The Mask Has Fallen: Why the New Predator Is So... Unusual and Human — And What It Means for the Franchise

Something feels off. The eye sockets are wider. The shoulders narrower. Even the dreadlocks are neatly tied back. The new Predator isn’t a monster lurking in the shadows, nor a ruthless creature bound by a warrior’s code. It’s… almost human. And audiences are baffled: what on earth was that about?

Dan Trachtenberg’s upcoming film Predator: Badlands, set to premiere this autumn, has already stirred a storm of emotions. Understandably so — the main creature has become… sympathetic. Literally. Slimmer, less menacing, with a face capable of expressing emotions. But why did Trachtenberg take this approach?

It turns out this Predator is young, an unproven hunter still finding his place. Essentially, he’s the hero — albeit one armed with knives. This is his first hunt, perhaps his last chance to prove himself to the harsh Yautja society. His armour is imperfect, his posture still awkward, but his eyes already look inward. Not at his prey — at himself.

This humanisation of the creature’s appearance isn’t just a whim. It’s a classic storytelling technique: give the audience eyes — and they’ll want to look deeper. The creators want us to feel for the Predator. To root for him, rather than hide under the blanket. To see him as almost human — and therefore, tragic.

The contrast is masterfully played: the Predator’s adversary will be Elle Fanning — not human, but, as hinted, an android created by the Weyland-Yutani corporation. Suddenly, amid xenomorphs, artificial intelligence, and the young hunter, a subtle, philosophical triangle emerges. Who is truly the monster?

Predator: Badlands isn’t just a film, but a revision of the myth. Instead of the usual ruthless killer, we get a near-adolescent left to face a brutal world alone. Perhaps, for the first time in the franchise, we’ll see a Predator who doesn’t just kill — but grows. And that might just be the scariest twist of all.