Tag Archives: horror movies

The Alien Franchise: Horror’s Ultimate Tribute To Motherhood

When it comes to the horror genre and motherhood, there’s no short supply of films that touch, or wrap an entire plot around the subject. From the age-old days of horror with films like Psycho to modern movies like A Quiet Place and mother!, the eternal bond between mother and child is ripe for storytelling in a twisted way for the genre. However, no movie, and as a matter of fact, the entire franchise has executed the theme of motherly love in such a beautiful and fearful way quite as the Alien films.

And I’m here to celebrate Ripley, Queen Alien mama, and that bastard hybrid-Alien child from Alien: Resurrection in all its glory.

ALIEN

From the beginning of the franchise, the theme of motherhood and birthing life into existence came as a punch to the face, or through an abdomen, if you want to get technical, with the thought of just how messy life can start from the get-go via one of the most infamous horror scenes of all time. As someone who went through giving birth twice, I can relate to those screams godammit; also, eh, yeah it’s pretty bloody and messy. It’s the most badass, metal thing a woman can endure, and our boy John Hurt got a taste of it on board the Nostromo with the systems operated by fittingly named, MU-TH-UR 6000- or just simply “Mother.”

Oddly enough in the 1979 film, the birth of life and what a woman goes through is shown through men rather than women; which, all things considered, one could perceive as truly groundbreaking. Sure Ripley touches on her own motherhood background and is a FurMom to Jonesy, but the ugly parts of the process are shown through Kane and Ash.

YES, ASH. This guy right here who bleeds milk and not blood. Sort of ironically beautiful don’t you agree?

To me, and many others whom I’ve discussed with this before, Ash represents that ugly Postpartum Depression no one ever likes to acknowledge exists for mothers. In the film, Ash is chaos with confusion and rage wanting to be in control. PPD is a beast in its own right and can only be tamed with a swift kick from loved ones. In Alien‘s case, Ripley is the one who kicks it in the face, and rightfully so as the heroine of the films’.

ALIENS

Ahh, Aliens. The sequel that many fans not only deem superior but mostly associate with via said theme; in which case, makes my job here fairly simple.

Ripley’s motherly bond with little Newt is undeniable in the wake of the loss of their own via the news that Ripley’s own daughter has passed on Earth and Newt now being the sole survivor of the alien attack on the colony. They both lost all they knew and just kind of gravitated toward that parental/child bond in both survival and therapeutic move; because mentally speaking, do what you got to do to keep your head on straight. So Ellen spends the entire film protecting Newt at all costs, but she’s not the only one protecting her baby.

The Queen Mother Alien is busy laying her own eggs all over the place, and while the little “buggers” hatch, Ripley and the rest of the crew are taking them down. Which, in turn, really pisses this Mama Bear off, and I can’t even be mad about that. In the same sense, Mama Alien also goes into rage mode trying to protect her babies, same as Ripley. While some the Queen as the villain here, she is cut from the slice of bread here as Ripley. Different species, same attitude. Don’t fuck with Mama Bear.

ALIEN 3

That’s right Ripley. You get what you asked for.

In Alien 3, Ripley finds herself alone again with everyone she knows dead, including little Newt. Well, not so alone actually as we come to find out that in Aliens, the enraged Mama Queen gave Ellen a parting shot by laying one last egg on the ship they escaped on to ensure her race would live on despite Ripley’s best efforts. With Ripley serving as the new host and Surrogate mother for the Queen’s baby, those motherly instincts go right out the window and we now head into the theme of abortion, which hey, is also a part of the whole parenting discussion.

What a savage move, eh?

However, the baby alien growing inside her does give her an advantage, as the Xenomorph which is loose on the prison planet can sense the Queen embryo; in which case, doesn’t want to kill or harm Ripley in any way. Kind of like, you can be pissed off at your family, but blood is thicker than water and you never resort to blows, seeing as how Ripley and the Aliens are somewhat related now.

In any regard, Ripley succeeds in aborting the pregnancy and the alien race future by killing herself, or so she thinks. Alas, not before both she is cloned making way for ALIEN: RESSURECTION.

