The below reviews were originally posted on a site called the Bullpen that concentrated on several shows, including the X-files and Buffy as well as Roswell.
Unfortunately the reviewer only did a few episodes from season 1.
Season One
"285
South"
Review by Beth Swik
Episode: 1X05, Original
airdate 11/10/99, Rebroadcast 03/08/00
Writers: William Sind and Thania St. John
Director: Arvin Brown
Rating: **** (out of four)
"Sometimes you end up with
the most revealing details just by
putting the right people together."
Well, after sitting in front
of the television for a full hour without
moving, I'd have to say that "285 South" ranks as the best episode
ROSWELL has produced since the pilot. And this was only the
first half of a two-part story arc to be concluded in next week's
"River Dog." Exec producer and Star Trek: The Next Generation
alum Jonathan Frakes comes on board to direct that one, and if the
conclusion is even half as compelling as this first installment, I'll
be satisfied.
Till now, the series has
been fairly lax on giving us a definitive
"mythology" relative to the aliens' background and their true
purpose here on Earth. Instead, we've spent a lot of time getting
to know the characters and their individual motivations, as well as
discovering exactly who are the adversaries facing off against our
favorite protagonists.
"285 South" picks up the
pace and does a fantastic job of
combining all of the above elements into a dynamic story that
reveals a great deal of information, even as it leaves behind a more
important set of questions. Additionally, it forces the gang to
interact in situations that lead to real character movement and a
better appreciation of the impact they all have on each other's
lives.
The plot in this episode
centers on Michael's quest to make sense
of the strange visions he's had concerning the home of a noted
ufologist -- a place that may contain information vital to the
history of the three aliens. He narrowly escapes the legal
backlash from an ill-timed invasion of the Roswell UFO Center
where he learns the location of his goal in nearby Marathon,
Texas. Thwarted by his fellow alien companions, he continues his
reckless search for answers, even to the point of dragging along a
reluctant human companion in Liz's quirky friend, Maria. When
Liz, Max and Isabel discover what is happening, they set off after
the pair, hoping to prevent the disaster brewing on the New
Mexico/Texas horizon.
Ultimately, what we see in
"285 South" is a successful blend of
resourcefulness and determination on the part of our heroes, in
spite of their sometimes glaringly divergent personalities. And
this story is proof of what people working together can
accomplish when they lay aside their differences and focus
instead on a common goal. In the end, the characters find
themselves identifying with each other in ways they probably
never even dreamed of.
This is one of ROSWELL's
unique strengths -- putting people
together in situations that are bizarre, but also believable within
the context of the series. Such scenarios provoke and encourage
change, allowing us to understand the characters better. With that
understanding comes the inevitable attachment. And that's
certainly one of the main reasons why I have no problem
putting all other things aside for an hour on Wednesday nights to
watch this spectacle unfold.
Maria doesn't want to be
along for the ride in this episode, but she
ends up supporting Michael's mad chase once she gets an inkling
of just how important it is to him. Michael, for his part, is
reluctant to unwind, and only does so initially under duress. But
as the story unfolds, both the character and the audience begin to
understand that opening up actually sparks a number of
opportunities that he might not have had otherwise.
The interaction between
Delfino and Fehr is stellar here, and it's
nice to see these two settling into their roles at last. Maria isn't
so much wacky in this episode as she is resourceful and
understanding. Michael isn't so much arrogant and withdrawn as
he is committed to finding something outside himself. And
though both are obviously clinging to a hefty set of protective
mechanisms, it isn't enough to keep them from embarking into the
trickier realm of personal territory with each other.
Their scenes are rife with
an intriguing blend of humor,
exasperation, awkwardness and vulnerability (the look on
Michael's face when that alien head inflates is simply priceless),
and it's really the key to what makes this episode so entertaining.
Sind's and St. John's dialogue fairly crackles with restless energy
as the two characters manage to overcome one obstacle after the
other.
But Michael and Maria aren't
the only ones at odds in this
tale. The short, but significant scenes between Isabel and Liz
have a story to tell as well. The initial hostile commentary
between these two on the road eventually gives way to some
important insight into Isabel's character. When Liz correctly
guesses the source of the other girl's antipathy -- the fear of
losing Max -- we see that much of Isabel's 'tude is really the
result of concern for her alien "family." When Liz expresses a
similar fear, Isabel realizes that they may in fact have more in
common than first thought.
