The American Sci-Fi Classics track launched Dragon Con 2026 on Thursday night at 7PM in Marriott M103-M105, with a panel celebrating the fortieth anniversary of James Cameron’s Aliens. Moderator Michael Falkner guided Keith R.A. DeCandido, Andrew Gaska, John Hudgens, and Shawn Rosado through a fascinating look back at the blockbuster movie from the summer of 1986.

Falkner began by asking the panel about their first experience of the film. DeCandido really set the tone for the session with his reply. He was “blown away” because Aliens was so different in tone from the original even though there was a lot of carry over between the two. DeCandido pointed out that he had no familiarity with Cameron’s other work at the time, and as such, Aliens was his introduction to the filmmaker. He argued that one of the film’s greatest strengths was its ability to stand on its own. It was not necessary to see Alien to engage with Aliens. The panel pointed out that it’s important to remember that there was no “canon” associated with this franchise when Cameron made his film. As such, what we’re watching is a story written by Cameron, David Giler, and Walter Hill based upon Stan O’Bannan’s characters. Cameron had wanted to do an Alien film for years. He had a script for an “Alien 2,” but studio executives consistently rejected the idea. So, he set it aside, went to Orion pictures and did Terminator. That film changed the calculus because of its success, and Cameron was able to go back to the studios and successfully pitch a sequel to Alien. What he produced was “one of the greatest sequels ever written.”

The panelists spent a good deal of time discussing the value of the film’s “Special” edition. The “Special Edition” contains twenty minutes of footage Cameron edited out for the original theatrical release. Studio executives ordered the cuts so that they could squeeze more showings into the theater’s day. For many in the audience, those cuts left “holes” in the narrative. Cameron’s “special” edition brings those cut scenes back into the narrative, and according to DeCandido, produced a much more “cohesive” story.

Sigourney Weaver’s character is at the center of that story. A member asked about the way Weaver’s character (Ellen Ripley) changed over the course of the two films. In Alien she was a “unisex” character protecting her crew, while in Aliens she was a mother protecting her child. As an author who has explored the character of Ellen Ripley in his franchise-related publications, DeCandido was well positioned to address the issue. In his Alien Isolation novelization of the game (2019), DeCandido portrayed Ripley as both a professional and a mother. None of the crew members on the Nostromo were wealthy. They committed to a very risky job to earn a significant income that would set them up for the rest of their lives. This was the case for Ripley as well. She needed the income (as a single mom) to secure a life for her daughter and herself. Thus, there was no dichotomy: in his presentation her character was consistent (doing what needed to be done for her daughter, whether biological or adopted [essentially]) throughout.

Rosada added another dimension. As a former Navy man, he looked at her character through that prism. When crewmen are underway, they are focused on the job that must be done, and that’s Ripley in Alien. In Aliens, the company has taken her job away. They “ripped it away” by stripping her of her licenses. That in turn allows her to focus more on family. Burke’s (Paul Reiser) notification of the death of her daughter (while she was in stasis) without children, leaves her empty. There’s a void in her life that is filled when she goes to LV 426 and meets Newt. Thus, it’s important to understand that it’s not a “shift” in her character but rather a “situational development” in her character due to severe loss.

The panel eventually found their way to Sigourney Weaver’s decision to do Aliens. Weaver had several restrictions that had to be addressed before agreeing to appear in the film. One of her biggest issues was the presence of weapons and gun play. She did not want to fire a gun and was very reluctant to return for Cameron’s film. Cameron took her to a firing range and led her through the process. With professionals on site, Weaver received instruction on the proper management and use of a firearm. That instruction made her more comfortable with their use on the set and went a long way toward her decision to do the film.

Later in the session the group turned to Michael Biehn’s character, Dwayne Hicks. Biehn played the worn and weary Colonial Marine “grunt” to perfection. That characterization is at its zenith when Ripley points out to Burke (the corporate executive obsessed with protecting the company’s investment) that as senior officer Corporal Hicks was in command. “Yeah, I’m in charge” Biehn’s Hicks replied. His reply was not one of bravado, machismo, or ambition. Rather, Biehn’s Hicks is a corporal who doesn’t want the responsibility of command. He is a man who simply wants to do the job and go home. Hicks respects and bonds with Ripley because she too is speaking the language of the common man: common sense.

The hour raced by and, it is safe to say, those in attendance enjoyed a most successful launch to the American Sci-Fi track’s 2026 programming.