Alien Government

In Alien: Earth, Prodigy leader Boy Kavalier (Samuel Blenkin) and Weyland-Yutani leader Yutani (Sandra Yi Sencindiver) face off when Boy Kavalier hijacks a Weyland-Yutani spaceship filled with alien species.

On Alien: Earth (Hulu), which just ended on a cliff-hanger, some of the most interesting plot lines involve the companies who run the Earth in 2120 (about a hundred years in the future).
In the world of Alien: Earth, the planet is controlled by five mega corporations, just as it was run by all-powerful Weyland-Yutani in 1979’s Alien, 1986’s Aliens, and 2024’s Alien: Romulus.

In the Alien: Earth universe, three other companies are mentioned (Lynch, Dynamic, and Threshold).
However, the two companies featured in the series, are Prodigy and Weyland-Yutani.
Prodigy Corporation controls Asia and Sub-Saharan Africa.
Weyland-Yutani owns North and South America (plus planets Mars and Saturn).
These companies run the planet, and control all humanity.
There are no governments.
Regular people have no guaranteed rights.
The only goals are more profit, and power, for the companies.

Boy Kavalier (Samuel Blenkin) is the owner of Prodigy.
Yutani (Sandra Yi Sencindiver) runs Weyland-Yutani.
They each are surrounded by servants (both real humans, and artificial beings), who obey (or seem to obey?) their whims.
In the opening crawl, for Alien: Earth, artificial beings are listed as three types: Cyborgs, Synths, and Hybrids.

Medic Joe Hermit (Alex Lawther) wants to go back to school, and become a doctor. However, Prodigy Corporation has other ideas. Joe is forced to continue his work contract, and remain in a military search and rescue team.

Living conditions on Earth are extremely depressing.
There seems to be a wide division between the rich and the poor.
The wealthy elite live in giant sky-scrapers where they enjoy decadent parties.
The worker class lives in tiny slum apartments that don’t appear to have kitchens.
In episode 2 of Alien: Earth, a group of very wealthy people are having a costume party.
(The party was organized to celebrate the purchase of a famous baseball once thrown by Reggie Jackson in 1977.)
In that same city, members of the military live in drab, dark spaces with few amenities, and hang out together on a roof-top. 

As I watched the series, I wondered if Alien: Earth is the future that the leaders of Russia and America have in mind for earth’s peoples.
Do they really desire a world in which only the oligarchs have autonomy, and in which most humans are subservient to them?

250 years after 1776, does the Right want us to go back to a version of North America (the 1600’s?) run by the Company of New France, the Dutch West India Company, Virginia Company of London, The Plymouth Company, and the Massachusetts Bay Company?
George III, and the British government, took over the rule of the thirteen colonies when private companies weren’t able to give British royalty the tax profits that they expected.

Star Fleet headquarters in San Francisco as seen in Star Trek from Star Trek: the Next Generation onward.

In 1966, the creator of Star Trek, Gene Roddenberry (1921-1991) told corporate sponsors that his show would be “Wagon Train in space.”
However, what he didn’t tell sponsors is that he envisioned an Earth in which class divisions, and racial divisions, were eradicated!
In the Star Trek world, the people of earth voted for a President.
It was a democratic (small D) society. 

Thinking back, many of Roddenberry’s scripts were very “woke.”
Perhaps, that’s why the show was cancelled after three seasons.
After Roddenberry died (in 1991), new show-runners introduced the Black Ops group Section-31, and major wars against alien races, to the Star Trek canon.

Captain Cristobal Rios (Santiago Cabrera) and Dr. Teresa Ramirez (Sol Rodriquez) are caught up in an ICE raid (in an alternate time-line's 2024), in the season 2 “Watcher” episode of Star Trek: Picard.

In season 2, of Star Trek: Picard (2020-2023), Admiral Picard (Patrick Stewart) finds himself transported to an alternate time-line by the godlike alien Q (John de Lancie).
In one time-line, Earth is under a Fascist government that uses alien races (like Vulcans and Klingons) as slave laborers.
Season 2 tells the story of Picard, and his team, fighting to prevent this horrible time-line from beginning by traveling back to 2024.

