artificial hybrids; cyborgs and synths compete for dominance. Urban environments become company towns, and humanity, through corporate and technological dominance, emerges as the chilling antagonist.
Read at www.theguardian.com
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