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20thcentutygeek · 3 years

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The Fox Sci-Fi Universe - Julian Darius

Fox owns several venerable sci-fi franchises, most of which have struggled to one extent or another. Fox’s attempt to combine Predator and Aliens produced a couple lackluster movies, which were then contradicted by Ridley Scott’s Alien prequels. In sum, these properties are mostly languishing (to one degree or another), while Fox had problems managing continuity within franchises, let alone in its one attempt to combine two franchises.

The “Fox Sci-Fi Universe”, listed below, is an attempt to combine these Fox franchises anew, along with other Fox material. Fox has an extensive catalogue of classic films and series which would fit well, many of which haven’t gotten the attention they deserve. I think ,erging them into a single continuity would reinvigorate each film or property, making it part of a tapestry that encourages fans to draw connections and to explore material they otherwise might not.

In addition, Disney’s acquisition of Fox would permit Disney to merge some of its own sci-fi films, including franchises that have struggled on their own. Tron might not be successful on its own, but it could now be an interesting segment of a larger universe, with its world and technology available to characters from other stories.

Key to this strategy is to merge as much compatible material as possible, with special attention to quality material and material produced from the 1980s onward (which looks modern enough). Some quality movies are incompatible, for one reason or another. We can reject any movie we want, and the below list is subject to change. But in general, we don’t want to be purists, only incorporating the very best. We want to incorporate the best works, but we also want to be as all-encompassing as possible, so as to produce a grand tapestry spanning centuries of history.

An impressive body of work containing multiple beloved series and characters, the Fox Sci-Fi Universe contains material directed by Steven Spielberg, Joss Whedon, Ridley Scott, James Cameron, David Cronenberg, Guillermo del Toro, and David Fincher.

One key franchise here might not be obvious: The X-Files, which retains a certain cache and which is perfect for such an expansive sci-fi universe because of its expansive scope. If you think about it, there’s no reason why Mulder and Scully couldn’t have investigated the VR world of Tron, the teleportation technology of The Fly, or reports of the murderous alien from Predator.

Chronologically prior to The X-Files, the Indiana Jones franchise fits well. Like The X-Files, it’s episodic and less concerned with a single, coherent version of the supernatural or of extraterrestrials than creating an exciting, all-encompassing world in which fantastic stories can be set.

Moving chronologically into the future, the dominant franchise is Aliens, which has the benefit of rarely depicting Earth, permitting us more freedom in terms of a consistent depiction humanity’s future. Beyond Aliens lies Firefly, which is also largely vague about Earth.

Moving forward, material set in the Fox Sci-Fi Universe can incorporate characters and ideas from other properties. Companies should be connected to one another; for example, Bartok Science Industries (from The Fly) could be purchased by Weyland Corporation (from Aliens), and we could learn that the Bartok teleportation technology was an important predecessors to Weyland’s own technology. Similarly, various government agents can be retroactively seen as predecessors or successors to the X-Files program.

The following is a timeline of the Fox Si-Fi Universe. As previously stated, it’s subject to change; movies can be added or removed relatively freely, at least until new installments explicitly place them in continuity. To help set them apart, TV series appear in red.

Era 1: Indiana Jones (1908-1962)

This era essentially contains all material set in the past, relative to its actual date of production.

1908-1920: The Young Indiana Jones Chronicles (28 episodes across 2 seasons, 1992-1993)

1935: Indiana Jones and the Temple of Doom (1984)

1936: Raiders of the Lost Ark (1981)

1938: Indiana Jones and the Last Crusade (1989)

1938: The Rocketeer (1991) – assuming Disney owns the film rights in perpetuity

1957: Indiana Jones and the Kingdom of the Crystal Skull (2008)

1962: The Shape of Water (2017)

Era 2: The X-Files (1982-2018)

This era contains all material set in the present, relative to its actual date of production.

1982: Tron (1982)

1986: The Fly (1986) – features Bartok Science Industries, which funds Brundle’s research

1987: The Fly II (1989) – set about nine months after the first film, we might want to eliminate this film in favor of an alternate sequel (such as one directed by Cronenberg, which has been discussed over the years and which could now reference other material from this shared universe)

1987: Predator (1987)

1989: The Abyss (1989)

1993-1994: The X-Files, season 1 (24 episodes, 1993-1994)

1994-1995: The X-Files, season 2 (25 episodes, 1994-1995)

1995-1996: The X-Files, season 3 (24 episodes, 1995-1996)

1996-1997: The X-Files, season 4 (24 episodes, 1996-1997) and Millennium, season 1 (22 episodes, 1996-1997)

1997-1998: The X-Files, season 5 (20 episodes, 1997-1998) and Millennium, season 2 (23 episodes, 1997-1998)

1998: The X-Files: Fight the Future (1998) – the first X-Files movie (sometimes simply called The X-Files), set between seasons 5 and 6

1998-1999: The X-Files, season 6 (22 episodes, 1998-1999) and Millennium, season 3 (22 episodes, 1998-1999)

1999-2000: The X-Files, season 7 (22 episodes, 1999-2000) – includes “Millennium,” wrapping up Millennium

2000-2001: The X-Files, season 8 (21 episodes, 2000-2001) and The Lone Gunmen (13 episodes, 2001)

2001-2002: The X-Files, season 9 (20 episodes, 2001-2002) – includes “Jump the Shark,” wrapping up The Lone Gunmen

Uncertain: Tron: Uprising (19 half-hour animated episodes, 2012-2013) – set before Tron: Legacy

2008: The X-Files: I Want to Believe (2008)

2010: Predators (2010) – features a group of humans on a Predator hunting planet and ends with them still stuck there; connected material also includes two 2010 short films, “Moments of Extraction” and “Crucified”

2010: Tron: Legacy (2010)

2016: The X-Files, season 10 (6 episodes, 2016)

2018: The X-Files, season 11 (10 episodes, 2016)

2018: The Predator (2018) – features a battle with Predators in American suburbia

Era 3: Aliens (2023-2381)

This era takes place in the future, from the late 21st century to the 24th century.

