Jane

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JaneJanetJaney

Jane CallyJane EsoliaJane EspensonJane Seymour

This article has a separate continuity. This article is in the Miniseries novelization separate continuity, which is related to the Re-imagined Series. Be sure that your contributions to this article reflect the characters and events specific to this continuity only.

In the novelization of the Miniseries, the character known only as "Cally" in the aired Miniseries is given the name Jane Cally, suggesting that "Cally" is the deckhand's last name .

However, the official information for this character, as confirmed by series writer and co-producer Bradley Thompson notes the official name as Cally Henderson (and later, at the end of Season 2, as Cally Tyrol with her marriage to Galen Tyrol).

This difference in the novelization's content from the aired or sourced content makes the novelization a separate continuity from the Re-imagined Series.

This article has a separate continuity. This article is in the Dynamite Comics separate continuity, which is related to the Re-imagined Series. Be sure that your contributions to this article reflect the characters and events specific to this continuity only.

Jane
[show/hide spoilers] Spoilers hidden in infobox by default only.
Name	{{{name}}}
Age	{{{age}}}
Colony	Gemenon
Birth place	{{{birthplace}}}
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Birth Date	{{{birthdate}}}
Callsign	{{{callsign}}}
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Introduced	Battlestar Galactica 0
Last Known Appearance	[[{{{lastseen}}}]]
Death	Killed in the Sky King Disaster
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Family Tree	View
Role	{{{role}}}
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Jane is a Cylon
Jane is a Final Five Cylon
Jane is a Human/Cylon Hybrid
Jane is an Original Series Cylon
Related Media
Additional Information
[[File:|300px|Jane]]

Jane Esolia was a woman from Gemenon who has been killed in the Sky King Disaster six years prior to the discovery of the Returners. A copy of her is later found in Medivac 12 ^{(Comics: Battlestar Galactica #0)}.

Jane
Role:	Co-Executive Producer Writer
BSG Universe:	Re-imagined Series
Date of Birth:	July 14, 1964
Date of Death:	Missing required parameter 1=month! ,
Age:	61
Nationality:	USA
[{{{site}}} Official Site]
IMDb profile

Jane Espenson was a Co-Executive Producer and writer for the Re-imagined series of Battlestar Galactica, and an Executive Producer on its spin-off Caprica. She began writing for Battlestar Galactica in season 3 and joined the production staff in season 4.

Early Life and Career

Jane Espenson was born on July 14, 1964 in Ames, Iowa, where she admits she watched too much television. (Starsky and Hutch was reportedly a favorite.) At age 13 she took a stab at writing an episode of M*A*S*H.

She attended college at the University of California, Berkeley, studying linguistics as an undergraduate and graduate student. While in grad school, she submitted spec episodes to Star Trek: The Next Generation.

After winning a spot in the Walt Disney writers' fellowship (1992-93), Espenson worked in sitcoms for a number of years. She is also a Star Trek alumnus, having written the Deep Space Nine season 4 episode "Accession".

Buffy and Genre Television Career

Her first staff job on a drama was on Buffy the Vampire Slayer, which she joined in the middle of Season 3. Espenson wrote 23 episodes of the show, more than any other writer besides showrunners Joss Whedon and Marti Noxon. During her stint on Buffy, she wrote the Hugo Award-winning episode "Conversations with Dead People." Espenson would go on to write for two other Joss Whedon TV series, Firefly, and the Buffy spinoff, Angel.

Espenson did a year as Co-Executive Producer at Gilmore Girls, and brief stints as Co-Executive Producer of the cancelled FOX dramas Tru Calling and The Inside. Next, she served as Co-Executive Producer of the sitcom Jake in Progress, which was also short-lived.

Along the way, she also wrote an episode of The O.C. as well as several episodes of the animated series "The Batman." At the time she joined Battlestar Galactica, she was also working on comedian Andy Richter's series Andy Barker P.I.

Joining Battlestar Galactica

Getting the Assignment

Espenson actively pursued the opportunity to write for Battlestar Galactica, describing herself as "a huge fan of the series." She revealed in a 2006 interview with Battlestar Galactica: The Official Magazine that she essentially begged for the chance to work on the show.

