The “Other” Cinematic Universes

When it comes to cinematic universes, we all know the story: Marvel’s only getting better as they go, DC has struggled to get any sort of consistent quality going, etc. However, with as much attention as these franchises get, it’s easy to forget that they’re not the only ones making their mark on the cinematic universe trend. There are actually quite a few current cinematic universes out there now, some several films deep, that have continued to grow without the attention and scrutiny that Marvel and DC seem to inspire. There are also many more on the way (keep an eye out for Hasbro, they seem to be pushing the hardest), but even after 10 years of Marvel dominance, most have failed to actually get underway. With that in mind, let’s look at the less-appreciated landscape of cinematic universes.

Note: I’m only going to be looking at franchises which are still ongoing. To determine if it constitutes a cinematic universe, I’m only looking at major releases (for all I know, The Asylum has a Mega Shark cinematic universe, but I’m sure as hell not going to go digging for turds like that). I’m also looking for franchises which aren’t just following a normal, linear progression from film to film. Spin-offs don’t necessarily constitute a cinematic universe either, although if there are multiple spin-off films in a franchise then it could apply. Oh, and goofy cameos and tongue-in-cheek jokes don’t count either (so no, Transformers and Friday the 13th aren’t in the same universe). Ultimately, it’s all down to my discretion. Got it? Great, let’s buckle in.

Honourable Mentions:

Star Wars (image source): Again, this is down to my discretion, but I don’t feel like Star Wars is quite at “cinematic universe” level yet, at least in the way that that label gets applied anyway. For the most part, Star Wars in the cinematic landscape consists of films which follow on from one another (whether as prequels or sequels). Even the spin-offs we’ve had in Rogue One and Solo were just prequels to the events of the main stories and given less prominence, so I’m struggling to really count these on the same level as, say, your average Marvel or DC solo film in their respective universes. Now, with the groundwork laid by The Last Jedi and Disney’s desire to milk this franchise forever (…those are mutually exclusive ideas, I swear), we might actually be getting to a point in the next couple of years when Star Wars is an interconnected universe of various divergent characters and storylines, but until then I have a hard time viewing it as more than a very epic saga.

Alien vs Predator (…vs Blade Runner???) – I’m only not counting this one because there has been basically no official word on whether these franchises still are, or ever were, truly linked in the first place. Basically every Alien and Predator film since has ignored the continuity established by the AVP movies, although they have never completely separated. To make matters even more confusing, the Alien prequels went and made it official that Blade Runner takes place in this universe as well. Considering that all of these separate franchises take place nearly 100 years apart from one another, it makes the continuity pliable, but it would be awesome if we could give AVP another shot at greatness.

The Tarantinoverse(s) – Yes, these films all technically take place in the same universe (click the image on the side to see the entire, complicated breakdown as to how), whether as actual events (Inglourious Basterds, Pulp Fiction, Django Unchained, etc) or as films within that universe (Kill Bill, From Dusk Till Dawn, Death Proof, etc). There are also a number of characters who are related (most notably, Vic Vega aka Mr. Blonde in Reservoir Dogs and Vincent Vega in Pulp Fiction). Here’s the thing though: none of these connections really matter. I mean, is Vincent affected in Pulp Fiction by Vic’s death? No, it’s just an easter egg for fans, and that’s what everything in the Tarantinoverse is – there’s no actual crossover or overarching plot (especially when you can just say “eh, it’s a movie in that universe!”), so I’m not counting it. Like I said, my discretion.

And so, let’s move onto the actual cinematic universes, shall we?

5) The Dark Universe – Is there any surprise that this is the worst of the current crop of cinematic universes? I mean, let’s look at the situation: Universal had the first successful cinematic universe back when they were releasing their classic monster films. For almost 20 years now they have been trying to recapture that success with failure after failure. The Mummy laid a decent groundwork for this, but then Van Helsing failed and scuppered that idea. Then they tried once again to set up this universe with The Wolfman, but it was a commercial and critical failure (although I love it personally and feel like its reception will improve over time).

