Anthony’s Watch – Alien: Earth Season One

Alien: Earth’s first season introduces a lot of firsts for the franchise, while also reimagining the classic science-fiction horror series in a way that pays tribute to the films before it. Not only does the show build upon established lore, but it also doubles down on familiar themes in new and modern ways, creating a narrative full of surprises. All of this builds toward a conclusion that is both satisfying in its own right and promising for the wider growth of the universe.

One of the recurring elements in the series is the use of the Peter Pan story to introduce its main players. Much of this ties into the theme of control. The show’s central antagonist is Boy Kavalier, the young CEO of the Prodigy company, who creates hybrids from a group of children with terminal illnesses. When these characters are reborn in their new bodies, he names them after the Lost Boys, imagining himself as Pan. At first, this seems like a playful way of introducing these characters to a world where they can never grow up; however, the series cleverly reminds the audience how that story truly ends.

The point of Peter Pan is that Pan’s wish to have children never grow up was not sustainable. It went against their wishes and ultimately became a means of control that Pan held over them. The irony in Alien: Earth is that Boy names one of the children Wendy and another Jane, leading Wendy (originally Marcy) to remind the audience that Jane was Wendy’s daughter, whom Pan took to Neverland after becoming angry that Wendy defied him and grew up. This neatly ties back to Boy’s motives, which are rooted in his control over the children, who, because of their new bodies, are incapable of growth.

Alien: Earth also takes bold liberties in how it develops its characters. For example, early in the series it appears that the main focus will be Wendy’s search for her brother. Yet this plotline is resolved quickly, with her brother Hermit joining the core cast on Prodigy’s island. This demonstrates creator and showrunner Noah Hawley’s keen understanding of audience expectations and his willingness to subvert them in meaningful ways.

Another example is the character of Nibs, who receives a fascinating arc. At first, she is the most timid member of the group. After being attacked by the T. Ocellus when the group explores the crashed spaceship, her mind begins to unravel. Prodigy later clears her memory of the incident, reverting her to her state before the attack. While audiences might expect her to regress and serve as an example of Prodigy’s control, Hawley instead uses this as a turning point that strengthens her resolve, ultimately transforming her into one of the most formidable characters by the finale.

Speaking of the T. Ocellus, this alien creature quickly becomes one of the most intriguing elements of the narrative. Initially seen as a simple parasite, the series gradually reveals its intelligence. It proves capable of communication, advanced reasoning, and manipulation of those around it. While parasitic by nature, it stands as one of the franchise’s first examples of intelligent alien life beyond the Engineers from Prometheus. By the series’ conclusion, the creature seems poised for a new beginning, and if the show is renewed, its popularity will almost certainly warrant a larger role.

Episode five, “In Space, No One…” is a standout, showcasing what the series can achieve at its best. In line with Hawley’s subversive approach, the episode pauses the main storyline to reveal the fate of the crew on the crashed spaceship. The result is a condensed, hour-long Alien film in miniature, perfectly balancing suspense and horror despite the audience knowing the inevitable outcome. It plays like a proof of concept for Hawley’s vision: faithful to what made the originals great, yet distinctly tailored for television.

While much of the series honors and expands the franchise’s lore, it also makes bold choices that, on paper, could have alienated longtime fans, but instead succeed spectacularly. For example, setting the story on Earth initially seems risky. The series addresses this by confining the alien threat to a remote island. Still, the finale strongly hints that the aliens will not remain contained forever. This allows the show to benefit from the Earth setting while avoiding a premature worldwide invasion, at least for now.

The reintroduction of the Xenomorph is another bold move. The first Xenomorph appears on the crashed ship and is dispatched by the midpoint of episode three. This feels like Hawley’s way of signaling his intent to break new ground rather than retread old territory. When a new Xenomorph eventually emerges, it is strikingly different, not simply a destructive force, but a companion and even a tool for Wendy. While without her influence it would behave as expected, Wendy’s unique ability to communicate with the creature allows her to align it with her own goals. This innovation reframes the Xenomorph not as a hero, but as an extension of the protagonist’s will.

Ultimately, Alien: Earth is a triumph, not only for the franchise, but for science-fiction horror on television as a whole. Across its eight episodes, it delivers a fresh and ambitious story that grapples with mature themes while respecting its roots. Whatever the future holds for the series or the larger Alien universe, this season will stand as a high point and a benchmark for what comes next.