alien

A BUSY UK train station’s ultra-modern looking walkways and vast network of tunnels and escalators have left many people comparing it to something far creepier.

Canary Wharf tube station in London is known for its sprawling size underneath the capital’s major financial district.

And the station’ s striking futuristic design boats shiny silver metal, that looks as if it could have been stripped off a cyborg.

The Observer even wrote: “Stepping into Canary Wharf is an almost religious experience.

“At 300 metres long, the tower it shares its name with could be laid flat inside with room to spare.

“It’s like a cross between Canterbury cathedral and the set of Aliens.”

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In fact, it isn’t just The Observer that has noticed the destination’s other-worldly look.

Back in 2016, the station was used as a set in the Star Wars spin-off film Rogue One, stepping in for a “totalitarian state somewhere in the future“.

The film used the Jubilee line platforms and concourse to represent a research facility on the planet Scarif.

The station is so striking that it has appeared in a number of films including 28 Days Later (2002) and 28 Weeks Later (2007).

In the two sci-fi zombie thrillers, the station appeared as a safe haven and part of an abandoned London.

Then in A Quiet Place: Day One (2024), the streets surrounding the station were used to represent an alien-ravaged New York.

One person said on Reddit: “Canary Wharf being windy here and I remembered my visit to the place, and how weird it was.

“Honestly the structure of that place is so.. alienlike.”

Another added: “I’m convinced they re-arrange all the corridors in the underground mall overnight to confuse us all.”

A third person said: “Stay away at all costs or risk being turned into a office zombie.”

The station was designed by famous architect Norman Foster, the same person who designed the Gherkin in Central London.

The station then opened in 1999 as part of the Jubilee Line Extension.

Unlike older tube stations with lots of cream coloured walls and pale yellow floor tiles, Canary Wharf features a variety of greys and chrome.

It also features vast ceilings, that reach up to 30 metres high.

Concrete is a key material throughout and glass panels feel like a nod to the buildings that surround the station.

There are also seven columns which run the length of the structure and half-egg-shaped glass dome lights littered across the station.

For those heading out of the station into Canary Wharf, the futuristic look continues.

Unlike the pretty mews and Victorian terraced houses found elsewhere in London, the financial district is full of towering skyscrapers, including the famous One Canada Square building which used to be the tallest in London before the Shard was built in London Bridge.

Most of these buildings are filled with offices of top firms like JP Morgan and Chase Bank.

But there are still a number of things for tourists to see and do in the area.

For example, you could head to the Crossrail Place Roof Garden, which is full of tropical plants and is free to visit.

In the warmer months and up until October, you can enjoy a dip in the water with Love Open Water.

Prefer to stay on the water, rather than in it? Then choose to go on a Skuna Boat ride, which “transforms Canary Wharf into a floating playground”.

Different options include a BBQ boat, hot tub boat and igloo boat.

There is also a waterside sauna where you collect the boats from.

If you prefer to stay on dry land then Canary Wharf also has a number of activity bars, such as Fairgame – which is like an adult’s playground with retro fairground games – and Electric Shuffle – a modern spin on Shuffleboard.

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WASHINGTON  — The Supreme Court agreed Monday to hear a Trump administration appeal that argues migrants have no right to seek asylum at the southern border.

Rather, the government says border agents may block asylum seekers from stepping on to U.S. soil and turn away their claims without a hearing.

The new case seeks to clarify the immigration laws and resolve an issue that has divided past administrations and the 9th Circuit Court of Appeals.

Under federal law, migrants who faces persecution in their home countries may apply for asylum and receive a screening hearing if they are “physically present in the United States” or if such a person “arrives in the United States.”

Since 2016, however, the Obama, Biden and Trump administrations responded to surges at the border by adopting temporary rules which required migrants to wait on the Mexican side before they could apply for asylum.

But in May, a divided 9th Circuit Court ruled those restrictions were illegal if they prevented migrants from applying for asylum.

