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Imagining Aliens through the Lenses of Horror and Reality

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Aliens have been the subject of millions of imaginations over the years. Lately, the topic has begun to become a reality as the United States Pentagon released information on a lengthy UFO/UAP investigation, and NASA has recently opted to look into UFOs.

While aerial objects of unknown origin don’t necessarily mean extraterrestrials, a small poll on Twitter found that 43.5% of voters believe aliens to be the leading cause behind UFO sightings. Similarly, a survey conducted by the Pew Research Center in 2021 found that 51% of voters believed that “UFOs reported by people in the military” are more than likely the result of non-human, intelligent beings.

While it’s unclear whether this is the case, what would it mean for humanity if it was? The answer to this question has been traversed through some of the greatest minds in horror, such as Tobe Hooper, John Carpenter, Ryan Murphy, Brad Falchuk, Stephen King, M. Night Shyamalan, Ridley Scott, and more.

While, thankfully, none of their imaginings have yet come to fruition, through the lens of their creations, we can imagine what we’d be up against in the face of an alien threat.

Everything from these masters of horror’s depictions of the arrival, appearance, communication, goals, and weaknesses of aliens is examined and compared to how it all stacks up against what experts, eyewitnesses, and logic tells us.

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How did they get here?

When the idea of aliens visiting Earth is mentioned, the thought of UFOs is not far behind.

Whether we picture the flying saucers popularized in films of the 1950s, such as The Day the Earth Stood Still, a large mothership such as the one from Close Encounters of the Third Kind, or something else altogether, the thought of spacecraft and alien invaders go hand in hand.

However, other horror films have strayed from this norm, delivering alien life through crashed meteorites or meteor showers, such as in Creepshow, Invaders from Mars, Color Out of Space, and The Seed.

No matter the method, aliens descending from the skies above is the most common depiction.

What UFO reports say:

The descriptions of different unidentified aerial phenomena have varied greatly over generations. World War II pilots saw different colored orbs of light that moved at impossible speeds and angles, so much so that they nicknamed them Foo Fighters.

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Metallic saucers/spheres, pyramid-shaped objects, and irregularly shaped aircraft are all UFOs depicted in recently disseminated UFO footage captured by various forces of the United States military.  While the sizes, shapes, and lights vary greatly, one overlying factor is the speed at which they travel and their impossible maneuvers. It’s worth mentioning that this, of course, does not make these objects alien in origin. A UFO is simply that, an unidentified object.

What do aliens look like?

To contend with the varied portrayals of intelligent alien life in horror, this list is broken down into three sections with subsections where necessary. This is by no means a complete list for as varied as life is on Earth; it is triply so in the imaginations of what the universe (or multiverse) could hold.

Creatures

Whether it’s the “run around on all fours” sort presented by Invaders from Mars (1986) and Cloverfield, or the slug-like variety depicted in Dreamcatcher and Slither, there have been a host of alien creatures in scary movies. Slugs are not the only slimeballs of alien depictions as The Blob and the true form of the creature from The Invasion of the Body Snatchers will attest.

But of course, the most notorious alien creature of them all, the Xenomorph from Alien, proves that bipedal monsters make for terrifying adversaries. While these aliens walk on two legs as humans do, they have multiple distinguishing features that make them decidedly different from humanity. The film A Quiet Place also displayed this sort of extraterrestrial as it has no eyes, advanced auditory systems, and long arms and legs that are unsettlingly disproportionate to its body.

Essence

While not as widely used as some of the other depictions on this list, an alien essence is a horrifying concept. Shudder Original Color Our of Space executes this idea in a way that bends reality. The Tommyknockers alsosaw an alien essence, though this one possesses everyone in its proximity.

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Humanoid

These aliens look like humans but not quite. Fire in the Sky, Prometheus, and Predator are all examples of this. However, they are not the only representation of humanoid lifeforms.

The Greys

The grey aliens, depicted with large heads, black eyes, and grey skin, are the most prominent of all alien depictions. There’s a good reason for that, which will be explained momentarily. If you cannot picture one, look no further than the films Dark Skies, Dreamcatcher, Signs, or V/H/S/2. Or, as The Fourth Kind would chillingly remind us, picture the face of a white owl.

Clowns

That’s right, “Close Encounters of the Clown Kind” is a real thing. Well, not exactly, but Killer Klowns from Outerspace is, and although it’s a horror-comedy, viewers cannot deny the film’s creepiness. Moreover, the most recognizable horror clown of all time is oft forgotten that he is also a shapeshifting alien. Lest we forget, Pennywise was in Derry, Maine, because he crash-landed there.