Even Max succumbs to the
general "us vs. them" mentality at a
few points, trying to exclude Liz after they've tracked Michael and
Maria down. Whether his suggestion was motivated by a desire to
protect her or not, I found myself cheering for Liz when she
finally challenged all three aliens to move forward -- with their
human counterparts -- reminding them that no matter what the
circumstances, no matter what the opposition, they're all in this
together.
And the opposition,
including ex-boyfriend Kyle, was out in full-
force this episode.
For starters, we have
Topolski and the FBI shadowing the gang's
every move. Smart though she must be, I find it ironic that
Topolski doesn't have a clue where these kids are concerned. Her
initial pairing of the various personalities in the hopes that they
might slip up seems to have been something of a failure. If
anything, the group of them working together was in better
position to succeed where an individual might have failed.
She did, however, manage to
thwart Sheriff Valenti's own personal
crusade, something I'm guessing he'll be unlikely to forgive in the
future.
Of the two, I tend to
dislike Topolski more because she really has
no personal stake in all that's happening. Her slick, covert tactics
tend to reek of subversiveness and dishonesty -- a real breach of
faith with the kids whom, undercover or not, she happens to be
influencing at the school.
But for Valenti, it is very
personal. And while that makes it easier
to understand why he does the things he does, I think his
obsession will eventually prove to be his undoing. Shame on
Valenti Sr. for taking advantage of his son's ongoing vulnerability
at the loss of Liz by pumping him for information on the
whereabouts of the other kids. Kyle's awareness of his father's
manipulation was quite apparent in the end -- something the older
Valenti ought to consider before his insensitive behavior pushes
an already tense relationship with his son to the breaking point.
As for Kyle, the potential
for trouble with him has probably
increased tenfold with this outing. And though he's obviously
there to stir the pot, I still find him to be a very intriguing
character. That has a lot to do with Wechsler's talent. The range
he gives us here, from quiet sarcasm to intense hurt and bitter
regret is quite compelling. I suspect Liz and others' problems
with him are far from over.
The end of "285 South"
leaves us hanging, of course. And I'm
putting my faith in Katims and Co. that next week's episode will
shed some real light on the back story surrounding the truth of
aliens' existence in Roswell. This first part was certainly
successful in laying the groundwork for that. It also gave us a clue
as to what we can expect in terms of future relationships between
certain characters.
The series creators did a
great job of catching up a lot of the bits
and pieces of information we've be given up until this point, and
we now seem to be poised on the brink of making real progress in
terms of the story's evolution.
If I were introducing a
newcomer to this series without the benefit
of the pilot, "285 South" and its follow-up are definitely the
episodes I would recommend.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- **TABASCO ALERT** Forget
the ketchup, Ms. Parker. Kyle
and Max are already in the groove with that nifty bottle of *green*
Tabasco on their table at the Crashdown. And then of course, we
have Michael spicing up a candy bar while taking a snack break at
the roadside motel. I guess the McIlhenny Brand Pepper Sauce is
the E.T. version of the American Express card. Don't leave home
without it.
-- The creative naming
department gets a gold star for another one
of those nifty Roswell landmarks. Now we have the "Lift Off" gas
station to go with the "Crashdown" cafe.
-- Nice to see Michael Horse
making an appearance as the
Sheriff's deputy again. Anyone living in New Mexico or even
anywhere in the southwest probably can't help but be struck by
ROSWELL's lack of a definitive Native American or Hispanic
presence on the show. Diversity really is one area where this
series could stand to do a little bit of work.
-- Speaking of diversity, I
have to admit I was impressed by
Michael's reference to James Joyce's "Ulysses." And by the fact
that Maria seemed familiar with it as well. I'm still finding it a bit
hard to swallow, though. As a literary reference, it seems a little
bit arcane. Any high school students or teachers out there like to
comment? In my day it was mostly Hawthorne, Dostoyevsky and
Steinbeck who ruled the hour. But perhaps Michael has been
doing some literary research on his own....
-swik
"So, you guys think that
this key is going to unlock the dome, and
then...you're going to find something there. Something that's
going to help you figure out where you actually come from."
"Yes."
"Then what are we waiting for?"
"River
Dog"
Review by Beth Swik
Episode: 1X06, Original
airdate 11/17/99, Rebroadcast 03/15/00
Writer: Cheryl Cain
Director: Jonathan Frakes
Rating: *** (out of four)
"The assignment is to
observe the subjects and determine whether
or not the theories about them are substantiated."
