So, we were using those kind of naming conventions with Indra. We use Huxley's naming conventions - he named Soma the drug after Hindu mythology.
Although, he brilliantly predicted pretty much everything else. And we figured out how the clone batches might be named and numbered. I feel like naming the Epsilons - the Epsilons don't really have names in the book. MORRISON: There was a whole bunch of stuff. How much do you feel like ultimately was something you brought into the show? You talked about having a bible for the show, and in general it feels like there's so much that the writers ended up bringing into the overall mythology of what Aldous Huxley originally created. Because I think once we apply all those genius minds to what may happen, anything could happen. So, now I really want to protect it at that point. So, that's the sort of thing that comes out of the hardcore discussion that went on for over a year in the writer's room for Brave New World Season 1. And there hasn't even been a renewal for it yet. What kind of a path do you feel like those seasons would take? It's not one of those stories where the savage, although he'd punched someone in the nose, by not punching someone in the nose, it warns against the notion of the natural authentic man rising up and beating the hell out of this synthetic human. It's about showing this culture has actually been stronger. We've moved on beyond all these notions and ideas. And in this world, it just doesn't happen. He thinks he can create an uprising of the exploited. America's fallen and he's still thinking in the old way. And the converse of that is John, John the Savage, who comes from a culture that's degraded. And being the person who what she learns in the Savage Lands is actually able to improve and evolve the society without tearing it down.
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Because we wanted to see her in a Beta Plus status, where she's found a certain role in life. It's about seeing if a utopia can be improved.Īnd that was part of why the character of Lenina was more foregrounded. So, we decided, let's look at what works here and then examine the utopia. There is no want, except for people who chose to secede from the World State and the World State culture. And in what ways is it better than the world we live in? There is no hunger. So, what we wanted to do was let's take Huxley's world on its own merits and look at the ways in which it might actually work. So, we've seen it in things like Westworld or Metropolis or so many things, and usually all of those stories end with a riot in the streets and everyone's dead and the treasures of civilization lie in ruins and we're supposed to applaud at this point. It's such a token in science fiction and it's again a Marxist idea of the proletariat revolt. MORRISON: Well, I felt we'd already seen so many stories where we see the oppressed underclass rising up.
Why were you interested in coming at the story from the utopian aspect? He also gets into other projects he's been working on lately, including a script for a Flash film he collaborated on with Ezra Miller. Via phone, he talked about how he approached the story, whether or not they ever considered making the show as a limited series, and why they made certain changes from the original text.
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Morrison, well-known in the comic book world for his wild takes on superhero tales, was involved in finding ways to update and expand upon Huxley's original text in ways that would make it work as a TV show, something he had experience with after being involved in the SYFY adaptation of his graphic novel series Happy!. However, it also was in some ways a product of its era, especially when it came to things like the treatment of its female characters, which was something writer Grant Morrison knew when he signed on to executive produce the Peacock series adaptation. The classic novel Brave New World is a remarkably prescient work of fiction, as Aldous Huxley's 1932 take on a not-exactly-utopian future society tapped into a number of issues that would end up becoming a regular part of our lives.
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