ALIENS (1986): The Thematic Argument
- Phil Parker
- Apr 15
- 5 min read
Updated: Apr 17
The glue that holds ALIENS together
We're about to take a brief but illuminating dive into the movie ALIENS (screenplay by James Cameron). If you're a screenwriter, director, producer, or author looking for inspiration from ALIENS - STOP! Before you write, direct, or produce even just an outline for your next project, let me give you some advice that will save you a ton of time...
Figure out the thematic argument first!
I know, I know. Plot is sexy, action is fun, dialogue is where we show off. But thematic argument? That is your story’s backbone. It’s what gives all those character choices and plot twists meaning. It's the thing the writer wants to 'say' about the world. Without the thematic argument, you're just throwing stuff at the wall and hoping something sticks.
Now, please note, there's a difference between a 'theme' and a 'thematic argument'. Both help to give the story depth and cohesion, but they serve different (though intermingling) functions. If you're not sure what the difference is between the two, read my article 'Thematic Arguments in Movies' first, then come back for a little fun with ALIENS!
What is the thematic argument of ALIENS?
There are different themes in the film ALIENS, but the thematic argument which everyone's actions revolve around can be stated like this:
"Survival depends on choosing between self-interest and sacrifice for others."
Not exactly embroidered-pillow stuff, but boy does it drive every single beat of this movie. And if you didn't bother to read the article I linked to above, let me just ask...
Can you see why it's called a thematic 'argument'?
It's an argument because a valid case could be argued either way. Each character has a slightly (or hugely) different POV of the truth of the argument. THAT is crucial if you want each character to stand out from the others. It also helps the audience buy into each character's motivations and goals.
With that said, let's explore the main characters in ALIENS, how they feel about the thematic argument, and how their POV ultimately affects the main character.
ALIENS: Character POVs (aka Who Thinks What About This Whole Sacrifice Thing?)
Ripley starts off just wanting to avoid another ALIEN nightmare. Totally fair. Trauma will do that. But then she meets Newt and boom, maternal instinct kicks in. By the end, she’s diving into the Xenomorph hive, flamethrower blazing, ready to face down an acid-blooded monster-mom to save one scared little girl. ("Get away from her, you bitch!") That’s not just badass; that’s character arc gold.
Hicks is the kind of guy who shows up, keeps calm, and does his job without screaming. He’s steady, practical, and looks out for the team from the start. He’s the rock Ripley needs, and his quiet courage nudges her toward becoming a protector, too. ("Stay frosty.")
Burke is... well, slime in a suit. All smiles and sales pitches until you realize he’s willing to sacrifice literally everyone else to get his bonus. His version of survival? “As long as I get rich, who cares who dies.” (See: locking Ripley and Newt in a room with two face-hugging aliens, hoping they're impregnated so he can take the specimens back to his bosses.)
Hudson is a walking anxiety attack when things go sideways. ("Game over, man! Game over!") But here's the thing - he sticks it out. When the bullets fly, he fights. It's not pretty, but it’s progress. A scared guy trying to be brave? That’s way more interesting than a fearless hero.
Vasquez is built for war and loyalty. She doesn’t blink. When her time comes, she goes out in a blaze of glory, grenade in hand, next to the guy who once looked down on her. Loyalty, grit, and a killer exit. Classic Vasquez.
Gorman starts off as the worst kind of leader: untested, uncertain, and paralyzed in crisis. His inexperience costs lives. But he doesn’t stay that guy. In the end, he steps up. When Vasquez is cornered, he stays with her. They go out together, grenade in hand, defiant and united. It’s a clumsy, redemptive sacrifice, and it matters.
Bishop is the wildcard android. Ripley doesn’t trust him. Can you blame her after the last movie? He seems to think the pure scientific value of the alien outweighs the argument to exterminate it. But Bishop proves that programmed or not, selflessness matters. He risks it all to save the crew, crawling through a nightmare pipe and piloting the escape dropship like a boss. In doing so, he earns Ripley’s respect. Who says android characters can't arc? A big win for Team Synthetic.
ALIENS: How This All Hits Ripley
Each character’s approach to the thematic argument influences Ripley’s transformation, directly or indirectly. Hicks' rock-solid courage and Gorman's indecisiveness inspires Ripley to step into a leadership role. Burke’s ruthless self-interest contrasts with Ripley's emerging protective instincts, reinforcing her determination to act for the greater good. Hudson’s fearful hesitancy underscores Ripley's decisive growth. Vasquez's unwavering camaraderie exemplifies the strength Ripley ultimately embraces. And Bishop’s quiet, steadfast selflessness finally dissolves Ripley’s lingering mistrust of artificial intelligence, further reinforcing her shift toward trust and collective welfare.
ALIENS: The Metaphor That Hits Like a Power Loader
Now let’s talk metaphors, because Aliens is full of them. Ripley’s journey isn’t just about survival; it’s about motherhood. She becomes Newt’s protector, a stand-in mom who earns that title not through biology but through action. And who’s her ultimate antagonist? Another mother. The alien queen. A massive, merciless, egg-laying machine. She’s the dark mirror of Ripley. Ferocious, but cold. Protective, but monstrous.
In the final showdown, we’re not just watching two creatures duke it out, we’re watching two ideologies clash: compassion versus instinct, sacrifice versus domination, chosen love versus biological duty. And Ripley wins. Not just the fight but the moral argument. That’s what makes the ending stick with you.
So yeah, James Cameron's Aliens gives us pulse rifles, explosions, and gnarly creature design. But what makes it unforgettable is Ripley’s journey from “I just want to survive” to “I’ll risk it all for someone else.” That’s a story worth writing. And a thematic argument worth starting with.
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Hire a screenwriter and story developer who knows his thematic arguments!
American-Aussie screenwriter Phil Parker loves exploring thematic arguments in adventure thrillers, and the results show. His screenwriting assignments include CATSAWAY (bought by Image Nation Abu Dhabi), FORTE (earned a six-figure investment based on his first draft), FLY GIRLS (BAFTA-winning producer attached), and KINDRED (multiple shopping agreements). Phil also wrote WWII spec script, THE THIRD BOMB, which was optioned twice, reached the semifinals of the the Academy's Nicholl Fellowship, and helped launch his career.
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Screenplay by James Cameron
Story by James Cameron, David Giler, Walter Hill
Based on characters created by Dan O'Bannon, Ronald Shusett
LOGLINE: "When a traumatized space pilot reluctantly returns to face the deadly aliens that destroyed her crew, she must overcome her fears and protect a stranded young girl before they're wiped out by the multiplying alien horde."