Us

Whether it’s by parasitic infection, shapeshifting abilities, or impressive disguises, the scariest presentation of aliens comes in the form of them already existing among us. Many movies have executed this idea in various ways. Still, the most memorable examples of this idea occurred in the films: Invasion of the Body Snatchers, The Thing, Species, and lest we forget those with “formaldehyde face” once you’ve got the glasses on, They Live.

What alleged UFO abductees say

Horror films frequently use the “grey” variety of alien life from the testimony of famous UFO abductees Betty and Barney Hill in 1961. Their widely publicized claims about being abducted by creatures with grey skin and large eyes made a large impact on what society pictures when they imagine an alien.

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How do aliens communicate?

Close Encounters of the Third Kind saw aliens communicate with humans through music tones and Signs saw the use of crop circles.

Other media such as Dreamcatcher, American Horror Story: Asylum, and American Horror Story: Death Valleyutilizes a “human ambassador” to serve as a bridge of communication, a human whose aid is typically acquired through telepathy and other forms of mental jiu-jitsu.

On the topic of telepathic connection, horror sees many extraterrestrials that communicate with each other through a hive mind, such as in The Faculty or Slither.

Of all forms of communication featured, though, the most chilling is the lack of it. There was no discussion possible with the aliens presented in Alien, Predator, Signs, or A Quiet Place. Those aliens aren’t interested in communicating with us.

What the experts say:

Since intelligent alien life would likely have very little in common with us Earthlings (would they even have mouths?), there would be a significant communication barrier between them and us. Scientists believe that math is the universal language, and that would be our best chance of sharing ideas.

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However, historically we have used imagery to try to convey different ideas to intelligent life, should it exist. One recent example is the proposal NASA published, detailing a plan to send drawings of naked humans to space. Another example is the Voyager Golden Record that was sent to space in 1977, containing images and sounds of Earth.

What do aliens want from us?

Potential Spoilers

The depicted goals of an invading alien race are numerous. Some seek to inhabit the Earth (Invasion of the Body Snatchers), and others strive to make our planet more like their own (Color Out of Space). Then, there was Predator, who only did it for the thrill of the kill. Meanwhile, the aliens in Dark Skies want to come into your house and stack your dishes and canned goods up at impossible angles to mess with you.

Then, others are portrayed as just stopping by to steal people away. In the words of The Fourth Kind: “An encounter in the first kind, that’s when you see a UFO. The second kind is when you see evidence of it: crop circles, radiation. The third kind is when you make contact. But the fourth kind, there’s nothing more frightening than the fourth. You see, that one is when they abduct you.”

Some films look at the extraterrestrial motivation for abduction from the perspective of why humanity would do it: experimentation. While these films can make for the most horrific of alien encounters (here’s looking at you, Fire in the Sky), they are, unfortunately, the truest to life.

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Not because alien experimentation is necessarily happening, but because that’s what humans do. We tag sharks, grow ears on mice, and test products on animals in ways akin to torture, all for our benefit. Should we expect aliens to be any different?

Whether it’s world domination, human enslavement, experimentation, destruction, or abduction, many horror films tirelessly try to give reasoning behind what is happening. Though if aliens ever did choose to invade, we may not survive long enough to know the reason why.

What are the aliens’ weaknesses?

Spoiler Alert

One factor that has allowed humans in horror movies to win against an invading alien race is discovering a particular weakness. Signs and A Quiet Place 2 both show the aliens’ aversion to water. A Quiet Place also demonstrated the aliens’ strength to be their weakness as loud sounds disable them. A homemade drug that served as a diuretic was the weapon of choice in The Faculty. Since most extraterrestrial imaginings tend to be mortal beings, the use of any number of commonplace weapons against them has also proven effective.

The reality of the matter is discussed by Dr. Steven Greer in Unacknowledged. He indicates that if intelligent aliens were able to visit Earth, that in itself would prove technological advances far beyond our own. Because of this, if aliens wished to harm us, any weakness an alien might have would be irrelevant because we’d still be no match for them.

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One of my favorite pieces of UFO lore serves as a testimony to this idea.  While I will not assert that aliens or UFOs piloted by aliens have ever been to Earth, the following story is true and paints a creepy picture of our defenses failing in the face of an aerial threat.

The Battle of Los Angeles

Two months after Pearl Harbor was attacked, on February 25, 1942, at around two a.m., a blackout was ordered in Los Angeles. Something was in the sky, and anti-aircraft weapons began firing hundreds of rounds of artillery at it. At least five people died in the ensuing chaos: three perished in motor vehicle collisions, and two died from heart attacks. Despite 1,440 rounds of ammunition fired, the object was reportedly not brought down. While the official cause of this event remains unknown, the running theory is believed to be a weather balloon combined with post-Pearl Harbor anxieties.

