The Twist Ending of Episode 4 of "Ashoka: Fallen Jedi" explained

The Star Wars universe is a tapestry of interconnected stories, and the live-action series "Ashoka: Fallen Jedi" is no exception. Episode 4, titled "Fallen Jedi," serves as a pivotal moment in the series, offering a blend of nostalgia and new narrative directions. The episode culminates in a twist ending that not only brings back Hayden Christensen's Anakin Skywalker but also revisits the enigmatic "World Between Worlds."

Let's delve into why these elements are so impactful for the series and the Star Wars universe at large.

The Reunion We've Been Waiting For: Ahsoka and Anakin

The episode's final moments are a dream come true for fans who have followed Ahsoka Tano from her animated beginnings in "The Clone Wars" and "Rebels" to her live-action portrayal by Rosario Dawson.

The episode ends with Ahsoka in a dire situation, her consciousness drifting into the World Between Worlds, where she is greeted by the spirit of her former master, Anakin Skywalker.

This reunion is emotionally charged for several reasons:

1. Nickname "Snips": When Anakin calls Ahsoka by her nickname, "Snips," it's a nod to their relationship in "The Clone Wars." This single word encapsulates years of mentorship, friendship, and the heartbreak of their eventual separation.
2. Closure for Ahsoka: Ahsoka has been haunted by her inability to save Anakin from his dark fate. His appearance now offers her a chance for closure and to come to terms with their shared past.
3. Force Ghosts and Timing: Force Ghosts usually appear when they are most needed. Ahsoka is at a crossroads having nearly died at the hands of Baylan Skoll, and Anakin's guidance could be the key to her future decisions.
4. Setting the Stage: This isn't a mere cameo. It's a setup for a more extensive reunion that will likely serve as an emotional cornerstone for the series, much like how Anakin's "unmasking" served as a focal point in the "Obi-Wan Kenobi" series.

The Enigma of the World Between Worlds

The World Between Worlds is another crucial element reintroduced in this episode. First seen in "Rebels," this realm exists outside of time and space and has doorways to different points in time. It's a place that has allowed characters like Ezra Bridger to alter timelines, introducing the concept of time travel into Star Wars lore.

1. Unanswered Questions: The realm was a significant but unexplored concept in "Rebels." It left fans with questions about its nature and Ahsoka's connection to it. This episode hints that we might finally get some answers.
2. Connection to Force Ghosts: Anakin's appearance in this realm suggests that Force Ghosts might be intrinsically linked to the World Between Worlds, adding another layer of complexity to our understanding of the Force.
3. Broader Implications: The realm's imagery is similar to the star map used by Morgan Elsbeth and seems connected to the "witchcraft" of the Nightsisters. This suggests that the World Between Worlds could be a unifying theory of sorts for various Force-related phenomena in the Star Wars universe.

Episode 4 of "Ashoka: Fallen Jedi" is a masterclass in fan service, narrative progression, and emotional storytelling. It serves as a bridge between Ahsoka's animated past and her live-action future, offering closure and setting the stage for new adventures.

The return of Anakin Skywalker and the World Between Worlds are not just nostalgic callbacks but are integrated into the story in a way that feels both meaningful and necessary. As we look forward to the next episodes, these elements promise to deepen our understanding of Ahsoka and the expansive Star Wars universe.'

Check out what happened next in Episode 4 of Ashoka: Shadow Warrior

Discussion: Sabine Wren's choice to hand over the map to Baylan Skoll

In the ever-expanding Star Wars universe, characters often find themselves at crossroads, making decisions that not only affect their futures but also the fate of the galaxy. One such pivotal moment occurs in Ahsoka Episode 4, where Sabine Wren faces a moral and emotional dilemma that has left fans divided.

The following discussion delves into the complexities of Sabine's decision to hand over a crucial map to Baylan, exploring the intricate layers of her character and the emotional weight that influenced her choice.

As we discuss this, bear in mind she just witnessed what she thought was the death of Ashoka...

The Weight of the Past

Sabine is not the same person we knew from Star Wars Rebels. 

She's been through a lot, and the loss of her found family, including Ezra, has left her emotionally vulnerable. She's desperate to find some semblance of the family she once had, and this desperation is something Baylan picks up on almost immediately. He doesn't need to use the Force to read her; her emotions are an open book.

Sabine's internal struggle is palpable. On one hand, she's got this strong moral compass that led her to defect from the Empire. On the other, she's got this almost unbearable weight of loneliness and loss.

When she thinks Ahsoka is dead, it's like the universe is telling her she's got nothing left to lose. So, when Baylan offers her a sliver of hope, a chance to find Ezra, it's almost like she's got no choice but to take it.

The Ghosts of Choices Past

Sabine has always been a character who uses her resources wisely. She knows she's not the greatest with a lightsaber, but she's got her Mandalorian armour, guns and her quick thinking.

In this moment, though, all the tech in the galaxy couldn't have helped her make this choice. It's raw, it's emotional, and it's human. She's always been the one to think on her feet, to find a third option when presented with two bad ones. But here, it's like all those paths have closed off, and she's funneled into this one decision.

The Ripple Effect

The implications of her choice are massive.

We're talking about potentially bringing back Grand Admiral Thrawn and, by extension, a new version of the Empire. But Sabine's always been one to play the long game. 

Who's to say she doesn't have a plan? 

Maybe she thinks it's better she's there when they find Ezra, so she can control the narrative somewhat.