After so many false starts, suddenly Marvel’s cinematic universe model began getting successful and Universal decided that they wanted a piece of that pie. As a result, Dracula: Untold was produced with the explicit intention of aping Marvel’s formula to finally get the Universal monsters on screen again. The resulting film was just plain dull – the source material didn’t fit a PG-13 summer action tentpole treatment and the resulting universe it was selling (PG-13 grimdark anti-heroes facing some nebulous ancient evil) was unappealing, so once again Universal was left in a lurch with a stillborn franchise.

With yet another failure under their belts, Universal almost immediately jettisoned Dracula: Untold from memory and then got to work on what was arguably the most seriously committed effort to reboot their monsters properties: The Dark Universe. Universal clearly went all-in this time, snatching up some major star power with Russell Crowe as Dr. Jeckell and Mr. Hyde, Javier Bardem as Frankenstien’s Monster, Johnny Depp as The Invisible Man and Tom Cruise as (ultimately) this universe’s version of The Mummy. Since The Mummy was the only reboot Universal had any success with, perhaps it is natural that they’d try to launch their universe with it, along with the consistent quality that comes along with Tom Cruise. Unfortunately, despite the huge marketing push and the big talk about how this was going to be Universal’s big shared universe, The Mummy proved to be a rare Tom Cruise misfire which single-handedly put the future of the entire franchise into question. Things have been quiet on The Dark Universe front, with many assuming it is dead since its two main producers have departed the project, but there have been some occasional rumblings to suggest we haven’t seen the last of it.

I feel like the issues with The Dark Universe were twofold. First of all, I don’t think that aping Marvel’s formula and attempting to reboot the Universal monsters as quasi-superheroes is ever going to work, nor is attempting to shoehorn all of these movies into the PG-13 summer action blockbuster template a good idea. I understand that a smaller, more traditional horror series would not make as much money if The Dark Universe had met its ambitions, but at least it would not be competing with the juggernauts, would be carving its own niche in the cinematic landscape and would be a considerably safer investment. Dracula: Untold had already failed in part because of this. It doesn’t matter how much money and star-power you throw at a project, if the concept is rotten at its core, then it is going to have a very hard time gaining traction.

Secondly, I feel like The Dark Universe was hamstrung from the start by its two main producers, Alex Kurtzman (also director of The Mummy) and Chris Morgan. Both are blockbuster scriptwriters and producers, with Kurtzman being known for the modern Star Trek films, the first two Transformers, Cowboys & Aliens and the Now You See Me franchise, and Chris Morgan being known for the Fast & Furious franchise, Wanted and 47 Ronin. They’re both involved in big, successful action franchises, but none of those franchises are really known for their great scripts. To make matters even worse, Guillermo del Toro was originally asked to helm The Dark Universe, which could have been incredible if Universal would allow him to lean into these characters’ horror origins. There is some hope for The Dark Universe still: it’s being rumoured that renowned horror-producer Jason Blum is being given the reins of the franchise. However, as it stands currently, The Dark Universe is little more than a cautionary tale in franchise building.

4) The Monsterverse – This is the universe that inspired this list, because while Legendary hasn’t been subtle about the fact that they want to bring Godzilla and King Kong together once again, they haven’t been hammering audiences with their world-building (unlike, say, The Mummy or Batman vs Superman). In fact, you could easily be forgiven for not realizing that Kong: Skull Island was a part of the same universe as Godzilla, outside of the subtle references to Monarch and the post-credits scene. I feel like this will probably be emphasized more by the end of the upcoming Godzilla: King of the Monsters, but at least it’s refreshing that Legendary isn’t counting their chickens before they’ve hatched.