“To ‘arrive’ means ‘to reach a destination,’” wrote Judge Michelle Friedland, citing a dictionary definition. “A person who presents herself to an official at the border has ‘arrived.’”

She said this interpretation “does not radically expand the right to asylum.” By contrast, the “government’s reading would reflect a radical reconstruction of the right to apply for asylum because it would give the executive branch vast discretion to prevent people from applying by blocking them at the border.”

“We therefore conclude that a non-citizen stopped by U.S. officials at the border is eligible to apply for asylum,” she wrote.

The 2-1 decision upheld a federal judge in San Diego who ruled for migrants who had filed a class-action suit and said they were wrongly denied an asylum hearing.

But Solicitor Gen. D. John Sauer urged the Supreme Court to review and reverse the appellate ruling, noting 15 judges of the 9th Circuit joined dissents that called the decision “radical” and “clearly wrong.”

In football, a “running back does not ‘arrive in’ the end zone when he is stopped at the one-yard line,” Sauer wrote.

He said federal immigration law “does not grant aliens throughout the world a right to enter the United States so that they can seek asylum.” From abroad, they may “seek admission as refugees,” he said, but the government may enforce its laws by “blocking illegal immigrants from stepping on U.S. soil.”

Immigrants rights lawyers advised the court to turn away the appeal because the government is no longer using the “metering” system that required migrants to wait for a hearing.

Since June 2024, they said the government has restricted inspections and processing of these non-citizens under a different provision of law that authorizes the president to “suspend the entry of all aliens or any class of alien” if he believes they would be “detrimental to the interests of the United States.”

The government also routinely sends back migrants who illegally cross the border.

But the solicitor general said the asylum provision should be clarified.

The justices voted to hear the case of Noem vs. Al Otro Lado early next year and decide “whether an alien who is stopped on the Mexican side of the U.S.-Mexico border ‘arrives in the United States’ within the meaning” of federal immigration law.

When asked how much of the alien language used by the franchise’s central hunter species he is able to speak, “Predator: Badlands” director Dan Trachtenberg quickly answers, “Zero.”

“My mouth will not even permit me to utter [even] a phonic from it,” Trachtenberg says of the language created for his film, praising his actors for learning it. Linguist Britton Watkins “really developed the language as if it had evolved from the mouth shape and the throat sounds that we have heard before from the ‘Predator’ [movies], but it really fits the ecology of the Yautja species. And my throat won’t allow me to do it.”

“Predator: Badlands,” which opened to a franchise record $40 million at the domestic box office, is the first “Predator” installment where one of the alien hunters is the hero. The movie follows Dek (Dimitrius Schuster-Koloamatangi), a young Yautja outcast on a quest to prove his worth to his clan by hunting a massive, nearly unkillable beast on a deadly planet.

Thia (Elle Fanning) and Dek (Dimitrius Schuster-Koloamatangi) meet on a deadly planet in “Predator: Badlands.”

(20th Century Studios)

During his hunt, Dek encounters Thia (Elle Fanning), an android that has been separated from the rest of her research party — as well as the lower half of her body — and is happy to provide helpful intel on the planet’s lethal flora and fauna.

For Trachtenberg, who rejuvenated the long-running sci-fi franchise with the 2022 prequel “Prey,” it was important that the Yautja and their culture feel “as authentic and archaeological” as the human ones he has featured in his “Predator” films, which also include this summer’s animated anthology “Predator: Killer of Killers.”

“I wanted to make sure that the Yautja species was treated seriously and with dignity,” the filmmaker says. “We’re asking people to empathize with a monster, with something that was the slasher in a slasher movie to some degree, decades ago.”

That meant consulting an expert to fully construct a language for the Yautja. Watkins was recommended to the “Predator: Badlands” team by Paul Frommer, the linguist who created the Na’vi language for the “Avatar” films. He was tasked with developing both the spoken and written Yautja language, first introduced in “Killer of Killers.”

Watkins understood that “Badlands” would involve both the type of action that audiences expect from a “Predator” film as well as more quiet moments where characters are just talking to each other. This meant creating a language that was as faithful as it could be to the trills and roars of previous “Predator” movies while also being “a tonal match and a kind of atmospheric match” to English for scenes when both languages are used in conversation.