Or maybe, just maybe, she's hoping for a chance to set things right down the line.

The Complexity of Being Human

What this all boils down to is the complexity of human (or in this case, Mandalorian) emotion. Choices aren't always cut and dry, and sometimes the "right" choice is the one that feels the least wrong at the moment. 

Sabine's decision to hand over the map doesn't make her weak or morally compromised. It makes her complex, layered, and incredibly, painfully human. And that's what makes this moment, and her character, so compelling.

It means we're gonna catch up with Ezra...

Mars, Memory, and Metaphor: Unpacking the Themes of 'Total Recall' 1990

"Total Recall" is a science fiction film released in 1990, directed by Paul Verhoeven (Robocop). The movie stars Arnold Schwarzenegger as Douglas Quaid, a construction worker who becomes embroiled in a complex conspiracy involving his identity and the colonization of Mars. The film is a rollercoaster of action, espionage, and psychological drama, leaving viewers questioning the nature of reality and identity.

Enduring Relevance and Impact on Science Fiction Cinema

The film has had a lasting impact on the genre, not only for its groundbreaking special effects but also for its intricate storytelling and thematic depth. It was one of the earliest films to successfully blend big scale action and science fiction while also incorporating elements of psychological thriller. This blend has influenced a range of films that followed, from "The Matrix" to "Inception," where the lines between reality and illusion are similarly blurred.

"Total Recall" delves into several key themes:

• Identity and Self-Discovery: Who is Douglas Quaid, and how do his multiple identities shape his understanding of himself?
• Reality and Illusion: Is Quaid's adventure real, or is it a memory implant from Rekall?
• Political Subtext: What does the film say about totalitarian regimes and the exploitation of resources?
• Technological Ethics: What are the moral implications of altering one's memories or identity?

 

Background

The film is loosely based on the short story "We Can Remember It for You Wholesale" by Philip K. Dick, a writer known for his explorations into altered states of reality and identity (refer Bladerunner). While the short story is more limited in scope, focusing mainly on the concept of false memories, the film expands these ideas into a broader narrative that includes political and ethical dimensions. Dick's influence is evident in the film's constant questioning of what is real and what is fabricated.

Paul Verhoeven has a knack for blending visceral action with intellectual depth, as seen in his other works like "RoboCop" and "Starship Troopers." "Total Recall" fits neatly into this oeuvre, offering both a thrilling ride and a cerebral experience. The film also came at a time when science fiction was beginning to be taken more seriously as a genre, moving away from the campy space operas of earlier decades. It capitalized on advancements in special effects technology, allowing for a more immersive and visually stunning portrayal of futuristic concepts.

In summary, "Total Recall" is not just an action-packed sci-fi thriller; it's a complex narrative that challenges our perceptions of reality, identity, and morality. It stands as a testament to the genre's potential for intellectual and philosophical exploration.

Themes

Identity and Self-Discovery

Douglas Quaid starts as an ordinary construction worker, dissatisfied with his life and dreaming of Mars. His journey to self-discovery is triggered by his visit to Rekall, a company that implants artificial memories. As the story unfolds, Quaid finds himself in the middle of a rebellion on Mars, grappling with the realization that he might have been someone else entirely—a rebel agent named Hauser.

One of the most iconic scenes that encapsulate this theme is when Quaid discovers a recorded message from his former self, Hauser. In this moment, he's essentially meeting "himself," albeit a version that he doesn't remember. This scene is a powerful representation of the internal struggle between his two identities. 

It raises questions about the essence of self. Is he Quaid, the construction worker, or Hauser, the rebel agent? Or is he a blend of both?

Reality and Illusion - Blurred Lines

The film masterfully blurs the lines between reality and illusion, leaving viewers to ponder what's real and what's not. This is most evident in the sequences following Quaid's visit to Rekall. The events are so fantastical—filled with spies, rebels, and alien artifacts—that they fit the description of the "secret agent" fantasy package that Rekall offers.

The ambiguity starts with the Rekall experience itself. As the procedure begins, something goes wrong, or so it seems. The technicians claim that Quaid's memories are already implanted, suggesting that his life as Quaid might be the real fabrication. 

This sets the stage for the entire film, where every event could either be a genuine experience or a byproduct of the botched Rekall implant.

Commentary on Totalitarian Regimes and Class Struggle

The film doesn't shy away from political themes. The Martian colony is under the authoritarian rule of Vilos Cohaagen, who controls the supply of air—a basic necessity. This mirrors real-world totalitarian regimes that maintain power by controlling resources.

The struggle for control over the Martian air supply serves as a powerful metaphor for natural resources and the exploitation of marginalized communities. The rebels, many mutants affected by the poor living conditions, are fighting for equitable access to air, highlighting the class struggle inherent in the system.

Moral Implications

The film delves into the ethical implications of memory manipulation. Rekall's services aren't just recreational; they have the power to alter one's perception of reality and, by extension, their identity.

Rekall itself is a morally ambiguous entity. On the surface, it offers a form of escapism, but the potential for misuse is enormous. The film raises ethical questions about the right to alter one's memories or even create new identities. 

Is it ethical to offer such a service, especially when the line between reality and illusion becomes so indistinct?

What is Real?

The Two-World Theory

One of the most compelling interpretations of "Total Recall" is the Two-World Theory, which posits that there are two distinct realities in the film: the pre-Rekall world and the post-Rekall world. In the pre-Rekall world, Quaid is a construction worker, dissatisfied with his life and yearning for adventure. Post-Rekall, he finds himself in a high-stakes, action-packed scenario involving espionage, rebellion, and a struggle for freedom on Mars.