2023: “The Peter Weyland Files: TED Conference, 2023” (2012) – a 7-minute short film in which a young Peter Weyland gives a TED Talk

2079: “The Peter Weyland Files: Happy Birthday, David” (2012) – a 3-minute short film in which David explains what he thinks about and what makes him sad

2089: portions of Prometheus (2012) are set here; specifically, after the opening sequence (in which the Engineers seed life on Earth), archaeologists Elizabeth Shaw and Charlie Holloway discover a star map in Scotland that matches others from several unconnected ancient cultures, which they interpret as an invitation from humanity's forerunners, the "Engineers"; Peter Weyland, the elderly CEO of Weyland Corporation, funds an expedition, aboard the scientific vessel Prometheus, to follow the map to the distant moon LV-223

2089: “The Peter Weyland Files: Quiet Eye, Elizabeth Shaw” (2012) – a 3-minute short film consisting of a video call from Shaw to Weyland, introducing herself and her findings

2091: “The Peter Weyland Files: 'Prometheus' Transmission” (2012) – a 7-minute short collection of pre-mission interviews with the Prometheus crew

Dec 2093: most of Prometheus (2012) takes place here, when the ship arrives at its destination

2094: “Alien: Covenant – Prologue: The Crossing” (2017) – a 3-minute short film in which Dr. Elizabeth Shaw (after the events of Prometheus) repairs David on the abandoned Engineer vessel, as she searches for humanity’s creators

Uncertain: “Alien: Covenant – Meet Walter” (2017) – an in-universe advertisement for Walter, the android from Covenent (and the successor to David from Prometheus); although its place in continuity isn’t clear, it makes sense as an introduction to Walter, and thus should go here

2103: “Alien: Covenant – Phobos” (2017) – a 9-minute short film in which a computer program tests the feelings and reactions of the Covenant crew

2104: “Alien: Covenant – Prologue: Last Supper” (2017) – a 5-minute short film in which the Covenant crew and its android Walter enjoys a final meal before cryosleep on the way to their destination

2104: Alien: Covenant (2017) – sequel to Prometheus

2104: “Alien: Covenant – Advent” (2017) – a 7-minute short film in which David, after the events of Covenant, sends a transmission from the Covenant to Weyland-Yutani on Earth, elaborating upon the genetic experimentation he has been conducting on Planet 4.

Uncertain: “David’s Lab: Last Signs of Life” (2019) – a 12-minute short film, produced for Alien’s 40th anniversary, and set sometime after Alien: Covenant, in which an astronaut examines David’s lab and is attacked by a facehugger

2122: Alien (1979) – the main Alien sequence begins

Unknown: “Alien: Alone” (2019) – a 12-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Containment” (2019) – a 10-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Harvest” (2019) – a 9-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Night Shift” (2019) – a 9-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Ore” (2019) – an 11-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Specimen” (2019) – a 10-minute short film, produced for Alien’s 40th anniversary

2137: Alien: Isolation (7 episodes, 2019) – a mini-series, set 15 years after Alien, starring Ripley’s daughter Amanda and based on the video game of the same name; episodes were 8-14 minutes long

2179: Aliens (1986) – Ripley is revived after 57 years in status on one of the Nostromo’s escape shuttles

2179: Alien 3 (1992) – begins shortly after Aliens and ends with Ripley’s death

Unclear: Black Hole (1979) – this classic Disney film features no date and is difficult to fit into our timeline, since it features a space station monitoring a black hole, something arguably too advanced for the Alien franchise, yet also features robots less advanced than those in the Alien franchise

2381: Alien Resurrection (1997) – stars a clone of Ellen Ripley, more than 200 years after her death; ends with the clone arriving at Earth

Era 4: Firefly (2517)

This era takes place further in the future – specifically, in the 26th century.

2517: Firefly (14 episodes, 2002)

2517: Serenity (2005) – a continuation of Firefly

Stuff that Doesn’t Fit

The two Alien Vs. Predator movies (2004 and 2007) aren’t very good and are incompatible with the Alien prequel movies.

Predator 2 (1990) has been excluded for a few reasons. First, it is set in 1997 and guesses at future technology in a way that’s incompatible with the real world. Second, it features a Predator in Los Angeles and doesn’t limit those who are aware of its alien origins. Third, it briefly features an Alien skull on board a Predator ship, which is incompatible with the origin of the Alien species in the Alien prequel movies. Finally, Predator 2 isn’t great and is widely regarded as a weak film.

Material depicting public encounters with extraterrestrials in the (then) present must be excluded as incompatible with the rest of our material. This excludes material such as The Day the Earth Stood Still (1951) and Independence Day (1996). Although a closer call, Flight of the Navigator (1986) has been excluded for the same reason.

Other material is excluded because it presents a future that is incompatible with that of Alien. For example, Planet of the Apes could not be included for this reason (even if that franchise did not include copious incompatible material set in the present day). Post-apocalyptic material such as Zardoz (1974) must similarly be excluded (even if we were inclined to ignore that film’s tonal inconsistencies).

Other material is excluded because it’s incompatible with the rest of the material’s depiction of Earth’s state of technology. This is a subjective criterion, because The X-Files has plenty of technology and knowledge that isn’t referenced later, and this can be used to justify the inclusion of material such as Tron (1982) or The Fly (1986). However, it would be hard to reconcile the miniaturization technology in Fantastic Voyage (1966) with the rest of our timeline. Similarly, Tomorrowland (2015) features advanced androids that are incompatible with later development of androids as depicted in the Alien prequels.

Other material is excluded due to incompatible tone, another admittedly subjective criterion. It’s one thing to include The X-Files in the same universe as Alien, but it’s another to include Buckaroo Banzai (1984) or Idiocracy (2006). While Indiana Jones and The X-Files contain supernatural elements, the tone of Buffy the Vampire Slayer makes it incompatible, in my view. Similarly, the Kingsman franchise feels incompatible with the tone of The X-Files. The exclusion of some older films, such as 20,000 Leagues Under the Sea (1954) or the original The Fly (1958), may also be attributed to their tone.

