“You’re going to be the first person to transition from a human body to a synthetic…We’re fast. We’re strong. We don’t break.”

TV Review – “Out of this World”

Title: Alien: Earth (2025)

Network/Platform: Disney+/FX/Hulu

Cast: Sydney Chandler, Alex Lawther, Babou Ceesay, Samuel Blenkin, Adrian Edmondson, Timothy Olyphant

Episode 1: “Neverland” – Directed & written by Noah Hawley

Episode 2: “Mr. October” – Written by Noah Hawley; directed by Dana Gonzales

No one can hear you scream – even in your own living room. Only two episodes in and it looks like Disney+ has a bona fide hit on its hands. This reviewer was intrigued, scared, and impressed in equal measure at this latest twist in the long-running space horror Alien.

There is a lot of Alien heritage and backstory to navigate. The series draws inspiration from the original Alien (1979, directed by Ridley Scott), the sci‑fi horror classic introducing the Xenomorph. Think John Hurt feeling a little peaky with a stomach complaint.

We then moved on to Aliens (1986, James Cameron), a high-octane action sequel with Colonial Marines. This was followed at a respectful distance by Alien³ (1992, David Fincher), a dark, stripped-down affair set on a prison planet. Alien: Resurrection (1997, Jean-Pierre Jeunet) brings Ripley back via cloning, 200 years later. Prometheus (2012, Ridley Scott) was a prequel exploring the origins of the Engineers and humanity. Bringing us up to date are Alien: Covenant (2017, Ridley Scott), a follow-up to Prometheus bridging closer to Alien (1979), and last year’s sprightly Alien: Romulus (2024, Fede Álvarez). And , by jingo, there’s even a musical. ( Have a Google).

As well as the directing luminaries above, there are many acting greats to live up to – think Sigourney Weaver, Charlize Theron, Michael Fassbender, Winona Ryder, Idris Elba, Bill Paxton, John Hurt, and Ian Holm. It didn’t end well for most of them. There are roughly 90–100 on-screen deaths across the six core films. If you count implied off-screen deaths (colonists, background characters, Engineers), the number shoots much higher – into the hundreds or even thousands.

So, what’s the set-up for the new show? Set in 2120, two years before the original Alien film, Earth is ruled by five mega-corporations (Prodigy, Weyland-Yutani, Lynch, Dynamic, Threshold) locked in a “race for immortality.” The show’s central premise: young terminally ill children – Marcy and others – have their consciousness transferred into synthetic adult bodies, becoming the first “hybrids.” Marcy rebrands herself as Wendy (a Peter Pan-inspired name), leading a group known as the “Lost Boys.”

Meanwhile, the USCSS Maginot, a Weyland-Yutani research vessel carrying alien specimens (including Xenomorphs), crashes on Earth – specifically within Prodigy territory. Wendy, her fellow hybrids, and Prodigy’s security team are dispatched to investigate and contain whatever has come loose. The tone is set straight off: tense, atmospheric, and blending classic Alien horror vibes with new sci‑fi dynamics.

In the first two episodes, I couldn’t take my eyes off the screen because there is a real winning and affecting blend of gruesome jump scares and subtle character building. The real fun for a horror fan is watching this slow car crash unfold in gruesome ways – the effects are unreal, and the nasty bits don’t hold any punches.

The script is as lean as a butcher’s knife, and there are some powerhouse performances too. Sydney Chandler as Wendy (Marcy’s human consciousness transferred into a synthetic adult body) really stands out as empathetic, wide-eyed, and determined. Alex Lawther as Hermit (Wendy’s brother and medic for Prodigy’s security service) is someone we care about very quickly in the midst of the chaos.

Samuel Blenkin as Boy Kavalier, the Prodigy CEO and youngest trillionaire, is truly slimy and manipulative. He irresponsibly sends his hybrid team of Lost Boys to venture deeper into the ship and a nearby tower in hopes of reuniting Wendy with Hermit. They encounter loose threats, including a Xenomorph, and attempt to warn residents – leading to confrontations.

The fresh twist is how the big themes chime with our times – AI manipulation, modern-day colonialism, and corporate greed over human needs. The eerie tone has wowed the critics – blending the unsettling hybrid premise (Kavalier), the chaos unleashed by alien threats (Morrow), and Wendy’s emerging identity and resilience.

James Dyer in Empire has said, “Hawley’s series is a rare prequel that serves to enrich its source material, breathing new life into a once-tired franchise,” whilst Brian Tallerico on RogerEbert.com has said that it “somehow marries the philosophical depth that fans of Prometheus admired with the intense action and bone-chilling imagery of James Cameron’s Aliens.”

The Hollywood Reporter (Angie Han) perhaps sums it up best – with no spoilers! “A heady, sprawling, occasionally unwieldy … thrilling epic about personhood, hubris, and … the primal pleasure of watching people get absolutely rocked by space monsters.”

Are you a fan of horror, sci‑fi, or do you just appreciate great direction, writing, and subtle acting? Then stick with Alien: Earth. It’s going to be a wild ride – just don’t have nightmares.

Score 9/10