“I started, rather than with a complete language and vocabulary and everything, a framework that I could build out as things changed with the production,” Watkins says, explaining that this involved creating both phonological and grammatical rules. “I built the framework for a language that was never going to have sounds that didn’t belong in it, but could expand in terms of vocabulary and grammar to suit whatever we needed over the long course of filming.”

He also knew that once Yautja was introduced, there would be fans eager to dissect and learn it just like there have been for other constructed languages created for sci-fi and fantasy movies and TV shows.

“I knew that … people would want to pause [the movie] and they’d want to rewind and they’d want to figure it out,” Watkins says. “So I wanted to keep it simple, but it’s not dumbed down. It’s culturally appropriate but it’s approachable as a language [for] people [that] want to learn it.”

Here are a few tips from Watkins for those interested in learning Yautja.

The alphabet includes complex consonant clusters

The Yautja alphabet can be seen in the writing on some of the objects in “Predator: Badlands.”

(20th Century Studios)

When designing the phonology of the Yautja language, Watkins took into account the aliens’ physiology.

“They don’t have lips, so they can’t make ma or ba or fa [sounds] because they don’t have the lips to do that,” Watkins explains. “To supplement not having F and V and Th and M, we have consonant clusters like jl and cht … that we don’t have in English, but they can be made lower in the throat.”

These consonant clusters comprise multiple letters when written out in the Roman alphabet, but are one letter in the Yautja alphabet. The Yautja word for prey, for example, starts with the letter hrr.

Their alphabet “is optimized for visual efficiency for their sound system,” Watkins says. Yautja writing can be seen on weapons and other objects in “Badlands.”

Basic sentence structure is the reverse of English

In Yautja, the structure of a declarative sentence — one that makes a statement, provides a fact or offers an explanation — is the reverse of those in English.

“The object or the predicate comes first, the verb is in the middle and then the subject comes at the end,” says Watkins. “Once you establish a rule like that, you have to keep it unless you have a legitimate reason to break it, like we do in English.”

Dek (Dimitrius Schuster-Koloamatangi) in “Predator: Badlands.”

(20th Century Studios)

Listen for recurring words

Yautja words are largely analytical, meaning “there aren’t 14 versions of a single noun,” Watkins explains. This includes the first-person pronoun ‘I,’ which in Yautja is chish.

“When it’s ‘me’ earlier in the sentence, it’s chish [and] when it’s ‘I’ as a subject at the end of the sentence it’s still chish,” Watkins says. “It doesn’t change.”

Another sound to try to catch is nga. Ngai is the Yautja word for ‘no,’ so nga occurs in any word that has a negative element in it, like “nobody.”

You can tell how Yautja feel about you by what they call you

Unlike chish, the Yautja use different words when addressing or referring to others based on respect and affection.

“The words for ‘you’ and the words for ‘he’ or ‘she’ change depending on who’s speaking about whom,” Watkins explains. “It’s culturally appropriate for Yautja, in the Yautja culture, [to] talk about other people pejoratively.”

Think of it a bit like the difference between using tú or usted in Spanish. When addressing someone they look down on or are disrespecting, the Yautja use wul, while someone they respect would be addressed as dau. Kai is the word used when addressing a close friend.

Yautja isn’t a gendered language (for the most part)

Unlike languages such as French and Spanish, Yautja has no grammatical gender, so nouns aren’t assigned gender categories.

There is, however, a pronoun gender distinction for he and she, much like in English. Similarly, all Yautja use chish for “I” and “me” regardless of gender.

One of the reasons Yautja has no grammatical gender is because that was most practical.

“There was not a lot of time [to create Yautja], and adding gender like that is going to add complexity to the language,” Watkins says, explaining that this complexity would have made it more difficult to quickly turn around any adjustments to the script that needed to be made over the course of filming.

That it also helps keeps the language accessible for Yautja learners is a bonus.