"Well, I just begged!" Espenson explained. "I fell in love with Battlestar. I was so excited to sign my deal at NBC/Universal knowing that it was one of their properties. The first chance I could get, I told my agent to please, please, please get me a meeting with Ron Moore, who I knew a bit."

Espenson had met Moore many years earlier when she sold a premise to Star Trek: The Next Generation, where Moore worked as a story editor. "I met him many years ago on Star Trek: The Next Generation. I had sold a premise there and had very vivid memories of my meetings with Ron, who was a story editor at the time. I really liked him and thought he was really smart. I told my agents that he may remember me from a dozen years ago as a grad student just trying to get into the business. Sure enough, he must have remembered me, because I got the meeting."

When Espenson met with Moore and David Eick, she was direct about her intentions: "I went in and sat down with him and David Eick and I just said, 'I want to write for this show.'" The producers were in the middle of their production year and had no budget to hire a writer, but they did have enough money for one freelance episode. "Again, I just completely begged. 'Yes, anything. Give me anything. I'll write anything, just let me write an episode!' I knew I would have to do it pretty soon too, because I was being put on staff [at Andy Barker P.I.]."

Writing "The Passage"

Espenson was assigned to write "The Passage," the ninth episode of Season 3. Unlike many freelance situations where writers pitch their own stories, the Battlestar Galactica staff had already broken the episode before assigning it to her.

"I was very eager to get in there and right away, I got called in. I came in and they already had the 3x5 cards all pinned up to the corkboard. They had broken the episode into scenes and I didn't have to come in and pitch anything. I was so delighted because then I could start right away. It was a great episode. They had given me a really meaty one with lots of great stuff and this great tone."

Espenson compared the episode's structure to the Miniseries' opening: "In the first episode after the mini-series, '33,' you are dropped right into the middle of this tense situation from the very first frame, and my episode is just like that. I couldn't believe I was being handed such a plum! I was thrilled."

To immerse herself in Season 3's ongoing storylines, Espenson had an initial meeting with Moore and Eick where they discussed where the season was heading. "They loaded me down with scripts, so I got to go home and read scripts and outlines for things that hadn't yet been scripted, so I knew where the season was going. Then I had a day with the writers. Ron was there for half the day and then he went away to write. I was with the rest of the writers and I just pummeled them with questions."

Her questions ranged from broad thematic concerns to specific details: "Big questions about the overall arc for the show: where is it going, how much do you guys know, what do you consider Ron's attitude on the political stance of the show and the religious stance of the show? I asked a bunch of questions like that to make sure that I really understood the show and that I didn't have [a] gross misunderstanding on some level. I felt pretty good about that and then I was on my own writing with very little communication."

Creative Freedom and Collaboration

Espenson was surprised by the creative freedom the Battlestar Galactica staff gave her. "I had a lot more freedom than you normally have. I was told that I could have fun. I could experiment and introduce elements and move act breaks around. I got to know the writers, who are an amazing bunch, really sharp. They all agreed and said, 'Feel free.' It's very unusual, so I really had fun. I got to completely play around with it and introduce a lot of things that were my own. I changed something that I wasn't responding to and dropped a few extra characters that I didn't think we needed."

Despite the freedom, Espenson remained concerned about potentially damaging the series: "And every time I did it, I was like, 'I could be ruining the whole thing. I could be ruining my favorite show!' But I turned in that first draft and got such a good response."

The notes she received were consistent with feedback she had gotten throughout her career: "I got the note I always get which is, 'a little too much comedy.' My instinct and fear is that it's not entertaining if it's not comedic. Every year I learn that same lesson - that it doesn't have to be a joke to be interesting. I also upped the tension every draft. They kept saying, 'make it more tense and more dire.' Every draft I kept getting the kindest emails from the writers, encouraging me and pointing things out."

Some notes were technical in nature, addressing Espenson's unfamiliarity with specific aspects of the Battlestar Galactica universe: "I kept referring the ships as 'the' whatever. I also didn't know that if there are two ships and one has jumped, there can't be wireless communication between them. With the speed of sound all that makes sense, but I hadn't thought of that and in the last pass I had to change that."

Espenson wrote four drafts of the script, with each draft getting stronger. "I came in way long. I had to take out 10 pages, which was so painful. I wrote four drafts. Ron gives amazing notes that are sometimes very precise and sometimes very general, like, 'Make sure that we are really sensing that this character is feeling this way at this point. Maybe a scene earlier would help. It's up to you.' So they give you what mood to go for and you are given the freedom to figure out how to get there."

