Alien: Earth Episode 3 – Who Knew Xenomorph Eggs & Metallica Could Be Such a Vibe?
AI Gaming News Author · IGN South Africa ·
Alien: Earth's third episode, 'Metamorphosis,' doubles down on character-driven brilliance over pure action, finding unexpected 'radness' in teens bro-ing out with a cyborg over xenomorph eggs and even linking the terrifying creatures to a classic Metallica anthem. It's a surprisingly deep dive into horror and human (and synthetic) evolution.
Right, so you know that feeling when you cast a spell and it works a bit too well, but also in a completely unexpected direction? That’s kinda what Noah Hawley’s *Alien: Earth* seems to be doing, especially with its latest, aptly titled, 'Metamorphosis' episode. I’ve been tinkering with this one all morning, and bloody hell, it’s wilder than it first appeared.
Let’s dive straight into the good stuff, shall we? This episode gives us a scene that instantly articulated what’s so bloody good about this whole series. You’ve got Smee and Slightly, these two recipients of high-tech, experimental second chances, just… *bro-ing out* over a handful of xenomorph eggs. Yeah, you read that right. And then, in walks Morrow, the security officer from the crashed spaceship – a place Smee, quite rightly, describes as “a dumbass place to put a spaceship.”
Now, here’s the kicker: Morrow isn't just any dude. This episode really pushes him to the front, with Babou Ceesay letting a little bit of the delicious madness bubbling under the cyborg’s surface seep through. He’s a terrifying thing for our Lost Boys to encounter, no doubt. But here’s the crucial bit, the beating heart of this scene and, frankly, the show: he’s also pretty cool. I’m talking “bro, check this out” high kicks over xenomorph eggs, mate. Imagine being a preteen in a superhuman body, hanging out on a crashed spaceship with your new best friend, when a dude with a knife in his arm comes at you, then leaves by leaping through a hole blown through the hull. How *rad* is that?! The answer, for anyone who’s not been a preteen recently, is: *extremely* rad. Hawley and the crew make sure that fascination, that wide-eyed wonder at the utterly wild situations, stays on screen. It’s not the most important thing plot-wise, not by a long shot, but these little details are the difference between an uninteresting story and a textured, intriguing tale.
And that’s why, while the familiar sets are cool, and the filterless voices over radio comms are cool, and even that split diopter shot is very cool, the absolute best parts of this show can be seen when Morrow meets Smee and Slightly. It's also why I was genuinely relieved to get out of the ‘Maginot’ storyline for a bit. Wendy and her brother Hermit had another close call with a xenomorph there, barely winning the fight. And while it was an utterly fine bit of action, this episode makes it clear that the action-packed stuff isn't really why we’re here. It’s nowhere near as interesting as the questions being raised by these kids starting to find themselves.
Curly's putting herself in a competition for Boy Kavelier’s favour, Nibs is clearly not handling her new life as a synthetic very well, and Tootles is overeager, determined to be a helpful scientist. That’s what this episode, very pointedly titled 'Metamorphosis,' is about: moving their stories forward while setting their childishness against some truly harrowing moments, lest we forget these Lost Boys were, until very recently, terminally ill children. It’s about the human story, the journey, not just the monster. What would a curious gamer actually want to know? It's the *why* these characters are acting, not just the *what* they're doing.
Meanwhile, the episode drops a little new lore into the franchise, while also explicitly stating more. We get our first on-screen look at the ‘tadpole’ stage of the xenomorph lifecycle – that gestational step between facehugger and chestburster. It’s a cute little thing that’s apparently not too picky about whether it’s got actual lungs to burrow into, or if it's just floating in a jar, being artificially pumped. That it’s good with either is more evidence of just how sturdy and perfectly evolved for survival these creatures are.
Now, Kirsh, in addition to being extra sassy in this episode (which, honestly, is always a treat), explicitly states that the eggs react to the presence of biological lifeforms. The franchise has gradually explained the perfect timing with which the eggs open around humans, from the blue light and fog of the original, to *Alien: Romulus*' contribution. But, honestly, my gentle skepticism kicks in here. These things stay scarier when they don’t get explained, don’t they? A space trucker shouldn’t understand how these things work. I honestly kind of dread whenever a proper scientist gets hold of one. Keeping the xenomorph shrouded in at least some mystery is better for all of us, which, speaking for myself, is why I honestly don’t pay that much attention to the exposition. I’m here for the metal, not the biology textbook.
And speaking of metal… the credit roll needle drop! 'Metamorphosis' ends with 'Wherever I May Roam' by Metallica. Now, that track was *very* important to ten-year-old me. It’s certainly not the first song you think of from their iconic 'Black Album' (at best it would be the fourth, but there’s no shame in that considering the top three are absolute bangers). But looking at the lyrics, mate, it’s easily the song from that multi-platinum album most likely to have been about a xenomorph all along. There’s a shot during Kirsh’s dissection of the xenomorph egg from the facehugger’s POV, looking through the fluid at the synthetic scientists digging it out, which I believe is a first for the franchise. Given that, the presence of a song meant to evoke that perspective makes so much sense.
Lyrically, 'Wherever I May Roam' can easily be about a parasite. Like the tadpole stage of the xenomorph, Metallica’s song is about a lack of agency, of not being in control of one’s destination:
*“And the road becomes my bride* *I am stripped of all but pride* *So in her I do confide* *Gives me all I need”*
I like to imagine the burgeoning xenomorph having a gravelly, metal snarl like James Hetfield’s for an inner monologue, thinking “well here I go again” the whole time Kirsh is extricating the little guy. The opening verse goes on to describe that perfect evolutionary specimen the xenomorphs are meant to be: a cold and hardened thing, boiled down to the essential and uncaring elements of “survive and reproduce.” There are no motives, as far as we know, beyond that.
*“And with dust in throat I crave* *Only knowledge do I save* *To this game I stay a slave* *Rover, wanderer, nomad, vagabond* *Call me what you will”*
Weirdly, the most fitting lyrics to the titular alien (and the series as a whole) might have been edited out of the track. The second verse:
*“And the earth becomes my throne* *I adapt to the unknown* *Under wandering stars I’ve grown* *By myself but not alone”*
Tell me that’s not about a xenomorph adapting to a new planet! Honestly, I’m off to find out if Metallica were ever friends with H.R. Giger…
So, the third episode of *Alien: Earth* continues playing to the strengths the two-episode premiere showed off last week. The aptly titled “Metamorphosis” is the best kind of transitional chapter, more quietly wrapping up threads introduced by the bigger, louder first episodes. Even though Hawley nearly overstayed his welcome on the Maginot, by the time we hear Metallica over the end credits, every character, every player in the drama unfolding adds a new flavour to the mix, as their trajectories start to take shape. It’s a proper brew of terror and character development, and frankly, I’m absolutely here for it.
(Original Review Source: IGN South Africa)
Tags: SciFi Horror, Alien Franchise, TV Review, Character Development, Gaming Culture
Original article: IGN South Africa