1
In a series set within the “Alien” universe, one could anticipate the following elements: narrow, poorly lit spaceship hallways, sleep chambers, digital displays, possibly something sinister lurking in the darkness, and undoubtedly an abundance of gore.
Here’s what you don’t expect: lore from “Peter Pan.”
However, it was Noah Hawley who crafted FX’s “Alien: Earth,” a creator renowned for his adaptations of “Fargo” and “Legion.” For Hawley, who was 9 when the original film premiered, his connection to “Alien” has always been steeped in childhood memories and suspense.
He recalls being excited about getting invited on a birthday trip to watch Ridley Scott’s 1979 sci-fi classic, but felt let down when his parents refused the movie due to its R-rating. (Instead, he ended up watching Peter Falk and Alan Arkin in “The In-Laws.”)
‘Alien: Earth’ is a tense, dark meditation about what makes us human
In simpler terms, the TV series prequel to ‘Alien’ created by Noah Hawley has elements reminiscent of Peter Pan and provokes thoughts on what truly defines humanity and if being human is truly as wonderful as we think.
It wasn’t until he was a teenager, spending time at a friend’s place, that he first encountered – on LaserDisc – one of the most haunting and visually recognizable portrayals of extraterrestrial life in movie history. Just like countless other viewers, the mid-film unveiling – the moment when an alien burst from a crew member’s chest – caught him off guard.
Hawley explains, “The film’s pace and its blue-collar space truckers create an air of familiarity, making you comfortable. But when the main plot finally unfolds, around 45 minutes into the movie, it’s a real shock. Unlike in a horror movie where tension starts from the beginning, this one doesn’t build dread right away. Instead, the suspense is earned.
In 2018, when FX inquired about a concept for transforming the well-known sci-fi movie series into a TV show, it was this unconventional approach that sprang to his mind. He’s accustomed to handling established properties in a similar fashion, as demonstrated with an unrealized “Star Trek” film. His method is to focus on the original production that resides within him, always present yet slightly out of direct view. He ponders the emotions stirred by the movie and seeks ways to recreate those feelings.
The anticipation wasn’t just about the storyline; due to Disney acquiring Fox and the two strikes in 2023, it took a total of seven years for Hawley’s part in the “Alien” saga – launching the franchise’s first TV series – to finally be unveiled.
Movies
In simpler terms, film director Ridley Scott had an engaging chat with movie critic Justin Chang from The Times. During their discussion, they reminisced about “Alien,” which was crowned victor in the Ultimate Summer Movie Showdown in its fourth week. They also shared insights on casting Sigourney Weaver and the impact that “Star Wars” had.
Debuting with two episodes on FX and Hulu this coming Tuesday, the series is set in the year 2120, just two years prior to the events of the initial movie. The story introduces us to a fresh team navigating through space aboard the Maginot, which belongs to the Weyland-Yutani corporation – the same ruthless conglomerate that sent Ellen Ripley (Sigourney Weaver) and her crew on a mission to capture Xenomorphs, the terrifying alien creatures at the heart of this franchise. After spending 65 years collecting various forms of alien life, the Maginot is headed back to Earth when it collides with a bustling city controlled by a competing corporation, Prodigy.
In simpler terms, Prodigy is eager to learn about the discoveries made by its rival. This leads to a series of unexpected twists and turns, potentially creating some chaos.
The Times had a conversation with Hawley and his imaginative crew regarding the construction of the universe for “Alien: Earth,” a production that took place at 13 sound stages, distributed over five different studios, in Thailand.
‘Peter Pan,’ but with humanoid robots
1
2
3
1. Babou Ceesay portrays Morrow, a worker at Weyland-Yutani Corporation, holding the position of Maginot’s head of security.
2. Sydney Chandler is cast as Wendy, the initial synthetic to receive human consciousness, thanks to the Prodigy Corporation.
3. Creator Noah Hawley joins actors Sydney Chandler, Timothy Olyphant, and Essie Davis during the creation of “Alien: Earth” (Photo by Patrick Brown / FX)
As a cinema enthusiast immersed in the year 2025, I can’t help but find a striking resemblance to our reality in this series, with its backdrop of clashing megacorporations, advanced artificial intelligence, and humanity grappling with an existential threat. However, instead of focusing on the sensational headlines of today, the creator seems more intrigued by ancient mythology and timeless cautionary tales – tales older than those told in “Alien.
