Let’s take a closer look at the current state of development and the known ideas for a possible Alien 5 starring Sigourney Weaver. How might Ripley’s return unfold in a modern narrative?
It is known that Walter Hill, producer and co-author of the Alien saga since 1979, together with his longtime partner David Giler, wrote a 50-page treatment for a new film. He sent this script fragment to Weaver several years ago, and only now, under new studio leadership, the project seems to be gaining momentum. Weaver describes the first 50 pages as “quite extraordinary” and has held exploratory talks with 20th Century. From her hints, we know this much: the story shows where Ripley would be today, and it tells of a society that imprisons someone who tried to help humanity.
In this vision of the future, Ripley is imprisoned, regarded by those in power as a dangerous agitator. This scenario captures a current societal tone and places Ripley in a new kind of conflict. It is no longer just Xenomorphs versus Ripley, but Ripley versus a world that betrays her. Such a motif has not appeared in previous films. It promises to make Ripley’s age and experience narratively productive. Hill and Giler explained in 2020 that the concept is a meditation on the Alien universe and Ripley’s fate. Nostalgic horror and reflective meta-commentary are meant to merge.
Sequel or Restart?
The question of canon remains crucial. Since Alien: Resurrection takes place 200 years after the first installments, a direct continuation is challenging. At the end of Alien: Resurrection (1997), Ripley 8 and Call look down on Earth from orbit in the theatrical version, while in the special edition, they land in a ruined Paris.
Canon clarification for this analysis: we continue the Resurrection timeline. Ripley exists as a clone-hybrid; the narrative draws on themes of aging, alienation, and institutional instrumentalization. This preserves continuity and allows for thematic depth. The entry point is more complex than in a post-Aliens retcon, yet it offers the opportunity to explore the hybrid logic in a meaningful way.
At the same time, public discussion often raises an alternative: Hill and Giler could open an alternate timeline after Aliens, undoing Ripley’s sacrifice in Alien 3. There is no concrete evidence for this, though the possibility has been suggested. The model would follow examples of other legacy sequels. Halloween (2018) ignored all sequels except the 1978 original, and Terminator: Dark Fate continued directly from T2 (1991). The most iconic version of the heroine, Ripley as a human woman with memories up to Aliens, could thus be brought back. The downside would be that two less popular films are erased, making the canon less clear.
In any case, questions of canon must be settled early, as they define tone and theme. A film continuing Resurrection would need to address Ripley’s status as a hybrid and clone and explain the societal consequences. A film negating Alien 3 and Resurrection would need to convey how this serves the story. Communication with fans is essential. It is noteworthy that Disney’s prequel series Alien: Earth deliberately omits Ripley and is set before the existing films. This production logic suggests that the company intends to let multiple storylines coexist rather than forcing everything into a single continuum.
Production Conditions at Disney
Another factor is the positioning of the Alien brand within the Disney group. Alien now belongs to 20th Century Studios. The strategy appears to be twofold. On one hand, there is a focus on streaming content, such as the FX series Alien: Earth for Hulu and Disney+. On the other hand, the studio continues to pursue theatrical releases, as seen in the decision to release Fede Álvarez’s film in theaters instead of streaming it directly. With the success of the Predator prequel Prey on Hulu, Disney has also learned that streaming spin-offs can work.
It is therefore likely that Alien will be treated as a brand universe with parallel distribution channels. For a nostalgic return like Ripley’s comeback, this would mean that a budget and theatrical release are likely secured, yet the project would have to assert itself artistically against internal competition. The risk lies in pursuing too many threads at once and diluting a clear creative direction.
On the positive side, Ripley’s return would be part of an actively managed series rather than a standalone piece. This increases the pressure to deliver quality in order to protect the brand. An underdeveloped nostalgia film could confuse newly gained younger viewers of the series or Álvarez’s film, and vice versa.
The ingredients for a nostalgic sequel with a modern touch are there: a charismatic, aging heroine, an experienced team with a treatment described as strong, and thematic approaches for further development, such as social critique and new conflicts. At the same time, the challenges should not be underestimated. Smart decisions about canon, managing expectations, and asserting creative identity within Disney’s strategy are essential. A new Alien film starring Sigourney Weaver as Ellen Ripley need not be a step backward. With a clear creative vision, nostalgia can become a virtue, a bridge into a new narrative space. Nostalgia and progress can complement each other if Ripley does not merely appear as a reminder of past heroics but as a character embodying new conflicts. Her age would then not be a limitation but a narrative strength that gives depth and credibility. However, if the easy route is taken and only an Alien 2.0 is produced, Ripley’s progressive impact could be diluted, and the franchise might stagnate in self-satisfied repetition.
