THE HIGH-PITCHED WHINE OF DAN O’BANNON’S COFFIN: A REPORT FROM A FUGITIVE.

Yes, that high-pitched whine you hear is Dan O’Bannon’s coffin spinning out of the grave and into low orbit. I watched the second half of the ALIEN: EARTH TV show. (From episode five on, I wrote escape capsule hit-pieces as episodes aired, just so you know.)
   In my earlier blog post on the first four episodes, I wrote that the key feature of any story featuring the ALIEN franchise is this: at some point, smart people in space must do dumb things for the story to move forward.
   Damn it. Episode five acknowledges this in the script itself. Proof of how stupid smart people can be. It’s built into the story. Too close to the alien bone?
   Now…I glossed over a whole bunch of things from the first four episodes. Take episode four, for example. In which Battle Angel Alita Wendy Darling becomes an alien snake-charmer. Or something. She can talk to the animals.
   But it is time to return to those earlier episodes in talking about smart people in space doing dumb things. In episode one, you get the idea that something goes horribly wrong on the spaceship that looks awfully like Ridley Scott’s idea of a spaceship on the inside.
   But we aren’t shown that story.
   We see glimpses of the set.
   A load of viewers believed…if you build a whole set and don’t show the story in full, then there’ll be a flashback episode later. Explaining all of that nasty stuff in gory detail. As sure as chest-bursting follows a meal, that’s what we got in episode five. Must use the set. Built it for something. Use it.
   There were hints in earlier episodes of what went down. But we really must see the whole thing. And this is the point at which Dan O’Bannon’s coffin achieves escape velocity.
   Here’s the flashback set-up. Two aliens escape their containment pods. They hug faces. One member of the crew dies in an ill-advised surgical procedure. Acid, baby. The other is placed in a cryogenic suspension pod.
   Oopsie.
   The alien bursts out of that chest and flees the pod. Glass breaks when the plot demands. Hiding in the vast ship, somewhere, the alien creates the perfect set-up for an alien jailbreak. This li’l alien can sneak through vents and ignore holes in the plot or some shit, and reaches the other aliens in their safe glass containers. Mm.
   That would be okay. Believable, if you squint hard enough. One alien slithers in, fucks shit up, and slithers out again. I’d buy that. But I’m not purchasing what actually happens. The aliens in the lab stage a jailbreak by opening their prisons from the inside.
   They’re smarter than the average bear, see.
   This is dumber than a box of moon rocks. Use the alien that already fucking escaped. Let it wreak havoc in the lab. It’s the alien, for fuck’s sake. But…no. When these other aliens aren’t solving the Times crossword or Mr Rubik’s fiendish cube, they are staging a jailbreak. By…
   Now this bit is the worst bit in the episode. Breaks all the rules. It is drummed into anyone who ever sat in a science class. And it applies to the lab. NO FOOD AND DRINK IN THE LAB. Ever. True, this is an ALIEN gig…so smart people must do dumb things in space for the story to move forward over a cliff.
   There’s a lot in earlier episodes set up to pay off in this flashback, and then advance the story by switching to the here and now. But the golden opporchancity was there, and they blew it. Let the alien, from ALIEN, do its alien thing in fucking shit up. Then the new aliens can cut loose and do their alien thing. Don’t keep sidelining the original monster.
   Instead, we see the Skullfucker Octoball try to take on the adult alien. But there aren’t any eyes to pluck out. As fucking expected. At the end of the episode, we dip back into BLADE RUNNER territory with the appearance of Lady Yutani…and, for once, she isn’t on the phone to Mr Morrow the cyborg. She’s there, in person, with a bunch of mad-looking corporate samurai dudes. Send in the clones. Don’t worry. They’re here.
   The ALIEN movie gave us an alien horror with a dose of corporate evil thrown in. Here, the corporate comedy hijinks take the main BLADE RUNNER stage. In flashback land, there’s a saboteur on board, ooh, blasting bits of the spaceship into the cosmos.
   I’m surprised the alien didn’t just turn to the camera and ask the audience what the fuck it was doing here. In Michael Caine’s accent.
   You’re only supposed to blow the bloody doors off.
   It’s one of those TV shows. If you can’t work out which of these characters we are meant to care for, root for the alien.
   Am I meant to care for Mark Musk Elon Zuckerberg and his obsession with Battle Angel Alita Wendy Darling? I’d have preferred a woman in the role of the trillionaire. Blonde. With a roll-neck sweater and a fixation over Steve Jobs.
   Her company, being in the ALIEN universe, has to be called Theranos Thanatos. I still wouldn’t care about the character, but there’d be far more scope for comedy. Yes, it’s true. I’ve watched these episodes, and…I only care about the original alien. Neglected. Ignored. Forgotten. Sliced up. Missing in action. And then lit brightly in a fucking fish tank.