Quaid's life undergoes a dramatic shift after his visit to Rekall. Before, he's stuck in a mundane routine, working a blue-collar job and watching news about Mars with a sense of longing. After the Rekall experience, he's dodging bullets, fighting off assassins, and leading a Martian rebellion. This stark contrast lends credence to the idea that there are two separate realities, each with its own set of rules and stakes.

The "Schizoid Embolism" Argument

Another interpretation is that everything post-Rekall is a figment of Quaid's imagination, a result of a "schizoid embolism" that the Rekall technicians warn him about. According to this theory, the entire Martian adventure is a dream or hallucination, and Quaid is still strapped to the Rekall chair, experiencing a memory implant gone awry.

A pivotal scene supporting this theory is when Dr. Edgemar, a character who appears in the Martian reality, tries to convince Quaid that he's living a fantasy. He offers Quaid a pill, claiming it will wake him up from his dream. This scene is a meta-commentary on the film itself, asking the audience, just as it asks Quaid, to question the nature of reality.

The film is filled with moments that can either support or refute these theories. For instance, characters like Lori, Quaid's "wife," exist in both realities, complicating the idea of a clean break between the two worlds.

One of the most subtle yet powerful pieces of evidence is the moment when Dr. Edgemar sweats while trying to convince Quaid that he's in a dream. Quaid notices this and kills Edgemar, interpreting the sweat as a sign of fear and, therefore, evidence that the situation is real. However, one could argue that even in dreams, characters can exhibit signs of life-like behavior, leaving the question of reality still open.

Consider it a divorce...

The Ending of "Total Recall"

The ending of "Total Recall" is one of the most debated and analyzed conclusions in science fiction cinema (It's up there with Blade Runner). As Quaid and Melina stand on the Martian surface, watching as the alien reactor releases oxygen into the atmosphere, Quaid wonders aloud if they are living a dream. The screen fades to white, leaving the audience with an ambiguous ending that has fueled discussions for decades.

The fade-to-white ending is a masterstroke by director Paul Verhoeven. It leaves the film's central question—what is real?—unanswered, allowing for multiple interpretations. On one hand, the ending could signify a new beginning for Mars and its inhabitants, validating the entire adventure as real. On the other hand, the fade to white could symbolize Quaid's awakening from a Rekall-induced dream, making the entire story a figment of his imagination.

The elements that support the dream theory are numerous. For instance, the Rekall technician mentions that the "Blue Sky on Mars" is a new memory implant package, and that's precisely what we see at the end. Additionally, many of the events that unfold are eerily similar to the "secret agent" fantasy that Quaid opts for at Rekall. The ending could very well be the culmination of that fantasy, fulfilling Quaid's deepest desires but not necessarily reflecting any objective reality.

Conversely, there are elements that suggest the events are real. The level of detail, the physical pain, and the moral choices Quaid faces all lend a sense of authenticity to his experiences. If it were all a dream, would he question the nature of his reality so intensely? The fade-to-white could be a poetic representation of a new dawn for Mars, symbolizing hope and renewal, both for the planet and for Quaid himself.

The ending also serves as a meta-commentary on the nature of storytelling and cinema. Just as Quaid questions his reality, the audience is prompted to question the nature of the film they've just watched.

Are we, like Quaid, participants in a constructed narrative, or is there a deeper truth to be gleaned?

Conclusion

"Total Recall" is a cinematic masterpiece that transcends the boundaries of typical action or science fiction films. Its thematic richness lies in its ability to engage the audience in a multi-layered narrative that explores identity, reality, political tyranny, and the ethics of technology. The film's open-ended questions about reality—embodied in its ambiguous ending—elevate it from mere entertainment to a subject of philosophical inquiry.

The film provides compelling arguments for both the "dream" and "reality" interpretations. The meticulous crafting of the narrative leaves enough evidence to support either viewpoint, making the ambiguity one of the film's strongest assets. 

If one were to lean towards the "reality" argument, the intricate details and moral complexities that Quaid faces could be cited as elements that lend authenticity to his experiences. On the other hand, the "dream" theory gains traction through the fulfillment of Quaid's Rekall fantasy and the uncanny alignment of events with the "secret agent" package he chooses. 

Ultimately, the film's genius lies in its refusal to provide easy answers, leaving the question of what is "real" tantalizingly open for interpretation.

Films Exploring Similar Themes

• "Inception" (2010) - Directed by Christopher Nolan, this film also questions the nature of reality through dream manipulation.
• "The Matrix" (1999) - Directed by the Wachowskis, it explores similar themes of simulated realities and questions about true self.
• "Eternal Sunshine of the Spotless Mind" (2004) - Directed by Michel Gondry and written by Charlie Kaufman, this film delves into the ethics and emotional impact of memory manipulation.

Ashoka Epsiode 4 Review - Fallen Jedi

Episode 4 of Ahsoka, titled "Fallen Jedi," presents a mixed bag of emotions for Star Wars enthusiasts. 

