20/?? Special delivery
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We return to a movie that has never been to medical school, Prometheus.
Here it is. The scene that everybody remembers because it gave a fair few people the screaming heebies. This is their version of the chestburster scene–except for the less impactful, literal version of the chestburster scene we’ll get later, I mean. This one, though, this one, they got it right.
Content warnings for gore, nudity, nude gore, exhaustive discussions of the place of chestbursting in franchise history.
But first! I saw a tag with a desire to see the scene with David and the star map. To spare everyone from watching the rest of the movie to get there, here it is!
[See previous post for lengthy description of the events. I didn’t talk about the music in this before though! It really adds to the sense of wonder in this scene. It reminds me of Daft Punk’s Overture to Tron Legacy (2010), another beautiful and flawed movie. Given the modern use of temporary music in editing that definitely sneaks into what directors demand of scores, there’s a chance this was a direct influence. In terms of the “oh wow, space!” feeling it gives me, I’d also mention the Star Trek TNG opening theme.]
Anyway! On with the horror.
In Alien, the creature’s life cycle was developed by writer Dan O'Bannon, who had two major ideas for its early appearances: sexual, reproductive threat directed at a male character, and Crohn’s disease. O’Bannon had Crohn’s, and he said that inspired the idea of a critter chewing its way out of a man’s guts.
That personal connection has been lost through subsequent media, in part because the series has continued to use the same creature and the same method of killing, minor deviations like in Covenant and tasteless ones like AvP Requiem notwithstanding. The chestburster is a thing that can only ever really work once in a movie. The first time is relatively drawn out, made a setpiece of the movie, and is a horrifying plot twist for anyone who goes in blind. After that? Drawing it out may risk becoming meaningless gore or boring, so most movies have chosen to just have the little bugger pop out within seconds. It’s the sideshow before you get to the main event, despite being the iconic scene of Alien.
Prometheus’ equivalent scene wins back a fair amount of tension by altering the details of the event, if not the general arc of it. It certainly hammers on the reproductive horror aspect, but loses the original subversion of targeting a male character. Which is a shame, because male-targeted reproductive horror is still boundary-pushing. From the world of horror gaming, Outlast: Whistleblower produced some notably panicked reactions from male players when they encountered the emasculating, specifically reproductive threat of Eddie Gluskin. (Content warning for gore, death, forced feminization, misogynistic language, censored nudity.)
Regardless, we have The Chestburster Scene again, but now it’s in the back half of the movie, and happens to the main human protagonist.
I find it very odd that this movie is so self-consciously iterating over things that were first done in Alien. It’s like watching a devout Catholic pray at the Stations of the Cross.
Speaking of crosses
Before we get to the main event, there’s the first actual attempt at character work between David and Shaw in the movie, as we’re in the final act. David confiscates Shaw’s cross as she wakes up from her post-boyfriend-barbeque faint. “It may be contaminated,” he says.
Shaw’s christianity is one of the few character traits in the film that ties into one of the themes, and has its own arc. She’s giving up her cross to the person who killed her partner, a metaphor for a crisis of faith which is so blatant as to barely be a metaphor at all. And, given the general arc of how these things go, means she’s going to get it back at some point. The context for it is going to be confusing and disappointing, frankly.
And it’s especially weird given the other metaphor going on simultaneously: David runs some scans on her, and declares she’s three months pregnant. This is a non-virgin virgin pregnancy. She is Alien Mary. This, then, is the narrative reason why Shaw is infertile–so that she could be the Mary figure, and, more practically for the plot, have foreknowledge that something was wrong.
Except it really didn’t have to be that way to make this work. While christian allegory and the creation of life are themes in this movie, Shaw’s infertility was handled with zero grace. And honestly, the movie could work without it–Shaw and Holloway did not have romantic chemistry, as far as I could tell. Lean into that! Just say they haven’t had sex in ages. This scene would actually flow better, because Shaw explicitly objects that she only had sex with Holloway “ten hours ago. There's no bloody way I'm three months pregnant.”
Which again hammers in how stupid fast this movie has been racing its characters toward their doom, but I’m immediately distracted by David pronouncing “it's not exactly a traditional fetus.”
It certainly isn’t. It’s an alien squid, placed there by the holy spirit of black goo. She’s all set to give birth to Squesus.
I think that’s the only worse way he possibly could’ve said it.