Well, I have to admit that I
went into this episode with a lot of
high expectations based on the exciting lead-in we got with "285
South." Unfortunately, I can't say I was as completely entertained
this time. But neither was I completely disappointed.
One thing I can say for
certain with "River Dog" is that is deviates
more than a little from the strong, character-based storytelling
that I've come to identify with this show. And that's okay. A lot
of people have been calling for a better balance with the
underlying plot arc that supports the series' premise.
The key word here is
"balance." Without the usual heavy dose of
characters, relationships and the ensuing emphasis on interaction,
"River Dog" needed to give us something equally substantial in
return. In some ways, it did. Advancing the mythology.
Identifying all the villains and their role relative to our heroes.
Setting up connections and conflicts for future exploration. And
all this with some fairly compelling action sequences interspersed
throughout the story.
"River Dog" picks up right
where "285 South" left off -- in the
secret basement of Atherton's home in Marathon, Texas. Max,
Liz, Maria, Michael and Isabel all manage to escape FBI Agent
Topolski and Sheriff Valenti with some evidence in tow -- clues
that will hopefully point the kids in the direction of determining
who they are and where they come from.
As it turns out, there's
only one piece of evidence that actually
matters -- a pendant with an unusual symbol that sparks
recognition by all three of the aliens, though they aren't sure of
it's true meaning. And it's the search for such significance that
ultimately leads to even more mysterious clues in the wake of the
FBI's overzealous (and frankly, illegal) invasion of the Evans
home.
The Sheriff's deputy
recognizes the pendant Isabel is wearing and
he unknowingly points the gang in the direction of the local Indian
reservation just outside Roswell. Upon investigating, Liz and Max
meet River Dog, a wise old member of the reservation with a
hefty splash of the dire thrown in to make his character more
interesting. Under his direction, the two learn some difficult and
even ominous facts surrounding the unknown "fourth" alien --
including his role in the death of Atherton, as well as an
indecipherable message left behind for others like him who might
one day follow.
If it sounds as though
there's a lot happening here, there is. For
the first time, the aliens are in possession of an artifact with a
genuine connection to their actual origins. Also, they know that
almost certainly their safety, security and perhaps their lives are
in danger from the government forces convening upon Roswell.
Not only because of Valenti's and Topolski's heavy-handed tactics,
but also with the story of the "fourth" alien's paranoia in his last
days on the reservation as told to them by River Dog.
Furthermore, they know that Atherton died under suspicious
circumstances, intentionally or not, at the hands of their fellow
alien.
As if that's not enough,
there's more. As viewers, we are treated
to a confrontation that leads to a possible union between two of
the series' main antagonists, Sheriff Valenti and Agent Topolski.
That's after we add Kyle Valenti into the mix, arrayed most
definitely now against Liz and the others, with a personal agenda
all his own. And, perhaps even more interesting is the raising of
personal stakes in the flare-up of romantic tension between
Michael and Maria, as well as the emotional give-and-take that
occurs between Liz and Max over the risks involved in pursuing
the search for answers.
Got all that? Good. Because
I probably missed some stuff along
the way.
Writer Cheryl Cain seems to
have worked hard at fitting all these
pieces together into a coherent whole. For the most part, it
works. Still, I have to admit that the use of River Dog and the
mystical Native American connection really feels like a tired
cliche at this point. Maybe it's because I've already seen so much
of it with another genre series -- FOX's "The X-Files."
Thing is, in the context of
Roswell and the culture of New
Mexico, the Native American connection makes sense. But it's
frustrating because till now, the series has made no other attempt
to really integrate that aspect of the setting into the story. Which
makes its use now seem like nothing so much as a plot device.
At least in this instance,
River Dog's motivations in helping out
Max and Liz are somewhat ambiguous. His slightly foreboding
attitude wouldn't make me immediately guess that he has their
best interests at heart -- especially with that cryptic warning to Liz
in the end. Something tells me there are a lot more secrets
locked inside that man's head, some of them terrible. And at this
point, he appears to be completely unwilling to lead the gang
towards anything more that might resemble an answer.
It's also worth mentioning
that the general level of unease
concerning this story's revelations owes a lot to Frakes' rather
intense direction in this episode. There were a *lot* of in-your-
face, close-up shots used in this one, most notably in the more
heavily-charged emotional situations. Between Valenti and
Topolski at the bar. Between Max and Liz at his house after the
break-in. Between River Dog and Liz.