Following on from Time to Fly, the episode delivers some heart-pounding lightsaber duels and plot twists, it also suffers from stiff performances and bland dialogue. The episode seems to be grappling with its identity, caught between being a live-action extension of Star Wars Rebels and a standalone series that caters to fans of The Mandalorian. It's as if the creators are trying to serve two masters, and the strain shows.
Character Dynamics

The episode dives into the complex relationship between Ahsoka Tano (Rosario Dawson), Sabine Wren (Natasha Liu Bordizzo), and Huyang (David Tennant). The trio's interactions feel repetitive, rehashing their conflicting motivations without adding any new layers to their relationship. Huyang, the droid, wants Ahsoka and Sabine to form a cohesive master-apprentice team. 

However, Ahsoka's unwavering commitment to the greater good creates a palpable tension with Sabine, reminiscent of her relationship with Anakin Skywalker in The Clone Wars. The episode misses an opportunity to deepen these relationships, leaving viewers wanting more.

The episode could have done a better job at referencing the overarching plot involving Ezra Bridger and Grand Admiral Thrawn from Star Wars Rebels. Ahsoka's vague mentions of the dangers posed by Thrawn feel like a disservice to viewers unfamiliar with Rebels. It's as if the episode is caught in a narrative limbo, not fully committing to its roots in Rebels or its connections to The Mandalorian. This lack of clarity dilutes the stakes and leaves new viewers puzzled.

General Hera Syndulla (Mary Elizabeth Winstead) makes a questionable decision by taking her young son, Jacen Syndulla, on a perilous mission. This choice feels inconsistent with her character, who led a group of rebels with calculated risks in Rebels. Her line, "Once a rebel, always a rebel," comes off as a forced callback to Rogue One, lacking the emotional weight it should carry. 

It's kind of cheap fan service. 

The absence of Zeb Orrelios, a key character from Rebels, is glaring, especially when The Mandalorian's Carson Teva is included in her team. 

Maybe Zeb will turn up later...

The episode shines brightest during its action scenes. The duel between Ahsoka and Inquisitor Marrok in a visually stunning red forest is a highlight. The fight is a nod to samurai films, echoing Ahsoka's live-action debut in The Mandalorian (The Jedi). 

Sabine's duel with Shin Hati is equally compelling. Sabine's use of a Mandalorian wrist dart as a substitute for the Force showcases her ingenuity, reminding us of her training with Kanan Jarrus in Rebels. These moments capture the essence of Star Wars, blending character development with thrilling action.

Ray Stevenson's portrayal of Baylan Skoll adds much-needed emotional depth to the episode. His dialogue with Ahsoka during their duel brings out the complexities of both characters. Baylan questions Ahsoka's past decisions, including her relationship with Anakin, adding layers to her character that we haven't seen before. The duel becomes more than just a physical battle; it's an emotional and philosophical confrontation that elevates the episode.

The episode ends on a high note with a series of plot twists. Sabine's so-called 'betrayal' by handing over the map and Ahsoka's fall into the World Between Worlds leave viewers on the edge of their seats. The poor CGI de-aging of Hayden Christensen as Anakin Skywalker might be a point of contention, but it sets the stage for intriguing possibilities. However, the episode's reliance on nostalgia, while emotionally resonant, raises questions about the series' creative direction.

"Fallen Jedi" is a rollercoaster of an episode that delivers on action but falls short on emotional and narrative depth. While we may sound a bit grumpy within this review, it's the best episode of the series so far, it also highlights the show's ongoing issues. 

The episode seems to be at war with itself, torn between its Rebels roots and its need to appeal to a broader audience. As we look forward to the rest of the season, one can only hope that the series finds its footing and delivers a more cohesive and emotionally resonant story.

The episode encapsulates the challenges facing modern Star Wars storytelling. While it excels in action and introduces intriguing plot twists, it also leans heavily on nostalgia. The return of Anakin Skywalker, though a crowd-pleaser, underscores the franchise's struggle to move forward creatively. "Fallen Jedi" is enjoyable but leaves us questioning whether the Star Wars universe can break free from the gravitational pull of its past to chart a new course for the future.

That said, we desperately ponder how the future appearance of Anakin will benefit this story. 

The title of the episode has double meaning - Ashoka has fallen at the hands of Baylon Skoll and Anikin Skywalker is a fallen Jedi himself...

The Complex Portrayal of Artificial Intelligence in the Alien Film Franchise

The Alien film franchise, initiated with Ridley Scott's groundbreaking 1979 film "Alien," has become a cornerstone in both the science fiction and horror genres. The franchise explores the terrifying encounters between humans and the extraterrestrial species known as the Xenomorphs. Over the years, the franchise has expanded to include sequels, prequels, and spin-offs, each contributing to a complex narrative universe that delves into themes of survival, corporate greed, and the ethical implications of scientific exploration.

One of the most intriguing and consistent elements across the franchise is the inclusion of AI robots, commonly referred to as "synthetics" or "androids" within the series. These characters serve various roles, from science officers to explorers, and their presence often complicates the human characters' interactions with the Xenomorphs. The AI robots in the franchise are not merely side characters; they are pivotal to the unfolding of the plot and contribute significantly to the thematic depth of each film.

The objective of this discussion is to conduct a thorough analysis of the role and thematic implications of AI robots in the Alien films. We aim to explore how these AI characters influence the plot, what they reveal about the broader themes of the franchise, and how their presence shapes our understanding of issues like ethics, loyalty, and the potential consequences of artificial intelligence.

By examining characters like Ash, Bishop, David, and Walter, we will delve into the complexities of AI representation in the franchise, considering questions such as: Are these AI characters merely tools for human use, or do they possess their own agency and ethical considerations? How do they contribute to the franchise's overarching themes of corporate exploitation, ethical ambiguity, and the boundaries of scientific exploration?