ALIEN: RESSURECTION

It took 200 years after the events of Alien 3, but curious scientific bastards have finally done it. A xenomorph specimen has been successfully reanimated thanks to Ripley’s DNA samples while still having that Queen embryo inside her before her own suicide. However, in lieu of Ripley, we now have CLONE 8, who as an alien/human hybrid, is very enduring to her fellow alien relations in a way that only a mother would understand. As the saying goes, “a face only a mother could love”, Clone 8 makes that the understatement of the century with her own Alien/human relative. The Queen Alien clone taken from Ripley’s body surprisingly has a human reproductive system rather than laying eggs. Now the alien race can finally endure what a human feels while giving birth.

What a gift to give your child.

And what can be given, can also be taken away as Clone 8 has to come to a terrible decision regarding her own baby as it poses a serious threat to humanity. The hybrid alien that was birthed via the Queen clone, rejected its Queen mother in favor of Clone 8. While Clone 8 has some emotional feelings towards the creature, who I honestly think is sort of adorable albeit vicious, she uses this to her advantage by using the creature’s trust to lure it into a death trap in an effort to save humanity.

Motherhood isn’t all sunshine and rainbows folks. It comes with serious emotional baggage and tough, sometimes impossible decisions. Although I would HOPE offing your child isn’t one of them- leave that one exception to little hybrid mongoloid here. Ok and maybe, Henry from The Good Son. Seriously, fuck that kid.

PROMETHEUS

Prometheus does a fine job of exploring the creation of life in a much broader way than even its predecessors. Serving as a prequel to all the Alien films, witnessing the evolution and understanding of the birth of both humanity, and of this strange alien race is a wild ride, much like motherhood itself. Instead of Ripley, we have Elizabeth Shaw, who has a strong religious faith and can bear no children. Again, focusing on another topic concerning motherhood that is brought to the forefront of the franchise: Infertility. With that in mind, some women find this problem frustrating and a toll on their own mental health and self-worth as a human. As Shaw clearly states in the film, “I can’t create life, what does that say about me?” Good to know that in the future this narrative of a woman is useless if she’s infertile, is still a goddamn thing.

Welp. Let’s just fix both those problems with an alien implant, shall we?

Prometheus tackles every single theme about motherhood within the Alien franchise and takes it full throttle even throwing in the modern, and now wildly used form of giving birth, c-section to boot. Gross. But cool, nonetheless.

Alien: Covenant

With the final entry that is Alien Covenant, we come full circle back to the roots of the franchise with gender switching roles of giving birth, and David the android taking Ash’s PPD into full swing Post Partum Psychosis as he nurtures this race into a healthy existence at the expense of the human race. Even MU-TH-UR 6000 makes an appearance, bringing the franchise together in a twisted circle of life metaphor.

As a mother of two, I can wholeheartedly relate to every single motherhood angle the Alien films have thrown at us. Motherhood isn’t always easy, and the movies do a great job of hammering that aspect home. I’ve given birth naturally, through cesarean, spent a year struggling with PPD, and went through the trauma of abortion to boot. While I’m no expert, I can certainly feel all the emotions throughout the series; which I hold very dear to me. And it goes without saying, the Alien movies have done an even better job of being inclusive, making ALL mothers feel heard and seen. Whether you’re a parent struggling, infertile, a step or adoptive parent, surrogate, or hell, living the white picket fence family dream, (seriously who are you) then you can probably relate as well to the roller coaster of emotional and beautiful chaos that is motherhood.

A tip of the hat to all you Queens out there. No matter where you stand, you all deserve to be recognized.

Kawhi Leonard Goosebumps Sneakers Dropping This Week From New Balance!

Credit: New Balance

Along with “Scary Stories To Tell In The Dark“, R.L. Stine’s “Goosebumps” books were the ultimate horror gateway for young kids looking to expand their minds into a dark, but fun world of the genre. So, it’s no surprise here that we, now adults, nostalgic-driven fans have been getting hot doses of our childhood in cool collabs such as Horror Vans and cookbooks featuring the Garbage Pail Kids. Add to that now New Balance along with a collab with NBA Superstar and Goosebumps superfan Kawhi Leonard with a sneakerhead drop of Monster Blood proportions- The Goosebumps New Balance Sneaker!