Many specific sequences also
appeared to be filmed using a
hand-held camera, lending a sort of documentary "feel" to the
action. There were times when this really worked, drawing me
into the particular scenario, as with Michael walking down the
dark alleyway as he was being followed by the FBI. Other times, I
found it distracting, such as when Mrs. Evans was explaining about
the break-in to Isabel and Max as they made their way into the
house. We even had the standard "Blair Witch" homage/rip-off
(everybody's doin' it) sequence when Eddie abandons Max and Liz
in the dark wilderness of the reservation.
On that note, I'm going to
quit the negative commentary. Because
I liked this episode. I really and truly did. It gave us a few
answers. Some things to think about. And certainly, a lot more
questions that I'd really like to see answered over the coming
months.
Even so, it lacked the
wonderful balance between story *action*
and character *interaction* that we saw with this show in the
pilot and the preceding ep, "285 South." For that, it gets three
stars as a solid outing for the series and a step in the right
direction in terms of storytelling. I just wish they hadn't
overcorrected quite so much away from the other things they
normally do well in this one.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- Date/Time Stamp: Liz's
voice-over in the beginning sets the
action on November 11th. Of course, that doesn't agree with the
date of the "28th" on that calendar in the school office from "285
South," but nobody pays attention to that stuff besides me, so let's
just call it a minor gaffe.
-- **TABASCO ALERT** Spicy
and sweet? Aha!! Finally, we
understand why it is that those aliens are dousing everything in
sight with Tabasco. (Rumor has it that they replace it with V-8 for
the cast.) Certainly, there were plenty of bottles of both the red
and green variety on the Crashdown's lunch counter to help
Michael make his point as he relayed that little tidbit to Maria.
And, just for fun, who spotted the overturned bottle on Max's
bedside table in the wake of the FBI's ill-mannered visit? I wonder
if he sleeps with it underneath his pillow....
-- Liz's particular tastes
in television programming prove she
really *is* an eager beaver when it comes to pursuing the whole
women-in-science thing. Catching a "Biography" of Madame
Curie on A&E would mean she would have to forego "The X-
Files" on f/X during the same hour. Bummer.
-- On a more serious note, I
couldn't help but be struck by how far
Liz has left her relationship with Kyle behind. Obviously,
memories of their first kiss no longer hold a whole lot of
significance for her. Maybe they never did. Seemed as though
she barely recognized the coincidence in the janitor's closet until
Kyle pointed it out to her, and that lapse was surely the source of
some of his escalating bitterness in the end.
-- I guess her little tai
chi routine wasn't enough to help Topolski
keep her composure through that blast of positive reinforcement
extended by her boss over the phone from behind his desk at the
FBI. Ironically enough, her "285 South" e-mail -- "Tension in the
ranks. Waiting for them to slip up. Will happen soon," seems to
have applied to none other than herself as she had her cover
unceremoniously blown by bulldog Jim Valenti. I'm interested to
see where this potential misalliance might lead.
-- Alex, Alex, wherefore art
thou Alex? This is the second
episode in a row where we haven't heard even a mention of the
erstwhile Mr. Whitman's name, or caught a glimpse of his face.
Not since he cried on Topolski's shoulder after being accused of
stealing Liz's diary in "Missing." Let's hope he hasn't been
misdirected into some sort of character black hole.
-- A quick glance at the map
shows no sign of any "Mesaliko"
Indian reservation near Roswell. I'm assuming the nearby
Mescalero Apache reservation which lies to the west of the real
town was the model for what we saw in "River Dog."
-- More than anything else,
I'm left wondering just exactly why
the "fourth" alien felt compelled to kill Atherton...and why River
Dog was willing to carry out the "fourth's" last wishes in
light of this transgression. Did the "fourth" panic about being
discovered before Atherton's death? Did he make the cave
painting and beg a promise from River Dog prior to the incident
with the ufologist? And why kill him? Was Atherton going to
betray him to the "others," making it an act of self-defense as Max
suggested? Or was it all the result of some terrible
misunderstanding?
"Blood
Brother"
Review by Beth Swik
Episode: 1X07, Original
airdate 11/24/99, Rebroadcast 03/22/00
Writer: Barry Pullman
Director: David Nutter
Rating: *** (out of four)
"You call on your buddy,
Alex. Stupid, straight Alex who does
everything you say 'cause he's such a loyal friend that you lie to
and you use whenever you can."
Poor Alex. After being
absent from the last two episodes, he
steps back into the flow of things just in time to experience a
mental and emotional roller coaster ride. "Blood Brother" is a
story about friendship, loyalty and love -- and the sacrifices we
sometimes make for all three of them.