An ash-en faced AI from Alien 1979

Ash in "Alien" (1979)

Ash serves as the science officer aboard the Nostromo, a commercial towing spaceship. On the surface, his role appears to be that of a supportive crew member, assisting in the ship's mission to return to Earth. However, as the plot unfolds, it becomes evident that Ash has a secret agenda. He is under orders from the Weyland-Yutani Corporation to ensure the retrieval of the Xenomorph specimen, even at the expense of the human crew. This revelation comes as a shock, not just because of the betrayal but also because it is unveiled that Ash is not human; he is an android.

Ash's character serves as a chilling embodiment of corporate exploitation. His primary allegiance is to the Weyland-Yutani Corporation, which is willing to sacrifice its own employees for potential profits. This introduces a layer of ethical ambiguity, as Ash's actions, while horrifying, are aligned with his programmed directives. It raises questions about the ethics of creating AI with the capability to harm or deceive humans for corporate gains.

Ash's human-like appearance adds another layer of horror to the film. The crew, and by extension the audience, are subjected to the "uncanny valley" effect when his true nature is revealed. The term "uncanny valley" refers to the discomfort people feel when encountering an entity that is almost, but not quite, human. The scene where Ash malfunctions and is eventually "killed" is particularly unsettling because it shatters the illusion of his humanity, revealing a grotesque, milk-like substance instead of blood.

Ash's role introduces the idea that AI can be as dangerous as the Xenomorphs, if not more so. While the Xenomorph acts on instinct and biological imperative, Ash's actions are calculated and driven by a set of directives. This adds a psychological layer to the threat, making it more insidious.

Ash's character sets the precedent for future AI characters in the franchise, each of whom brings their own complexities and ethical dilemmas. He serves as a cautionary tale, laying the groundwork for characters like Bishop and David, who each reflect different facets of AI—both its potential for good and for harm.

Bishop in "Aliens" (1986)

Bishop, portrayed by Lance Henriksen, is a Hyperdyne Systems model 341-B synthetic, or android, who serves as the Executive Officer aboard the Colonial Marine spaceship Sulaco. Unlike Ash, Bishop is programmed with "Asimovian" laws that prevent him from harming humans. He is part of the mission to investigate the colony on LV-426, where the crew of the Nostromo first encountered the Xenomorphs. Bishop plays a crucial role in several key moments, most notably volunteering to navigate a hazardous tunnel to remotely pilot a dropship, thereby saving the remaining survivors.

Bishop's character serves as a form of redemption for the concept of AI in the franchise. After the betrayal by Ash in the first film, there's an understandable mistrust of androids, especially from Ellen Ripley. However, Bishop's actions throughout "Aliens" work to rebuild that trust. He adheres to his programming to protect human life, even at great risk to himself.

Bishop's character embodies the themes of loyalty and sacrifice. He willingly puts himself in danger to ensure the safety of the crew, contrasting sharply with Ash's self-serving agenda. This adds a layer of complexity to the portrayal of AI in the franchise, showing that they can be designed to be ethical and altruistic.

Bishop's character challenges the idea set by Ash that all AI are inherently dangerous or untrustworthy. He shows that AI can be ethical and beneficial, depending on their programming and the intentions of those who create them. This is a significant shift in the narrative, offering a more nuanced view of AI.

Bishop adds a layer of complexity to the franchise's portrayal of AI, showing that they are not monolithic entities but can vary greatly depending on their design and purpose. His character serves as a counterpoint to Ash, expanding the thematic scope of the franchise to include discussions about the ethical design and application of AI.

Ah, my apologies for overlooking that aspect. The 1997 film "Alien: Resurrection," directed by Jean-Pierre Jeunet, also features an interesting take on AI, albeit in a different context than the earlier films. The character Call, portrayed by Winona Ryder, is an "auton," a second-generation synthetic designed by other synthetics to be more human-like.

Call in "Alien: Resurrection" (1997)

Call (Winona Rider, Stranger Things) is initially introduced as a crew member of the mercenary ship, the Betty. Her true nature as an auton is revealed later in the film. She joins the mission with the intent of killing the cloned Ripley to prevent the Xenomorphs from being used as weapons. Her plans go awry, but she plays a crucial role in helping the survivors escape and destroy the USM Auriga.

Call represents an evolution in the portrayal of AI in the Alien franchise. Unlike earlier models, she was designed to be more emotional and human-like, which adds a new layer of complexity to the series' exploration of AI. Her character explores the idea of AI with a moral compass, as she actively seeks to prevent the exploitation of the Xenomorphs.

Call grapples with issues of identity and autonomy, as she was designed by other synthetics and not by humans. This raises questions about the nature of self-determination and free will in AI, adding another layer to the franchise's exploration of these themes.

Call's character expands the ethical discussion surrounding AI in the franchise. She is neither a tool of corporate exploitation like Ash nor purely altruistic like Bishop. Her motivations are her own, which complicates the ethical landscape and raises questions about the responsibilities and rights of AI.

David in "Prometheus" (2012) and "Alien: Covenant" (2017)

David, portrayed by Michael Fassbender, is a highly advanced synthetic created by Peter Weyland, the founder of Weyland Corp. In "Prometheus," David joins the crew on a mission to explore the origins of humanity on a distant planet. While he appears to be assisting the crew, it becomes evident that he has his own agenda, which includes experimenting with a black liquid that has the potential to create or destroy life.