While Earth in the Star Trek universe is a utopia, the Alien universe can best be described as dystopian: “an imagined state in which there is great suffering and injustice.”

In the first Alien film, Ash (Ian Holm), the only artificial being in the Nostromo crew, is beheaded by Parker.

It’s clear, in the first Alien (1979), that the Nostromo crew is not valued by Weyland-Yutani.
When they learn that their cargo ship is being diverted to investigate a mysterious transmission, the crew has no say in the matter.
They must check out the alien signal, or lose their salaries (or shares).
Later, Ash (the great Ian Holm) is revealed as an android.
Ash has obviously been placed on the Nostromo to make sure that profit is valued over human life.
Similarly, in Alien: Earth, the cyborg Morrow (Babou Ceesay) chooses loyalty to Weyland-Yutani, and the transport of his dangerous cargo, over the lives of his crew mates.

The modified cargo containers that housed the “colonist/workers” in 2024’s Alien: Romulus.

In Alien: Romulus (2024), the young mine workers (who we meet at the beginning of the film) are being forced to extend their work contracts by Weyland-Yutani.
It seems that the teenage “colonists” are trapped in an indentured servant situation.
They work under brutal conditions, and live in squalid, modified cargo containers.
Many of the parents (who brought them to planet LV-410), have already died from overwork and a toxic environment.
The older workers died, just as generations of immigrants died, building the United States of America.

Looking at world events, I guess that the future described in the Alien stories, is a lot more likely than the future described in the Star Trek stories.
Let’s pray that this isn’t the case.

In 1381, Wat Tyler (1341-1381), leader of the Peasant’s Revolt, demanded of King Richard II, that all hierarchy be abolished (except for the king’s lordship), and that serfdom be abolished in England.
The 14-year-old King agreed to Tyler’s arguments, but soon after, Wat Tyler was beheaded, and all agreements were rescinded.
People have fought for basic rights, and an end to hierarchy, for a very very long time.
How far have we really gotten in ending hierarchy?

Around 550 years later, on February 20, 1933, Chancellor Adolph Hitler, informed a group of 25 German industrial leaders that: “We are about to hold the last election. Private enterprise cannot be maintained in a democracy.”*
Does American society believe in continuing our democratic system?
Can a democracy be maintained?
How much democracy will be permitted by our AI, and human, overlords?

*Hitler’s Aristocrats: The Secret Power Players in Britain and America Who Supported the Nazis, 1923-1941, by Susan Ronald, page 84 (2023, St. Martin’s Publishing group, Macmillan).

A Good Use for Artificial Intelligence?

In the 1967 film, To Sir, With Love, Sidney Poitier played Mark Thackeray, an idealistic high school teacher who guided rowdy teen-agers living in a London East end slum.

Not surprisingly, for something so experimental, Artificial Intelligence (AI) doesn’t always do a good job.
According to Google: “Food Network developed a skill for Alexa-enabled devices, providing show information, schedules, and featured recipes.”
(That sentence doesn’t even make sense!)
However, as a result of AI, the recipes (and episodes) have become much harder to locate on the Food Network.
Also, the recipe PDFs are sometimes maddeningly incomplete because of formatting problems!
AI obviously needs a lot of oversight!

In another context, could AI do a better job than human H.R. personnel, to hire skilled professionals, than it does in monitoring websites like the Food Network?

In the United States, it’s estimated that black people earn (on average) at least 16% less during their lifetimes than white people do.
All ethic varieties of women earn (on average), 18% less than all ethnic varieties of men.

During the 1960’s, Bahamian-American actor Sidney Poitier starred in films in which he portrayed a police detective (In the Heat of the Night); a physician (Guess Who’s Coming to Dinner); and an educator (To Sir, With Love).
A section in the book Toms, Coons, Mulattoes, Mammies, & Bucks (published in 1973), by Donald Bogle, calls Poitier a “Hero for an Integrationist Age,” and notes:

In all his films he is educated and intelligent. He spoke proper English, dressed conservatively, and had the best of table manners. For the mass white audience, Sidney Poitier was a black man who had met their standards. [Italics mine.]