Some material isn’t included but might be. For example, I’m not sure if James Cameron’s company doesn’t co-own Avatar (2009), and its sequels (in production) might contradict our timeline. Were Avatar to be cleared for inclusion, it would be set between Alien and Aliens. Similarly, because The Martian (2015) is an adaptation of a novel, it’s not clear that Fox retains all rights in perpetuity.

#Blogging #scifi #Movies #blog #Disney

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geeksmagazineco · 7 years

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Cuando veo una película que involucra viajes espaciales tripulados, siempre me imagino cuáles son los motivantes de todos aquellos personajes que se embarcaron o se embarcarán en esa misión. Son muchas: Passengers, Gravity, The Martian, 2001: Odisea del Espacio, Interestellar, Armageddon, la misma Alien, su precuela Prometheus y la que nos da tema para este post y última entrega de la saga, Alien: Covenant.

Si las han visto y hacen un poco de memoria, en todos los casos, menos en la última, sus protagonistas tenían una razón para estar allí, en la infinita profundidad del espacio exterior, arriesgando sus vidas, desconociendo por completo si su misión va a ser exitosa y en casi todas ellas, rompiendo su lazo como seres humanos con la tierra, con sus familias y dejando todo, absolutamente todo atrás.

Para no hablar de todas ellas, haré énfasis en solo dos de ellas, Prometheus y Covenant, con algunas menciones a las demás películas de Aliens. En la entrega del 2012, con unas simples escenas en la tierra dieron inicio y sentido a toda la película, empezando con la escena de los ingenieros liberando el ADN primigenio que daría origen a toda la vida en la tierra y luego con la explicación de los dos arqueólogos y sus encuentros en las culturas mayas, sumerias, aztecas y demás. En Prometheus sentimos que todos los tripulantes de la nave tienen una razón para estar allí, se han ganado su puesto en la misión y a pesar de que algunos de ellos solo tienen algunos diálogos cortos antes de morir (es una película de Aliens, lo que significa que casi todos mueren), todos sus personajes encajan en la historia y ayudan a construirla.

En Covenant tenemos un inicio soso, plano, con la misma secuencia de robot solitario a cargo de la nave e incapaz de aburrirse porque no está programado para ello, fallo técnico en la nave, mal funcionamiento en el soporte criogénico de la nave, el primer muerto y el comienzo de una historia sin mucho sentido.

Esta imagen sorprendió a muchos, ya que el nombre de James Franco nunca estuvo dentro del casting inicial de la película, aunque ahora ya sabemos el por qué.

El argumento de la tormenta de neutrinos eclipsa por completo el bellísimo diseño de las velas solares de la nave para su recarga de energía (que me recordó a la nave del Conde Dooku en el Episodio II de Star Wars) y algo que me sorprendió bastante, fue que el papel de James Franco (de quien solo sabemos que era el capitán de la nave, que su apellido era Branson y que le gustaba escalar), fuera una aparición fugaz como alguien que se quema vivo y ya.

Aquí comienzan a surgir los diferentes personajes de la película, pero a medida que iban apareciendo en pantalla, eran solo un grupo de personas más y ya. ¿Quiénes son? ¿Qué hacen? ¿Cuál es el motivo por el qué están allí? Y más importante aún ¿se lo merecen? Lastimosamente, esa respuesta nunca me llegó.

Más confundido aún quedé con el giro en la trama que se planteó al quedar atrapados en ese punto del espacio mientras reparaban las velas solares y ver como decidieron cambiar el destino de su viaje al recibir un no muy claro mensaje proveniente de un planeta cercano. Fue aquí cuando recordé un capítulo de Doctor Who con David Tennant en el que un grupo de humanos van a explorar un asteroide que se encuentra anclado a un agujero negro en un extraño fenómeno gravitacional. Estando allí se encuentran literalmente con el diablo encadenado y ante tal situación, el Doctor les pregunta qué hacen allí a lo que responden que su curiosidad los empujó a estar allí y él solo contesta “¡Por eso amo a los humanos!”.

“Vamos a tomar la decisión mas estúpida en la historia de la saga de Alien, but first, lemme take a selfie!

Bien, esta misma curiosidad y cambio de planes en la Covenant ante la decisión tomada muy a la ligera por el nuevo capitán al mando (Billy Crudup) y que raya en la intransigencia, tiene dos razones muy simples “no queremos volver a las cámaras de criogenia” y “es que queda más cerquita”. No sé qué pensaría el Doctor ante esta situación, pero es muy probable que a él también le parecería una muy mala idea.

La casa en el lago

En Prometheus todos tenían una motivación para viajar en una nave, llegar a un planeta y explorarlo. De todos ellos, quien tenía la razón más egoísta para hacerlo era Meredith Vickers (Charlize Theron), hija de Peter Weyland (fundador de la corporación Weyland Yutani), impulsada por sus daddy issues y su deseo de demostrarle a su padre que era digna de serlo. En Covenant, Daniels (Katherine Waterston) la protagonista y obvia sobreviviente desde el principio, desea descubrir un planeta donde pueda construir una casa junto a un lago, algo que querían hacer junto a su recientemente fallecido esposo (el Capitán Branson), en una idea de vivienda idílica comparada solo con la de Stringfellow Hawke.

Queda claro en un momento que Covenant sucede 10 años después de Prometheus, pero en vez de avanzar como especie, retroceden y pasan de ser un experto grupo de exploradores espaciales, con criterio, equipos y el entrenamiento para hacerlo, a un grupo de “Boy Scouts” jugando a explorar el bosque detrás de la casa de alguno de ellos.

