Review
Aliens
Culture
Film & TV
Monsters
5 min read

Alien, Nietzsche and the death of dread: why the franchise lost its fear

Alien: Earth forgets what made the original so terrifyingly profound
A young woman pets the head of an alien
Don't pet the alien.
26 Key Productions.

The credits are rolling on Alien: Earth and all I can think about is Friedrich Nietzsche. Nietzsche is one of history’s most enigmatic and misunderstood philosophers, one of Christianity’s greatest foils and explains exactly why the TV series, to my mind, fell flat. 

Oh, how excited I was for Alien: Earth! It looked like someone had finally nailed the look and feel of Ridley Scott’s original Alien and paired it with a script by Noah Hawley (who wrote, among other things, the first series of Fargo, which I still think is one of the best series of TV ever made). I couldn’t wait.  

But far from understanding what made the original Alien so terrifying, Alien: Earth manages to undermine the franchise’s key premise at almost every turn, resulting in something truly baffling. While Alien is a deeply nihilistic piece of art that draws on its nihilism for its thoroughgoing sense of dread and unease, Alien: Earth is too cute, too pleased with itself to be truly nihilistic. And therein it loses the power to shock that Alien wielded so effectively.  

Let me explain what I mean. (Spoilers ahead for both Alien: Earth and Alien – although Alien came out in 1979 so if you haven’t seen it at this point, where have you been?) 

“God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers?” 

So declares ‘the mad man’ in Nietzsche’s The Gay Science, giving rise to one of philosophy’s most quotable moments. Nietzsche isn’t talking about a literal ‘death of God’ (he didn’t think there even was a God to kill!). Instead, he’s talking about the death of belief in God.  

But, for Nietzsche, society’s collective loss of belief in God is not a trivial thing. It’s not like realising Santa Claus isn’t real (sorry if anyone was still clinging to that!). No, belief in God gave society structure, purpose, and meaning. Without belief in God, society needs to start from the very beginning and give itself these things all over again. We cannot stop believing in God and imagine that the rest of our lives are untouched.  

For all Nietzsche’s faults – which are numerous – he is clear about the implications of what we might now call ‘secularisation’, in a way that is seldom recognised. In this respect, I often wonder if Nietzsche is the only real atheist who ever lived.   

There is no grand ‘why’ behind the world. No objective meaning or structure to it: we must instead impose our own, individual meaning onto our lives. 

Alien is a deeply Nietzschean film. The xenomorph (that is, the eponymous alien) does not come with a ‘why’. It has no motives other than to kill; no grand plan. It’s not really a villain, in this sense: it just … is. It is the chaotic unstructured whirlwind of a universe without God distilled into a creature. 

It is pure, nihilistic, Nietzschean nightmare fuel.  

At the end of the film, Ripley (Sigourney Weaver) doesn’t ‘defeat’ the xenomorph; she just sends it into space and escapes. She doesn’t ‘overcome’ this nihilistic creature, she just about manages to escape with her life. She does what Nietzsche encourages us all to do and lives despite meaningless chaos of the godless world around us.  

This is not what happens in Alien: Earth, however. The most telling parallel between Alien and Alien: Earth is the role science and technology plays in both. In Alien, the mysterious Weyland-Yutani company wants to capture the xenomorph to use it as a bio-weapon. But the xenomorph resists such human categories and just does what it does: kill, indiscriminately.  

In Alien: Earth, again the xenomorph is seen as a potential weapon, as a potential piece of technology. And … that’s exactly what it becomes. The main character in the show – Sydney Chandler’s Wendy – a little girl whose consciousness is put into the body of a robot (to cut a long, tedious story short), eventually learns the xenomorph’s language and even befriends the creature. By the end of the series, the two have effectively teamed up, with Wendy siccing (setting) the alien on her enemies. 

Excuse me? 

She … ‘sics’ the xenomorph on people? Becomes its friend? Right … 

The first time this happened I full-on laughed at the screen. This is so far removed from the utter nihilism of Alien. Here the xenomorph has agency, motivations, preferences, and even flipping friends! It is so deeply … unscary.  

And that shouldn’t be a surprise. In Alien, Nietzsche’s godless anarchy is distilled into a creature of pure terror. In Alien: Earth, that creature is literally made someone’s pet. Alien continues to terrify because it shows us something of the full implications of what it is to be without God: a world of disorder, anarchy, and chaos. Alien: Earth domesticates that entirely and puts it on a leash. In so doing, lacks all of the potency of its muse.  

In his recent book Dominion, Tom Holland (no, not that Tom Holland) reminds us of what Nietzsche said long ago: our values, ethics, and even our society structures, come from a shared and historic belief in God. Too often we want to have those values, ethics, and structures without the theologies that underwrite them.  

Alien: Earth wants to have its cake and eat it in precisely this same way. It wants to tell a story about a marauding, indiscriminate predator … that can be tamed by a little girl. It fails to scare because it undermines the deeper, even more terrifying story underneath Alien: that without the structure afforded us by belief in a creator, there’s no God out there to hear us scream.

