WARNING: This article contains spoilers For the first two episodes of "Alien: Earth".

In an appropriate development for this particular franchise, the idea of individuality remains at the forefront of "Alien: Earth" during the first two episodes. Creator's FX Series Noah Holly stands out as the first degree of property migrating from the big canvas to television, but it is also the latest example of "author" (for lack of better word) trying its hand on this material and injecting their own sense of style ... for the most part. AS /Movie Chris Evangelist wrote in his reviewAlmost every previous film brought something fresh and new to the picture. The first six films could not be different from each other, boldly holding the line against modern blockbuster thoughts that prioritize self-referential stories and aesthetics above all.

This is what makes it more and more disappointing that for IP always for innovation in terms of imitation, "Alien: Earth" falls into that trap with one of the most important decisions in early walking. When the premiere begins, we are treated essentially a remake of the opening of the classic "Alien" 1979 at Ridley Scott in 1979. A spacecraft flying through a vacuum next to the ring planet would have been enough, facilitating us in Brand new story about the fall of Xenomorph (and other critics) on Earth through the use of little nostalgia. But then there are some established footage of premises for a familiar look, completely deprived of people, an accurate replica of the cryo-sleep chamber with the crew that wakes up just as they did in the original, and (most unlikely of all) recreation of the footage of the breakfast.

Anyway as tired as it is from the perspective of inheritance, however, it adds an insult to the injury that the entire structure of this sequence has a little logical sense.

When is the respect for the classic turns into slavery dedication? "Alien: Earth" tests the boundaries of that limit right from the start, throwing the viewers of the head in this series of prophecies, by not paying the most famous and famous image of the entire franchise. We quickly zoom in the interior of the USCSS Maginot, described as a Vayland-Antani ship we will learn soon is intended for deep space exploration. The crew complement is made up of blue-collar workers (along with a fairly stent synthetic) and they are all eager to list their mistakes with the company. All this makes sense to a show made by Diechard's Fanbuard of the first movie, not too different from A passionate fan of "Starwells War" like Jey Abrams more or less turning "power wakes up" into the length of "new hope".

However, this is falling apart, however, it is in the true narrative logic of what Alien: Earth is trying to achieve compared to "foreign". The Nostromo spacecraft, which provides the film in 1979, was a mining ship, of course, owned by Vayland-Antani, but explicitly designed for cargo transport. The fact that his greasy and nasty staff ends with the frightening Xenomorph plot is completely surrounded (in terms of the plot)-In the ideal version of the film, they would never end up crossing paths with the planet LV-426 and would go along with their faithful space. Well, why on Earth (or outside the ground, instead), the ship as a mag, made for research and research in deep space, also shares the same accurate aesthetics as Nostromo?

Nothing is inherent in order with nostalgia, in itself, but it certainly becomes a bigger problem when it begins to be distracted - or worse, completely contradictory - a bigger story that is told.

To be fair to "alien: country", it makes a sense that This Production of anyone else would announce the style and tone of "alien". It has been set up just two years before the events of Alien, and of course it should be made a thematic argument that the corporation is cold and heartless as Valeand-Antani will massively produce its Stars-Business-notes regarding their true purpose. After all, what better way to highlight The traditional idea of a franchise for capitalism grinding humanity to bone until nothing left Than by applying one -size approach to their huge, cosmic empire? In another, a better version of this show, the writing team could make this accurate comment. However, based on the first two episodes of the series, there is little accompanying evidence that this is actually the case.

What is most frustrating is that Ridley Scott, of all people, has already shown us the way forward with his "Prometheus" and "Alien: Testament". The two films attracted very accidental dirt to distinguish so obviously from the established tone and the visuals of the originalsIf you remember, but that was the point. Scott has decided to use the security of blockbuster franchise to tell a very different story of ideas with a high mind about the origin of our species, human ego and the devastating consequences of the uncontrolled ambition. To reflect this, he has inhabited these films (but especially "Prometheus") with very specific characters-the equivalent of space travelers, as "foreign" so unforgettable, but scientific minds prevail on the glossy technology and comforts of the rich. Gone are Duck, hunting corridors of Nostromo and LV-426, replaced by artificial clean and sterile boundaries of the most modern spacecraft.

Scott understood that various functional needs require a different formalist approach, but the same cannot be said about "Alien: Earth" - at least in the early episodes. There is still a lot of time for the rest of the season to change hearts and minds, winning even the greatest skeptics. New episodes of stream "Alien: Earth" on FX and Hulu every Tuesday.