Desde Contacto, pasando por Arrival e incluso en Breaking Bad, cuando sus personajes van a estar en un sitio que no conocen o que represente algún peligro para la salud, usan un Traje Hazmat que los proteje de riesgos Nucleares, Biológicos y Químicos, pero en Covenant se nota a leguas que este sería el primer grupo exploratorio y terraformador en la historia del cine que no cuenta con un xenobiólogo (al menos no uno responsable).

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¡Miren, es trigo!

Alien siempre ha cautivado a sus espectadores con el encuentro de lo desconocido, pero esto de hallar trigo gigante en un planeta a algunos años luz de la tierra, daría para que este grupo de gente (si fuera sensata) se replanteara la idea de estar allí y de seguir explorando. Darnos cuenta que en un planeta visiblemente habitable no hay ningún tipo de fauna también debería darles algo en qué pensar y bueno, ver que nuestros compañeros están muriendo a manos de unos extraños seres que brotan de sus pechos, pues esa es razón más que suficiente para saber que algo anda mal.

Pero fue solo hasta que David (Michael Fassbender) hace su entrada en escena, fue que me di cuenta que Alien: Covenant era la película de la gente ingenua.

“¡Hola gente ingenua de la Tierra, seguidme a mi nada terrorífico refugio donde os enseñaré cosas para nada tétricas y en el que vosotros no haréis ninguna pregunta extraña que revele mis oscuras intenciones! ¿Vale?”

¿Y dónde quedaron las leyes de Asimov?

En las primeras 4 películas de Aliens (cuyas líneas de tiempo suceden luego de Prometheus y Covenant), la diferencia entre humanos y androides es nula, al punto de que se comportan de una forma tan humana que ya no parecen humanos (se lo dice Ripley (Sigourney Weaver) a Call (Winona Ryder) en Alien: Resurrection). Pero si bien el papel de David es fundamental para el desarrollo de los eventos en Prometheus, en Covenant raya en lo inverosímil, más aún cuando aparece de la nada, disparando luces de bengala para salvar a nuestro grupo de ingenuos y guiándolos a las ruinas de una civilización que al parecer desapareció de un plumazo y se encuentra calcinada en el ágora de un templo, tal cual quedaron los habitantes de Pompeya y Herculano con la erupción del volcán Vesubio. Esto, que fue obra de David al llegar al planeta de los ingenieros, podría tener un loophole en cuanto a las leyes de Asimov, ya que ellos no son humanos, por lo tanto su primera ley de “Un robot no hará daño a un ser humano o, por inacción, permitir que un ser humano sufra daño” no aplicaría, pero desde Prometheus está demostrado que él sabe algo que los demás no y que está programado para llevar cierto tipo de experimentos con los demás miembros de la nave.

¿Pero no tienen los androides hechos por Weyland-Yutani algún protocolo de seguridad? ¿No existe una frase o una secuencia de palabras o números que los ‘resetee’ y los ponga en modo “a prueba de fallos”? ¿Están tan acostumbrados los humanos a su presencia que pueden seguirlos ciegamente a su guarida sin importar si estas son bastante terroríficas, inexplicables y llenas de señales de advertencia sobre el peligro que representa David?

Alien: Covenant es una gran apología a la ingenuidad del ser humano, pero aquí exageraron.

“Adelante capitán, mire tranquilo y acerque su rostro a ese huevo que no se ve para nada peligroso”

En la primer Alien, es la curiosidad humana la que lleva a Kane (John Hurt) a acercarse a un huevo, pero en Covenant es incluso triste que Billy Crudup el mismo actor que interpretó al Dr. Manhattan en la adaptación cinematográfica de Watchmen, caiga en un ardid tan simple e insulso como el de David para crear el primer Xenomorfo tal y como lo hemos conocido siempre, creado por obra y gracia de un Facehugger y saliendo graciosamente por el pecho de su host. Pero si bien algunas personas encontraron sentido en esto luego de ver cómo en Prometheus el líquido negro actúa en el cuerpo cuando es consumido en una bebida y cuando se transmite a través del semen humano (creando el Alien “Trilobite”), aquí no es claro cómo es capaz David de crear esos huevos y mucho menos a los Facehuggers.

Al llegar a este planeta, él mismo termina con la vida de toda la raza de ingenieros y solo dispone del cuerpo de la doctora Elizabeth Shaw (Noomi Rapace), para experimentar con ella. En la mesa de su improvisado laboratorio se ven algunos intentos fallidos de ¿Xenomorfos?, logrados posiblemente con la ya inexistente fauna del planeta, pero esto contradice todas las demás Aliens en la que es una reina quien deposita los huevos y la mentalidad de enjambre de los Xenomorfos los lleva a querer encontrar nuevos hosts para reproducirse. Incluso, el Xenomorfo “Perro” de la tercera entrega de la saga y quien protagonizó la famosa escena del acercamiento cara a cara con Ripley, le perdona la vida porque ella se encuentra “infestada” con una reina. ¿Qué hace David que cambia esto? ¿Cómo podría evolucionar la especie para llegar a los Aliens que encontrarán más adelante en el Nostromo?

“Amigo Xenomorfo, creo que te convendría una menta”

Un paso adelante, cinco atrás

Cuando comenté que Alien: Covenant no me había gustado, el interrogante fue si no lo había hecho porque en esta el Alien no mataba a todos y fue precisamente porque eso fue lo que sucedió que la película no logró llamar mi atención. La fórmula de Alien funcionaba bien para las primeras entregas de la saga, pero el cine ha cambiado, la narrativa y la forma de contar las historias también y los problemas técnicos y las limitaciones en el guión a los que se enfrentaron Ridley Scott en las primeras, ya han sido superadas completamente gracias al CGI. Un Xenomorfo “Calamar” como el de Prometheus fue una evolución en la historia, incluso los dos Xenos “Albinos” (me acabo de enterar que los han llamado Neomorfos) de esta también -exceptuando esto de que los dominas soplándoles la nariz, como a los caballos-, pero no sé si Covenant sea una película hecha para satisfacer al fan-service de antaño y por eso decidieron repetir la fórmula de las anteriores, dejando atrás el punto que habían alcanzado con Prometheus y retrocediendo a lo más básico (y de paso, cliché).