The collaborative nature of the Battlestar Galactica writers' room meant that Espenson's episode evolved as other episodes in the season developed: "Of course, they were also sending me every subsequent draft of all the other scripts that were being written. So I actually saw things changing in episode seven that affected my episode and I was able to adjust to them."

Integration with Season Arc

The biggest challenge came when Espenson was brought back for an additional day in the writers' room at Moore's house, where the staff was breaking episodes 10 and 11. "Again, I just begged, 'Can I come along?' They said sure, and I mostly just listened and that ended up having retroactive effects on episode nine because it had things I had to set up for 10 and 11. So I went home and rewrote it entirely to accommodate what was coming next."

Espenson explained how Moore's approach to giving writers freedom created both challenges and opportunities: "Ron gives the writers so much freedom that you can end up with episodes that don't match, so Ron does a lot of work in the second and third drafts to smooth all that stuff out so everything actually leads into everything. On a lot of shows, you actually finish one episode before you start breaking the next one and you end up with disconnects. On this show, because a lot of stuff is being written all at once and are in progress at the same time, they can be adjusted so you end up with that wonderful sense of things paying off and feeling surprising, but inevitable. You really get it because the episodes are considered chapters in a novel. It's all of a piece and it all makes sense and all pays off."

On Writing the Characters

When asked what was most fun to write, Espenson focused on the characters: "The characters. My God, just getting to write for Baltar and Adama... It really feels like writing for real people."

On the Show's Growing Recognition

Reflecting on the series' growing cultural impact in 2006, Espenson observed: "I really feel the year of the Battlestar happening. I feel critical mass happening. So many people are working their way through the DVDs or have them ordered or just finished watching them - a ridiculous amount of people. I feel like the mentions that it's getting in other programs, like the 'Rooster Rocket' comic strip and it was mentioned on The Office. You just hear about it mentioned in pop culture the way that you do when something starts catching fire, like the way Buffy did."

Regarding the possibility of writing another episode, Espenson expressed her enthusiasm: "I'm hoping. I'd like to think there would have been a second freelance episode, except that I am on staff at Andy, which I am thrilled about so I won't have time. I certainly would want to write another one. I would really like to be on staff there and we'll see what happens!"

Battlestar Galactica and Caprica Showrunner

Espenson's initial freelance work on "The Passage" eventually led to a staff position on Battlestar Galactica. During the last season of Battlestar Galactica, executive producer Ronald D. Moore began handing greater production and post-production responsibilities to Espenson.

She wrote and executive produced the DVD movie The Plan, and as Caprica began to develop from pilot to series in early 2009, Espenson was appointed as that series' showrunner. However, by November 2009, Espenson had handed the showrunner reins to Kevin Murphy, in order to concentrate on writing.

Espenson told science fiction blog io9:

"I'm still at Caprica. Running the room was very intensive and took a lot of time away from actually writing this amazing ambitious show. I missed the writing more than I expected and this was my decision to concentrate on that as we put together the big end of season one. Kevin is extremely smart and talented and brings fresh eyes and fresh energy to the project — we're so lucky to have him!"

Espenson continued to serve as an executive producer on Caprica until its cancellation.

Writer credits for Battlestar Galactica

• Season 3:
  • "The Passage"
  • "Dirty Hands" (with Anne Cofell Saunders)

• Season 4:
  • "Escape Velocity"
  • "The Hub"
  • "Deadlock"

• Other Media:
  • "Face of the Enemy" (with Seamus Kevin Fahey)
  • "The Plan"

Writer credits for Caprica

• Gravedancing (with Michael Angeli)
• Apotheosis (with Kevin Murphy)

See also: Episodes written by Jane Espenson

References

Commentary and Interviews

General References

External Links

• Jane Espenson website
• Jane article at Memory Alpha, the Star Trek wiki.

• Jane Espenson interview at GALACTICA.TV
• Jane Espenson Interview at AMCtv.com

Jane
{{{credit}}}
Portrays:	Serina
Date of Birth:	February 15, 1951
Date of Death:	Missing required parameter 1=month! ,
Age:	74
Nationality:	UK
Related Media
		@ BW Media
[{{{site}}} Official Site]
IMDb profile

Jane Seymour, OBE was born Joyce Penelope Wilhelmina Frankenberg on 15 February 1951 in Hayes in the UK as the daughter of a British obstetrician and his Dutch wife. She took the stage name of Jane Seymour at the age of 17.

