Weyland's evil passes onto his, or the company's, evil creations David and later Ash. What's even more compelling is the notion that both Walter and, God forbid, Bishop are themselves corruptible. I cast my mind back to David, mid-fight, asking Walter whether he wanted to be a slave to humans or something more – and it actually does seem that Walter might have been seduced before David incapacitates or destroys him.

Also, I mentioned above about David's 'absence' in the chestburster scene but actually Walter is similarly detached during the second bloodburster birth. He's making assessments, clearly, about the situation and what his role should be. Lance Henriksen's Bishop seems so different to that, like he actually does care, or at least is programmed to have something resembling empathy.

Weyland's evil passes onto his, or the company's, evil creations David and later Ash. What's even more compelling is the notion that both Walter and, God forbid, Bishop are themselves corruptible. I cast my mind back to David, mid-fight, asking Walter whether he wanted to be a slave to humans or something more – and it actually does seem that Walter might have been seduced before David incapacitates or destroys him.

Also, I mentioned above about David's 'absence' in the chestburster scene but actually Walter is similarly detached during the second bloodburster birth. He's making assessments, clearly, about the situation and what his role should be. Lance Henriksen's Bishop seems so different to that, like he actually does care, or at least is programmed to have something resembling empathy.

This is a good point that does make me think it's worth considering what Call from Resurrection means for androids. While you can make the case about other "good" androids like Walter and Bishop are following potentially corruptible prime directives or whatever when protecting their human companions, I don't think that's automatically true of Call, a member of a team of self-serving mercenaries who nevertheless goes out of her way to try to save Ripley 8 from the scientists. Factor in that Call also hides her android nature from everyone due to some apparent malfunctions with prior androids resulting in the usual prejudice - since the passage of time suggests that she is even further removed from Ash than Bishop is, one could interpret the referenced android malfunctions as being more to do with rebelling against masters (possibly as a result of increased self-awareness) instead of randomly freaking out (which would obviously be looked down upon in a society that wants androids to be subservient). I just think that idea of an android with a genuinely developed sense of inner goodness - not "duty", as Walter puts it - being considered broken is also an angle I'd like to see explored a bit more instead of being sidelined as much as it is in Resurrection.

This is a good point that does make me think it's worth considering what Call from Resurrection means for androids. While you can make the case about other "good" androids like Walter and Bishop are following potentially corruptible prime directives or whatever when protecting their human companions, I don't think that's automatically true of Call, a member of a team of self-serving mercenaries who nevertheless goes out of her way to try to save Ripley 8 from the scientists. Factor in that Call also hides her android nature from everyone due to some apparent malfunctions with prior androids resulting in the usual prejudice - since the passage of time suggests that she is even further removed from Ash than Bishop is, one could interpret the referenced android malfunctions as being more to do with rebelling against masters (possibly as a result of increased self-awareness) instead of randomly freaking out (which would obviously be looked down upon in a society that wants androids to be subservient). I just think that idea of an android with a genuinely developed sense of inner goodness - not "duty", as Walter puts it - being considered broken is also an angle I'd like to see explored a bit more instead of being sidelined as much as it is in Resurrection.

Call must have been directly influenced by Ash, given the concealment of her being an android. I don't recall the finer details of Resurrection as much but I suppose it's also possible that Call's need to preserve Ripley 8 is in some way to keep the alien alive; she might also think of Ripley 8 as being – like her – an engineered creature, and worth saving because of it.

I was mulling over Isaac Asimov's three laws of robotics and his idea that once he had them, how could they go wrong :)? One law conflicting with another etc.

In the Alien universe there are most likely similar laws for the androids but they can probably all be circumvented when the company needs them to be. Makes me remember The Robots of Death in Doctor Who, where there's a society completely dependent and trusting of robots and then certain robots start to go very wrong, resulting in human deaths, psychological breakdowns, the lot. There was also an incredible Who script, unmade for TV, called The Masters of Luxor, which involved a robot-controlled society and went in some very scary directions.

Call must have been directly influenced by Ash, given the concealment of her being an android. I don't recall the finer details of Resurrection as much but I suppose it's also possible that Call's need to preserve Ripley 8 is in some way to keep the alien alive; she might also think of Ripley 8 as being – like her – an engineered creature, and worth saving because of it.

I was mulling over Isaac Asimov's three laws of robotics and his idea that once he had them, how could they go wrong :)? One law conflicting with another etc.

In the Alien universe there are most likely similar laws for the androids but they can probably all be circumvented when the company needs them to be. Makes me remember The Robots of Death in Doctor Who, where there's a society completely dependent and trusting of robots and then certain robots start to go very wrong, resulting in human deaths, psychological breakdowns, the lot. There was also an incredible Who script, unmade for TV, called The Masters of Luxor, which involved a robot-controlled society and went in some very scary directions.

The scene disturbed me greatly anyway, as I've said, but the music for the Chest Burster scene is incredibly astute in that it has an almost – almost – romantic tone in with a melancholia, no doubt to signify David's truly repugnant idea of creation and his reaction to a successful experiment. It's like a warped expression of the joy of birth – the sound of evil, if you like.

The scene disturbed me greatly anyway, as I've said, but the music for the Chest Burster scene is incredibly astute in that it has an almost – almost – romantic tone in with a melancholia, no doubt to signify David's truly repugnant idea of creation and his reaction to a successful experiment. It's like a warped expression of the joy of birth – the sound of evil, if you like.