When Ripley discovers the real reason for Nostromo's diversion by checking the main computer, Ash assaults Ripley, attempting to kill her by forcing a rolled-up pornographic magazine down her throat. When even that fails to kill him, he's electrocuted with a cattle prod. His severed head is reactivated to provide the crew with the truth about the creature. Ash complies, revealing that the company installed him Ash to ensure that the creature was brought to them, with the crew's lives being expendable. After informing them of all he knows about the creature, Ash tells the crew, "You have my sympathies," regarding their chances of survival.
Ripley then unplugs him and Parker incinerates his head with a flamethrower. Ripley's experiences with Ash left her with a great hostility for androids , seen with her reaction to Bishop in the sequel Aliens. Midway through the novel, following Ripley's escape from the Nostromo at the end of Alien , Ash's programming had secretly remained in control of the Narcissus , Ripley's escape pod. After keeping the shuttle drifting for thirty-seven years, he detected the distress call sent out by the Marion and rerouted the shuttle to intercept it, hoping to continue with his mission to acquire a Xenomorph specimen for Weyland-Yutani.
Soon after arriving at the Marion , Ripley learned of Ash's survival and he eventually revealed himself to the group the explanation for his voice having changed, which occurs only in the audio play adaptation of the book, being the Seegson terminal he uploaded himself into. Throughout the incident aboard the Marion and on LV below, Ash continued to plot against the survivors. However, the crew member committed suicide before Ash could put his scheme into motion. With his plans to recover a Xenomorph in ruins, Ash, apparently driven insane by the years he had spent drifting alone aboard the Narcissus, planned to continue his journey with Ripley, with whom he imagined he had developed an intimate connection.
However, before the Narcissus departed the Marion, Ash was finally destroyed when Hoop wiped the AI's program from the shuttle's mainframe using a computer virus. As Ash died, he made one last mission log to Weyland-Yutani, musing to himself that as his messages hadn't been going through to Weyland-Yutani, he has written the equivalent of a diary. With Ash destroyed, Ripley drifted through space for a further twenty years before being rescued.
Kaveney characterizes Hill's and Giler's "menacing robot" as a counter-revisionist robot, from an era where the image of the robot in science fiction was reverting to its pre- Isaac Asimov characterization of "a competitor to humanity who would sooner or later turn on us or pass for human and mis-lead us". Keith Booker, a "distinctive mode of intelligent existence that seems alien to our own", and is in fact if one counts the dead pilot of the crashed spaceship one of a number of sentient non-humans that humanity encounters in the film.
Roz Kaveney believed the revelation that Ash is not human is "in a sense no surprise". Worse still, the theretofore benevolent Corporation, that supposedly mandates its crews to rescue spaceships broadcasting distress signals, is revealed as a profiteering entity that cares not at all for human lives, and considers them to be commodities of no more inherent worth than the android machine that they programmed to capture and return a specimen of the alien. Thompson observes that in hindsight it is clear that Ash is in fact beginning a scientific analysis of the alien, for the Corporation, in these scenes, to which Kane's welfare is largely irrelevant.
Ash is, in the words of Per Schelde, the "perfect Corporation man". He reflects the Corporation's views, and is its functionary. He is an inhumane science officer who lacks human values,  an example of the "mad scientist" or "mad doctor" stereotype of fiction.
However, from the character's own viewpoint, according to Mary Pharr, he is neither. He is aware that he is Corporation property and comfortable with his programming, confident and purposeful. He cares neither for the human crew of the Nostromo nor for the humans of the Corporation who, Pharr notes, would have received a very unpleasant surprise had Ash been successful in transporting the alien back to Earth. His interest is in "collating", the collection of knowledge. When Ripley and the other crewmen power up his head in order to question him about how to kill the alien, he expresses admiration for it.
He admires the creature's purity as "a survivor, unclouded by conscience, remorse, or delusions of morality.
Other commentary focuses more on the sexual metaphors and undertones of the character. Gerard Loughlin notes that Holm's "subtly prissy" performance of the role conveys a sense of "otherness" for Ash. This was suggested yet further by material that never made it into the released film. Thompson relates the assertion, echoed by Gallardo and Smith, that Ash's use of the pornographic magazine against Ripley "relat[es] pornography to violence against women", but disputes it, stating that this analyses the scene by itself, without taking into account the larger context of the rest of the film.
Thompson states that rather than relating to pornography and the nature of the magazine, Ash's assault is structured as it is by the filmmakers in order to allude to the "facehugger"'s infestation of its victims, as observed by Ash in an earlier scene where Kane is being CT-scanned. Although not in itself explicitly sexual, it does involve the creature's reproductive cycle.
Thompson argues that Ash is here simply emulating the creature that he so admires. Ash's instructions from the Corporation, Thompson argues, did not explicitly state that he kill any member of the crew, and it is possible that Ash acquired his notions of the proper way to kill a human being from observing the alien. Thompson qualifies this interpretation by noting that it is not one that is likely to occur upon a first viewing of the film. From Wikipedia, the free encyclopedia. Main article: Alien film. Main article: Alien: Out of the Shadows.
Harvard University Press. Retrieved Ximena Gallardo and C. Jason Smith Alien Woman: The Making of Lt. Every movie orients itself around a different combination of these three. The android at the center of the two most recent movies is played like a violin by Michael Fassbender, and he is the point at which the weight of Alien: Covenant falls. As the android wakes from his android sleep, a figure towers behind him.
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The effect is of a figure that we can only see from ankle to neck: a beautiful but injured superman. The android is invited by his creator, Peter Weyland Guy Pearce , to choose for himself a name, and thus the villainous robot David is born. He loves Wagner from the start. A little later, in space, another android cares for a shipful of human beings.
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On the Covenant , a crew and colonization force drift in hypersleep as the android Walter tends to them. He is a later synthetic of the same techno-lineage. After a galactic mishap throws their colonization mission off course, the Covenant decides to follow a beamed message to a nearby planet. There, for reasons I will not spoil, Walter comes face to face with David. The latter android is an eighth-generation synthetic, invented by Weyland to assist in his hubristic mission to discover the creators of mankind, far out in space.
Are these two androids relations, or iterations of one another? However we might categorize their relationship, they are marked with different cultural codes. The condition of his mind is much less clear. Walter sounds like a newscaster precisely because he has no markings whatsoever. Where David seems to belong to a time and a place in human history, Walter is an android of ultimate globalized neutrality—white and male, he is like the idea of a man on television turned three-dimensional.
David sees Walter as a tragic victim whose life is devoid of art. In a scene of startling beauty, one android teaches the other to play on a recorder-like instrument, which apparently he has whittled himself.
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In this duet between Walter and David, Fassbender plays out a counterpoint of dyadic ideas. Love versus duty; beauty versus function; ancestor versus inheritor. The terms of these conversations are Romantic.
The Romantics believed in sublime things and saw invisible worlds. They are long gone. As Walter and David dance around one another, the ship with beautiful golden sails hovers in space. Alien: Covenant marks the sixth movie in the franchise, and a return to tradition after some strange though valuable sideways wanderings. Aliens was just as good as the original Alien , but Alien 3 was a little ropey and Alien: Resurrection may as well have been from a totally different universe, though it was fun.