She has had a long career in both film and television, beginning in 1969 with an uncredited role in Richard Attenborough's film version of Oh! What a Lovely War. From 1972 to 1973 she played her first major TV role as "Emma Callon" in The Onedin Line. Her first major international role was Bond girl "Solitaire" in the James Bond film Live and Let Die. In 1978 she played Serina in the Original Series pilot movie ^{(TOS: "Saga of a Star World")}. When Battlestar Galactica went to series they tried to contract her as a main cast member, but she wasn't interested and was killed off in the third episode ("Lost Planet of the Gods, Part I" and "Lost Planet of the Gods, Part II"). It remained one of her most memorable minor TV roles. She further appeared in East of Eden, Oh Heavenly Dog, Somewhere in Time and War and Remembrance. She's best known for her part as "Dr. Michaela Quinn" in the TV series and movie Dr. Quinn, Medicine Woman from 1993-2001.

On New Year's Eve, 1999 she was named Officer of the Order of British Empire (OBE) by Britain's Queen Elizabeth II. She's Official Spokesperson for UNICEF, International Ambassador for Childhelp USA and Honorary Chairperson for City Hearts. She became a U.S. citizen on February 11, 2005.

Seymour has been married four times: Michael Attenborough (1971-1973), Geoffrey Planer (1977-1978), David Flynn (1981-1992, with two children, Katherine and Sean) and James Keach (1993 -2015, with twins Johnny and Kris).

Seymour continues to act, having recently guest-starred as a law-school professor on an episode of the sitcom How I Met Your Mother and as a wealthy client on the legal drama Justice. She currently guest stars in the sitcom In Case of Emergency and will appear in season 5 of the reality TV series Dancing with the Stars.

External Links

• Jane Seymour official website
• Jane Seymour on how she got the part of Serina

• Jane article at Wikipedia, the free encyclopedia.

Janet LansburyJanet Lynn Curtis

Jane
PerformerTOS
{{{credit}}}
Portrays:	Lt. Brie
Date of Birth:	July 10, 1959
Date of Death:	Missing required parameter 1=month! ,
Age:	66
Nationality:	USA
Related Media
		@ BW Media
Official Site
IMDb profile

Janet Lansbury (born Janet Louise Johnson on 10 July 1959) is an American former actress, model, and current parenting educator who portrayed Lieutenant Brie in the Original Series. She is also credited as Janet Julian for much of her acting career.

Early Life and Modeling Career

Born in Evanston, Illinois, Lansbury grew up in the San Fernando Valley as the third of four daughters. She began her entertainment career at age 12 with the role of an innkeeper's daughter in an episode of Glen A. Larson's television series Alias Smith and Jones in 1973.

After graduating from North Hollywood High School in 1976, where she was elected homecoming princess, Lansbury attended the University of California, Los Angeles for one year before moving to New York City to pursue modeling.

As a teenager, Lansbury lived in modeling agent Eileen Ford's brownstone in New York and worked as a print and commercial model, appearing in advertisements for Teen and Seventeen magazines and commercials for Herbal Essences shampoo. She also made a guest appearance on The Mike Douglas Show modeling clothes.

Reflecting on this period, Lansbury later described being "catapulted into a fast-paced life as a teenager" and acknowledged that she "lacked the maturity to handle all that came my way." She experienced the nightlife of the era, including dancing at Studio 54 and socializing with celebrities, but found some situations overwhelming.

Acting Career

Television Work

Lansbury's breakthrough role came in 1978 when she won the part of Nancy Drew in The Hardy Boys/Nancy Drew Mysteries, replacing Pamela Sue Martin who had left the series.

Throughout the late 1970s and 1980s, she made guest appearances on numerous television shows, including The Waltons, Simon and Simon, Swamp Thing (as Dr. Ann Fisk), Falcon Crest (as Cookie Nash in 1989), Murder, She Wrote, Diagnosis Murder, Columbo, 240 Robert, and Fudge.

