As “Roswell” fans, we often lament that we only got three seasons. But a positive way to look at it is that we got two bonus seasons after the commercial failure of the first season, entirely because of the small-but-passionate fanbase. Season 1 is the only season where “Roswell” achieves greatness, and that’s the season that most sticks in my mind – and I’m guessing that’s true for other “Roswell” fans too. But the sequel seasons never sink so low that I regret their existence.
Adramedy starring Brittany Snow and produced by Jason Katims should be at the top of my list of must-see fall shows, but the preview for “Almost Family” (Wednesdays, Fox) looked somewhere between weird and bad. The pilot episode of this series based on the Australian show “Sisters” (and probably with less input from Katims than his past shows, like “Friday Night Lights” and “Parenthood”) turns out to be surprisingly not terrible. But it lacks a great hook or winning formula, which explains why the makers of the trailer had a hard time cutting together something that’s easy to define.
Mistakenly, I had it my head that Max and Liz – aside from a few brief stretches where they are apart — are a couple throughout the three-season run of “Roswell.” On this rewatch, I was surprised to realize they are split up through the entire 21-episode run of Season 2 (2000-01, WB). Yet this season illustrates why I had the mistaken impression, and why “Roswell” is a special show.
Roswell’s” Max and Liz are my favorite TV couple of the “meant to be together” type. There’s admittedly something fantastical, idealistic and possibly even unhealthy about fixating on this type of love. But it’s so beautifully portrayed thanks to the chemistry between shy starman Max (Jason Behr) and journal-writing girl-next-door Liz (Shiri Appleby) that I allow myself this one diversion into the idea of soulmates.
Iwas never involved in theater in school, but I learned to appreciate it during my years covering arts and entertainment for newspapers (even if my love of music, movies and TV was why I initially sought those jobs). Not to discount the pleasure of seeing a well-performed play or musical, but what I most remember is the theaters themselves and the groups of high school or college students or community members who performed in them.
“Roswell” Season 3 (2001-02, UPN), episodes 1-11 — For superior characters and storytelling than “Smallville,” and pop music selections that are even better, check out “Roswell” (8 p.m. Tuesday, UPN). The show has some of the most loyal fans you’ll find (they voted “Roswell” the Most Anticipated Returning Show in an Entertainment Weekly poll), and they are being rewarded with the best season yet (although low ratings will no doubt make it the last). After dodging the FBI and assorted evil aliens, Max Evans (Jason Behr) and company now face their most fearsome opponent: their parents, who are starting to get suspicious of their kids. It’s shaping into a compelling arc: the fact that good parents and good kids could end up as enemies is more powerful than if we were dealing with standard dysfunctional families.
ndsu spectrum: tv Review
Clever stories and tragic romance propel revamped ‘Roswell’
By JOHN HANSEN
Feb. 23, 2001
Like “The X-Files,” “Roswell” has bounced back this year after some rocky moments late last season. New producer Ronald D. Moore (“Deep Space Nine”) probably deserves most of the credit, as his sci-fi expertise has led to some extremely creative episodes.
NDSU Spectrum: TV review
‘Roswell’ steps in to fill looming ‘X-Files’ void
By JOHN HANSEN
Something became apparent early on when viewing the pilot episode of “Roswell.” Any preconceptions on the viewer’s part should be left behind, because this “aliens in high school” show is full of surprises. Something else became apparent, too: Regardless of the destination, it would be a fun ride. And with that other alien paranoia show, “The X-Files,” nearing the end of its run, “Roswell” comes along at a perfect time.
Coming after “Thirtysomething” and “My So-Called Life” (their biggest commercial success and biggest cult hit, respectively) and before “Once and Again” (their most acclaimed series), “Relativity” (1996-97, ABC) is a forgotten entry in the oeuvre of producers Marshall Herskovitz and Edward Zwick. It shouldn’t be, as this is a lovely 17-episode exploration of 20-somethings in the same way the other series focused on teens, 30-somethings and 40-somethings.
Although I’m a big fan of the Nick Hornby novel and the Hugh Grant movie, when I heard that “About a Boy” (8 p.m. Central Tuesdays on NBC) was being made into a TV series, I wasn’t all that excited. It seemed like the book and the movie effectively told the full story of how a cool 30-something and an uncool 11-year-old boy helped each other find what was missing in their lives.