"By the end of Alien: Earth, Noah Hawley's prequel series has established a shocking bit of revisionist history for the franchise. No longer are the xenomorphs perfect killing machines linked to a mysterious race called the Engineers, who also created humanity. They're now protectors of a little girl named Wendy against the big bad adults who abused her and a whole cadre of other kids in the name of profit. The xenomorphs aren't evil; they're just misunderstood."
"Do you understand who those "real monsters" are? Did you want a villains-aren't-born, they're-made story in the style of Disney's Cruella with the barest sheen of class-solidarity goop on top? Here you go, and it's goofy as hell."
"Over his decade-plus of work on FX series and, Hawley has come to be heralded as an adaptor of unadaptable things, someone who distills the essence of an original work and then remixes it with fantastical touches and lived-in characters."
Alien: Earth recasts xenomorphs from mysterious killing machines tied to the Engineers into protectors of a little girl named Wendy. Corporations run the world as five powerful firms exploiting workers and creating hybrid 'Lost Boys' for profit. Wendy befriends xenomorphs and leads an uprising of hybrids and creatures against the adults on Neverland. The insurgents capture Boy Kavalier, Atom, Dame Sylvia, and Kirsh. The show emphasizes anti-capitalist themes and suggests the real monsters are abusive adults and tech executives, not the xenomorphs. The tone blends revisionist franchise lore with a goofier, sympathetic portrayal of the creatures.
Read at Vulture
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