Fortunately, Alex's grief is
the audience's gain, as Colin Hanks
really gets the opportunity to shine in this one, along with solid
writing, directing and acting performances by our favorite
characters. There's something for everyone in this episode (save
a conspicuously absent Sheriff Valenti) and though the second
half gets bogged down a little bit by the dramatic weight of the
issues it seeks to resolve, overall, this is a very satisfying outing
for the series.
"Blood Brother" is actually
two stories in one. The first concerns
our alien trio and the very real danger of exposure they must deal
with on a regular basis. In this case, the action begins with Max,
and an instant of random mischance that lands him in the hospital,
forcing Liz and the others to act quickly to prevent others from
learning about the true nature of his otherworldly origins.
Director Nutter keeps the
action moving at a very quick pace as
the gang bands together to thwart not only a hospital system that
wants only to help Max, but also the members of Topolsky's FBI
team, who are trying to take advantage of the situation for their
own ends.
The crisis actually serves a
dual purpose here. On the one hand,
writer Pullman and the rest of the staff take this opportunity to try
to resolve a lingering controversy in the series' mythology --
namely, if the aliens cellular structure is truly unique compared to
that of humans, then why have they been able to escape detection
for so long? The answer lies in the exchange with Liz, where
Isabel claims that this type of thing has never happened -- that
they've never actually been sick.
Of course, a number of holes
can still be found in that rationale,
but I have to give the series credit for at least trying to resolve the
issue within the context of its own interior logic.
More importantly, the issue
of detection and the aliens' physical
distinctiveness is what allows for the introduction of Alex into the
equation, bringing with him deeper themes of new loyalties versus
old, as well as issues of trust between peers and adults.
Which leads us to the second
tale in this episode. Once the
immediate threat to Max's secret is removed, the story slows --
but the crisis isn't over with. If anything, the situation becomes
even more dangerous because the mental and emotional
influences driving the characters are less clearly defined and
nearly impossible to predict.
Colin Hanks does a fantastic
job at showing us Alex's confusion
and despair at knowing he's done something questionable, and
having to choose between the cool, persistent manipulation of the
adult authority figure (Topolsky) and the more instinctive
desire to believe in his longtime friend (Liz).
And writer Pullman keeps us
in suspense about Alex's ultimate
decision until almost the very end. A number of compelling
scenes stand out here -- notably, the confrontation between
Topolsky and Alex in her office when she tells him she "knows
everything," and the somewhat nostalgic and highly emotional
heart-to-heart that Liz has with him later in the Crashdown.
As convincing as Liz was at
that moment, I don't think Alex's mind
was truly made up until those final moments with Topolsky when
she blew it by revealing that his suspicions of drug use were
incorrect. I can't claim to be as big a fan of Julie Benz as some
(you know who you are), but her acting in this scene was flawless,
and Hanks played very well off her more subtle reactions.
Once Alex realizes that
Topolsky isn't being as truthful with him
as he'd thought, there's really only one path for him to choose --
and he does it without hesitation.
But the truly sad part about
this episode is that even in the end, we
have no real resolution for Alex's dilemma. Topolsky's cover
may be blown but that still isn't enough for Liz to tell him the
truth he so desperately needs to hear. Even the threat of ending
their friendship isn't enough to dislodge her newfound allegiance
to Max and the others and we are left to feel the same kind pain in
this transition that longtime friend Alex does.
I liked this episode quite a
bit. It covers more territory than first
meets the eye and does so in a very balanced, entertaining manner.
Different characters are woven skillfully in and out of the story to
keep the momentum going and provoke a certain level of tension.
Nick Wechsler gets the usual nod from me for his work in the
very brief, yet sincere scene between Kyle and Alex concerning
their deteriorating connection with Liz. And the brief play by the
ER nurse and the actor who played Agent Moss were effective as
well.
The quiet anguish we saw Liz
going through in having to choose
loyalties between Max and Alex was balanced quite nicely by the
comic relief Michael, Maria and Isabel provided in their quest to
scout out information about their FBI adversaries. The ping-pong
technique used by Nutter to illustrate the differing points of view
from Michael and Maria at the Crashdown as they revealed
Topolsky's duplicity to the others also worked rather well, I
thought.
And while the "peers
good/adults bad" theme feels a bit worn
around the edges, it's key to the situation in which our heroes find
themselves. Really, this is a cornerstone of the teenage
experience, but I do believe it's an issue that most of us can still
relate to.