According to SportsKeeda.com, The Goosebumps sneaker is scheduled to drop this month on Wednesday, April 20, 2022, at 10.00 am EST on the New Balance site and Footlocker.

Decked out with spooky Stine details, the shoe is a fine way to help celebrate the Goosebumps line of literary gold, which actually turns the dirty 30 this year!

Horror Movies Dominated The Oscars Special Effects Award In 1987

Welp, it’s Oscars season folks and you and I both know, for the most part, deserving horror films worthy of such an honor get the almighty snub. Albeit, the snooty Academy has thrown us horror fans a bone via recent years with at least acknowledging that the genre is more than blood and guts, there’s still no excuse to snub a perfectly deserving film to appease what Hollywood deems as true art. Given their stance on the subject, it’s even rarer when a horror movie sequel gets that kind of recognition. But, as a matter of fact, that did indeed happen 35 years ago at the 1987 Academy Awards when the horror genre, two of them a sequel and one a remake, were all competing for the Best Visual Effects Oscar!

The Nominees

Poltergeist II: The Other Side

Although the visually terrifying film didn’t take home the win, it’s a bit of a breath of fresh air to know it was even considered, as this sequel to the Hooper/ Spielberg classic is gorgeously shot and beautifully terrorizes you in all the right places- mostly thanks to Julian Beck and his portrayal of the malevolent reverend, Henry Kane.

Alongside the Boss Film Corporation of effects team,(Richard Edlund
John Bruno, Garry Waller, and Bill Neil) the Swiss magician of horror imagery H.R. Giger was the key designer for ‘The Great Beast’ version of Kane, and it most certainly stands out as an unholy bundle of nightmares from the film alongside the slithery worm that protrudes from Steven’s projectile vomit from the movie. Although it’s been noted in interviews that Giger was for the most, displeased with the end result of the monster creations, it just goes to show that even Giger’s less than impressive standards according to him, are still some of the best horror visual and practical effects that we’ve seen in the wonderful decade of ’80s monster magic. And hey, the Academy board thought so as well, so that’s something I guess.

Early design of The Great Beast by H.R. Giger

Little Shop of Horrors

Nominees Lyle ConwayBran FerrenMartin Gutteridge had some stiff competition up against not one, BUT TWO H.R. Giger-inspired designs in the effects department. However, the Audrey II mechanical puppet in itself is a monumental accomplishment more than worthy of being in said company and if anyone was gonna take that sort of threat on, it was going to be master muppet-men Jim Henson and Frank Oz.

The movie utilized multiple animatronic versions of Audrey II, ranging from a tiny bud to the enormous version for the climax. Though not an official Creature Shop production, many of the same designers and technicians worked with Oz on the film. As Jim Henson stated in a 1987 interview, he didn’t have a hand in the puppetry for Little Shop, but “I was very close to some of the people in that production.” These included Jim’s own children Heather Henson, in a bit part as a dental patient, and Brian Henson, who served as a principal puppeteer on Audrey II.

If anything Audrey II should have won an Oscar just for those one-liners.

AND THE WINNER IS…

ALIENS!

When someone like Stan Winston is involved in a H.R. Giger design, we may as well just hand that Oscar on a silver platter. Along with effects specialists John Richardson and Suzanne M. Benson, the trio took home the naked-man gold for their marvelous efforts on Ridley Scott’s Aliens.

Aliens featured extensive use of miniatures and puppeteering, redefining the whole aspect of special effects. Queen Mama Alien was incredibly complex, requiring anywhere between 12 to 14 different operators in order to get the puppet to function properly. It’s been stated by the crew in numerous reports that James Cameron’s ability to shoot the Queen without capturing all of the wire riggings that were present, is a testament to his directorial capabilities.

The alien facehugger samples, which the marines find suspended in glass tubes early in the film, were also brought to life through puppetry. Interesting to note, A Spydor vehicle, which was part of the He-Man toy line, was purchased and used as a model to serve as a visual example of how the facehuggers should walk.

So, can we get an Oscar nod for the Masters of the Universe toyline?

For the most part, I hate the Oscars. But every season when it comes snaking it’s Hollywood ass around the corner, I like to remember that in one point in time, the horror genre absolutly destroyed the special effects category.