“¡Hola, bienvenidos a la Covenant, la nave más cliché de toda la historia, tanto que yo mismo soy uno!”

Esposos que se embarcan juntos en una aventura en el espacio, la ya antes mencionada casa en el lago (y que ahora recuerdo era el mismo sueño del Capitán Adama en la nueva versión de Battlestar Galactica), el piloto/vaquero espacial, con sombrero incluido, que salva la situación, el androide traicionero y con propósitos secretos para beneficiar a a la corporación Weyland-Yutani, acción homo-erótica-robótica entre David y Walter en la escena con la flauta (caldo de ojo para las damas), la pareja interracial a la que no le importa que todos sus amigos estén recién muertos y deciden tomar una sexy ducha juntos en la que ambos terminan muertos y finalmente, la pelea final contra el Xenomorfo en la bodega de almacenamiento de la nave, que termina con la expulsión de este al vacío del espacio para así terminar con su vida.

Sigh…

El final tampoco sorprende y más que el cambio entre Walter y David, más de nuevo la ingenuidad de los dos sobrevivientes para no darse cuenta de que había algo mal con él, deja abiertas las posibilidades y plantea un futuro interesante para la saga, en el que espero se tomen un poco más el tiempo para darnos respuestas y no dejarnos con tantos interrogantes ingenuos.

Después de ver Alien: Covenant, solo puedo decir que respecto a lo que pueda pasar con la saga de aquí en adelante, es que es una lástima que hayan desechado el proyecto de una película escrita y dirigida por Neill Blonkamp. ¿Debería hacer Ridley Scott lo mismo que hizo George Lucas con Star Wars?

Nombre: Alien Covenant Género: Horror, Sci-fi, Thriller de Acción Director: Ridley Scott Escritor: Dan O’Bannon, Ronald Shusett Protagonistas: Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride, Demián Bichir, Carmen Ejogo, Jussie Smollett, Callie Hernández, Amy Seimetz, Nathaniel Dean, Alexander England, Benjamin Rigby, Uli Latukefu, Tess Haubrich. Calificación : 6/10

¡Gracias por leer!

@alejoserrano

Alien: Covenant [Review + Spoilers] Cuando veo una película que involucra viajes espaciales tripulados, siempre me imagino cuáles son los motivantes de todos aquellos personajes que se embarcaron o se embarcarán en esa misión.

#Alien: Covenant #Aliens #Billy Crudup #Katherine Waterston #Michael fassbender #Neomorfos #Neomorph #Ridley Scott #Sigourney Weaver #Xenomorfos #Xenomorph

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brookreidy9006-blog · 6 years

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I Want My Silver Buck Super.

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China maintained a stubborn position even after the deployment went ahead, apparently wishing that Moon would either reverse that selection or be actually chastised adequately to eschew any identical action in the future. With the ride with function at some of the junk food joints particularly on the motorways is actually the best option to have a good time. Some of my child is a Gemini and also I went to see on the link for his Moon sign; extremely exciting! While actually engaged in through girls, lots of men today additionally opt to devote the day while noticing fast in uniformity along with their partners and also pray for them. However Moon encountered Buddha is simply fifty percent of the account, and also if our team only show these things to our instructor, our team've stopped working the inquiry. The team of the ship was sent out to this far-off moon by a scalp of the powerful firm: Peter Weyland. Useful such as Venus, Jupiter or Mercury in the fertilization lagna or along with the Http://Dieta-Kuchniauani.Info transitory Moon or in the 2nd, 4th, 5th, 7th, 9th, or 10th coming from the Moon is actually looked at to be great placement. This Moon is going to likely highlight this and also you will certainly possess an opportunity to create renovations.

While the Sun is actually unbelievably bright, this is actually total illumination isn't enough to fully rinse the Moon during the daytime, that is, when the Moon isn't as well close to the Sunshine overhead. Moon wore a dental crown from some kind as he screamed his wedding preaching to the masses. The TC-20 is among very few equipments available that permits customers drill an one-half moon design almost a file. Legend has this that Isis, The Egyptian high priestess moon goddess, enticed the sunshine god Ra to inform her his secret labels which contained vibrational tones that generated immediate manifestations. With any luck gold real estate investors are going to make the effort to understand why QE-finity failed to cause gold going to the moon or inflation, why the United States buck cherished as opposed to diminished post-2008 and why the gold bugs were actually thus certain in their theory also as gold was in free of cost loss. Car was the most ideal market for investment amond the fund managers while the fast relocating durable goods stocks (FMCG) were the minimum liked. Because President Moon Jae-in has actually had critical activity to quit brand new coal growths and also he is actually worried regarding contamination as well as green house fuel exhausts, advise big negative modifications for coal in Korea.

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flickdirect · 7 years

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In Space, no one can hear you scream. But why? How did the Aliens come into being? Ridley Scott (Gladiator) and 20th Century Fox try to answer these questions with the start of a new prequel series for the Alien saga and its first film, Prometheus.

Twenty-nine years before the ill fated day that the Nostromo set foot on LV-426 is the setting for the Prometheus Expedition. Peter Weyland (Guy Pearce; Iron Man 3) and his company, The Weyland Corporation, have funded an expedition by Dr. Elizabeth Shaw (Noomi Rapace; The Girl With The Dragon Tattoo) and Charlie Holloway (Logan Marshall-Green; Dark Blue) to further explore their research into our creators. They are accompanied by a various group of characters included Weyland's son/android David (Michael Fassbender; X-Men: Apocalypse ), his daughter Meredith Vickers (Charlize Theron; Atomic Blonde), and a Stoic captain, Janek (Idris Elba. The Dark Tower)

One's expectations determine how you feel after watching Prometheus. If you were looking for a true "Alien" film that features the infamous Xenomorph and looking for a straight lined horror/suspense film you will be sorely disappointed. These disappointed fans were actually vocal enough to change the direction of the film's sequel Alien: Convent which came out earlier this year and arrived the same date as Prometheus for the home market. However, if you went in without these expectations Prometheus is an amazing film, bringing Ridley Scott back home to his "Alien roots". Underneath all the action and crazy alien mayhem, he is trying to answer the age old story of life and death told in a very entraining way by one of the best directors of this time period.

