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[Trapped By Gender] Intersexuality in the ‘Alien’ Franchise

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Ridley Scott’s Alien is the best sci-fi-horror flick out there. It has all the trappings of a slasher except it’s set in space. As you’ll come to find, I’m a total sucker for slashers, and this movie just hits me in all the right ways. There’s a single Xenomorph hiding in the shadows with its only purpose being to hunt and kill, and it’s very good at what it was engineered to do. The perfect war machine. The movie is not only a testament to Scott’s eye for horror, but also to the brilliant mind that was Hans Ruedi Giger. His set design and creature work are truly brilliant; it changed the world and the way people view Aliens. This creature isn’t your typical Star Trek or Stargate bipedal alien. This thing doesn’t look like a human with some prosthetics glued to their forehead. It’s something new, something different, and something entirely unique. I strongly believe that’s why the Xenomorphs are still popular today.

When Aliens was unleashed upon the world seven years later, it changed the direction of the series from slow-burning slasher in space to a big ol’ action flick with more Xenomorphs, Chestbursters, and Facehuggers than you can shake a stick at. It introduced one of the biggest motifs that runs throughout the rest of the series which is the power of the matriarch, exemplified by the Xenomorph Queen trying to protect her offspring and Ripley trying to protect her “adopted” daughter Newt. It brought an entirely new dimension to the series where it is shown that being a woman, a mother, and a person with emotions doesn’t preclude badassery; in fact, it makes it more apparent and powerful.

With female empowerment in mind, I will be talking about Joan Lambert (Veronica Cartwright), a crew member on the Nostromo in the original Alien. Near the end of the film, it’s only her and Ripley against the Xenomorph. Every male character has died and Lambert has helped to take out Ash, saving what’s left of the crew from a secondary threat. Even though she is killed, there is a SMALL amount of empowerment that can be found through not only her actions in the first movie but also a major retcon shown in Aliens. It’s a small piece of a step towards bigger and better representation for trans characters which is especially surprising for a movie that came out in 1986. This happens to be the same year a movie called I Was a Teenage Boy was released as a “comedy” about a tomboy that drinks a potion to change their gender, which was full of tired stereotypes. But time and time again, even with inadequate representation, horror still comes out ahead in that department.

In any event. In Aliens, after Ripley has been “saved” and resuscitated she is being put through a briefing about what happened in the previous movie. To remind us of the characters, there are headshots and scrolling text on screens behind her. If you pause the movie at the right time, it’s revealed that Lambert either went through a process called Despin Convert or she is referred to as a Despin Convert; it’s not shown whether that’s a title or just the name of the surgery. The exact text shown on screen is: “Subject is Despin Convert at birth (male to female). So far no indication of suppressed traumas related to gender alteration.” It is rare but not implausible that she suffered no trauma from the doctor’s reassignment surgery. Some intersex people have no issue with their genitalia; everybody is different. Sometimes the doctor gets “lucky” and sculpts the “right” genitals, sometimes a good doctor leaves them alone.

This makes Lambert transgender, intersex specifically. When she was born, her genitals were not congruent with the doctor’s idea of what genitals should look like so they put this baby through sexual reassignment surgery. Her death isn’t shown fully on screen; we only see a silhouette of the Xenomorph’s tail creeping upwards. It’s implied that Lambert is raped before it kills her, shoving its tail up inside her where the doctor already mangled her. The revelation that Lambert is intersex makes her already horrific death even worse. In a movie that heavily deals with rape as its subtext, this is even more shocking. Think about it the next time you watch Alien.

According to the Intersex Society of North America, “Intersex” is a general term used for a variety of conditions in which a person is born with a reproductive or sexual anatomy that doesn’t seem to fit the typical definitions of female or male. For example, a person might be born appearing to be female on the outside, but having mostly male-typical anatomy on the inside. Or a person may be born with genitals that seem to be in-between the usual male and female types—for example, a girl may be born with a noticeably large clitoris, or lacking a vaginal opening, or a boy may be born with a notably small penis, or with a scrotum that is divided so that it has formed more like labia. Or a person may be born with mosaic genetics, so that some of her cells have XX chromosomes and some of them have XY.

Just a quick aside here for the people who believe that chromosomes determine gender; as you can see here, intersex people’s gender is not defined by XX or XY. Bodies are weird and there is no hard and fast answer to how gender is determined. It’s all about internal identity and performance; some trans people even go through body language therapy to help them blend in better. Trying to use chromosomes to prove biological sex is dubious and inaccurate. So the chromosome argument regarding trans people not being “actual” women, or men, is a non-starter.

Exactly like in the movie, this happens in real life. Doctors decide to just “fix” what’s there without even giving this person a chance to grow and figure out what their gender might be. I’ve even heard of instances in which the doctor decides to do the surgery real quick without the parent’s consent. The doctor’s reasoning is usually something like wanting to give the child a better chance at a “normal” life. You can find many instances on YouTube or personal blogs where a person’s doctor gave them sexual reassignment when they were a baby and now everything feels wrong for them. It’s the wrong genital configuration, and now they have to go through the process of trying to fix what the doctor already “fixed” at A LARGE COST to them out of pocket. This can range from $20,000 dollars all the way up to over $100,000 when all is said and done. Hopefully one day with enough attention being brought to this issue, no one will have to go through forced genital reassignment surgery again. This can cause so much psychological stress that it can lead to suicide which is a LARGE problem in the trans community. The suicide rate of transgender people hovers around 40-50% and that’s just the number of successful ones counted, not the attempts – which is unfortunately a much higher number.

Over the past 10 years I’ve attempted suicide a few times because I couldn’t take it anymore. The stress was overwhelming. Things are better for me now. It’s still not easy, but I have better coping mechanisms to deal with the abuse hurled at me daily by society and media. It’s not a kind world for transgender people (YET) but since I started transition 10 years ago, I’ve seen a lot of things change and like I said in my previous article, things are getting better for trans people. It’s slow, but it’s still progress. You don’t really get wins, you just do a little better each time. Those who come after you, the younger ones. They’re gonna have it easier, just you see.

First you get a blink-and-miss-it retcon, then eventually someone plays you, and even further on down the line, maybe you actually get to represent yourself on screen. Here’s hoping.

Your Horror Tran,

Alice

Alice is first and foremost a horror fanatic but overall a fan of the "lesser" genres. Please give her your trash, your b-movies, your low budet/nobudget weird/kung fu/sci-fi/fantasty stuff. She's also a writer, musician, Your Horror Tran, and an all around general weirdo.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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