In space, no one can hear you scream, but on the internet, everyone can hear you argue about this show. Alien: Earth has proven to be the most divisive season of television since The Last of Us sparked volatile online discourse six months ago. Noah Hawley’s series isn’t short on ambition, though it’s not always able to bring its big ideas to fully realized fruition.
Set two years before the events of the original film, this series begins with a Weyland-Yutani research vessel crash-landing on Earth. Meanwhile, a rival company called Prodigy has been experimenting with transferring the consciousness of dying children into synthetic adult bodies. With Yutani wanting their specimens back, and Prodigy chasing more power and control, things ultimately get messy, especially with Xenomorphs and other dangerous lifeforms on the loose. This series incorporates so much of the franchise’s lore and themes, while also taking several bold new swings of its own. Tonally and thematically, it fits — for better or worse. Narratively, though, it bites off a little more than it can chew in just eight episodes. By the end of the season, many of the story arcs feel like they’re just truly beginning, and while I did enjoy the tease of what’s to come, I’ll admit I wanted a little more.
The production design is impressive, allowing this universe to feel as expansive and lived-in as ever. The practical sets capture the retro-futuristic aesthetic fans have come to know and love. The gore is used sparingly, but it’s just as gruesome as ever. The digital effects are solid, with the exception of some off-looking green screen work that pulls you out of the moment. I particularly appreciated the decision to go practical with the Xenomorph, as choices like this have become a rarity in new media. However, I wish they’d showed us a little less — maybe using quicker cuts or tighter shots — because it’s sometimes very apparent that it’s a stuntman in a suit. The Xenomorph looked best when the show used a combination of practical for close and still shots, and CGI for full body and movement. The sound design is exceptional, the score is strong (especially the opening credits) and the needle drops were a fun touch I personally really enjoyed.
The cast is well rounded, complete with some great performances, even though some of the characters could be a little grating. Sydney Chandler does a tremendous job as Wendy, capturing her childlike curiosity and a newfound maturity through her role as leader of “The Lost Boys.” Honestly, all of the adult actors playing the child hybrids delivered solid performances. It can feel kind of goofy watching adults behaving like children, but I suppose that’s kind of the point. Timothy Olyphant is always great, and I loved his cool, calm and calculating delivery as Kirsh. I wish the character had more to do, because he spends a lot of his screen time just glaring at various things and people. Samuel Blenkin brought appropriately manic energy to Boy Kavalier, making him feel truly like an unhinged genius. Lastly, Babou Ceesay was really good as Morrow, who became one of my favourite characters of the season. His willingness to complete his mission at any cost led to some fascinating moral grey areas.
Rating: ★★★½☆
Review by: Benjamin Garrett