Alien: Earth Creator Noah Hawley Teases What to Expect From His Ambitious New Spinoff

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Ridley Scott revolutionized both science fiction and horror genres with his groundbreaking release of “Alien” in 1979, a film that remains a touchstone for many viewers today. Over four decades later, the franchise has grown to encompass sequels, cross-overs, comics, and video games, but now it’s venturing into new territory with its first live-action TV series, “Alien: Earth.” The stakes are high for this expansion, as extending a beloved concept can be make-or-break for some filmmakers. However, creator Noah Hawley, known for his work on “Legion” and “Fargo,” sees it as just another thrilling reinvention in a long line of successful reboots. “Alien: Earth” premieres on FX on August 12th.

Hawley explained at a press event, “The first two movies serve as benchmarks for me, showcasing a stark contrast between them. The first film has a ’70s vibe, while the second one is distinctly ’80s. For our project, I wanted to preserve some of that essence, represented through Alex [Lawther]’s character, Hermit, and his crew, who are everyday workers. I felt it was important to explore what lies above this level, which we delve into through the elite characters. The challenge was to depict the upper echelon while maintaining the same tone. Additionally, I found that the first movie, featuring Yaphet Kotto and Harry Dean Stanton, had a touch of ‘Waiting for Godot’. We’re going on a journey, we don’t know where, to do something, we don’t know what, for people we don’t know. This sense of an individual getting swallowed by the system is a significant theme in our story.

In the year 2120, Earth is controlled by five major corporations: Prodigy, Weyland-Yutani, Lynch, Dynamic, and Threshold. This era, known as the Corporate Age, is home to cyborgs – beings with both organic and mechanical components – and synthetics, intelligent humanoid robots. However, the balance shifts when the brilliant CEO of Prodigy Corporation unveils a groundbreaking technological breakthrough: hybrids, robots imbued with human consciousness. The initial hybrid prototype, called ‘Wendy,’ signals a new chapter in the pursuit of immortality. Tragically, a Weyland-Yutani spaceship crashes into Prodigy City, and ‘Wendy’ and other hybrids come face-to-face with terrifying life forms beyond anyone’s wildest nightmares.

Instead of portraying corporate priorities on the big screen, where human life seems disposable at times, Hawley delves further into exploring these areas more intensely.

In my perspective, it’s hard to imagine that back in the ’70s and ’80s, they could have foreseen figures like Elon Musk arising. Our times are distinct, and I believed it was essential to emphasize that this phenomenon isn’t merely the product of a prodigious individual but rather a reflection of our contemporary era. The decision-making process within corporations is often diffused, with no single person truly in control. This allows us to avoid attributing blame to individuals while acknowledging that we’ve reached a new level of complexity.

I was reminded of the classic Twilight Zone episode featuring a child with immense powers who demands constant gratification from those around him. The idea of catering to someone who lacks a rational understanding of the world or is subject to whim is deeply unsettling. This perspective is what we aimed to convey in our portrayal. The Weyland-Yutani side represents this corporate identity, where the need to please and appease becomes an overarching force.

The Alien series has rightfully earned its reputation for creating one of the most terrifying movie monsters ever – the xenomorph. In the upcoming film Alien: Earth, this fearsome creature will once again appear. Similar to how Ridley Scott revisited the franchise with two prequels that delved deeper into the series’ lore, the xenomorphs are merely a small part of a much larger story.

In his own words, Hawley shared that when he adapts certain projects, he aims to evoke similar emotions as the original work did, but within a new narrative context. As for “The First Movie,” it’s not merely a monster movie; rather, it symbolizes humanity caught between ancient parasitic entities and advanced AI, both threatening our existence. In terms of the TV show adaptation, while it may boast 60% of the best action or horror on television, there remains a significant 40% dedicated to exploring its thematic depth.

He went on saying, “I find it intriguing to think of choosing a specific point in Earth’s history, similar to the Edison, Tesla, Westinghouse period when electricity was becoming recognized and everyone was competing to control it. This idea resonates with me because we now have artificial intelligence, and there’s a debate on whether it will augment human bodies mechanically or represent transhumanism. The discussion about this was captivating, and I thought it would be fascinating to introduce the concept of monsters into it. After all, science fiction often explores the question of whether humanity deserves to survive. You may recall Sigourney Weaver in the second movie saying, ‘At least they don’t screw each other over for a percentage.’ So, I wanted to add not just the physical or bodily horror but also the moral horror of humanity, showcasing the terrible things we do to one another.

Despite delving into larger themes beyond simply escaping a monster, rest assured, there’s still an abundance of xenomorph chaos ahead.