David, frankly, gets some of his worst dialog of the movie here, because he is infected by The Plot for a bit. “It must feel like your God has abandoned you,” he says, after sedating her, “to loose Dr. Holloway after your father died under such similar circumstances.” Which leaves one momentarily with the wild mental image of Dad Shaw sacrificing himself to a flamethrower-welding corpo, but no, David means ebola. David found this out via that dream-watching tech that exists solely to be a mildly unnecessary plot point. Blessedly, this is the last time we see any mention of it.
It’s very strange, how the movie is stuffed full of plot and edited so tightly around the plot that characters barely have room to breathe, yet what it prioritizes as plot-relevant is so scattershot. This failing is also inflicted upon the part of the otherwise very effective Chestburster: The Prequel scene.
Shaw attacks the people who come to take her away to cryo, running in her underwear to the PAULING MED-POD the movie very loudly announced earlier, so that you wouldn’t forget it exists. She tells the PAULING MED-POD that she needs an emergency caesarian. The PLOTPOINT MED-POD informs her that it’s only formatted for male patients.
I’ve seen many people complain this makes no sense. It’s in Vickers’ quarters, why would she have an expensive medical device that she can’t fully use? Others counter that no, it makes sense, because the med-pod was actually installed for Peter Weyland, thus justifying its male specificity. He’s a selfish bastard, he got it for himself, plot hole avoided.
…Except that doesn’t address the more fundamental problem: What does this add to this scene, to balance out the fact that the audience is now distracted by this information? It slows Shaw down a bit as she figures out how to cue up a foreign body extraction from the abdominal cavity, adding to the tension. But you don’t need that to be what draws out the scene. Maybe the PAULING MED-POD has a slow boot-up sequence. Maybe someone follows her there, and she has to fight them off, possibly killing them in her panic. A dead body in the room would solve an actual logical problem with a later scene.
It’s frustrating, because the pacing of this scene is actually excellent, as is its premise. Shaw has to forego anesthesia and make do with self-administered local painkillers, because the prosthetics and CG teams have done a bang-up job making her stomach writhe unpleasantly, making it very clear that whatever’s in there is mobile enough to be a danger to her, even if it’s removed.
The pods instruments are mostly CG, but its combination of unhurried routine and abrupt, industrial roboticism adds to the uncomfortable nature of the scene. Sound design is also important here, with all sound effects well-chosen, and mixed to imply claustrophobic closeness and how trapped Shaw is.
The creature itself? Eh. It’s a slightly phallic squid, and squids were already slightly phallic to begin with. They added on a slightly vaginal mouth, which is also a lateral move--squid mouths already look quite a lot like an unworksafe orifice with a beak tucked away in it. Unless you're looking at Promachoteuthis sulcus, whose inner lip structures fold into patterns that look distressingly like human teeth.
Honestly, this is freakier than the actual prop. Good job, Promachoteuthis sulcus. You're only 25 mm long, and a delightful tiny terror.
...But the fact that Shaw’s stuck in the pod with her flailing squid-child is what actually adds another minute of fear and wince-worthy pain, as the almost comically brutal medical staple gun closes her incision and the pod slowly opens up.
She tries to kill it with what appears to be a soothing mist of decontamination spray. This is the one other stumble of the scene, because it’s just… I mean, look at it.
It’s just been spritzed with Febreze. There’s nothing that leaves you wondering if the thing’s still alive for later, you know it’s still alive.
But overall, a well-done scene. The standout horror scene of the movie, which is light on scares. That sparsity wouldn’t even be worth mentioning if the movie were going for slow tension, but with its strange blend of existential quandaries and unremarkable horror tropes, it takes a very strong, singular scene to feel like the tension has actually paid off. I don’t think it completely balances out the deficits of the rest of the horror, but it very nearly manages it, and does manage to be memorable.
Next time: An entirely underwhelming horror scene, and the movie takes another swing at having themes.
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Citations for alt-text rambles:
https://www.theguardian.com/film/2019/aug/30/memory-the-origins-of-alien-review-francis-bacon-greek-myth-dan-o-bannon-sci-fi-classic-film
https://www.stanwinstonschool.com/blog/aliens-chestburster-mechanism-behind-the-scenes
https://avp.fandom.com/wiki/Seegson
https://stackoverflow.com/questions/3314219/how-do-u-v-coordinates-work
https://en.wikipedia.org/wiki/Surgical_staple (medical gore cw)
https://sites.uw.edu/pauling2020/
https://www.paulinamarket.com/
Overflow Ramble #1
A shot of the screen on Chekhov’s g–I mean the PAULING MED-POD, showing the text “EMERGENCY PROCEDURE”, and that it is “AWT VERBAL CMD”. The med-pod turns out to be a Weyland product, because all corporations in Alien movies are either Weyland, Yutani, or Seegson, if you’re particularly unlucky (cite 3).