For now, in the absence of proof, intelligent alien life interacting with Earth does not exist outside of conjecture and the movies. However, if the films are any indicator, we may very well be better off alone.

For more coverage on space invaders, be sure to check out Shudder’s newly-added Alien Encounters Collection and Jordan Peele’s extraterrestrial horror film Nope, releasing theatrically on July 22nd.

If there are any classic alien-horror movies that you wish I’d included or any fun factoids worthy of a tinfoil hat that you’d like to divulge, feel free to share in the comments below!

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A writer by both passion and profession: Tiffany Taylor is a mother of three with a lifelong interest in all things strange or mysterious. Her love for the written word blossomed from her love of horror at a young age because scary stories played an integral role in her childhood. Today, when she isn’t reading, writing, or watching scary movies, Tiffany enjoys cooking, stargazing, and listening to music.

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Editorials

50 Years Later, ‘Black Christmas’ (1974) Is Just as Relevant and Frustrating as Ever

The film opens with Jess Bradford (Olivia Hussey) confronting her boyfriend Peter (Keir Dullea) with the news of her pregnancy, and her plans to have an abortion in light of her career. Let me remind you again, it’s 1974, and even on a 2024 rewatch, no viewer should be surprised when Jess is met with a gaslighting attack. Peter’s attempts were dismissed, but the message and accompanying rage couldn’t be more relevant. Every line of weaponized dialogue from Peter’s mouth is written so well that it’s impossible to ignore even 50 years later.

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Horror is the most undoubtable mirror that fictional entertainment has ever seen- I’ll stand on that. It’s known for giving a broad snapshot of what our greatest fears might’ve been at any given time. From climate change to the social and systemic issues in between- it all comes out through fictional stories of horror. 

Women across the United States are teetering on the line of a life-threatening regression. Repetition is something that history will always whip around, but when creative minds grab on, we can use their memorialized messages to paint a bigger picture for further education. For the fandom, the time is ripe to look for scholars at the intersection of activism and genre history to guide us through. Take Chris Love, for example; reproductive justice advocate, Arizona lawyer, andrepro horrorscholar.

We’re so used to seeing abortion being treated as difficult or heart-wrenching. Black Christmas stands out because Jess was so clear and unbothered about her decision to choose herself and her future. That’s how it should be and frankly, how it actually is most of the time

Bob Clark’s holiday massacre of 74is invaluable to horror history. On the side of the genre, it’s the most responsible for our treasuredslashersub-genre while pumping the gas on true fears of home and personal invasion. On the side of U.S. history, the film was released only one year after the ruling of Roe V. Wade.

The film opens with Jess Bradford (Olivia Hussey) confronting her boyfriend Peter (Keir Dullea) with the news of her pregnancy, and her plans to have an abortion in light of her career. Let me remind you again, it’s 1974, and even on a 2024 rewatch, no viewer should be surprised when Jess is met with a gaslighting attack. Peter’s attempts were dismissed, but the message and accompanying rage couldn’t be more relevant. Every line of weaponized dialogue from Peter’s mouth is written so well that it’s impossible to ignore even 50 years later.

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It’s here, before the fantasy fear kicks in where fans and genre scholars alike can recognize a crossing of an ethical line- a single decision that could greatly impact a woman’s life, career, and comfort. The great thing is women today are more likely to be like Jess, and challenge ideas of patriarchy for their right to decide. Opening our greater horror story with an additional personal one makes Jess’s fight relatable, and even more important- for her survival, and the shot at life she has a right to. Queue the telephone.

I could go on forever about the film’s first act, but the conflict driving Black Christmas is the creep on the other end of those perverted phone calls. Even though this is a separate issue from Jess’s plan for her body, my recent rewatch opened my eyes to the idea that these two conflicts are two sides of the same coin. I’m a woman, and a citizen of the United States. Now that I’ve lost some of my confidence in the protection of reproductive rights, I’ve digested this whole scenario in a different, more infuriating light.

Through the calls, the killer causes panic, and threatens the security of the sorority sisters inside. His remarks are disturbing and sex-obsessed, and the girls react with fear and disgust like any person would. Imagine making all the right decisions to ensure a future of comfort and success, just to have your right to it stripped under the guise of gross misogynistic mental gymnastics. That’s how I feel right now, and I almost can’t believe how smudge-free the mirror is.

In the film’s opening, we witness what an intimate conflict over women’s reproductive rights might look like. Most of the horror community has given the scene their highest praise, but my damage this month was experiencing that those themes don’t actually stop once the calls start. Those themes end up getting stronger by switching from seeing the problem with patriarchal power, to understanding what it feels like to exist trapped underneath it.