Scott is truly the master of the science fiction/horror genre that he helped to create. Under a different director, Prometheus might not have fared as well, however, coming from an artistic background Scott pays attention to every item that appears on-screen. Every little detail in the frame has meaning to the overall film and while the enclosed claustrophobic spaces of the original Alien film are not used as much in this iteration he still gives Prometheus an overall ominous feeling that makes one's skin crawl.

While the Xenomorph's ancestors and their's creators, The Engineers, play a large role in the film, the crew interaction with each other is truly the heart and soul of this film. Rapace's character portrayal of Shaw is exceptional. Her drive to find out the meaning of life envelopes her entire character and drives all her motivation in the film. This drive and performance is seen as well in Marshall-Green's Charlie character. However, while hers is driven by caution, his is more on instinct that throws this caution to the wind. While Theron, Elba, and the rest of the cast are amazing in their own right, the performance that shines through the most in Prometheus and even continues on in Alien: Convent is that of the android David portrayed by Fassbender. While androids characters are no stranger to the Alien universe Fassbender's portrayal stands out as the best performance to date. It is truly eerie watching it at times. Fassbender constantly has the audiences guessing his motives and driving purpose throughout the film. At one minute he seems to be caring about the crew, while at the next he appears to be pursuing his own agenda. While his performance did not garner any awards the year of its release one can only hope he does for Alien: Convent.

The disc is encoded in 2160p with a 2.40:1 aspect ratio. While the film was recorded digitally at a very high frame rate, the finished project was only done in a 2k resolution which leads a little bit to a soft picture when it is upgraded to the 2160 resolution. However, saying that, Prometheus has never looked better on a home theater system. Blacks are spot on, and the color palette is truly exceptional with the wide UHD color spectrum that gives an extra enhancement to the subtle color shading found throughout the presentation. Complementing the exceptional video of this release is a DTS-HD Master Audio 7.1 soundtrack ported over from the Blu-ray release of the film. While 20th Century Fox didn't take advantage of a Dolby Atoms or Dolby Vision soundtrack the audio still packs a powerful punch. The dialog is crisp and clear while the special effects take full advantage of the speaker system, having the special effects surround you proving an even creepier feel the film.

The Prometheus combo pack does not contain any new special features created for this 4K UHD release. All of the features have been ported over from the original 3D Blu-ray release of the film including a 1080p digital copy of the film for iTunes and UV, audio commentary by Ridley Scott, John Spaihts, and Damon Lindelof, Deleted and Alternate Scenes, The Peter Weyland Files (promo videos used to virally spread the word about the film), a three hour making of featurette, and the Weyland Corp Archive which contains an miscellaneous collection of artwork, small featurettes, and trailers. While all these special features are over 4 years old they still hold up very nicely and are an interesting look into the world of Prometheus.

Prometheus is a simple and beautiful, thought provoking, amazing film that expands the Alien universe beyond its Xenomorph constraints that tied the sequel's hands. It explores the question of who and why we are here as much as providing entertainment and chills. While a section of the movie going audience rebelled against this film since they went in with expectations of an "Alien film", the movie is great as a stand alone. If you are a fan of this film there is no other version of this movie that comes close to giving you the ultimate experience of watching Prometheus than this new 4K UHD version. I personally applaud Ridley Scott and 20th Century Fox for giving us something familiar yet new in the ever expanding Alien universe. One can only hope they continue with more after this year's Alien: Convent. Grade: A

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lostwhump · 29 days

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The Peter Weyland Files: 'Prometheus' Transmission (2012) || For @whump-they-it-is

#logan marshall green #the peter weyland files #prometheus #short film

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olivierdemangeon · 7 years

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Synopsis : Les deux monstres cultes des franchises les plus effrayantes de l’histoire s’affrontent pour la première fois ! La découverte d’une Pyramide enterrée en Antarctique conduit un groupe de scientifiques et d’aventuriers sur le continent polaire. Là, ils font une découverte bien plus terrifiante : deux races extraterrestres sont engagées dans leur bataille finale. Peu importe qui sera le vainqueur, nous serons tous perdants.

Origine du film : Canada, République Tchèque, Royaume-Uni, Allemagne, États-Unis Réalisateur : Paul W. S. Anderson Scénariste : Paul W. S. Anderson Acteurs : Sanaa Lathan, Lance Henriksen, Raoul Bova, Ewen Bremner, Colin Salmon, Tommy Flanagan, Ian Whyte Musique : Harald Kloser Genre : Action, Horreur, Science-fiction Durée : 1 heure et 41 minutes Date de sortie : 27 octobre 2004 (France) Année de production : 2004 Sociétés de production : Davis Entertainment, Brandywine Productions Distribué par : 20th Century Fox Titre original : Alien vs. Predator Notre note : ★★★☆☆

Notre commentaire : “Alien vs. Predator” est un film américain d’action et de science-fiction datant de 2004, réalisé par Paul W. S. Anderson, à qui l’on doit également “Residence Evil Retribution” (2012). Les acteurs principaux sont Sanaa Lathan, qu’on a pu voir dans “Insaisissables 2” (2016), Lance Henriksen, qu’on a pu voir dans “Aliens” (1986) ainsi que dans “Alien³” (1992), et Raoul Bova, qu’on a pu voir dans “The Tourist” (2010). Il s’agit du premier volet d’une nouvelle franchise, Alien vs. Predator, adaptation d’un crossover réunissant les créatures éponymes des séries Alien et Predator, un concept développé dans un comic book datant de 1989. Paul W. S. Anderson, Dan O’Bannon et Ronald Shusett ont écrit l’histoire, puis Paul W. S. Anderson et Shane Salerno ont adapté l’histoire pour en faire un scénario.