In the sci-fi series “Alien: Earth,” one of the five major corporations, Prodigy, is managed by a reckless billionaire, Boy Kavalier (Samuel Blenkin), who is still quite young. This corporation specializes in the creation of hybrids – humanoid robots that have been given the minds of sick children, dubbed the Lost Boys, with Wendy (Sydney Chandler) being the leader. Originally, Wendy was a 12-year-old girl named Marcy who was the first to undergo this transformative process.
As a film enthusiast, I can confirm that, contrary to popular belief, the “Peter Pan”-Disney tie-in in our recent project wasn’t a command from the new management. Instead, it was an unexpected stroke of genius on my part. I found myself feeling rather clever because I managed to seamlessly blend these iconic Fox and Disney brands, a union that occurred unintentionally.
If you revisit ‘Peter Pan’, you’ll find that it’s a significantly darker story than what one might expect,” Hawley notes. “Peter is portrayed as a self-centered and borderline sociopathic character. There are passages suggesting he discards the children once they grow up. This raises questions, such as what happens to them. Interestingly, there’s a sequel featuring Jane, Peter’s daughter, because Wendy has grown up. This suggests a sinister and peculiar aspect to Peter’s actions. However, it remains an iconic tale of childhood, where the children never age.
Television
Join us live for an exclusive behind-the-scenes experience with the stars of FX’s ‘Alien: Earth’, happening at San Diego Comic-Con. Witness them signing autographs, exploring the interactive set, and much more!
According to costume designer Suttirat Anne Larlarb, the costumes for Wendy and the Lost Boys had to find a harmonious blend between the unique aspects of each character while still adhering to the overall system. When they first appear as adults, they debut in their “transition” outfits – form-fitting, monochromatic white attire that appears like stretched gauze – and are given a customized, structured wardrobe from which they can select a restricted assortment of items, each featuring a controlled color scheme that is more vibrant and lively compared to the uniforms worn by the corporation’s employees. Larlarb explains, “Their everyday clothing seems unique for each character but is essentially a uniform, symbolizing that they are all products created in Neverland.
In “Alien: Earth,” humans find themselves caught amidst two life-threatening perils. The first is the ancient menace embodied by the franchise’s Xenomorphs, while the second remains a mystery-an advanced artificial intelligence that looms in the future.
One crucial aspect to consider in our current technological era, as Hawley points out, is identifying who exactly are the responsible parties guiding us. We desperately need mature individuals who prioritize future concerns over present ones. To capture the spirit of the times, it’s almost impossible not to miss it. When we penned these scripts, there was no ChatGPT, but those challenges were already looming on the horizon, even then, Ridley could foresee them coming.
Retro-futurism and the USCSS Maginot
An inside look at the Maginot spacecraft in FX’s “Alien: Earth.” (Patrick Brown / FX)
If you’re curious about whether the “Peter Pan”-inspired elements in this part of the “Alien” universe are recognizable, let me clarify: When deciding on the environmental design for this series, one of the initial questions was whether to maintain a retro-futuristic style, with cathode ray tube screens and other technologies that seemed extremely futuristic in 1979 but now resemble the technology of 1979. The answer is yes, we’re sticking with that aesthetic, as it defines “Alien.” However, when it comes to the choices Ridley Scott made in “Prometheus,” a prequel to “Alien,” I found them challenging to reconcile with my understanding. So, instead of trying to incorporate those elements, I chose to focus on adapting and emphasizing the aesthetic of the first two films.
The initial story began with a fairy-tale-like narrative about Wendy and the Lost Boys, but it didn’t immediately establish an ‘Alien’ atmosphere, according to him. After some discussions with FX, they transformed the opening scenes into a condensed version of the original film’s opening, subtly building tension by gradually immersing viewers in a haunting deep space cargo ship environment.
Jeff Russo, the show’s composer, wanted the melodic cues to evoke one feeling: “Oh f—. ‘Alien.’”
He explains, “It’s a cycle of tension and release,” using an unusual instrument crafted by an Austrian company. This unique hybrid metal-stringed tool offers versatility, as he can strike the metal for strange, otherworldly tones or bow the strings to create deep, rich, and emotionally intense yet frightening sounds.
In the TV series, the carefully crafted sound within the spaceship – reminiscent of the iconic USCSS Nostromo from the original film – created an atmosphere of suspense. Andy Nicholson, the production designer, explained that his team painstakingly analyzed the movie and fan-made illustrations to recreate the ship’s intricate network of metallic hallways, compact rooms, and flashing control center. It wasn’t until almost all the sets were built that they could obtain blueprints from the art department of the original film. Nicholson mentioned that a dedicated team ensured the correct placement of Semiotic Standard – the color-coded information symbols designed by Ron Cobb for the Nostromo spacecraft – throughout Maginot.