History is repeating itself again, and the deja-vu in Black Christmas is tough enough to hand out complimentary whiplash. It’s still disturbing, but as consumers of horror, we know how to trust the final girl. Through just about any period commentary you can find in horror, there’s a final girl who’s survived it- maybe two or three. The truth in that statement holds the most weight at a time like this, though. Cheers to Jess Bradford, and everyone she represents.

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Editorials

‘Black Christmas’ (2019): More Hollow Feminism From Hollywood

Black Christmas (2019) opens with so much promise but immediately gets in its own way. What seemed like an attempted indictment of rape culture led to confusion and resentment for me as an audience member. Whatever the original goal is gets buried in black goo at the modernized version of the He-Man Woman-Haters Club.

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My entryway to the Black Christmas universe was accidentally watching the 2006 film at an Alamo Drafthouse. My friend and I thought it was the original and wanted to finally see the classic. In our haste, we did not investigate which movie the chain had pulled from the vaults. So, a few years later, when I saw a new Black Christmas in theaters, I asked more questions. I went into the 2019 film knowing it was not the original and with the expectation that it had to be better than the version I had previously seen. I got a wildly confusing take on feminism and a giant red flag planted in the Blumhouse Productions column instead. 

The film has an engaging opening that utilizes the winter Christmas atmosphere while giving us a fun enough first kill. There is some cool cinematography (Mark Schwartzbard) and direction (Sophia Takal) on display that make you want to root for this entry so much. There are also glimmers of a movie that understands how ahead of its time the original Black Christmas was and seemingly wants to ride that feminist wave. Sadly, the road to hell is paved with good intentions, and this movie takes the express bus to Satan’s doorstep.

Black Christmas (2019) follows a group of sorority sisters stalked during their Christmas break. They soon discover the cloaked figures slashing their way through sorority girls are part of an underground college conspiracy to “put women back in their place.” This all comes out in a messy third-act battle where it sounds like dialogue was pulled directly from Joe Rogan’s podcast. There is a lot of black goo coming out of the misogynists as Professor Gelson (Cary Elwes) gives the monologue that tries to explain what is happening. I am firmly in the camp of “Yes, all men” and am usually an easy person to win over when a movie wants to talk about toxic masculinity. Yet, this movie had so many problems and fell into what often feels like Blumhouse projects following a checklist that I could not get on board. Especially because long before men try to destroy the squad, we find out the calls are coming from inside the house

We watch Riley (Imogen Poots) as she is constantly bombarded by her supposed friends who remind her she was sexually assaulted. They follow her to her job and throw it in her face if she hesitates to sign a petition. They have choreographed a Mean Girlsesque Christmas number where they sing about it to supposedly clap back at her rapist. The plan is to perform it in the frat house where Riley was assaulted. When one of the members of this weird choir has to step out, Riley is bullied into performing it by again reminding her she was attacked. On stage, when Riley locks eyes with the guy who assaulted her and freezes. Her bestie whispers, “Rebuild yourself, bitch” before they start the misguided jingle in earnest. When they started singing about “S-E-X” before describing something that was, in fact, rape, it felt like the culmination of this remake’s problems.

While I have no doubt Black Christmas (2019) started with great intentions, its impact undoes all that goodwill. It seems like a muddled brand of feminism wrapped around a bunch of tweets from people who learned about gender studies from broadcast TV. I know many people might have the impulse to write this off and blame the PG-13 rating. However, I am not sure we should be arming tweens with the idea that throwing your friend’s trauma in their face hourly is friendship or feminism. We see Riley have nightmares about this attack that happened three years ago. We know she’s still in the same school with her rapist, and their Greek societies seemingly still host shindigs they both attend. So, seeing how shitty her support system is while yelling about their sisterhood and talking about how they’re all an extension of each other seems hollow.

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I questioned Riley’s squad the whole movie, so Helena’s (Madeleine Adams) reveal that she was working for the man was not a gag. If anything, it was refreshing to see at least one of the girls was aware that she was a bad feminist. This twist might have worked if we had not spent the entire run time watching Riley’s best friends treat her like a prop instead of a person. Or, maybe if the male characters had not said all the quiet parts aloud the whole movie. The lack of subtlety and nuance worked against this story. It wore everything on its sleeve, and while on paper, I agree with the sentiments…the result is a confusingly awful time.

I have watched this film three times in my life. Each viewing, I try to figure out who this movie is for. Is it for audiences who are just learning that women are real people? Or is it for execs wanting to make a quick buck off the #MeToo movement without actually doing the work? Each time, I wonder what the original script looked like because I cannot imagine this is the finished product anyone involved wanted. Black Christmas (2019) opens with so much promise but immediately gets in its own way. What seemed like an attempted indictment of rape culture led to confusion and resentment for me as an audience member. Whatever the original goal is gets buried in black goo at the modernized version of the He-Man Woman-Haters Club.

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