In any case, while I found
myself caught up in the emotional
rhythm of the episode for the most part, there were at least a
couple of things that prevented it from being perfect for me. For
one thing, I found the dynamic between Max and Liz to be more
than a bit frustrating.
This secret is really Liz's
now as well. She is likely to face many
of the same consequences as the alien trio if they are ever actually
discovered. Therefore, I truly believe she should be allowed
similar weight in making the type of decisions that Max made for
her this time when he quickly vetoed her unspoken request to clue
Alex in on the truth. To date, I haven't really seen Max as that
much of a selfish character. And the lack of understanding on his
part, as well as his unwillingness to trust Liz's judgment was a
more heavy-handed dramatic technique than I could properly stand
in this story.
Beyond that, the episode as
a whole ended on a somewhat
unsatisfying note. The mysteries surrounding Agent Topolsky
appear to be resolved for the moment, but the essential conflict
between Alex and Liz is left hanging, to be taken care of at a later
time, presumably.
But the central message
remains muddled because of that. Who
are the winners here? Is it Max, because his secret is safe for the
time being? Is it Liz, because her devotion to Max remains solid
in the face of a powerful test of her loyalties? Is it Alex, because
he's willing to do what it takes in support of his friends, while still
able to walk away from them with his integrity intact?
More likely, they are all in
fact the losers in this scenario. Left to
ponder the what-ifs and what-might-have-beens in a perfect world
where trust doesn't have to be a sort of zero-sum game -- where
some established relationships needn't be sacrificed to preserve
the growth and continuity of new ones.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- **TABASCO ALERT** Well,
I'm reduced to relying on that
old stand-by, the Crashdown, in this one. Plenty of bottles lying
about in all the scenes there, from full to half-empty to red and
green and all the colors in between.
-- Okay. Time for a little
bit of a rant on my part about the series'
take on alien physiology. Even if the three of them have never
gotten sick, it's seems like way too much of a stretch to assume
they've escaped a simple blood test by now. If I'm not mistaken,
most kids get a comprehensive physical at least three times in
their academic career -- kindergarten, fifth grade and high school.
That physical customarily involves a tetanus booster and a blood
count, leading to potential exposure on any one of those
occasions. Really guys, the problem's not that hard to fix. It's
alien blood, you can make it do whatever you want. Like
explaining that the unique cellular structure degrades rapidly after
separation from the host until it becomes indistinguishable from
human in a matter of minutes. That's enough time for Liz to pull
her little microscope trick with Max's pencil in the pilot, while
still protecting them from the results of a basic medical
procedure. 'Nuff said.
-- Sheriff Valenti was
conspicuously AWOL from this episode,
although we could make the argument that he was taking a rare day
off. I suppose the accident would have come under the
jurisdiction of the state highway patrol and Valenti just never
found out. A little viewer extrapolation goes a long way, but a few
words explaining his absence may have been welcome.
-- Here it is folks! A new
entry on the birthday calendar for none
other than...Max Evans. I don't know if it's ever been mentioned
before, but the DOB on his blood sample was 5/15/83, meaning
he'll turn seventeen this year. Of course, we don't know how
accurate that really is, in light of the fact that he was hatched
rather than born. Coincidentally, this is the same date on which
the Season One finale is scheduled to air.
-- Seatbelts really do save
lives. Liz was wearing hers at the time
of the accident, although Max was not, which explains the more
serious nature of his injuries compared to hers. Now, if they can
just get that jeep fixed up after its inadvertent collision with the
earth, we should be all set. Gravity really is a bitch sometimes...
-- Speaking of
transportation, I'm wondering just how Michael and
Isabel managed to show up at the hospital so quickly with the jeep
out of commission. Maria didn't arrive until later, when she
brought Alex to the rescue. Of course, there's always the
possibility that they've managed to rig up a Star Trek beam
transporter in their spare time.
-- Last, but not least...I
found Topolsky's claim that she's really on
the gang's side to be somewhat self-serving in light of her
exposure. Still, her warning about Max ending up in "the wrong
hands" sounds more than a little ominous. I'm guessing we haven't
heard the last of the FBI.
"The
Balance"
Review by Beth Swik
Episode: 1X09, Original
airdate 12/15/99, Rebroadcast 03/29/00
Writer: Thania St. John
Director: John Behring
Rating: **1/2 (out of four)
"Sometimes you have to take
a step back to see what's really going
on. Maybe that's what we both really need to do right now. Find
our balance."