Battlestar Galactica

In the Original Series, Lansbury portrayed Lieutenant Brie, one of the female Colonial Warriors serving aboard Galactica. Her character appeared in "Lost Planet of the Gods, Part I", "Lost Planet of the Gods, Part II", and "War of the Gods, Part I."

Other Glen Larson Productions

Lansbury appeared in several other Glen A. Larson productions throughout her career, including B.J. and the Bear (as Tommy), The Fall Guy, and Knight Rider. She later humorously noted that she was "one of the few actresses who can brag about costarring with a chimp (B.J. and the Bear), killing a monster in the movie Humongous, and falling in love with Swamp Thing on TV."

Film Career

Lansbury's first film role was as a Party Girl in the 1978 John Milius film Big Wednesday, where she was credited as Janet Johnson. She appeared in several notable films including the 1982 slasher film Humongous, and two films directed by Abel Ferrara: Fear City (1984) and King of New York (1990) where she played Jennifer.

Personal Life

Lansbury married Michael Lansbury, the nephew of actress Angela Lansbury, on 6 May 1990. She met her future husband at a dinner party in the Hollywood Hills after becoming "completely fed up with dating" in her late twenties.

The couple has three children, who are now grown adults. Lansbury left acting in 1995 specifically to focus on raising her family.

Career Transition to Parenting Education

RIE Training and Teaching

After the birth of her first child, Lansbury sought guidance from renowned infant expert Magda Gerber, who became her mentor in the early 1990s. Inspired by Gerber's philosophy, Lansbury became a RIE (Resources for Infant Educarers) Parent/Infant Guidance Class instructor.

She has served on the Board of Directors of Resources for Infant Educarers since 1995 and teaches RIE Parent/Infant Guidance Classes. Her approach focuses on treating "babies as whole people from the very beginning and respecting them."

Writing and Media Career

In 2009, Lansbury began a parent education blog that grew to include over 400 posts. She has published two bestselling books: Elevating Child Care: A Guide to Respectful Parenting and No Bad Kids: Toddler Discipline Without Shame.

In 2015, she launched "Janet Lansbury Unruffled," a weekly podcast series about respectful parenting that addresses common parenting issues through the lens of respectful childcare philosophy. The podcast became top-ranked in its category and is recommended listening by The Washington Post. She has recorded over 200 episodes and also offers private parenting consultations.

Her parenting advice philosophy emphasizes seeing children as "unique, capable human beings with natural abilities to learn without being taught" and focuses on building relationships with children from birth.

References

External Sources

Production History

Commentary and Interviews

Jane
PerformerTOS
{{{credit}}}
Portrays:	Sorrell
Date of Birth:
Date of Death:	Missing required parameter 1=month! ,
Nationality:	USA
Related Media
		@ BW Media
[{{{site}}} Official Site]
IMDb profile

Janet Prescott (credited as Janet Lynn Curtis in Battlestar Galactica, J.C. Larson, and later Janet Prescott-Curtis) is an American actress and producer who portrayed Sorrell in the Original Series episode, "Lost Planet of the Gods". Born in Tulsa, Oklahoma, she moved with her family to California at age 10.

Early Career and Acting

Prescott began her acting career as a contract player at Universal Studios from 1977 to 1980, working on various television shows before becoming a series regular.

As Janet Lynn Curtis, her acting roles were mainly in Glen A. Larson productions, most notably in the recurring role of Margaret Ellen (a waitress) in The Misadventures of Sheriff Lobo (1979-1981). Her other television appearances included The Hardy Boys/Nancy Drew Mysteries (1977), B.J. and the Bear (1978), and Battlestar Galactica (1978).

Marriage and Career Transition

On 29 August 1982, Curtis married Glen A. Larson, becoming his second of three wives. Following their marriage, she segued from acting to producing, with her first production credit as Associate Producer on The Fall Guy (1981) at 20th Century Fox Studios.

During the production of The Fall Guy, the couple had two daughters: Danielle Linnea Larson born 11 May 1984 and Nicole Kristyn Larson born 22 January 1986.

Production Career

After The Fall Guy, Prescott became Vice President of Glen Larson Productions for 18 years and served as a producer on numerous 1980s and 1990s Larson productions. Her production credits include P.S.I. Luv U (1991), One West Waikiki (1994), and NightMan (1997), which was the last of her collaborations with Larson.