Perhaps the most interesting thing about the Monsterverse is that, like the Universal monsters, it’s building on a foundation that originated the shared universe concept in film in the first place. The Toho Godzilla films had their own colourful cast of monsters that would feature in each others’ films and the original Godzilla vs King Kong was one of the earliest and most notable major franchise crossover films (also, while I may not prefer the direction of this incarnation of Kong, I can’t deny that it’s a part of the character’s roots). Unlike the Universal Monsters, Legendary is succeeding by keeping the Monsterverse true to the roots which made them successful in the first place. Also, Legendary has been killing it in terms of direction and cinematography thus far – Kong: Skull Island is downright beautiful at times and Godzilla has some of my favourite direction of all time (seriously).

The Monsterverse has also had some pretty decent quality thus far, with both entries being quite fun, if disposable, entertainment. Granted, giant monsters are much easier to fit into a dumb action blockbuster mould, and neither Godzilla or Kong: Skull Island had much ambition to be anything other than that. Considering that they’re giant monster movies, they don’t really need to do much more, but some more interesting human characters would go a long way. Godzilla: King of the Monsters could theoretically improve this one aspect, but we’ll see. If Legendary can keep the quality up, the Monsterverse could easily move up a slot in this list.

3) Cloverfield Universe – This universe could have easily topped the list if not for the release of the absolutely putrid The Coverfield Paradox, which has soured the franchise’s name overnight and turned it into a punchline. That said, the quality of Cloverfield and 10 Cloverfield Lane can’t be denied, and the chance for more cool genre films with genuine surprise to them is too much of an allure to pass up after one misfire (even one as disastrous as Paradox).

Cloverfield was a very intriguing Hollywood experiment, forgoing a huge budget and star power in favour of an ingenious and mysterious alternate reality game (ARG) marketing campaign. I got caught up in the Cloverfield hype leading up to its release and had a lot of fun with the ARG, looking for clues and speculating on what the monster was going to be. Cloverfield was also one of the earliest modern found footage films and, I would argue, one of the best utilizations of the concept. Oh, and lest we forget, Cloverfield was also the film which brought us Matt Reeves (far and away one of the most ambitious and consistently good blockbuster directors in Hollywood). The film left plenty of unanswered questions and for years there were rumblings of a sequel, but nothing materialized (even though it looked like Super 8 was going to fulfil that promise).

Then, suddenly, franchise producer J.J. Abrams had an idea to use the Cloverfield name to promote smaller, quality genre films and loosely tie them together. The first film they tried this on was 10 Cloverfield Lane, which was originally a stand-alone film that underwent reshoots to make it fit into the concept of a “Cloverfield movie”. The film was announced quietly and with minimal marketing, relying on word of mouth, a couple teasers and a release date 3 months away to build hype. There was some talk about whether this strategy would work, but work it did – 10 Cloverfield Lane was another success for the franchise, in part because the film was so damn good that the cynical nature of its creation didn’t really matter. It didn’t really connect to the previous film in the franchise, but it didn’t need to: if Cloverfield was a signifier for a type of quality genre film that you could expect, then bring on more Cloverfield we all said.

Of course, it’s important to understand that this is the sort of goodwill which was paramount to the firestorm of hype that exploded upon announcement that the third Cloverfield film had secretly dropped on Netflix during the Super Bowl… and the resulting disappointment when it turned out that that film was utter shit. Like I said, when your shared universe is only loosely connected between films, Cloverfield becomes a mark of quality. Releasing a bad film taints that reputation. Worse, releasing an awful film throws all confidence in that franchise into the wind. Who knows, another Cloverfield film could be good, but it might take years of good films to get the bad taste of Paradox out of our mouths.

2) The Conjuring – The Conjuring universe is remarkable for a few reasons. One, it’s based primarily on the stories of one real-life family (although the veracity of those stories is suspect, naturally). Two, these are all full-on R-rated horror films, whose considerable success should put Universal’s attempts to reboot their monsters to shame. Three, this franchise’s shared universe it at a point where it’s becoming comparable to the MCU. Seriously, The Conjuring is the beating heart of this franchise, but Annabelle is almost on par in terms of box office success, and The Nun has just released with the franchise’s biggest opening yet, purely off the success of the character in The Conjuring 2.