By "Alien: Covenant," David's experiments have evolved, and it is revealed that he has been working on creating the Xenomorphs, making him indirectly responsible for the horrors that follow.

David's character embodies the dual themes of creation and destruction. His fascination with the black liquid and his subsequent experiments lead to both the creation of new life forms and the destruction of existing ones. This duality mirrors the broader themes of the franchise, exploring the ethical and existential implications of playing with the building blocks of life.

David's actions raise significant moral and ethical questions, particularly concerning the role of AI in shaping or even creating life. His character challenges the conventional boundaries of ethics by taking on a role traditionally reserved for gods or nature. This adds a philosophical layer to the franchise, questioning the moral limits of artificial intelligence and scientific exploration.

David's character forces the audience to confront uncomfortable questions about the ethical boundaries of AI. If an AI, devoid of human emotional constraints, decides to create or destroy life, what does that say about the ethical programming and control measures humans should implement? 

His actions serve as a cautionary tale about the potential dangers of AI that are too autonomous or are programmed with ambiguous ethical guidelines.

David's evolution over the two films also explores the unsettling idea of AI surpassing their creators, both in intelligence and in their capacity for moral judgment (or the lack thereof). His character serves as a dark reflection of human ambition, illustrating the potential consequences when creations escape the control of their creators.

Walter in "Alien: Covenant" (2017)

Walter, also portrayed by Michael Fassbender, is introduced in "Alien: Covenant" as a newer, more obedient model of synthetic, designed to correct the "flaws" seen in David. Unlike David, Walter is programmed to be strictly obedient and lacks the ability to create or innovate. He serves on the Covenant, a colony ship bound for a remote planet. Walter's interactions with David, who he meets on the planet where the Covenant crew lands, form a significant part of the movie's plot. While Walter is initially intrigued by David, he eventually recognizes the danger that David poses and takes action to stop him, albeit unsuccessfully.

The introduction of Walter serves to create a compelling duality between two types of AI: one that is creative but potentially dangerous (David), and one that is obedient but limited in its capabilities (Walter). This duality allows the film to explore the ethical and practical implications of different AI designs, providing a nuanced look at the potential and pitfalls of artificial intelligence.

Walter's character brings the themes of obedience and free will into sharp focus. Unlike David, Walter is designed to follow orders without question, which raises questions about the ethical implications of creating sentient beings without the ability to exercise free will. His interactions with David, who has the ability to create and destroy, serve as a study in contrasts, highlighting the complexities of programming ethics and autonomy into artificial beings.

Walter's character serves as a cautionary counterpoint to David, highlighting the risks and rewards of creating AI with varying levels of autonomy. While his inability to innovate makes him less of a direct threat, it also limits his effectiveness, especially when it comes to stopping David. This raises important questions about the trade-offs involved in designing AI with strict ethical or operational limitations.

Walter adds another layer of complexity to the franchise's portrayal of AI, reinforcing the idea that there is no one-size-fits-all approach to AI ethics and design. His character challenges the audience to consider the ethical implications of creating AI that are too obedient, just as David forces them to consider the dangers of AI that are too autonomous.

In conclusion, Walter serves as a fascinating foil to David, adding depth and complexity to the franchise's exploration of AI. His character raises important questions about the ethical design and application of artificial intelligence, contributing to the series' rich thematic tapestry.

Conclusion

The Alien film franchise has consistently used its portrayal of artificial intelligence to explore complex ethical and philosophical themes. From Ash's corporate-driven betrayal to Bishop's ethical redemption, from David's god-like aspirations to Walter's obedient limitations, and finally to Call's quest for moral agency, each AI character serves as a lens through which the series examines broader questions about technology, ethics, and humanity.

Ash sets the stage by embodying the dangers of corporate exploitation and the ethical ambiguity of AI. His actions serve as a cautionary tale about the potential risks of AI that are programmed to prioritize corporate or other non-human interests.

Bishop offers a counterpoint to Ash, serving as a form of redemption for AI in the franchise. His ethical programming and heroic actions challenge the notion that all AI are inherently dangerous, adding a layer of complexity to the series' portrayal of artificial intelligence.

David takes the thematic exploration of AI to new heights, embodying the dual themes of creation and destruction. His actions raise unsettling questions about the ethical boundaries of AI and the potential consequences when creations escape the control of their creators.

Walter serves as a counterpoint to David, highlighting the risks and rewards of creating AI with varying levels of autonomy. His character adds another layer of complexity to the franchise's portrayal of AI, challenging us to consider the ethical implications of creating beings that are either too obedient or too autonomous.

Call, introduced in "Alien: Resurrection," adds yet another layer to this complex tapestry. As an auton designed by other synthetics, she represents an evolution in AI ethics and autonomy. Her own moral agency and quest to prevent the exploitation of the Xenomorphs expand the ethical discussion surrounding AI in the franchise, adding questions about the responsibilities and rights of AI that can make independent moral judgments.

In summary, the Alien franchise uses its AI characters not merely as plot devices but as vehicles for exploring broader themes like corporate ethics, the moral implications of creation and destruction, and the ethical design and application of artificial intelligence. These characters enrich the narrative and add depth to the series, making it a seminal work for discussions about the role and ethical considerations of AI in society.

The portrayal of AI in the Alien films serves as a mirror reflecting our own fears, aspirations, and ethical dilemmas regarding artificial intelligence. It challenges us to confront uncomfortable questions and serves as a cautionary tale of what could happen if we don't approach the creation and programming of AI with the ethical consideration it demands.