Well, if there's one thing
"The Balance" teaches us, it's that Jason
Katims and Co. subscribe to one of the cardinal rules of
Television drama. Namely, that couples with issues of unresolved
romantic tension can never find long-term happiness if that
tension is resolved. Too bad. I was hoping for something new this
time.
I didn't get it with "The
Balance," which wasn't necessarily a
*bad* story, but definitely one struggling a with a huge identity
crisis. I found myself walking away wondering just exactly what
the point was. Max and Liz breaking up? Michael coming to a
new understanding of himself? Or the aliens discovering a new
set of clues to their otherworldly origins?
Either one of these three
would have made a good episode in and
of itself. Trying to cram all three into a single hour of
storytelling was pushing it. And in the end, I think it caused a lot
of breakdowns in logic and continuity as far as the plot was
concerned.
For starters, I was annoyed
by the return of River dog and the
whole Indian mysticism schtick. I've mentioned before that I
don't honestly think they've integrated Native American characters
nearly enough into day-to-day life as it appears on the series.
They're in New Mexico for god's sake.
Native Americans (at least
in the portion of Phoenix where I live,
on the very edge of the Salt River and Fort McDowell Indian
Communities) don't hole up on the reservation with an insular
attitude and do nothing but hang out in sweat lodges and try to
scam tourists. Most of them work and live and eat, sleep and
breathe in the same communities as whites and Hispanics or
whatever. So far, Valenti's deputy is the only real Native
American presence we've seen off the reservation.
Because of this, I find the
use of the whole Mesaliko thing with
the mythology to be stereotypical to the point of distraction. Not
only that, but River Dog's characterization in this story doesn't
really track with what was established back in "River Dog." The
sudden conversion of his dire attitude and reluctance to help to
the more proactive willingness to guide the gang just didn't feel
right to me.
Which brings me to my next
problem. I've been wondering a lot
lately whether ROSWELL is a story based on just two people -- or
a whole ensemble. When I originally watched the pilot, I came
away very much expecting the show to be mostly about Liz and
Max. Instead, we're seeing a lot more development and larger
roles, not only for Michael and Maria, but also Sheriff Valenti,
Isabel, and now Alex as well.
Till now, they seemed to be
handling the transition pretty well, and
I respect the show's attempts to find its identity. But using last
night as an example, I found it bothersome that they integrated the
whole Liz/Max conflict into the circumstances surrounding
Michael's illness and resultant visions. Looking at the episode as
a whole, this part should have been about *Michael* and the
mythology surrounding the aliens -- not as a device used to break
up Max and Liz. The combination of all those themes didn't come
together well enough for me, probably because there wasn't
enough time.
As for the break-up, I'm at
a loss to understand St. John and staff's
reasoning behind Max's decision -- or behind Liz's refusal to
participate in the healing circle for that matter. Fear is indeed a
powerful inhibitor, but using this as the motivation behind the split
just doesn't make sense. Why would fear for Max prevent a
character like Liz from helping Michael? And would Max have
been any more prepared for the trauma of Michael's illness if he
hadn't been pursuing a closer relationship with Liz? I don't think
so, and I'm not sure why the characters did.
Not only that, the growing
disparity in Max and Liz's relationship
continues to irritate. Throughout "The Balance," he's the one
taking the steps, making the decisions and generally deciding
what's best for both of them, while Liz merely accepts without
really asserting her own right to influence the direction of their
association. At this point, Max isn't the only one with something
to lose here. I'd like to see Liz with a little more spine where this
issue is concerned.
I know I'm sounding rather
negative here, but in spite of the
inconsistencies, I will admit that this installment wasn't a total
loss. More than a few of bright spots cropped up here and there.
And though they may have been swamped ultimately by the
dramatic weight of Michael's illness and the break-up, there are
still some things worth mentioning.
Specifically, I really
enjoyed the work between Alex and Isabel
and the heightened insight into the latter character's psyche.
Isabel has been growing more and more complex as the series
progresses, and Heigl's quiet passion about "feeling different" as
well as her anguish over the possibility of losing Michael hit on
just the right notes. And there was nice chemistry between
Appleby and Delfino throughout the conversation about Liz and
Maria's respective romantic difficulties with the aliens. Brenden
Fehr gave good delirium in this one as well.
I also found the narrative
surrounding Michael's illness to be quite
intriguing. Too often, it's easy to buy into the idea that these kids
are really just like normal humans, when in fact they are not.