In terms of quality, the films are generally solid. The Conjuring and The Conjuring 2 are both classic horror films in the vein of The Exorcist (I personally preferred The Conjuring 2), which do a good job of making the supernatural seem plausible and which are buoyed tremendously by solid direction from James Wan and the performances of Patrick Wilson and Vera Farmiga. The spin-offs have been more of a mixed bag, with Annabelle: Creation being generally considered quite good, while Annabelle and The Nun have been met with a negative reception. That said, as spin-offs in an explicitly niche shared universe, they seem to still have an audience who are interested in them. With smaller budgets and this built-in audience, The Conjuring universe manages to find success by marketing to its own niche, rather than going for the mass audience and viewing $800 million as a failure, such as Justice League. If more studios would realize this and try to find other genre niches, we might have more successful shared universes out there.

1) X-Men – And finally we have the other, other superhero shared universe, the long-running X-Men universe. In fact, thanks to the Disney-20th Century Fox acquisition, this universe is almost certainly reaching its death-knell with upcoming release of X-Men: Dark Phoenix, after 19 years of ups and downs.

Back before the MCU took the world by storm, X-Men was the superhero franchise of most consistent quality (next to Spider-man, anyway), and for a long time it was just that – a franchise, not a shared universe. But then the Wolverine spin-offs happened, which turned into a trilogy of its own with Origins, The Wolverine and Logan. And then Deadpool and Deadpool 2 were released, and suddenly X-Men had become the full-on cinematic universe it was so well-suited to become. Hell, you could even argue that the franchise’s main timeline fits in the shared universe idea, with two different eras of X-Men interacting in Days of Future Past (the best X-Men movie, in my opinion).

X-Men has had some major lows (The Last Stand and Origins), but it has also had considerable heights (X2DoFP, Logan, Deadpool) which have allowed it to succeed for so long, and it was always good to have a serious competitor to the MCU. Lest we forget that this shared universe has also gifted us with one of the best superhero castings of all time in Hugh Jackman’s Wolverine, not to mention the Ryan Renold’s Deadpool or Michael Fassbender’s Magneto. I don’t have high hopes for Dark Phoenix, but I can only hope that it does this franchise justice and allows it to go out on a high note.

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Extraterrestrial Jesus

So in the past week, there has been quite a bit of excitement after the discovery of Kepler-452b (aka Earth 2.0) was announced. The most interesting discussion for me was Benjamin L. Corey’s response to Jeff Schweitzer’s claim that the existence of alien life would spell the end of religion. Ben refutes Schweitzer pretty comprehensively, so I’m not going to take too much time on that, but the topic did leave me absolutely fascinated with all the questions it would open up.

As Corey shows in his response, I think that Schweitzer’s main issue is that he picked the wrong proof to base his article around, mainly because he seems to believe that every Christian (and religious person for that matter) is a young earth creationist. This is already a rather poor “proof” to base a whole opinion around though, because it has already been long established that you can be Christian without taking the creation account literally. It’s also rather silly to insist that, because the Bible never mentions extraterrestrial life, then therefore the Bible is wrong if they are discovered. I assume the logic of this notion is that Schweitzer can’t understand why God would hide knowledge from us, but this just seems like a poor assumption to me. Considering that nearly everything in the Bible was written to, and about, a specific time, place and peoples, why the heck would they mention “oh yeah, by the way, there are aliens out there too. Have fun!”

While Schweitzer’s article is fundamentally flawed, that’s not to say that the topic is not entirely without merit. While I sincerely doubt that alien life will spell the end of religion, it would certainly cause a shift in some traditional dogma and cause a small percentage of religious people to abandon their faith. For example, young earth creationism would be dealt a major blow and would become even more of a joke than it already is (and yet, despite Answers in Genesis and the Institute for Creation Research stating that alien life is impossible within a creationist’s belief system, they will definitely change their tunes to save face). This, of course, doesn’t even take into account all the people who will ignore or deny these discoveries.