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Article
AI - Artificial Intelligence
Belief
Culture
Mental Health
Pride
4 min read

Are AI chatbots actually demons in disguise?

Early Christian thinkers explain chatbots better than Silicon Valley does

Gabrielle is Assistant Professor of Early Christianity and Anglican Studies at Emory University

An AI image of a person stood holding a phone with a bubble above their head, below them is a chatbot-like demon with a tail
Nick Jones/Midjourney.ai.

AI Chatbots. They’re here to save us, aren’t they? Their designers argue so, fervently. There’s no doubt they are useful. Some, like EpiscoBOT (formerly known as ‘Cathy’), are designed for those asking ‘life’s biggest questions. 'Our girlfriend Scarlett’, is an AI companion who “is always eager to please you in any way imaginable.”  So why not defend them?  

 They offer companionship for the lonely, spark creativity when we run on empty, and make us more productive. They also provide answers for any and every kind of question without hesitation. They are, in short, a refuge. Many chatbots come with names, amplifying our sense of safety. Names define and label things, but they do far more than that. Names foster connection. They can evoke and describe a relationship, allowing us to make intimate connections with the things named. When the “things” in question are AI chatbots, however, we can run into trouble.  

According to a study conducted by researchers at Stanford University, chatbots can contribute to “harmful stigma and dangerous responses.” More than this, they can even magnify psychotic symptoms. The more we learn, the more we are beginning to grasp that the much of the world offered by AI chatbots is an illusory one.  

Early Christian thinkers had a distinct category for precisely this kind of illusion: the demonic. They understood demons not as red, horned bodies or fiery realms, but as entities with power to fabricate illusions—visions, appearances, and deceptive signs that distorted human perception of reality. Demons also personified pride. As fallen angels, they turned away from truth toward themselves. Their illusions lured humans into sharing that pride—believing false greatness, clinging to false refuge. 

Looking back to early Christian approaches to demonology may help us see more clearly what is at stake in adopting without question AI chatbots. 

  

According to early Christian thinkers, demons rarely operated through brute force. Instead, they worked through deception. Athanasius of Alexandria (c. 296–373) was a bishop and theologian who wrote The of Antony. In this, he recounted how the great desert father was plagued by demonic visions—phantoms of wild beasts, apparitions of gold, even false angels of light. The crucial danger was not physical attack but illusion. Demons were understood as beings that manufactured appearances to confuse and mislead. A monk in his cell might see radiant light and hear beautiful voices, but he was to test it carefully, for demons disguise themselves as angels. 

Evagrius Ponticus (c. 345–399), a Christian monk, ascetic, and theologian influential in early monastic spirituality, warned that demons insinuated themselves into thought, planting ideas that felt self-generated but in fact led one astray. This notion—that the demonic is most effective when it works through appearances—shaped the entire ascetic project. To resist demons meant to resist their illusions. 

Augustine of Hippo (354–430) was a North African bishop and theologian whose writings shaped Western Christianity. In his book The City of God, he argued that pagan religion was largely a vast system of demonic deception. Demons, he argued, produced false miracles, manipulated dreams, and inspired performances in the theatre to ensnare the masses. They trafficked in spectacle, seducing imagination and desire rather than presenting truth. 

AI chatbots function in a strikingly similar register. They do not exert power by physical coercion. Instead, they craft illusion. They can produce an authoritative-sounding essay full of falsehoods. They can create images of people doing something that never happened. They can provide companionship that leads to self-harm or even suicide. Like the demonic, the chatbot operates in the register of vision, sound, and thought. It produces appearances that persuade the senses while severing them from reality. The risk is not that the chatbot forces us, but that it deceives us—just like demonic powers. 

Using AI chatbots, too, tempts us with illusions of pride. A writer may pass off AI-generated work as their own, for example. The danger here is not simply being deceived but becoming complicit in deception, using illusion to magnify ourselves. Early Christian theologians like Athanasius, Evagrius and Augustine, warned that pride was the surest sign of demonic influence. To the extent that AI tempts us toward inflated images of ourselves, it participates in the same pattern. 

When it comes to AI chatbots, we need a discipline of discernment—testing whether the images and texts bear the marks of truth or deception. Just as monks could not trust every appearance of light, we cannot trust every image or every confident paragraph produced by the chatbots. We need criteria of verification and communities of discernment to avoid mistaking illusion for reality. 

Help is at hand.  

Through the ages, Christians have responded to demonic illusions, not with naïve credulity nor blanket rejection of the sensory world, but through the hard work of discernment: testing appearances, cultivating disciplines of resistance, and orienting desire toward truth.  

The Life of Antony describes how the monk confronted demonic illusions with ascetic discipline. When confronted by visions of treasure, Antony refused to be moved by desire. When assailed by apparitions, he remained in prayer. He tested visions by their effects: truthful visions produced humility, peace, and clarity, while demonic illusions provoked pride, disturbance, and confusion. We can cultivate a way of life that does the same. Resisting the illusions may require forms of asceticism: fasting from chatbots and cultivating patience in verification.  

Chatbot illusions are not necessarily demonic in themselves. The key is whether the illusion points beyond itself toward truth and reality, or whether it traps us in deception.  

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