Granted, it did go for five seasons and 114 episodes so it wasn't an all out failure. But then you year cast members from the original show like Jeannie Garth say that the latter cast "lacked chemistry (http://www.gossipcop.com/jennie-garth-tori-spelling-sirius-xm-beverly-hills-90210-chemistry-shannen-doherty-mystery-girls-listen-audio/)". And then you have Ian Ziering say (https://tvline.com/2019/08/07/ian-ziering-shades-90210-the-cw-reboot/) that the newer version (https://moviechat.org/tt1225901/90210) was more of a soap opera than something more issue-oriented.

I never got around to seeing 90120 (https://tvtropes.org/pmwiki/pmwiki.php/Series/BeverlyHills90210) when it was on The CW, but from what I've gathered, the first season tried too hard and spend too much time paying homage to the original like with cameos and the Peach Pit, not realizing that the target audience most likely hadn't seen the original (given that they were either really small children or not even born yet during its prime). It also was apparently, overshadowed by Gossip Girl, which was decidedly more glamorous, witty, and intriguing.

Exclusive: Beverly Hills 90210 Producer Talks College Years, Slams New 90210 (https://teendramawhore.com/2010/01/17/beverly-hills-90210-producer-talks-college-years-slams-new-90210/)

TDW: Let’s go to 2008 when you first heard they were going to do a new version of 90210. What was your reaction?

Mollin: Well, I just figured it would suck because they weren’t bringing anybody in with any mandate, who would understand the characters they had to write. It was all just about the title Paramount had sold. The old man would’ve never had done that. For all his failings, he certainly was protective of the material. He never would’ve let somebody just jump over without having taken care of it. They just sold the title, basically, and didn’t care what people did with it. To Paramount, it was just a piece of software. I was concerned. I liked the idea of Rob Thomas at first, because I thought he was a good writer. I liked some of the earlier stuff he had did. But then he was off and, just reading what they were doing, I was like “Wait a second. Do they not have any idea what they’re doing?” I realized right away and I just went, “Oh my god.” Once they had that Rob Estes [Harry] was going to be the principal of the school, I was “Oh, this is f***ed.” That should be the least important part. We would never be in school. That’s the worst thing to do. It’s the biggest mistake to set it even more in school. It was really stupid. And, you know, to have him involved in that, to have adults involved in that, that was really kind of lame. So I didn’t think it would be good but I did watch the first one. They didn’t know how to build or have anticipation. They didn’t know how to make a kiss important. At least Dawson’s Creek understood that. You don’t rush over these moments. You don’t just throw them out. ‘Cause then there’s nowhere to go. These are teenagers. It was just ridiculous, I thought. Jennie, she had her part and would do what they said. It’s not her fault. She was just playing the character but it had nothing to do with the character that we had set up. Then once they started making a decision about a child [Sammy] and who was the father, I just had to stop paying attention. It just irked me because they had no mandate to do these things. They had no equity. They were making decisions on this legacy, which, now, if we were ever going to pick it up again, we have to deal with.

TDW: I want to make sure I have this right. Paramount essentially sold the title, the rights to the name, to The CW and their production company.

Mollin: Yes. They had to make a little deal with Darren to pay for his characters, I guess. Every time you use one of the characters we created–like, if Valerie ends up on the show–you have to be paid. But otherwise, they just did what they wanted.

TDW: And you know for a fact that no one from the original was asked to help.

Mollin: Nope. In fact, Chuck tried to get a job there and they shot him down. They asked to see his daughter. They interviewed his daughter for a job and not him. She didn’t get it either and he was upset with that. But, no, there was nothing. They weren’t interested in what we had to say. They weren’t interested in anything.

TDW: In a conversation we had before this interview, you said the new show was guilty of a “brand abuse” and “revisionist history.” Can you elaborate on that?

Mollin: It is brand abuse. They basically took a brand and watered it down–by making it worse and not being true to it. They made the brand worse. Rather than people remembering our show–well, I don’t know if people are even paying that much attention to this show. It’s still on but it gets only a 2 rating or something. Like I said, we hope that if they use characters of ours that we get paid. That’s all we can do. It’s just embarrassing. Just when I hear what they’re doing–like that Jackie Taylor [Ann Gillespie] died–it just irks me. And it’s not that she couldn’t die, it’s just that these people have no right to make these decisions. Darren, I’m sure, just had to turn his back to it because I’m sure it’s hurtful for him.

TDW: So you think if Aaron was alive, this wouldn’t be happing?

Mollin: It would’ve been handled in a different way. He would’ve been on it and he would’ve been protective of it. Absolutely. I mean, he’s a good showman. He has his idiosyncrasies and he could be mean and powerful and cruel–and loving–but he cared about his material. He’s a great showman and we learned a tremendous amount from him about what it takes. I really value the time that I worked there. It was great working with these people. You really learn the business from old-time showmen, not corporate people, not people that went to college for whatever. People that understand that we’re entertainers. He would be very protective of that.