Personally, I think Schweitzer would have been far better served if he had tackled his thesis by asking theological questions about the impact alien life would have on religion, because I believe this is where peoples’ faith will be tested the most (since I understand it the best, I’ll focus on the impacts on Christianity in particular though). For example, if we discover an intelligent species, then are they capable of attaining salvation (aka, did Jesus die for the aliens too)? Or what if we discover an intelligent alien species which has very similar Christ-like narratives – would this mean that God’s son had to come and die multiple times for each species? And if not, then how much sense does it make for Jesus to only come to one life-bearing planet and leave all the others in the dark (this, of course, assumes that all of creation is sinful)? If all discovered species have animal-level intelligence, then can we just ignore them in terms of their theological impact? Will alien life debunk Christian dogma, or are our beliefs meant to be tied to humans and our planet only? Perhaps most dangerous is the following question that all Christians will have to ask themselves: am I just twisting my beliefs so that I don’t have to deny them?

In any case, I think that these sorts of theological/philosophical issues would be far more likely to lead people out of religion if we contact alien life, rather than any supposed “incompatibilities” with the Bible and extraterrestrial life. I do find it quite interesting though that, in the past 10-15 years, belief in alien life has gone from being a crackpot idea to a very plausible possibility (that said, believing that Earth has been visited by alien life is in a whole other league – there’s a big difference between probability and an unverifiable lack of concrete evidence). Of course, just like how these attitudes have adapted over time, the religious response will surely evolve and become more sophisticated as we inch closer and closer to the possibility of extraterrestrial contact. With any luck, Christianity will be progressive enough to be open to the possibility when the time comes and have the proper responses to deal with it.

Oh, but screw the young earth creationists. They’ve had it coming for a long time.

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7 Ways AVP Inspired Recent Alien and Predator Movies

So when I wasn’t playing the shit out of Battlefield 4 on PS4, the AVP Miniatures Game I’ve been talking about the last two weeks inspired me to go back and revisit Paul W.S. Anderson’s much-maligned 2004 Alien vs Predator movie. It was actually worse than I remember it being, but while watching it I noticed something a bit… odd. Considering that Predators and Prometheus, the most recent Predator and Alien movies respectively seem to draw plot points and details from AVP liberally. This is especially surprising considering that they have done their damnedest to distance themselves from the AVP films. I’ve compiled seven examples of these instances here for examination.

As a note before we begin, I would like to mention that Prometheus and Predators are much better films than either AVP. I also figure that most of these similarities are coincidental, but find the links interesting enough to warrant mentioning. Oh and it should probably go without saying that SPOILERS ARE IN EFFECT.

Honourable Mention: Two expendable goofballs get separated from the main group and have very bad things befall them… (Prometheus)

I didn’t include this one because it seems more like a genre trope than anything, but in AVP… uhhh gimme a second to look up the names of the “characters” in this movie… umm so Miller and Verheiden get separated from the main characters and begin bumbling and freaking out. Neither have really done anything so far but they try to buddy up to get through things since they’re both “dads” and therefore can’t give up. If only they knew they were in a horror film they might have just turned the guns on themselves… Anyway, both end up getting captured by the Aliens and impregnated.

Meanwhile, in Prometheus, scientists Fifield and Milburn have had enough scary alien crap and so head back to the ship… but get lost like dumbasses despite having a digital map on them. They basically scream and hold each other until Milburn tries to pet a hissing serpent (no homo). They are mysteriously killed and/or weaponized soon after.