Sidney Poitier films, up until the 1970’s,* were propaganda.
The studio goal was to convince Middle America to accept black men as policemen, teachers, and doctors, just as long as they weren’t too black.

In the 2006 film, The Devil Wears Prada, Meryl Streep played demanding Miranda Priestly (left), editor of one of the world’s most prestigious fashion magazines.

Stanley Tucci played Nigel (right), the magazine Art Director.

As early as the 1940s (when the majority of women still were stuck in low level jobs, or kept as “mere housewives”), movie audiences began to see movies in which actresses portrayed powerful business women.
The list includes Mildred Pierce (1945), Working Girl (1988), The Devil Wears Prada (2006), and The Proposal (2009).
In all of these films, the lead actress is a skilled female business woman.
However, these high-power women are always portrayed as far from successful in their private lives.

These films were movie studio propaganda.
The goal was to convince Middle America that it’s impossible to earn success as a business woman, and also be a successful wife and mother.

In the 2024 television comedy, St. Denis Medical, Joyce (the Executive Director of the hospital) is played by Wendi McLendon-Covy.

In the current TV comedy, St. Denis Medical, the focus is placed on female characters unable to enjoy a good life-work balance, more than on male medical professionals having this problem.
Wendi McLendon-Covey plays Joyce, the driven hospital executive director whose only female “friends” are drug company reps.
Allison Tolman plays Alex, who struggles with combining life as a workaholic supervising nurse, with being a wife and mother.
At one point in the storyline, Alex refuses her husband’s wish to have another child, and they opt for a vasectomy.

Don’t get me wrong.
I’m not judging St Denis Medical.
I love this mockumentary series, and I’m looking forward to the second season.
I’m not criticizing the show. I’m merely pointing out a viewpoint about social “norms.”

For a long time, Big Business has decreed that “alpha” men (micro-managers, screamers, attention hogs) were “ideal” managers.
Women have often imitated their alpha male mentors.
In recent years, this trend has shifted a bit.
Business books like Blind Spots, and Dare to Lead, offer the “new” theory that a “softer” form of management (empathetic, cooperative, emotionally intelligent) is a much more successful strategy in dealing with people.

I just finished Apprentice in Wonderland: How Donald Trump and Mark Burnett Took America Through the Looking Glass (2025) by Ramin Setoodeh.
It’s very clear, in this book, that the people who “won” were the candidates who pleased Donald Trump best.
It wasn’t a matter of how good their ideas were, or how skilled they were as business people.
It was just a matter of how much Mr. Trump liked them.

During the fourth season, Trump attempted to persuade the first black male winner (Randal Pinkett) to “share his victory” with a white female contestant.
To Trump’s immense surprise, the black Rhodes scholar refused to accept Mr. Trump’s “script change.” Despite winning the prize, and later working for Trump for a year, Pinkett was never wholly in Trump’s good graces again (because he had acted against the “Big Man’s” wishes).

In Buck and the Preacher, Sidney Poitier played a tough wagon master named Buck.

Poitier also directed the 1972 film.

Essentially, the theme of The Apprentice TV show (2004-2017) was that American Big Business, is a land of dominance, with people at the top lording over others, and terrorizing their subordinates.
(The Apprentice shows us the way Donald Trump wishes to run this country, not as a public servant, but as a CEO from another era.)

The goal of DEI in American business was to train employees, and encourage diversity in the workplace.
However, the dirty little secret is that this “bottom-up approach” didn’t create much real change.
Where real change is needed is top-down.
How do you convince department heads, to evaluate people based solely on their skill sets: not their skin color, not their gender, who they know, or how “well” they dress?

What would happen if we used a well-programmed AI (not Grok!) to hire employees, and to evaluate the salaries at companies?
This AI would just use information about skill sets and education levels, and not consider gender, or ethnic heritage.
Would we soon discover that some people were badly underpaid, while others were vastly over paid?
Would it quickly become apparent that giant disparities are based on gender, and whether employees are non-white?