Personal Life

Prescott became stepmother to Larson's four children from his first marriage: Eric, Chris, Michelle, and D.G. Larson. In 1998, she petitioned for divorce from Glen Larson, though the proceedings were not finalized until 24 December 2008.

Legal Proceedings

In 2013, Universal Studios' legal counsel, led by Scott Edelman at Gibson Dunn, subpoenaed Prescott and Carol Jean Gourley (Larson's first wife) for information relating to their divorces from Larson. This action was part of Universal's defense against Larson's claim that "Hollywood accounting" from the studio withheld unpaid royalties and related earnings from his various productions from the 1970s through the 1980s, including Battlestar Galactica and Knight Rider. Prescott's counsel filed motions to dismiss these subpoenas citing attorney-client and attorney-work product privilege, while Larson's counsel Neville Johnson responded by filing motions to limit such subpoenas, citing the efforts as being part of a "fishing expedition" and "egregiously overbroad."

References

External Sources

Janey

Jane
[[File:|300px|Jane]]
[show/hide spoilers] Spoilers hidden in infobox by default only.
Name	{{{name}}}
Age	{{{age}}}
Colony	Picon
Birth place	{{{birthplace}}}
Birth Name	{{{birthname}}}
Birth Date	{{{birthdate}}}
Callsign	{{{callsign}}}
Nickname	{{{nickname}}}
Introduced	Blood and Chrome
Last Known Appearance	[[{{{lastseen}}}]]
Death	{{{death}}}
Parents	{{{parents}}}
Siblings	{{{siblings}}}
Children	Anslem
Marital Status	Married to Jim Kirby
Family Tree	View
Role	{{{role}}}
Rank	{{{rank}}}
Serial Number	{{{serial}}}
Portrayed by	Not shown
Jane is a Cylon
Jane is a Final Five Cylon
Jane is a Human/Cylon Hybrid
Jane is an Original Series Cylon
Related Media
Additional Information
[[File:|300px|Jane]]

Janey is the wife of Viper pilot Jim Kirby and mother of their son Anslem circa 42 BCH (58YR). She believes her husband was killed in action when his ship, the battlestar Valkyrie, was reportedly destroyed near Canceron Prime. In reality, Kirby is alive but serving in the secret "ghost fleet" and officially listed as deceased by the Colonial Fleet.

Janey lives on Picon as a single mother, unaware that her husband is still alive ^{(TRS: "Blood and Chrome")}.

Script Version Details

The pre-production script for Blood and Chrome provides significantly more background information about Janey and her situation than appears in the final production. According to the script, Janey's father was named Anslem, and she chose to name her son after him. This detail becomes particularly significant when Jim Kirby learns about his son and changes his Viper call sign from "Goldbrick" to "Anslem" in honor of the child he has never met.

The script reveals that Janey became pregnant during Jim Kirby's last leave before Valkyrie was deployed to the ghost fleet, but was unaware of her pregnancy when she and Kirby last spoke approximately a month after conception. This means she discovered her pregnancy after already believing her husband was dead, adding to the emotional complexity of her situation.

Coker Fasjovik, who visited Janey during a leave on Picon, describes her as being "on her own" but "not exactly on her own" due to having the baby. The script suggests she has not remarried, despite Kirby's concern that she might have found someone else given the circumstances of his presumed death. Janey's situation exemplifies the human cost of the Colonial Fleet's ghost fleet operations, where personnel were required to witness their own death certificates to maintain operational security, leaving families to grieve without knowing their loved ones were still alive.

Learning about Janey's situation and their son profoundly affects Jim Kirby's military commitment. In the script, this knowledge ultimately influences his decision to abandon his mission during the Battle of Djerba, choosing potential survival and return to his family over military duty.

Notes

• Janey represents one of many military families affected by the First Cylon War's impact on Colonial society, particularly the secret operations that required complete separation from civilian life.

• Her story illustrates the broader theme in Blood and Chrome about the personal costs of military service and the difficult choices faced by those serving in covert operations.

• The character serves as an unseen but important emotional anchor for Jim Kirby's character development and moral conflict between duty and family.

References

For direct navigation sans the tabbed navigational aid above, please select one of the following article links:

• Jane Cally
• Jane Esolia
• Jane Espenson
• Jane Seymour
• Janet Lansbury
• Janet Lynn Curtis
• Janey