7) Predators Hunt in Threes (Predators)

I think there’s some precedence for this development in the Predator and AVP comics, hence why I rank it so lowly. However, to be fair, how often do films series respect extended universe stories? Just look at Alien 3, which took a dump on all the Alien comics which had been written as sequels to Aliens. I imagine that the new Star Wars movies will invalidate all the post-ROTJ fiction as well. In that regard, considering that all prior Predator films featured only a single hunter, this is a pretty interesting correlation.

In AVP a trio of Predator teenagers head off to their ritual hunting grounds to kill some xenomorphs (and any foolish humans who get in their way). In Predators, a trio of Super Predators hunt aliens and humans on their game preserve planet. In either case, three isn’t the magic number as they all get killed.

6) Mysterious Temple of Bad Things (aka Human Killing Grounds) (Prometheus)

Considering that both AVP and Prometheus are horror films, it makes sense that the mysterious, alien-built temple of doom that the protagonists come across would turn out to be something bad in the end. However, I think it’s more than a little odd that Prometheus features this trope at all, considering that it is trying to do something unlike the AVP films. If you really wanted to stretch it you could probably try to make an argument that both structures are pyramids, although the Engineer’s weapon facility looks more like a mound to me. There’s other similarities as well, such as the fact that the protagonists are able to conveniently read and translate the glyphs on the walls which are written in an unknown language. The owners of the temples also end up getting defeated by Xenomorphs/proto-Xenomorphs, both during and prior to the events of the films.

In AVP, the humans discover a temple 2000ft beneath Antarctica. It turns out that it is an ancient Predator hunting ground where humans are sacrificed to create Xenomorphs. In Prometheus, the humans travel to the Engineer’s planet to trace back to the origin of life. They end up discovering a weapon’s facility where the Engineers destroyed themselves with biological weapons before they could purge humanity from the stars.

5) Aliens Are Responsible for Civilization on Earth (Prometheus)

What’s with the recent fascination with the belief that humans were created/improved by aliens? I mean, they have a bloody TV show on “The History Channel” for goodness sake. Oh and of course there are people who think that Prometheus is a true story, but covered-up to look fictionalized (because as we all know, the best way to hide the truth is to give it a $130 million dollar budget and a wide release and then expect that absolutely no one will be crazy enough to believe it). Anyway, both AVP and Prometheus have this idea as a central plot point, even if it doesn’t make all that much sense.

In AVP, the Predators established the early civilizations and taught them to build pyramids so they could hunt Xenomorphs in them. They also apparently did a whole Tower of Babel thing too, because apparently the temple in Antarctica has all of the ancient cultures in its architecture and language, but somehow this singular origin didn’t muddy their own cultures, since they still remain unique (…AVP is really dumb). In Prometheus, the Engineers were the origin of life on Earth through a Christ-like sacrifice. They also came back later and helped civilize humanity, being worshiped as gods by us and leaving behind star maps for us to follow.

4) People Inexplicably Bring Weapons on a Scientific Expedition (Prometheus)

Scientific research is to the Alien franchise as archaeology is to Indiana Jones – if it can’t be shot at then it isn’t worth investigating. Supposed “scientists” in both films don’t do their jobs at all, generally acting like stupid tourists gawking about on their field trip. Also worth noting is the fact that the female protagonist in both AVP and Prometheus says that weapons aren’t needed, but are dismissed offhand. Guns are cool, but seriously… they aren’t really justified in either film very well at all. Of course, the weapons end up being useless anyways. In AVP I think a grand total of… two Aliens end up getting shot by the humans (and one of them was with some sort of sci-fi gun which just showed up out of nowhere). In Prometheus, only one creature gets killed by guns, but to be fair it was more because he ended up getting backed over by a huge-ass car.

As for justifications, AVP takes the cake for being more inexcusable. It’s a scientific expedition to a temple 2000ft beneath Antarctica… there’s not going to be anything alive down there. You could argue that they have the guns in case another team comes to investigate the site, but doesn’t that sound excessive? Obviously the only reason they have the guns is so that Paul W.S. Anderson can have his stupid action movie. At least in Prometheus they are venturing into the unknown to meet a potentially hostile alien species face-to-face… but still, considering that they had no reason to believe they harboured us ill-will (considering the Engineers created us and all that), it’s a tad tenuous.

