To answer all the questions, yes, it’s true, Babylon 5 is in active development as a series for the CW. We have some serious fans over at the network, and they’re eager to see this show happen. I’m hip deep into writing the pilot now, and will be running the series upon pickup.
The network understands the uniqueness of Babylon 5 and is giving me a great deal of latitude with the storytelling.As noted in the announcement, this is a reboot from the ground up rather than a continuation, for several reasons. Heraclitus wrote --
-- “You cannot step in the same river twice, for the river has changed, and you have changed.” In the years since B5, I’ve done a ton of other TV shows and movies, adding an equal number of tools to my toolbox, all of which I can bring to bear on one singular question:
if I were creating Babylon 5 today, for the first time, knowing what I now know as a writer, what would it look like? How would it use all the storytelling tools and technological resources available in 2021 that were not on hand then?
How can it be used to reflect the world in which we live, and the questions we are asking and confronting every day? Fans regularly point out how prescient the show was and is of our current world; it would be fun to take a shot at looking further down the road.
So we will not be retelling the same story in the same way because of what Heraclitus said about the river. There would be no fun and no surprises. Better to go the way of Westworld or Battlestar Galactica where you take the original elements that are evergreens and --
-- put them in a blender with a ton of new, challenging ideas, to create something fresh yet familiar. To those asking why not just do a continuation, for a network series like this, it can’t be done because over half our cast are still stubbornly on the other side of the Rim.
How do you telling continuing story of our original Londo without the original Vir? Or G’Kar? How do you tell Sheridan’s story without Delenn? Or the story of B5 without Franklin? Garibaldi? Zack?
The original Babylon 5 was ridiculously innovative: the first to use CGI to create ships and characters, and among the very first to shoot widescreen with a vigorous 5.1 mix. Most of all, for the first time, Babylon 5 introduced viewers accustomed to episodic television to --
-- the concept of a five-year arc with a pre-planned beginning, middle and end…creating a brand new paradigm for television storytelling that has subsequently become the norm. That tradition for innovation will continue in this new iteration, and --
-- I hope to create additional new forms of storytelling that will further push the television medium to the edge of what’s possible.
Let me conclude by just saying how supportive and enthusiastic everyone at the CW has been and is being with this project. They understand the --
-- unique position Babylon 5 occupies both in television and with its legions of fans, and are doing everything they can to ensure the maximum in creative freedom, a new story that will bring in new viewers while honoring all that has come before.
Onward!
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Very saddened to hear of the passing of Jeri Taylor. Jeri was co-showrunner on Jake and the Fatman (with her husband David Moessinger) and brought me onto the show based on a script I'd written for another show. At the time, I had never been on a network series, and 90% --
-- of my live-action work was in half hour shows, a very different format. Which is why CBS didn't want me on the show. They didn't think I had the chops for a network series. But Jeri and David fought like hell to get me on that show, and eventually prevailed. Not only --
-- was it my first network gig, which was important, Jeri and David took the time to teach me all the things I didn't know about TV writing but thought I did. They were kind, patient, and damned good writers. So when a showdown came between Jeri and David, as the --
The stunning thing about the news coverage over the last couple of days is the sheer number of pundits saying we're in "uncharted waters" to have something like this happen during a political campaign, and that's only true if you ignore the fact that it's not. In 1972 --
-- Alabama Governor George Wallace was running for President. Wallace was batshit crazy, a stone racist and segregationist who, per Jimmy Carter, had previously run "one of the most racist campaigns in modern southern political history." This was the same George Wallace --
-- who personally stood in the schoolhouse door at the University of Alabama to prevent black students from entering after integration had been ordered. So, as noted: racist, segregationist, batshit crazy, and everybody except the people who were --
Variations on this question have been coming up a lot lately, two in the same day (did you guys carpool?) so I’m going to go micro on this for future reference to save writing it again. When casting, you’re looking for someone who is, or can be, the very specific character --
-- that you, the studio, the network, and the producers have all refined and, ideally, made different from everything else out there. You see person after person, waiting for that one perfect match, the actor who is that character.
Having FINALLY found the actor who can be --
-- that character, which was the whole point of the exercise, why would you then just toss aside the character you fought so hard to create and find in an actor? The role exists to be filled by someone who can give you what you need to make what’s on the page feel real and --
For the last coming-on-three-years I've seen my primary responsibility as publishing and promoting Harlan's work--GREATEST HITS, the first two DANGEROUS VISIONS reprints and the debut of THE LAST DANGEROUS VISIONS--to the detriment of promoting my own work because I didn't want--
-- to distract by putting too many things out there. So now that all of the editing. So when in doubt, Harlan's work came first, and I snuck in my own where and when I could. But now that copyediting and design on THE LAST DANGEROUS VISIONS is finished, I wanted to back up --
-- a second and just let folks know that there are four of my books out there that I'm very proud of that might merit checking out. The first came out in 2019 right before the pandemic, so kind of fell off a lot of radars, is one I've mentioned here recently --
If I may whisper a word or two into your shell-like ears for a moment…because I’ve been thinking about all this day and my options are to keep chewing on it indefinitely or get it out, so this is me getting it out.
The other day I heard a comment I’ve noted with increasing --
-- frequency, spoken by people to creative folks, “You have to get out of your comfort zone.” It’s become so ubiquitous that it borders on cliché. And yes, I understand the validity of the statement, I’m not here to dispute it or discredit the notion; it has value and purpose --
-- But what bugs me is that you almost never hear people talking about the flipside to that equation, and I think it needs to be addressed.
Because the thing about creative people is that they’re always being pushed out of their comfort zone – telling stories, making music --
The job of the writer is to avoid falling into the trap of accepted cliche, one of which is the idea that humans are monolithic and everything changes once and never goes back or alternates from that point. We have streaming audio but also a huge industry for vinyl; by your --
-- that should simply not exist. Digital music is great, but we're seeing a rise in digital-to-audio tech because it sounds better. There's the cliche of "computers mean the end of paper!" when more paper than ever moves through my office. A writer's job is to step outside --
-- the cliche of what you're suggesting. Yes, you can get information via screens on B5, but why *not* have a little place where you can also get a printout? I invariably print up articles and other material to review even though I can read it on a screen. Even if it's just --