   When we reach episode five and a flashback containing some xenomorph action, we are treated to microwaved leftovers from an earlier cinematic experience. A flurry of half-hearted positive reviews out there in the dark all mutter out of the side of the mouth when declaring…
   You know, we’ve had worse out of this franchise.
   And so on. This is, at heartless heart, The Emperor’s New Skinsuit. The only thing connecting ALIEN to BLADE RUNNER is the director who used similar production techniques and items in both films.
   So why turn this ALIEN TV show into BLADE RUNNER by another name? Yes, it has been strangely watchable. I could be at the top of a skyscraper, on the corner, looking down on a police chase on Fucked Up Street…while a petrol tanker’s brakes fail over on Beyond All Recognition Avenue.
   Strangely watchable. And there’s nothing I can do about it except look away. But I look. Would this show reach physical media? Disney releases are patchy and unpredictable, that way. Would I buy a 4K set? No. This is one…and very done.
   There are loads of ALIEN and PREDATOR films out there that I didn’t buy. I’m pretty sure I didn’t even watch a bunch of the PREDATOR ones. ALIEN should never have been a franchise. Luckily, HIGHLANDER was never a franchise. Fortunately, THE MATRIX was a one-off. And INDIANA JONES. A trilogy, thank fuck.
   BACK TO THE FUTURE stuck to the plan. No more movies after the third one. Sadly, over my dead body might apply here once Zemeckis hangs up his director’s hat for the very last time. No one is going to remake that story with the main character as Marsha McFly. The crush sub-plot was icky enough with Marty.
   (Also, technically, the main character in BACK TO THE FUTURE is the most important time traveller – the dog.)
   What of ALIEN: THE WILDERNESS YEARS as a franchise? Battle Angel Wendy. FAUX RUNNER. Do Androids Dream of Monsters Under the Bed? I should go on, but you get the point. Oh, very well. ASLAN VERSUS ALIEN VERSUS PREDATOR VERSUS CALVIN AND HOBBES: MA’AM, THIS IS A WENDY’S. Now I’m done.
   We have Wendy the snake-charmer or The Alien Whisperer. I suspect a lot of the show is going nowhere. And no more is this evident than in episode six. The Fluff. It’s an episode about padding and nothing much going on. If that.
   Once more, we question basic lab techniques. No one should be alone in the lab. And the aliens should all really have a lab each. Think the show missed a trick, there. Each alien needs its own unique lab.
   Yes, give each lab a sense of character and an alien in it. At least then the show would have some character. But no, we’ll keep these lions in one room and in glass cases. Yes, if you were paying attention in the previous episodes that didn’t lull you to sleep, then you’d know there’s this other alien. Awaiting a slow tease of an appearance.
   And we get to the goods in this episode. Not worth the wait. The central plank of creating your superhero team, those lost boys and girls, is giving the audience synthetic characters who aren’t affected by the aliens. Creating synthetic characters. There’s an idea that’s a hostage to fortune.
   Superheroes aren’t affected by the aliens. Except…this is an ALIEN franchise offshoot, and so we’ll be fucking around with that expectation more than once. Battle Angel Wendy got into a tussle with an alien and lived to tell the tale. She’s all better now.
   In this episode, we see feeding time at the zoo go horribly wrong for a synthetic character we don’t have energy to care for. Dolly the sheep just sheeps in, fucks shit up, and sheeps some more.
   The Skullfucker Octoball in charge of the sheep is biding its time, playing tenth-dimensional chess, and shit. Oh no. The CGI fly eats wobots for bweakfast. For a top secret research facility, I notice the cameras on Fantasy Island become quite useless and unwatched when the plot demands this.
   Characters stumble around in and out of various situations. The Veronica Cartwright Veronica Cartwright character was damaged but she’s all better now. They gave her a mind-wipe, but didn’t warn anyone else on the island about not telling her that. So now she knows she had a mind-wipe after being told. Would have been better off with a facecloth and some mild soap.
   Inevitably, after much padding, and more fan service out of focus in the background, we reach the hugging of a face. And when this face was hugged, I found it hard not to laugh out loud. I half-expected the actor to start moonwalking, and I just couldn’t take it seriously.
   What’s that? The guy who was fired in this episode didn’t make it off the island? Instead he was dragged into one of those standard air vents large enough to fit several plot holes through? Explain why the secure lab needs a massive ALIEN AIR VENT™ at floor level. Or, indeed, at any level. Explain. Show your working.
   There were so many other ways to build up to SOME CHARACTER WE DON’T CARE ABOUT™ being hugged in the face by an alien. I say we take off and nuke the entire show from orbit. It’s the only way to be sure.
   Damn.
   It’s sad seeing the alien in a well-lit glass cage doing sweet fuck-all. Not an ALIEN moment. The same is true of the actress playing Lady Yutani. She finally gets her teeth into a scene. Regrettably, it’s a scene from a BLADE RUNNER show no one asked for.
