Making a Sequel, Jetlagged Edition

Hello. As I am only 1/10 a human now due to extensive travel, I will make the introduction short and sweet: Things I would like to see in Prometheus 2 (aka Paradise, aka something else probably...) 1. Make it Mean: Now that we have our film about discovery and faith (Prometheus) now we need to be kicked in the teeth. With a steel toe boot. Repeatedly. We need to have that faith burned and seared and stripped so even those who adhere to the themes of Prometheus aren't likely to survive. 2. A Constant Threat is Necessary: In Prometheus, the ship was home base. You were pretty much safe there until the end, unless a certain sleeping old man had a certain android to something to you. We need to see some Engineer bio-weaponry in action...more than worms and a mutated geologist. No where can be safe. People have to be able to be killed in places the audience least expects. A safe place is necessary for plot, but don't let anyone know where it is... 3. The Deacon: There are so many possibilities for the Deacon. It could be a great cinema monster. Its second jaw is wonderfully sinister. Its shape is exceptionally strange. If it adheres to the logic of this franchise, its a fast, unmerciful monstrosity. But does it necessarily kill? I read the second jaw was inspired by the goblin shark, which could unhinge its jaw to hold prey in place. So maybe, the jaw is only step one... 4. Curveball!: Throw more than one curve, but don't fall in love with it. What?! The Deacon is killed off before the middle of the second act?! But hey, that set up the even nastier...oh, that is how that happened! Wow... (Wouldn't it be nice to have something like that happen?) 5. Explore Unpleasant but Necessary Themes: Sexuality in Space? Been there. Faith? Done that. What to bring in case of close encouters? Check. Some of these themes need to be explored more, but lets add to them, really get our hands in the muck and explore the mind, the soul, the psychology of humanity. If done correctly, the audience will squirm just as much at some of the humans as they will at the Xenomorph. 6. This is a case of Darker is Better: Shaw will come back, but lets say what she finds or doesn't find is more disturbing to her than what happened on LV-223. The new characters will naturally die, but don't miss out on great opportunities for horror (the Hammerpede, anyone? Fifield's rampage?) Avoid glorifying torture, but don't hesitate to make Alien 3 look like Mary Poppins. 7. I might make another list, but as I am jetlagged and I probably look just like you feel, I will post this one about halfway finished: BE BRAVE. BE SMART. So, what does that mean? It means this: If you create a great story, if you have a great ending, if your characters and monsters and Engineers and beef jerkey are amazing but someone says "Hey, but the fans want this!" tell him to shut up. Try things, be bold, think of truly horrifying scenarios to explore important and dark themes, and if they fit the story, use them. Don't think "Oh, this is too much," or "Hey, this might be bad, we shouldn't use it," do it anyway. Unless you veer into territory that is intentionally gratuitous or the film becomes an insult to humanity, it's ok to challenge the audience. So challenge them. Make them think. A bit of true horror comes from a little bit of knowledge, then not knowing where that knowledge can take you. ENGAGE THE AUDIENCE. (If you have to study a ton of psychology to do this, hit the books.)