They made the mistake of putting more actual words on here, and so I’m squinting at the top right corner at “CARDIAC STRESS TEST”, “ELECTROCARDIOGRAPHY” AND “MECH ALGN TCH”, which means the pod appears to think she needs to have her heart checked or her wheels aligned.
But what I find funniest is that there’s coordinate sliders in the center bottom: X/Y/Z and U/W. You know where I recognize that from? 3D modeling. U/V/W are used as an alternate coordinate system in that context (cite 4). Somebody was designing this, thinking “well, we need more buttons. Where can I get more buttons?” and then looked at the horrid mass of options and sliders in their modeling software and realized they had the answer.
Overflow Ramble #2
A close-up of David’s hands, holding a sample container and placing Shaw’s necklace inside. Two details, one of them insane, the other just plain funny: First of all, this is a different set of hands than the one when David was messing with the black goo–there was a small but notable blemish on the fingerprint that wasn’t there, proving once again that hand and arm doubles are one of the odder things you don’t think about in film production.
Second: The container is turned so that the label on it is facing away. This allows you to see the necklace, but it also highlights a completely flat Braille label, reading “PN#ZTZouSthe#Z”, which is obviously very informative.
But the real reason why the label is facing away is because it almost hides the fact that the label says “PRODUCT CODE” on it, which means he may have just put Shaw’s necklace in an empty peanut butter jar.
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I think that Guillermo, at the end of Laszlo's 'Roast' party in episode 7, will reveal his secret.
The party will most certainly devolve into a roast of him instead, because of course it will. Because Nandor won't be able to make clever jokes or get anyone to laugh and in order to save his ego he'll do what he always does in those situations and sacrifice Guillermo in its place. He'll say unnecessarily cruel things because he thinks no one person can be more important to him than the fear of his own weakness. He'll pile it on too. One thing after the other. Maybe the other vampires invited to the roast will laugh along because familiars are easy marks. And the heat will build. There's only so many lashes Guillermo can take on behalf of Nandor's pride. And Laszlo, Nadja, and Colin are starting to grimace and wince.
And that's when Guillermo will do it.
He will stand up, with the chair he was sitting in making a horrible noise across the wood floor like a record scratch. To let you know that the party has been violently cut short.
And Laszlo will do a panicked head shake, maybe try to salvage the situation from the precipice that Nandor has unknowingly brought them to. That Guillermo is about to jump off of. With all of them helplessly attached.
Guillermo was put in the audience on the other side of the room. Already segregated from the rest of the group. He's in a room filled with vampires who were just laughing at him but now look. Nandor's peers. The whole vampire community is here, watching him.
Guillermo's vampires sit across from him at a long table with a podium, like a panel of judges. Like he's a prisoner standing before the pulpit awaiting a verdict. He's got one last moment to either swallow the pride he just started to embrace on a float earlier that year and sit back down, let himself be ridiculed like always but live to see another day ... or burn it all down like it deserves to be, with his plea of guilt.
Holding a struck match, Guillermo will finally speak the truth to Nandor. To everyone. The real truth. The one he hasn't spoken out loud yet. The one nobody knows.
He will say, "I have a joke." And everyone will listen.
"I paid to have some barely-turned, low-rank, nothing of a vampire. Who hasn't even been one longer than I have been a familiar…to bite me. And turn me. In the back room of a gas station where he works. And he did it."
"I've been turned by a vampire that wasn't my master. That wasn't you."
Guillermo's jittered, bitchy energy tapers. He no longer fidgets or looks around at the faces slack-jawed at him. He's gone cold.
Like a killer, he delivers the next blow straight at his master's heart, sitting across the room at the podium, similarly frozen in place.
"But that's not the joke."
"The joke is, I may not have known how taboo it was…that it would be such a big deal to everyone else…but I did know…" (he licks his lips and despite his unshakable intent the uncontrollable emotion he always carries inside him threatens to undo his composure. Still, he keeps his voice loud and steady. Mostly. His attention is focused. His eyes start getting a little wet, but he hardly notices. He's going to follow through.)
"I didn't even really do it because I wanted to. Not then, or like that. (Not with him). Not for the same reason I had wanted to do it before. Or the reason I told Laszlo and Nadja I did it."
"See…the joke is…"
(His voice has become softer. It still carries across the room easily. There is no one else in the whole house but Guillermo and Nandor.)
"I did it because I knew how it would make you feel."
"I did it because I wanted to hurt you."
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