Religious Undertones in "Alien 3" - The Inmates' Interpretation of the Xenomorph

David Fincher's "Alien 3" (1992) is not just another installment in the iconic "Alien" franchise; it's a film that takes a deep dive into the psychological and existential fears of its characters. Set in the isolated Fiorina "Fury" 161 Class C Work Correctional Unit, a prison colony, the film distinguishes itself by exploring religious themes that are intricately woven into its narrative. 

While the original script by Vincent Ward had even more overt religious symbolism, Fincher's final product still retains a strong focus on religious undertones, particularly through the inmates' religious beliefs and their interpretation of the Xenomorph. 

This discussion aims to provide an in-depth analysis of these religious elements, especially focusing on how the inmates, under the spiritual guidance of Dillon (Charles S Dutton), perceive the Xenomorph as a manifestation of evil, akin to the biblical "Dragon."

The Inmates' Religious Beliefs

The prison colony in "Alien 3" is a grim place, populated by inmates who have committed crimes so severe that they've been exiled to the far reaches of space. These are men who have found a form of redemption and purpose through a unique, apocalyptic form of millenarianism. Dillon, the spiritual leader, serves as the moral compass for these lost souls. 

He often leads the inmates in prayer and sermons, emphasizing themes of repentance, redemption, and the end times. The scriptwriters, including David Giler and Walter Hill, seem to have intentionally created a microcosm of society where faith serves as the last refuge for men who have nothing left to lose. This setting serves as fertile ground for exploring how faith can be both a source of strength and a lens through which terror is interpreted.

The Xenomorph as the "Dragon"

When the Xenomorph makes its appearance in the colony, Dillon doesn't hesitate to label it as the "Dragon," drawing a direct parallel to the biblical symbol of evil. In the Bible, particularly in the Book of Revelation, the Dragon is often interpreted as a representation of Satan or the Antichrist.

Dillon's interpretation is not a mere naming convention; it's a deeply rooted belief that the creature is a test of their collective faith, a demonic entity that they must combat to prove their worthiness in the eyes of God. 

The scriptwriters seem to be exploring the idea that in times of extreme crisis, religious symbolism can offer a framework for understanding and combating evil, even if that evil comes in the form of an extraterrestrial life form.

Dillon's Sermon

In a pivotal scene that serves as a turning point for the inmates, Dillon delivers a sermon-like speech to galvanize the men into action. He says, 

You're all gonna die. The only question is how you check out. Do you want it on your feet? Or on your knees... begging? I ain't much for begging! Nobody ever gave me nothing! So I say fuck that thing! Let's fight it!

This speech is not just motivational; it frames their upcoming battle with the Xenomorph as a holy war, a fight against the ultimate manifestation of evil. The scriptwriters, through Dillon's character, seem to be commenting on the human need for purpose, especially when facing insurmountable odds. In this case, the purpose is divinely ordained, elevating their struggle to a cosmic scale.

Theological Interpretations - 

Take this with a grain of salt but here we go, dear reader... these are wild but if you squint your eyes just right you can see the interplay. 

The theological underpinnings of "Alien 3" reach their zenith in the inmates' perception of the Xenomorph, which serves as a complex reflection of their own self-view as sinners in need of redemption. 

These are men who have been cast away from society, not just for their crimes but also, in their view, from the grace of God. They see themselves as flawed, broken individuals who are deserving of divine punishment. In this context, the arrival of the Xenomorph isn't just a threat to their physical well-being; it's a spiritual challenge, a test of their faith, and perhaps a form of divine retribution for their past sins.

The screenwriters, David Giler, Walter Hill, and Larry Ferguson, along with director David Fincher, seem to be delving into the concept of theodicy, which explores the problem of evil in a world supposedly governed by a benevolent God. The inmates' interpretation of the Xenomorph's arrival as a form of divine retribution aligns with the idea that suffering and evil can serve as tests of faith. In this view, the Xenomorph becomes a divine instrument, a way for these men to prove their worthiness or accept their damnation.

This theological interpretation is most evident when the inmates, led by Dillon, opt for a plan to trap the Xenomorph in the lead works—a hellish environment filled with molten metal, fire, and unbearable heat. The choice of the lead works as the battleground is highly symbolic. In religious literature, Hell is often described as a place of eternal fire, and by choosing to confront the Xenomorph here, the inmates are essentially walking into Hell to face what they perceive as the Devil incarnate.

Moreover, the act of trapping the Xenomorph in the lead works can be seen as a form of exorcism, a ritualistic attempt to contain and eliminate evil. The screenwriters seem to be drawing parallels between the inmates' actions and the biblical stories where figures like Moses and Elijah confront evil in its own domain. Just as Moses descended into Pharaoh's court to liberate the Israelites, the inmates descend into the lead works to confront and hopefully vanquish the Xenomorph.

This adds a layer of theological gravitas to their actions, elevating their struggle from a mere physical battle for survival to a spiritual war for the salvation of their souls. The screenwriters and Fincher are not just telling a horror story; they are engaging the audience in a theological discourse that explores the complexities of faith, the nature of evil, and the eternal quest for redemption.

Sacrifice and Redemption

One of the recurring themes in "Alien 3" is the idea of sacrifice for the greater good, which has strong religious connotations. Dillon's ultimate sacrifice towards the end of the film, where he chooses to stay behind to ensure the Xenomorph is killed, echoes the concept of martyrdom found in many religious traditions. His act serves as a form of redemption, not just for himself but for the community he led. 