   All the padding, all the waffle, questioning what it is to be human…the fluff belongs in another type of story. Is there a place for it here? There is. In small doses. But not as padding. So much for episode six, which, in the closing seconds, attempts to make the Skullfucker Octoball the star of this show.
   IT ISN’T.
   What stays with me in this episode? Pointlessness. There’s a talk about what Wendy will do. She could be family to her brother. But there are loftier goals. She should develop travel faster than the speed of light, and explore the universe. Wendy must make the right choice.
   Except…there’s nothing to stop her eternal self being family to her brother until he dies of old age. Then she can explore the universe after. She can have it all. It isn’t EITHER/OR. The show flounders arse-deep in too many moments like that.
   And then there was episode seven.
   Two of the Very Lost Boys lead their pal the scientist dude into the jungle. Basically, Lennie is being taken to see the rabbits. (Spoiler for another story.) The Peter Pan framework should have been referenced with a light touch. Too late for that. The whole show lumbers along, top-heavy with enforced symbolism.
   You’d be better off watching The Lost Boys. That’s a movie about rebellious Kiefer Sutherland being all rebellious and shit.
   The different spaghetti strands of storytelling veer off and converge just about as messily as you’d expect. Those behind the show have certainly seen the movie Predator. So it is time to throw in a bit of that in the jungle. But not too much, lest the show be accused of turning into Predator.
   Normally I’d say Wendy’s plan comes across as one of the worst plans in the history of science fiction television. But I can’t stop there. Wendy’s plan is one of the worst plans in the history of plans.
   I’ll release my tame alien as a distraction, so we can escape Fantasy Island.
   Again, we come back to this thing of the alien in a glass cage, sidelined by the shenanigans elsewhere. Characters queue up in slow motion, waiting for death. When death comes, it arrives with CGI rapidity.
   They know, making this show, that scenes of the alien escaping and killing lab techs in bright light…well, those scenes are just not going to cut it. So we’ll switch to the security cameras, for a more obscured look at the CGI tomfoolery.
   And so it goes, again, when in the jungle. An instant problem arrives. Soldiers. An instant fix arrives. Predator. The alien. This time the fight is in broad daylight, so we have to obscure our alien by using the bushes.
   Perhaps more than any other episode, this episode feels like it is about to (chest) burst into being a musical. Soldiers with bad timing turn up to miss the main event. Characters with no planning flit in and out of sight.
   It takes a very long forty minutes for Wendy, Veronica Cartwright Veronica Cartwright, and Communist Manifesto Guy from ANDOR to reach the boat, the boat, and we don’t even have Mr Roarke or Tattoo standing by to wave them farewell.
   There’s one episode to watch. Before it airs, I wonder what it sets up. This whole show is about a mission to bring alien samples back for study. But even that mission was off the back of an earlier unseen sequence in which a whole bunch of people died. We were told this.
   So we may yet see another prequel. Where are we, by episode seven? Number of deaths so far? Don’t care. Number of characters worth caring about? Don’t care. Trillionaire-ism is bad. Corporations are bad. People are no better. Just bet on the alien for the win.
   What else didn’t I care about on the show? Screens. They flashed up with information on the aliens. We live in a TV age of visuals that are clear enough. You can pause the data dumps and read snippets of what the aliens are all about.
   And I just didn’t care. We’re told about the Skullfucker Octoball. And we’re told about the really fucking boring plant thing. I’m waiting on the base being overrun by plants when the inevitable fire/explosion sequence kicks in. And then the killer plant can really go to work. Presuming it crawls into a handy ventilation shaft where it can survive the fire/explosion.
   No, I didn’t care about the text screens. They could have flashed Surprised in the Butt by Ripley’s Xenomorph Lover: a Chuck Tingle Dinosaur Romance on one of those screens for all the difference those screens made.
   And so. To episode ate eight. The scenewy’s pwetty. Be vewy vewy quiet. I’m hunting humans wabbits humans wabbits for a story. We go a li’l bit Predator, a li’l bit country, a li’l bit rock ’n’ roll, and a bit Terminator 2.
   Two Terminator machines go at it in a lab, in a rather inconsequential fight…in an inconsequential episode. This is the last episode in the show, and I expected the deaths to mount up. Instead, we had a whole lot of nothing.
   Okay. There were deaths. Soldiers, on the island, dying under the alien’s teeth and claws. Don’t forget the tail. There’s a good story here, stumbling through the ruins of other stories. I can see what they were trying to go for. Alas…
   The entire episode does, indeed, act as set-up for the next series. I expected a whole bunch of characters to die. You have practically the whole bunch in a room. One bomb and it is done. But no.
   Yutani doesn’t even get to phone in her performance here. She’s flashed up on the screen as a reminder of her existence. There was so much noodling around, too much padding, for the late arrival of her army to make a difference.