Think of AI as a tool for improving fairness.
AI could tell the company where it had made mistakes, and then the company would make adjustments accordingly.
It might be a problem (at first) to reduce the out of whack salaries of CEOs, CFOs, Presidents, and Vice Presidents, but regular productive employees would earn a lot more.
Perhaps, if AI was allowed to make all hiring and salary decisions, companies would make less mistakes, as the years went on.

In the “The Ultimate Computer” episode of the original Star Trek, William Marshall played Daystrom, a brilliant scientist who has created a computer that can make its’ own decisions.

Of course, it all boils down to how AI is programmed.
We’ve all learned from Elon Musk’s Grok, “The Ultimate Computer” (Season 2; episode 24) episode of Star Trek, and Colossus: The Forbin Project (1970), how AI can be extremely destructive, especially when Ai is programed too closely to a human personality.

*During the 1970’s, Sidney Poitier began to branch out from playing “perfect” role models. He starred in such films as Buck and the Preacher (1972), Uptown Saturday Night (1974), and A Piece of the Action (1977).

Replacing the Real World

Photos of Guy Henry being morphed into Peter Cushing (as Grand Moff Tarkin) for Rogue One: A Star Wars Story.

In 2016, I watched a plasticized (CGI) version of Peter Cushing playing Governor Tarkin in Rogue One: A Star Wars Story—twenty-two years after the great Peter Cushing had died.
Actor Guy Henry was used for Cushing’s body and voice; but the CGI turning him into Cushing wasn’t perfect—especially with skin texture.
I’ve long been a fan of Peter Cushing so seeing a weird mixture of the two actors on the screen—neither Guy Henry, or Peter Cushing—was very sad.
Ever since Rogue One, I’ve been interested in the idea of film studios using an actor’s persona, years after the actor is able to perform.

I’m not sure how many directors and film studios would say (on the record) that they agree with Director Alfred Hitchcock (1899-1980) that actors are “cattle.”
Actually, Hitchcock said that what he really meant was that actors should be willing to be “utilized and wholly integrated” into a director’s vision.
(He was also quoted as saying that “Walt Disney was smart for making his actors out of paper since he had the luxury to tear them up when he didn’t like them.”)
I’m sure that Hitchcock would have loved CGI, and I think the impulse to create performances using special effects, originates in this viewpoint—that actors are simply “tools,” rather than collaborators.

Actors dying during shoots has thrown a wrench into film productions.
In 1936, 26-year-old Jean Harlow was working on two films—Double Wedding and Saratoga—when she died from a gallbladder infection that became septic.
Double Wedding had just begun, so her footage was discarded, and the role was recast.
However, 90% of Saratoga had been filmed, so all Harlow’s remaining scenes were filmed using two actresses—one for her body (shot from the back), and another for her voice.
45-year-old Tyrone Powers had the title role in Solomon and Sheba (1959) when he had a heart attack—hours after a strenuous dueling scene (for which he did eight takes).
Yul Brynner was quickly offered the role of “Solomon.”
The Crow (1994) was about two weeks away from being finished, when young star Brandon Lee was accidentally shot on set.*
A body double (with Lee’s face digitally added), was used to complete the film.
Veteran actor Oliver Reed was filming The Gladiator (2000) when he died of a heart attack off set.
Director Ridley Scott altered the plot, and used a body double plus CGI, to complete filming.
According to IMDb, dealing with Reed’s death added about three million to the 100 million film budget.

Before CGI, genre actors (like Boris Karloff and Bela Lugosi) endured long, painful hours in make-up chairs—endangering their health, and (perhaps) making old age harder to endure.
Today, in the Avatar movies, “performance capture”—green dots on the actors’ facial muscles—is used to turn actors into the Na’vi race.
Buddy Ebsen was set to play the “Tinman” in 1939’s The Wizard of Oz, but—after aluminum dust in the facial make-up made him seriously ill—he lost the role.

Kim Hunter in the make-up chair for the first Planet of the Ape film (from 1967).

