Entertainment 3rd Episode, ‘Alien: Earth’ sins with protagonists while strengthening parallel stories

First series of the universe of Alien, Alien: Earth Promising starts. In addition to presenting the protagonists of history and situating us in the fall of a spacecraft on Earth, containing alien specimens, the production establishes the atmosphere that conquered fans of the franchise and paved the way to introduce new elements.

Now, in the third episode, which is now available on Disney+, Alien: Earth resumes a moment of great impact: the rescue of Hermit (Alex Lawther, Water) by your sister, Wendy (Sidney Chandler, Don’t worry, dear).

The conflict with the Xenomorfo, who should carry dramatic weight, ends up working to expose the fragility of these characters as protagonists. Both Wendy how much the brother are built to occupy the center of the plot. However, as the narrative advances, they become increasingly uninteresting. The script seems to want us to care, but does not offer solid narrative elements to justify this emotional investment.

In parallel, we have secondary plots that are already much richer than the main one. The arc of Morrow (Babou Ceesay, Wolfe), for example, can support reflections on identity and human limit. His monologue about the conflict between his humanity and his robotic nature, coupled with the interpretation loaded with exhaustion of Ceesaytransmits a dramatic density that lacks other nuclei. This is where the series plays on fertile ground: that of existential contradiction, something that has always been in the essence of the Alien franchise.

Already the narrative of Boy Kavalier (Samuel Blenkin, Mickey 17), the “genius boy”, who now holds the specimens, has a proportion problem. Although it has the potential to explore the danger of dealing with multiple creatures, the script concentrates more time only in Xenomorph. The result is a sense of waste: the universe opens in possibilities – four different specimens, each with its own implications – but the narrative opts for the most predictable way, reducing the complexity it could generate.

Another point that deserves prominence is the arch of synthetic with children’s minds. Return to Neverland expands a disturbing atmosphere, as the reactions of these “children” do not follow a unique pattern. NIBS (Lily Newmark, Han Solo: A Star Wars Story) and Slightly (Adarsh ​​Gourav, The white tiger), for example, show clear psychological effects, suggesting that experience is eroding their stability. On the other hand, others remain strangely immune, almost indifferent. This core, albeit less explored, carries a great potential for psychological horror.

Thus, the episode makes clear a structural contradiction: while investing time and energy in the less captivating characters, it keeps its best narrative elements for secondary. The result is an episode that wants to balance action and reflection, but that balances in choosing its main purpose.

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