Alien: Earth will be invading Hulu & Disney+ on August 12, 2025! We knew for a long time that Alien: Earth would be making its debut in Summer 2025, but we now have the exact date of August 12, 2025, courtesy of a recent post on the Alien: Earth Instagram page.
The season, comprising of 8 episodes, will premiere with two episodes on Tuesday, August 12, at 8PM ET on Hulu and the FX linear channel at 8PM ET/PT in the U.S., and via Disney+ internationally. A new Alien: Earth episode will be released on Tuesdays on Hulu beginning at 8PM ET and FX at 8PM ET/PT.
We also have a bit more about what the story will entail in Alien: Earth:
When the mysterious deep space research vessel USCSS Maginot crash-lands on Earth, “Wendy” (Sydney Chandler) and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat in FX’s Alien: Earth.
In the year 2120, the Earth is governed by five corporations: Prodigy, Weyland-Yutani, Lynch, Dynamic, and Threshold. In this Corporate Era, cyborgs (humans with both biological and artificial parts) and synthetics (humanoid robots with artificial intelligence) exist alongside humans. But the game is changed when the wunderkind Founder and CEO of Prodigy Corporation unlocks a new technological advancement: hybrids (humanoid robots infused with human consciousness).
The first hybrid prototype, named Wendy (Chandler), marks a new dawn in the race for immortality. After Weyland-Yutani’s spaceship collides with Prodigy City, Wendy and the other hybrids encounter mysterious life forms more terrifying than anyone could have ever imagined.
In addition to the release date news, ten new production stills of the various characters in the show have been published, including Sydney Chandler as Wendy and Sandra Yi Sencindiver as Yutani.
Sydney Chandler as Wendy
Sydney Chandler as Wendy
Alex Lawther as Hermit
Timothy Olyphant as Kirsh
Samuel Blenkin as Boy Kavalier
Adrian Edmonson as Atom Eins
(l-r) David Rysdahl as Arthur, Essie Davis as Dame Sylvia
(l-r) Alex Lawther as Hermit, Diêm Camille as Siberian, Moe Bar-El as Rashidi
Sandra Yi Sencindiver as Yutani
Kirsh & WendyThanks to Nightmare Asylum for the news.
Keep your browsers locked on Alien vs. Predator Galaxy for the latest Alien: Earth news! You can follow us on Facebook, X, Instagram and YouTube to get the latest on your social media walls. You can also join in with fellow Alien and Predator fans on our forums.
Actually, Poker Face is really good, and often has similar humor to Fargo (although it leans fully into comedy and is strictly episodic).
https://imagizer.imageshack.com/img922/9039/t9GJMi.gif
SDCC is quite close to the release date though, so I wouldn't be surprised if we see something more substantial earlier as well.
The Knives Out movies and Looper!
Not to mention his really cool body of work outside of Star Wars.
It's "satire"--where they project their bitter snobbery onto others.
I'm tired of waiting!
It certainly sounds like a reasonable expectation now.
So no, probably not.
There are definitely a lot of ways that the idea could go wrong, in terms of writing and execution!
Would you prefer if they were all tall and lanky like Sigourney?
That's true
At least you won't be disappointed if it's good!
As for the point being quoted, I don't think it's important he's inhuman, I think it's important he's working against the crew.
Him being an Android is fun but not crucial to the first film. Until his head comes off there's no indication androids even exist in this universe, so again I don't really see how androids are central to the story.
Inhuman how?
Return me to the 90s
You're right. This aspect of the universe was absolutely not developed before Prometheus.
Prometheus was the first movie in the entire series to introduce Blade-Runneresque, Frankensteinian considerations regarding artificial intelligence, synthetics as our creation, synthetics as possibly impacted and hurt by the fact they are products and tools of humanity, etc.
Thanks for highlighting this to me.
P.S.: The inhuman nature of the synthetic was still important, in the first Alien, in terms of underlying themes. Alien was vastly a movie about kyriarchy, industrial capitalism and patriarchy, the machine of society crushing the human, reproduction instrumentalized as further (and often murderous) deshumanization, etc etc, and both the creature and the android are the incarnation of these principles. Ash and the Alien both look like unholy "hybrids" of biological and mechanical, Ash and the Alien orally r4pe, Ash and the Alien are male sexual symbols, the phallic head and the semen blood.
HOWEVER, it's all subtext, possibly partially unintentional, or intended to be something else... and furthermore, the important thing here is that Ash is inhuman, not that he's specifically a robot. Asimov's work this is not, the movie is splendidly uninterested in developing considerations of artificial intelligence. Ash could work in the exact same way, thematically speaking, by being a kind of transhumanist superhuman, or infected and controlled in some way through his contacts with the facehugger, or anything else.
This does not disprove your point.
Bishop in 3 and 4 adds flavour but again, can easily be changed out. If Ash isn't an android, Bishop fills the same role by being the science officer -- a role Ripley would distrust, and learn to trust again. In Alien3 he can be replaced with salvaged scrap from the heap; the BishopII can be a twin, which is about on the level of "no I'm totally the designer and I just made him look like me." You still force Ripley to battle her newfound trust with her lingering distrust.
Surviving being shot and falling aside, Call can still be a, well, call to Ripley's humanity by being a person.
Androids in the Alien franchise add subtext and sci-fi texture, but were never indelible until Prometheus. They were always on the periphery.