Kim Hunter was so claustrophobic that she found the application of prosthetics intolerable.She needed a daily Valium to play intelligent ape “Zira” in 1968’s Planet of the Apes, 1970’s Beneath the Planet of the Apes, and 1971’s Escape from the Planet of the Apes.

Alan Cummings, with a make-up artist, during filming of X-Men United. (The character "Nightcrawler" decorated his blue skin with “angelic tattoos.”)

In the early days of CGI (2003), Alan Cummings was “Nightcrawler” in X2: X-Men United.
Cummings still sat in a make-up chair for five hours per day.
However, removing the caustic blue facial makeup was painful, and injured his skin. 

Christian Bale in 2002 (before losing weight for 2004’s The Machinist), and after losing 63 pounds for the role.

Besides turning actors into fantastic creatures, CGI also changes the appearance of actors in less extreme ways—making them older, younger, weigh more, or weigh less.
Film franchises are filmed over long periods of time.
If special effect artists didn’t de-age or age the actors, the directors would need to recast.
Robert DeNiro gained sixty pounds to play an elderly “Jake LaMotta” in 1980’s Raging Bull.
Christian Bale lost sixty-three pounds for 2004’s The Machinist.
(A little CGI would have gone a long way in not forcing these actors to put on, or lose, so many dangerous pounds.) 

Old effects in original Star Trek episode "The Doomsday Machine" on the left, and redone effects on the right.

Another issue about special effects is that they are always improving.
In 2006, Paramount redid all the special effects in the original Star Trek TV series—replacing star ship miniatures and painted backdrops with CGI.
The 79 episodes looked great for a while, but now  (in 2023) the revised effects look quaint.
Should artists update the effects in Star Trek every ten years, in order to keep up with the technology?
It’s unlikely that Paramount would make back the money.

Both the real and "reel" Barbara Jean Trenton (Ida Lupino) react to someone entering her private screening room in “The Sixteen-Millimeter Shrine.”

Writers have long been fascinated by the idea of living on in the artificial world of movies (be they celluloid or digital).
In the 1959 Twilight Zone TV episode “The Sixteen-Millimeter Shrine” Ida Lupino played “Barbara Jean Trenton”—a famous actress who chooses existence in her celluloid past.
In the 2013 film The Congress, a film studio buys Robin Wright’s acting persona, and uses the digital “Robin” for a science fiction franchise called Rebel Robot Robin.
(In a scene in The Congress, “Robin,” her lawyer, her agent, and the studio CEO debate whether her contract should allow science-fiction films.)
True to the Isaac Asimov books, the main character of Apple TV+ and Asimov’s Foundation (2021-2023) is a digital recreation—Dr. Hari Seldon (with Jared Harris playing both the real and digital, Dr. Seldon).
In this genre TV series, mathematician Dr. Seldon dies in the year 12,069, but 34 years after his death—and for generations after—his digitized recreation interacts with his followers.
(Season Two of Foundation will premiere on July 14th, 2023.)

In summary, I think it’s fine to use technology to modify actors, or use them in roles they’ve chosen...as long as it’s with their consent, and the limitations are spelled out.
Using CGI and performance capture saves performers from spending hours in make-up chairs, as well as makes unnecessary the health risks of putting on extra pounds, or dieting to starvation.
It’s also OK (with the consent of the heirs), to complete scenes in a movie, in the event that the actor is incapacitated.
(In that situation, I would hope that the heirs had final approval on the new scenes.)
However, I would draw the line with using digital images of an actor, to “create a role,” or to sell a product, after an actor has lost the ability to give consent.
Some actors may choose to sign contracts before they pass on, but I believe the wonderful Robin Williams had the right idea.
Williams made sure legally that his likeness could not be used until 1939—twenty-five years after his death.
100 years would be preferable.

*According to The Hollywood Book of Death, by James Robert Parish, “when the gun was reloaded after the close-up shot [of Brandon Lee], the metal tip had remained behind the gun’s cylinder. When the blank went off, it was speculated, the explosive force propelled the dummy tip through the gun barrel and lodged it in Brandon’s body near his spine.” (Brandon Lee was the only son of martial artist and film actor, Bruce Lee.)