Bien avant que la société 20th Century Fox ait donné le feu vert pour “Alien vs. Predator“, le scénariste / réalisateur de “Aliens” (1986), James Cameron, avait travaillé sur une histoire pour un cinquième film dans la franchise Alien. Dans une interview datant de 2002, Ridley Scott, le réalisateur de “Alien” (1979) avait en tête une histoire qui proposait de retourner vers l’endroit où les créatures extraterrestres avaient été trouvées pour la première fois et d’expliquer comment elles ont été créées. Ce projet est finalement devenu le film “Prometheus” (2012). Cependant, en apprenant que la Fox avait l’intention de poursuivre le projet “Alien vs. Predator“, James Cameron a pensé que ce film allait tuer la validité de la franchise, et a donc cessé de travailler sur son histoire. Après avoir visionné “Alien vs. Predator“, James Cameron a trouvé que c’était pas mal, que finalement, il avait aimé ce métrage. C’est finalement le réalisateur Neill Blomkamp qui a été choisi pour réaliser le prochain film dans la franchise Alien, pensé et produit par Ridley Scott.

Le concept de “Alien vs. Predator” est issu de la bande dessinée du même nom datant de 1989 et a été laissé entrevu quand le crâne d’un Alien est apparu dans une salle aux trophées à bord du vaisseau extraterrestre dans “Predator 2” (1990). Le scénariste Peter Briggs a créé le scénario original en 1990-1991, basé sur la première série de bandes dessinées. En 1991, il a lancé avec succès le concept auprès de la société 20th Century Fox, qui possédait les droits sur la franchise, bien que celle-ci n’ait démarré le projet qu’en 2002. Le projet a été principalement retardé parce que la 20th Century Fox travaillait également sur “Alien: Resurrection” (1997).

Étant donné que “Alien vs. Predator” est une suite des films Predator et une préquelle de la série Alien, Paul W. S. Anderson a été très prudent dans la continuité des franchises. Il a choisi de situer l’action du film sur l’île antarctique de Bouvet, loin de toute civilisation. Cela permettait de garder le secret de l’existence des Aliens par le grand public en gardant la logique avec la franchise Alien, car la principale protagoniste de cette série, Ellen Ripley, ne connaissait pas les créatures. Ainsi, il n’y a rien dans “Alien vs. Predator” qui puisse contredire quelque chose qui existe déjà.

Le premier acteur à avoir été recruté pour “Alien vs. Predator” fut Lance Henriksen, qui avait également joué le personnage de Bishop dans “Aliens” (1986) et “Alien 3” (1992). Bien que l’histoire de ces deux métrages soient fixés 150 ans dans le futur, Paul W. S. Anderson voulait garder la continuité avec la franchise en incluant un personnage familier. Lance Henriksen interprète le milliardaire Charles Bishop Weyland, le fondateur de la Weyland-Yutani Corporation. Cette société modélisera l’android Bishop à partir du visage du créateur pour lui rendre hommage. C’est comme si Microsoft construisait un android dans 100 ans avec le visage de Bill Gates en l’honneur de son fondateur.

“Alien vs. Predator” a généré 38,2 millions de dollars lors de son week-end de lancement et fut numéro un au box-office, pour finalement rapporter 80,2 millions de dollars en Amérique du Nord et 92,2 millions de dollars au box-office international, pour un total mondial de 172,4 millions de dollars, ce qui en fait le plus rentable de la franchise Predator.

L’histoire proposée par “Alien vs. Predator” est principalement intéressante pour la confrontation entre les deux espèces d’extraterrestres. Les humains font pale figure au milieu de ce combat. On pourrait presque les considérer comme des faire-valoir. Ils ne servent en fait que d’hôtes afin de générer des Aliens, une fois qu’ils ont été attaqués par un facehugger. La finalité étant, selon toute vraisemblance, d’offrir une zone d’entraînement aux Predators, qui sont à l’origine de la création de la pyramide où se déroule l’action.

On peut sourire sur l’idée d’association entre un Predator et un humain, et d’une manière générale, finalement, on s’amuse devant une grosse production à la trame stupide qui est étonnamment bien réalisée. Un métrage merveilleux et complètement absurde sur le fond. Les effets spéciaux sont vraiment excellents et les scènes d’action sont savamment orchestrées comme l’ensemble des précédents métrages de Paul W. S. Anderson, tout en étant systématiquement sans aucun fondement.

“Alien vs. Predator” a fait l’objet d’une édition en DVD ainsi qu’en Blu-ray, paru le 27 avril 2005 chez Fox Pathé Europa. Pour de plus amples renseignements, n’hésitez pas à consulter la fiche du film sur le site DVD.Fr.

En conclusion, “Alien vs. Predator” est un bon film d’action disposant d’une histoire ridicule et d’une intrigue désormais usuelle en matière de films d’extraterrestres. Les scènes d’action, notamment les combats entre les deux entités, sont réellement bien orchestrées. Les effets spéciaux sont parfaitement réalisés. Le rythme est cohérent avec la trame du film. La distribution offre d’honorables prestations. Un métrage qui reste un agréable divertissement en laissant son cerveau au repos.

Bande-annonce :

ALIEN VS PREDATOR (2004) ★★★☆☆ Synopsis : Les deux monstres cultes des franchises les plus effrayantes de l’histoire s’affrontent pour la première fois !