And it is, by far, NOT systematic for characters in the first four movies. You could effortlessly remove Brett or Lambert from the plot of Alien for example. The movie would be emptier and less scary without them (you would need to replace Brett's killing by the characters being confronted for the first time to the adult creature without getting hurt, this kind of terrible adaptation), but it would keep all of its general themes and structure.
Meanwhile, the synthetics are, systematically, important, and for the first two movies, FUNDAMENTAL even.
https://i0.wp.com/www.rowsdowr.com/wp-content/uploads/2012/06/ash.jpg
Ash is a particularly important and powerful illustration because without him, there would be no movie.
- Without him, the "negotiations" to investigate the signal would have been a lot more complicated.
- Without him, the Nostromo crew may have waited more before investigating... A honest science officer may even have insisted to decode the signal before landing or looking for the Derelict.
- Without him, Kane would have very likely remained in the airlock. Slight possibility that Parker or Brett may have opened it, but they look a little too passive in temper, and again, the hypothetical honest science officer would most certainly have supported Ripley's position.
- The black spot in the scanner would have been subject to investigation as well.
Not to mention other situations and technologies Ash likely tinkered with (it is, since 1979, an open question to determine if yes or no the unreliability of the motion sensor during Dallas' solo mission is intended).
In Alien, Ash is integral to the "obtention", maybe to the survival, and at the very least to the continuous hitchhiking, of the Eight Passenger. They are a twin threat, both literally (Ash completes the danger of the Alien by allowing it to thrive unhindered) and symbolically (they are both a disturbing hybrid of mechanic and organic, and they both perform oral r4pe).
Ash may not have been part of O'Bannon's initial plans, but he IS central.
https://i.pinimg.com/236x/43/08/3c/43083c2069aa320eed7e45ea87d2c1d2.jpg
Bishop seems, at first glance, less important. He remains passive for most of the plot, and could be removed from the movie without much damage during the early stages.
However, he progressively develops to become a key character.
First, Bishop works as a final trigger for Ripley and Burke's tension by revealing Burke's instructions regarding the live facehuggers - without this reveal, there would be no explosion between the two of them (or a way more controlled one), and possibly no murder attempt.
Then Bishop is, two times, key to the entire final escape plan, and arguably to Newt's specific salvation by accepting to wait.
Besides the dramaturgical structure, Bishop is also fundamental for the themes of the movie. He represents a significant part of Ripley's evolution, their relationship is the symbol of the survivor learning to trust the world again. She initially sees him as a malevolent, treachorous synthetic, the ghost of Ash coming back to haunt her, and the mise-en-scène seems to support it. It's the entire function of Bishop's splendid remix of Ash's groovy hit "Let's wank to the facehugger's beauty" before a disturbed Spunkmeyer: to express this possibility, the possibility that he IS a second Ash. But Ripley progressively learns to trust the synthetic more, until she entirely accepts the humanity and benevolence of the seemingly inhuman. Ripley overcomes her Ash trauma through her rapprochement with Bishop.
Therefore, while certainly not as central as Ash, Bishop is integral to AlienS as a story, in both themes and structure. He's part of its heart.
https://img6.bdbphotos.com/images/orig/q/9/q9qjzv3ahzmivza9.jpg
Call is, admittingly, the weak link in the chain. She's the one I would reasonably hesitate to call "central". She's the one character that I'd be willing to admit as a pattern-breaker.
Unlike Ash and Bishop, Annalee Call COULD be removed from the events of Alien: Resurrection without changing much of the plot. She requires no replacement. Without Call, the pirates could for example find Ripley by accident by looking for Ripley. And while visually or conceptually impressive, the gynoid's pseudo-death, door-opening and replacement of Father could be removed as well.
But I would argue Call is important to the themes. She represents, ironically, Ripley's remaining ties to humanity. She's the only character in the story Ripley 8 demonstrates strong interest towards (to the point where a crypto-lesbian vision of the story is an absolutely acceptable one... but that's another story). She's the incarnation of humane, generous, heroic ideals. She's absolutely ready to die to stop the Alien threat.
In a way, Call is a synthesis of three previous characters in the series. By increasing order of importance:
- She mirrors Ash. Rather than the synthetic trying to orally r4pe the heroine, the synthetic is here invited by the anti-heroine to penetrate her with a knife. Rather than limiting Mother for treachery and destruction, Call replaces Father for escape and salvation.
- She mirrors Bishop. She's the one synthetic Ripley starts on hostile grounds with, and the one the anti-heroine will work with.
- She mirrors the initial Ripley. From the beginning, to stop the Alien is Call's mission, not Ripley's. She investigates like Ripley in the Nostromo, she uses a mechanical "armor" (the Auriga) to gain the upper hand like Ripley in the Sulaco, and she's ready to sacrifice herself like Ripley on Fiorina 161. And while it's almost certainly undeliberate, it is interesting that Call does "die" during her mission... and with a fall in water, no less, negative mirror of Ripley's fall in the fire. And like Ripley, Call comes back from the dead revealed as a non-human creature.
Thank god he specified which one he was, I wouldn't have known.
https://pbs.twimg.com/media/Gq2yAaeXIAAKwQi?format=jpg&name=360x360
https://x.com/AdrianEdmondson/status/1922388342227742925
I mean, the name they posted under is wubbalub etc etc and it quotes the pasta several times. Maybe there's some daring new synthesis at play though.