Television
an adaptation of ‘Aliens.’
Speaking about it, Nicholson admits that the task was enormous and he didn’t want to make any mistakes. After all, there’s a rich history for the fans at stake. You simply can’t mishandle the Easter eggs as they are details you must get right or risk losing the audience.
Larlarb mentions approximately 2000 costumes, possibly more, were tailor-made, as about 90% of them were produced in-house to avoid a mass-produced feel. The outfits for the Maginot team needed to draw inspiration from the established uniform design of the Nostromo and the Weylan-Yutani system. The color scheme is subtle, featuring creams and earthy hues, with functional workwear like jumpsuits and jackets being prioritized.
As a dedicated fan, I ensured that I developed a distinctive system which undeniably belongs within the established canon. Since our Maginot is embarking on an unusual mission – one focused on research and exploration – it was crucial for the crew’s uniforms to stand apart from the traditional design.
As a result of the ship’s crash on Earth, the retro-futuristic style is evident in the modern architecture of Prodigy City. Nicholson drew inspiration from automobile interiors and European furniture designs popular around the late 70s for his vision of what Earth might look like in their imagined future. During that time, digital displays briefly appeared in car dashboards, which he found to be a glimpse of the future.
A piece of tech they decided to add? Tablets.
In the initial two movies, they hadn’t given much thought to tablets, but as Hawley explains, there will be tablets now. So, could you tell me more about these?
Xenomorph and its alien buddies
In the upcoming series, the legendary Xenomorph, a terrifying creature synonymous with the franchise, makes its comeback as the main attraction. Originally conceived by surrealist artist H.R. Giger for the 1979 movie, this fearsome being’s imposing figure is hinted at right from the start through quick flashes during the opening scene. Similar to its kin, it looms over and prowls the damaged spacecraft, leaving no doubt of its presence. The creature’s different stages of development – whether as an egg sac or the Facehuggers that emerge from them – also return in this installment.
In the sequel, my admiration for the Xenomorph’s brutal nature truly escalates, as it finds itself in more thrilling, action-packed scenarios. Just like in the initial movie, this menacing figure is brought to life by a skilled stunt performer – in this case, Cameron Brown.
According to Dana Gonzales, who has worked closely with Hawley and directed the episode, “We reveal more of the Xenomorph than others have,” he says. “As the story progresses, you understand why we do this; it’s not just a creature emerging from a dark space. Instead, there comes a time when the Xenomorph is much more prominent. The process of figuring out how to make this happen starts with the first episode, offering fans what they eagerly anticipate tuning in for.
Movies
Following a reboot of ‘Evil Dead’ and continuing with ‘Don’t Breathe’, the filmmaker comes back with ‘Alien: Romulus’. This time, he has approached the project with a die-hard fan of Ridley Scott in mind.
Though its imposing and slender exterior shell, with features that seem alien yet hint at human-like silver fangs coated in sticky substance, still leaves an awe-inspiring impression, it’s the unseen terror that typically triggers fear. An indelible moment results in grisly slaughter, but the violence is amplified by sound as the lethal strike remains hidden from view.
Gonzales shares that Noah and he both believe that things unseen and unheard can be more frightening. He explains that while their show does depict violent scenes, they are careful not to overdo it initially, maintaining a sense of control in the portrayal of violence on television.
Russo, who occasionally employed an Aztec death whistle – a compact, skull-shaped device creating a piercing scream sound to mark the creature’s terror, notes: “The power of music lies in the pause before it. Although you don’t witness the Xenomorph’s actions, the sight of what transpired afterwards leaves an indelible impression, as if it were already playing in your mind.
The series also introduces additional terrifying and deadly alien beings, expanding the “Alien” lore. However, these new creatures are most effectively experienced visually rather than described verbally, much like each version of “Alien,” where the tension is key.
Read More
- Clash Royale Best Boss Bandit Champion decks
- Vampire’s Fall 2 redeem codes and how to use them (June 2025)
- Mobile Legends January 2026 Leaks: Upcoming new skins, heroes, events and more
- World Eternal Online promo codes and how to use them (September 2025)
- How to find the Roaming Oak Tree in Heartopia
- Clash Royale Season 79 “Fire and Ice” January 2026 Update and Balance Changes
- Best Arena 9 Decks in Clast Royale
- Clash Royale Furnace Evolution best decks guide
- Best Hero Card Decks in Clash Royale
- FC Mobile 26: EA opens voting for its official Team of the Year (TOTY)
2025-08-12 13:32