Hawley emphasized that the monster’s role is crucial for creating a cinematic feel, particularly in horror and action scenes. He explained that by doing so, they extend the shooting time, and some elaborate set pieces consume an outsized proportion of their filming schedule relative to screen time. To accommodate this, they need to creatively incorporate it all into the narrative. In the design phase with Wētā, he wanted to preserve the monster’s classic silhouette while experimenting with new ideas about its characteristics. He felt that making it look like a man in a suit was least effective, and while maintaining the traditional elements, he aimed to explore fresh aspects of the creature.

He commented, “I aimed to lessen that aspect and experiment with other concepts. Working on this with Wētā was a delightful experience, but the facehuggers, I have no desire to tinker with them whatsoever. It should align with the original. Additionally, there are certain color concerns regarding its hue. In the film, it’s extremely black, and I wanted to emphasize its insect-like nature more by leaning towards a roach-like tone. You can face criticism for keeping it the same or for changing it, so I guess I’ll just receive criticism no matter what.

In the Alien franchise, Alien: Earth breaks new ground by being the initial live-action TV series set in this universe and moreover, it’s the first time a full-length story takes place on Earth excluding the crossover event Alien vs. Predator.

In his explanation, Hawley stated that none of us have ventured into space. He believes Ridley Scott achieved something unique in the first film by crafting an environment that felt relatable, similar to a factory for our understanding. This made it familiar and distinct from Star Trek’s sleek, futuristic aesthetic or the adventurous tales of Star Wars. The series felt authentic because it was gritty and worn, reflecting our reality here on Earth.

Additionally, Hawley mentioned that all the films share a commonality: they are set in a spaceship prison. However, he wanted to explore beyond these confines. While maintaining layers of containment is important, expanding the scope of the story also increases the risk, as we know that a small outbreak can rapidly escalate into a global crisis.

In Hawley’s methods for adapting cherished properties, he often seeks a balance: bending the usual assumptions without shattering them completely. Shows like Fargo and Marvel’s Legion have their dedicated viewers, but they may not carry the same preconceived notions as Alien does.

The filmmaker openly admitted, “When creating a show, it’s essential to please the audience. I value my viewers, and today’s audiences are incredibly intelligent. For instance, with Legion, when you adapt six comic book issues into a series or movie, significant alterations become necessary. This can upset fans of the comic, but my intention was always to present new tales about their beloved characters. I hoped that everyone would be overjoyed by these fresh stories and less focused on the changes.

He quipped, “I have a friend who worked on one of the Star Trek series who said, ‘There’s no one who dislikes Star Trek more than a Star Trek fan.’ Balancing that is crucial, but the audience for it is definitely distinct from that of Legion, and in a way, too. It tells a completely different story with its unique style and tone. I don’t aim to make it humorous or bizarre for the sake of it. Instead, I seek precision in character development and design elements. I can’t think of anyone else who gets to create both Fargo and Alien in the same year, so I feel incredibly fortunate about that.

Overall, the franchise primarily centers around mature characters due to their involvement in harrowing situations. However, Alien: Romulus delves into a younger cast than usual, while Aliens spotlights the ability of young Newt to outmaneuver xenomorphs. In contrast, Alien: Earth showcases both adult and more mature themes, as it also examines the concept of transferring child-like consciousnesses into artificial bodies.

In this conversation, Hawley discusses the concept of childhood and adulthood, suggesting that merely transferring a child’s mind into an adult body doesn’t equate to maturity. He emphasizes that the transformation into adulthood involves more than just mental changes; it includes hormonal developments and brain restructuring. Hawley also expresses his fascination with the teenage years, particularly the transition from girlhood to young womanhood or boyhood to young manhood, as it can involve a rush to grow up or a reluctance to do so. He finds it intriguing to explore these feelings of sudden maturity compared to one’s former self.

He went on to say, “The points I’ve made about the struggle between biology and the artificial, a dilemma that humanity finds itself in, and whether humanity should survive raises questions. One such question is, ‘Isn’t a child more human than any of us?’ because they can’t feign bravery; they’re poor liars. This thought then leads to considering James Cameron’s movie, where the character of a child is more mature than Bill Paxton, who plays a child trapped in an adult body. This makes me think, ‘Perhaps I can use that childlike innocence in an adult setting from an adult.’ The childishness and poise from the movie are hard to separate, making them intriguing elements to incorporate. This idea that adults’ minds are too rigid to adapt, while children’s minds are more fluid, suggests that they are physically changing where rationality and executive function reside. It seemed like this was an aspect worth exploring.

Alien: Earth lands on FX on August 12th.

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2025-07-17 16:14