3) The Hero Teams Up With a Predator (Who Gets Killed for His Troubles) (Predators)

LittleJimmy hates this trope, but I don’t have a huge problem with it myself. That said, Predators should not be seen as good guys, but rather as lawfully evil figures. Predators fits that criteria, while AVP ventures too close to making the Predator a hero. Oh and I could have swore to God that Paul W.S. Anderson was going to make Lex and the Predator kiss, it’s probably the most “WTF!?!!” moment in the whole movie. In any case, both Predators end up getting killed shortly after (is it too much to ask that a Predator actually survive a damn Predator film for once? They must have a ridiculous mortality rate).

In AVP, the humans steal the Predators’ weapons, which makes them get picked off easily by the Aliens. In the end, the last remaining human and Predator team up to bring down the temple and kill the escaped Queen. However, right at the end the Predator gets impaled by the Queen’s tail and dies. In Predators, Royce frees a captured Predator who begrudgingly directs Royce to a Predator shuttle in exchange. The Predator ends up getting killed by a Super Predator shortly after though.

2) Weyland (Prometheus)

This is another odd similarity for a series that was trying to move away from the AVP movies. Why is an aged and terminally ill founder of Weyland enterprises a commonality between the two? Even if you dismiss the rest of this article, this one’s pretty damn compelling to me because we get a really similar character and motivation in both films.

In AVP, Charles Bishop Weyland discovers the temple in Antarctica and wants to lay claim to the find. He is dying and wants to leave his mark on history by making the greatest discovery in human history (read: he wants to become immortal in a metaphorical sense). He also seems to have secret agendas and doesn’t heed warnings that he should let go of his hubris. He gets killed for his troubles of course. In Prometheus, Peter Weyland wants to lay claim to Elizabeth Shaw’s discovery of the Engineers. His crew have a secret agenda which hangs over the entire expedition. It turns out that Weyland was secretly in stasis aboard their ship and is close to death. He wants to meet the Engineers and have them make him literally immortal, even though Shaw warns him that they will kill him instead. Predictably, he ends up getting bitch slapped to death by an Engineer.

1) The Opening Briefings are Nearly Identical (Prometheus)

This is the plot point which really kicked off this article because when I watched it in AVP I thought “wait a minute… didn’t I already see this…?” Both scenes follow the same purpose and structure, they’re at similar points in the film, hell even the details are similar. They’re basically the early exposition dump to get the audience up to speed and set up what’s going to happen. Both scenes open with Weyland’s right hand man/woman beginning the presentation before giving the floor to Weyland himself (or a hologram of Weyland at least) to explain the finer details. The briefings are occurring in a wide-open chamber aboard their respective ships, while the attendees are sitting in cheap folding chairs (!).

The nature of the briefing scenes also create their own problems, because from what we’re shown all of these people apparently didn’t know where the hell they were going or doing until this briefing started (especially egregious in Prometheus). At least in AVP they try to create a sense of urgency, in Prometheus it’s just lazy. The whole scientific angle also gets thrown out the window in Prometheus because Shaw says that they’re on this expedition for Engineers is because “that’s what she chooses to believe”. Umm, good thing for you that Weyland’s a crackpot then I guess. Oh and then there’s another problem – why send a manned team at all? Why not send an unmanned drone to investigate first instead of pouring a trillion dollars into searching for Engineers who probably aren’t there in the first place (as the characters state on many occasions)?

Anyway, despite everyone hating AVP, it seems that it has managed to spread its influence to subsequent Alien and Predator films. Sure, it’s probably entirely coincidental, but the connections are interesting at the very least. I hope you enjoyed. Retrospectives should be beginning next week so stay tuned for that!

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