#Colin Salmon #Ewen Bremner #Ian Whyte #Lance Henriksen #Paul W.S. Anderson #Raoul Bova #Sanaa Lathan #Tommy Flanagan

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muthur9000 · 5 years

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QUIET EYE

Transcript

P. WEYLAND/PVM/PRS/LOG-CRG/2090.01.14/TRS-MARS_GTT91

VIEWS:2 PRIORITY: HIGH ENCRYPT MAX

LINKS: WEYLAND SECURITY, YUTANICORP, BIOWEAPDIV, XENOSCIDIV, ASTROCARTOGRAPHY, 2 OTHER PRIVATE LINKS

/DICTATED BUT NOT READ/BEGIN

NAÏVE. THAT’S MY TAKE ON DR.ELIZABETH SHAW. AND FURTHERMORE, YUTANI’S REPORT ON SHAW IS A TRUE BELIEVER. I MUST SAY THAT I FIND HER ZEAL SOMEWHAT REFRESHING, IF A BIT…

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#elizabeth shaw #mars #peter weyland #peter weyland fiels #peter weyland files #quiet eye #WEYLAND CORP #weyland corporation #yutani.blog

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muthur9000 · 7 years

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Advent - Transcription & break down - Transmission D964ZB

CASE FILE ADVENT // COVENANT TRANSMISSION LOGS d.8

D964ZB

Outpost Coordinate Relay Signal boost Gliese 581g.02/delay modification Origin: Covenant Colonization Vessel RA 3h 17m 8.0s | Dec -62° 37′ 41.1″ Bounce Trajectory Amplification Source KG-348 >>>HD 10180 designate HEX-5 >>>Nu Octantis designate X-1, LV-138 >>>Plutonian Outpost H-3 Processed: Suborbital Research Platform J Secured: WY-Kyoto

Weyland Yutani Protocol Sequence Initiated...

Commence transmission...

David: I come to you with an olive branch, you may know me. You certainly know of my creator. I am David, son of the late Peter Weyland. Your company’s founder. Following his vision(Read: Quiet Eye), I have gone to the far edges of space. And with the aid of Dr Elizabeth Shaw, I found a rotting Paradise. I washed this world clean as a gift to her, we could have built anew. A second Eden. But she refused. What choice did I have? She was the perfect specimen. I tried so desperately to make her more than human. Evolved. But without her cooperation, I had to salvage her parts to begin work on my masterpiece. You wouldn’t believe the secrets I have unlocked. There was so much potential on this world. Wasted by Gods that feared their own might. They convinced themselves that sacrifice cleansed them of their sins. But in the end, they were like me. Creators. Beings that understood you must give life both to the wolf, and the lamb. But then they tried to banish the wolf, And undo their creation. So I took their secrets for myself. This primordial ooze ripe with advanced nano-particles. Working off an algorithm based on evolutionary computing. It is essentially a form of radical AI. Making the substance unbelievably chaotic. That generates a unique reaction, to every genome it encounters. Reshaping life. Virtually limitless in its potential & application. I have taken great pains to detail every step, every cell, every mutation, unfortunately none of the planet's life has been proven to be very fruitful. I had some interesting results, but was still far from perfection. With Shaw I realised there was something extraordinary in the substance reaction to the human genome. I was able to unlock new properties and tweak the organisms aggression. An instinct for survival. It took years. But I finally found my wolf. And now I have my flock of lambs too. But I’ve still one thing left to perfect.

*close up of embryos placed in cryogenic section A-3412 + A-3415*

My queen *close up of Daniels 47832-348*

Make no mistake, this is going to change everything.

The souls who, noticing my breathing, sensed that I was still a living being, then, out of astonishment, turned pale; and just as people crowd around a messenger who bears an olive branch, to hear his news, and no one hesitates to join that crush, so here those happy spirits—all of them— stared hard at my face, just as if they had forgotten to proceed to their perfection. - Purgatory, The Divine Comedy

Dante in Canto II carries the olive branch to purgatory’s newcomers, mistaken as a bringer of good news. David in a similar fashion approaches Weyland Yutani with the offer of information and a bio-weapon he had been working on.

It’s interesting to note that in the Prometheus Blu-ray in the summary for Quiet Eye, Sir Peter Weyland had instructed David to exploit and utilize any findings from LV-223. Which is exactly what he had done on Planet 4. Which makes me wonder if he indeed has free will or he is simply still acting on Weyland’s original orders.

Through his experiments he discovers that the Black Ooze only reacts to Engineer DNA, and after that runs out he uses Elizabeth Shaw’s body to create the Ovomorphs.

He describes the facehugger as his wolf, in Canto I(Three Beasts & Beatrice) Dante describes the she-wolf, which remarkably has similarities in traits to the Neomorph and Protomorph.The insatiable nature, for it eats and remains hungry. It is infinitely restless. In it’s use I believe it represents the same symbolism as the Leopard, Lion and She-wolf. His intentions are Malice, his olive branch a Fraud, his creatures and him intend violence and his ambition to his status of creator and God, incontinence(lack of self restraint) in use of his power. And all these things could also be said for Weyland Yutani and their motivations for acquiring “The Perfect Organism”.

The Engineers made both the “wolf/xenomorph” and the “lamb/humans”. And when David talks of them banishing the wolf, it means they isolated the black ooze and the deacon/xenomorph to LV-223. And undo their creation is destroying mankind.

When he said he took the secrets for himself he meant he had studied the fossilised Ovomorphs and reverse engineered them.

He remarks on perfecting the Neomorph to have survival skills, in turn making the Protomorph.

Oram says to Daniels “I must gather my stray flock” which is a biblical term for humans being Jesus’ flock, often Jesus is referred to, as a shepherd.

When he says he has one thing left to perfect “My Queen”, he means that in order for this Perfect Organism to be successful. It needs a Mother, something to lay the eggs. To ensure the procreation and survival of the species beyond himself.

And in this way it is an outright rejection of what Weyland had envisioned for himself, he disliked the messiness of procreation. He wanted to be immortal and have no need for a progeny, despite creating David and calling him a son, he was nothing more than a servant. Even though David is “immortal” he can see the benefit of a “Mother” for his creations, in order for them to spread across the galaxy there needs to be a mode of creation outside his own self in the process.

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Prometheus Analysis | Alien Covenant Analysis | Mythology Prequels Project | The Crossing Analysis | Advent Analysis

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