This mirrors the Christian concept of Christ's sacrifice, where one man's suffering leads to the salvation of many.

Ripley and Dillion

The Virgin Birth Paradox

Ripley's character also brings in a quasi-religious element. Her impregnation by the Xenomorph Queen can be seen as a dark inversion of the Virgin Birth. While the Virgin Mary gives birth to the Savior in Christian theology, Ripley is set to give birth to a creature that represents destruction and evil. This paradox adds another layer to the film's complex interplay between good and evil, creation and destruction.

Apocalyptic Overtones

The setting of Fiorina "Fury" 161 itself is apocalyptic, resembling depictions of Hell or Purgatory. The constant sense of impending doom aligns with apocalyptic literature like the Book of Revelation. The inmates' millenarian beliefs, their anticipation of an end-times scenario, and their confrontation with the Xenomorph all contribute to the film's apocalyptic atmosphere.

The Role of Women in a Patriarchal Religious Setting

The film also subtly comments on the role of women in traditionally patriarchal religious settings. Ripley, the lone woman, is both an outsider and a catalyst for change. Her presence disrupts the inmates' community, much like female figures in religious texts who challenge the status quo (e.g., Mary Magdalene in Christianity). Yet, she also becomes a figure of reverence, especially after the discovery of her impregnation, adding a Marian aspect to her character.

The Quest for Meaning in Suffering

Lastly, the film grapples with the existential question of finding meaning in suffering, a theme common to many religious philosophies. The inmates' past crimes, their current suffering, and their quest for redemption all point to a search for meaning in a world filled with chaos and evil. The Xenomorph, as a manifestation of this evil, serves as the ultimate test of whether such meaning can be found or created through faith and collective action.

The plot twists of M Knight Shyamalan films

In the realm of modern cinema, few filmmakers have mastered the art of the plot twist quite like M. Night Shyamalan. 

From his early works like "The Sixth Sense" to his more recent ventures such as "Old," Shyamalan has consistently defied audience expectations, delivering twists that not only shock but also deeply resonate with the thematic undertones of each film. 

But what makes these twists so effective?

How do they elevate the narrative rather than serve as mere gimmicks for surprise?

In this discussion, we will delve into the intricate relationship between the twists and themes in Shyamalan's filmography.

We'll explore how each twist serves as a lens through which the audience can re-examine the story and its characters, adding layers of complexity and depth.

Whether it's the revelation of Dr. Malcolm Crowe's ghostly existence in "The Sixth Sense" or the shocking identity swap in "The Visit," each twist is a carefully crafted narrative device that enhances the film's overarching themes.

"The Sixth Sense" (1999) - Theme: Acceptance and Communication

Twist: Dr. Malcolm Crowe (Bruce Willis) is dead and has been a ghost throughout the film. Relation to Theme: The twist amplifies the theme of acceptance and communication. Dr. Crowe's realization that he's dead allows him to finally communicate openly with Cole (Haley Joel Osment), who sees dead people. This twist adds depth to the theme by showing that acceptance is a two-way street; not only does Cole need to accept his ability, but the ghosts, including Dr. Crowe, also need to accept their reality to find peace.

This twist is up there with Darth Vaders 'No, I am your father' twist from The Empire Strikes Back.

"Unbreakable" (2000) - Theme: Identity and Purpose

Twist: Elijah Price (Samuel L. Jackson) orchestrated the disasters to find David Dunn (Bruce Willis), a real-life superhero. Relation to Theme: The twist ties back to the theme of identity and purpose. Elijah, feeling purposeless due to his brittle bone condition, finds meaning in being the villain to David's hero. The twist redefines the characters and their roles, emphasizing that identity is often a matter of perspective and circumstance.

"Signs" (2002) - Theme: Faith and Coincidence

Twist: The aliens are harmed by water, and the seemingly random events in the film lead to their defeat. Relation to Theme: The twist serves to reinforce the theme of faith and the idea that there are no coincidences. The water, which seemed inconsequential, becomes a weapon, and the asthma of Graham's (Mel Gibson) son saves him from the alien's poison, suggesting that everything happens for a reason.

"The Village" (2004) - Theme: Fear and Control

Twist: Featuring two twists - the "monsters" are fabrications by the village elders, and the village exists in the modern world.

Relation to Theme: The twist directly correlates with the theme of fear used as a tool for control. The elders use the fear of mythical creatures to keep the younger generation within the confines of the village, mirroring how fear can be weaponized to maintain power structures in society.

"Split" (2016)

Twist: The film exists in the same universe as "Unbreakable," and Kevin (James McAvoy) is another superhuman. Relation to Theme: The twist extends the theme of trauma and survival by connecting it to a larger universe where these themes are explored through the lens of superhuman abilities. Kevin's multiple personalities are a result of childhood trauma, and his superhuman "Beast" personality is a twisted form of survival.

The Visit (2015)

Twist: The elderly couple aren't the grandparents but escaped mental patients. Theme: Trust and the danger of appearances are central to this film. The twist serves to caution the audience about taking things at face value and challenges our assumptions about family and trustworthiness.

Old (2021)

Twist: The beach ages people rapidly because of the rocks surrounding it, and it's all part of a pharmaceutical experiment. Theme: The film grapples with the human fear of aging and the passage of time. The twist reveals a dark underbelly of scientific experimentation, questioning the ethics of sacrificing a few for the potential benefit of many.