   That army should have arrived earlier in the story, full force, with chaos the result. Chaos in which the monsters get to feed. Here’s an idea. In the future, just have jail cells that are locked the old-fashioned way. With a physical key. Don’t operate the cages by electricity.
   It’s the dumbest thing. All the creatures, and the other prisoners in this narrative, are locked in electrically-powered jails. What if the power goes? There’s a back-up. What if the back-up goes? NOTHING. The fucking doors stay locked, you cunts!
   Wait. Let me tell you how I really feel.
   Welcome to Fantasy Island. What’s the plot? THE BLACK HOLE. That’s the hole the story fell into. At least the robots on that Disney production were amusing. Welcome to Fantasy Island. But, hey. The scenewy is pwetty.
   Everyone is in a rush to be the next model, rendering the last model obsolete. That notion does a few handstands and backflips as characters manoeuvre around each other…to no great effect.
   The Peter Pan stuff sputtered out episodes ago. Boy Genius isn’t Peter Pan. He’s a symbolic coded fictional watercolour painting of Elon Musk refusing to accept an autistic trans daughter. Misunderstood. He’s misunderstood. And irritating. We don’t even get his plan out of his lips.
   He sends the minds of children into artificial bodies. They’ll have access to the whole of human learning. And they can then improve the process so that adult minds can transfer into human bodies. That’s when Elon Zuckerberg makes his move. But that isn’t even a plot here.
   There’s a movie worth watching to reach a conclusion about the handling of the Boy Genius in this show…
   The Dirty Dozen. In that film, one of the dozen is the character you love to hate. You cannot wait for Archer Maggott to die. When’s he getting shot? That’s Archer Maggot’s story right there.
   And so it should be with the Boy Genius. He serves no purpose beyond being set up as an evil doll-figure who is bitch-slapped by an alien at just the right time. Boy Genius deserves to be on the way out by episode three.
   Even that Veronica Cartwright Veronica Cartwright character, who appeared to die in episode seven, made it back for episode eight. The two mad scientists assisting the Boy Genius are still in play by the end of this show. And, spoiler, one of them is dead.
   Adrian Edmondson, as some sort of cybernetic Odd Job henchman, minus the bowler hat, is still ticking along merrily by the end as well.
   Yes, the killer plant finally makes its move, and this is as underwhelming as you’d expect. That played out like a random encounter with a Dungeons & Dragons monster in a killer dungeon.
   All dungeons are killer dungeons, whether science fiction or fantasy. In this killer dungeon, though, the usual suspects make it through. It’s almost as though there’s some evil hidden agenda. An evil corporate agenda. To produce another series.
   You had one job, television. One job. To make sure the alien would kill a whole lotta people (and synthetics) in a show that sidelined the alien in favour of letting a whole lotta people (and synthetics) live. The final episode could’ve done with being a bit more final.
   This TV show sounds a bit like an earlier spin-off. ALIEN: EARTH isn’t a comic book series. ALIENS: EARTH WAR is. I enjoyed the raw energy of those comic book stories. This TV blip has a hard task, true…
   There shouldn’t be a franchise, yet there is. So what’s the problem? Trade on the original story. Add something new. Avoid fan service. Remember when? We fucking do. Stop reminding us.
   We want the familiar, but it must be different. Advance on it. But not too different. So you won’t satisfy any audience. There are people out there in deep space, declaring there is only one ALIEN movie. There certainly shouldn’t be two television shows.
   We don’t need to see Ian Holm’s acting dug up from the vaults in some nonsensical scene. (I know I’ve seen that travesty, but I refused to believe it.) If you must give us something, give us something of substance. Evil Trillionaire Boy Genius could have experimented on the alien and realised that – if you solve the acid problem – then the alien blood might cure cancer.
   That would be a better twist than anything, everything, on this show. Was there a scrap of merit? Discovering the lost boys and girls had their own graveyard on Fantasy Island. Aaaaaand…that was about it.
   Imagine watching a TV show and then turning to Mark Verhieden’s comic books for something bright, fiery, and with its own peculiar atmosphere. Those comics had the same hard task. Give us more of the same, but not too samey. Verhieden was allowed to use the characters of Newt and Hicks…
   Until a shitty movie sequel came along and killed them off. Then the names were changed to protect the indifferent. They were changed back for the collected editions.
   So, yes, there was a bit of fan service in the comic books. But Verhieden tried to give us the atmosphere of an ALIEN story. Not a BLADE RUNNER one or a TERMINATOR one. Or Peter Pan with robots thrown in.
   The television show feels sterile. Airless. Unloved. It feels unwatched even as you watch it, and that’s no good. My view, after watching? I turned to the comic books for a better experience.
   What surprised me? That I watched every episode. Please. For fuck’s sake. Don’t make a second show.