Beyond Michael's obvious physical symptoms, there was some
nice subtle emphasis about just how complex their level of
"alienation" really is. On the one hand, you had Isabel telling Alex
in the Crashdown that they have the same fears and emotions as
human beings do -- and on the other, you have Max expressing his
own concerns to Liz about just how little they know about
*themselves*. His comment about Michael's illness being a
potential stage in their "life cycle" was quite affecting.
And on a quick note, I liked
the cinematography used to bring
Michael's "visions" to life quite a bit. The sharp clarity of the
scenes, the sight of him standing all alone in the midst of the alien
map and the shots of the aliens as children all worked for me. His
comments in the end about "no more running" were interesting in
light of the otherwise monumental chip we normally see him
carrying around on his shoulder.
I'd have been curious to see
more of this -- just how it all was
going to play out for him vis a vis the other characters, but
apparently, the writers felt that focusing on the demise of Liz and
Max's relationship was more important.
Would I watch it again?
Probably. But for me, this story was a
disappointment in terms of execution, if not content. Hopefully,
succeeding episodes will pick up the ball and move forward with
the issues "The Balance" has left us with.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- **TABASCO ALERT** At the
Crashdown, in Max's bedroom,
tucked into the waistband of Michael's jeans when he took off his
shirt...
Eeehee. Just checking to see
if you're all paying attention with
that last one.
-- Character MIA List: No
Sheriff and no Kyle, although we had
another snappy appearance by Steve Hytner. His quirky dedication
and obsessiveness ("We ufologists don't *joke* about that sort of
thing.") crack me up every time.
-- For those following along
with the timeline, Max's comments
to Liz indicate that he and Isabel were separated from Michael for
three years after they were found -- putting them all back together
around age nine.
-- We have a name for the
fourth alien now -- "Nacedo," which
apparently means visitor. I'm assuming he's an original survivor
of the 1947 crash, which makes sense with River Dog's narrative
if the latter was really just a boy when Nacedo began lurking
around the reservation. Since River Dog is no spring chicken, I
guess that means Nacedo is moving on in years (at least
chronologically) himself.
-- As for the cave "map"
itself, if you take a closer look, there are
some *very* interesting details contained therein. For one thing,
one of the symbols is a diagram of our own solar system,
complete with nine planets and rings around Saturn. One of
Michael's glowing rocks fits squarely in where the sun should be.
And that squiggly shape near the bottom was suggestive of the
rock formation that Michael saw in the vision as he turned and
looked over his shoulder. Perhaps that's the place where all three
of them "hatched?" Also, in the lower left hand corner, there's a
drawing of what looks suspiciously like four gestating pods --
interconnected by diagonal lines. Four pods = the three teens plus
Nacedo? But why then *five* stones? And what constellation is
that anyway? If they're being accurate in terms of the season, it
could be either Pisces or Taurus. Really, it could resemble just
about anything, although the bright nature of the grouping seems
to contradict the shape of most winter constellations that are
highest at this time of year. I guess we're going to have to wait to
be enlightened further on this particular clue.
"Blind
Date"
Review by Beth Swik
Episode: 1X13, airdate
2/9/2000, Rebroadcast 7/24/2000
Writer: Thania St. John
Director: Keith Samples
Rating: *** stars (out of
four)
"See, secret-keeper Max
would never say that to your face. But the
real Max...he'll tell you everything he thinks."
So says an intoxicated Max
Evans, giddy with the freedom to say and
do and think and feel whatever he wants, without the crushing burden
of secrecy and silence imposed upon him by his otherworldly heritage.
"Blind Date" is essentially the story of an extraordinary young man in love -
- capable of creating his very own magic for himself and the object of his
affection...if only he was allowed to do so.
Unfortunately, as his dream
girl Liz Parker eventually notes, the night
must inevitably come to an end and things return to being "normal."
Not only for the two of them, but also for us as spectators to their
seemingly unsolvable quandary.
Fans of Max and Liz must
certainly have been delighted at seeing such
an obvious display of their feelings for each other in this episode.
We had Max's inebriated enlightenment, Liz's reverie on the eve of
her blind date, and, interestingly, her refusal to take advantage of
Max's weakened state by playing Devil's Advocate to all of his dizzy
declarations.
I found myself enjoying this
romp through the characters' souls a lot
more than I was expecting. Max's downward spiral into a haze of
jealous despair could have easily come across as trite and overly
melodramatic. Instead, writer St. John treats us to a situation in which
the normally taciturn Max finds himself in the unique position of
bonding with the guy who was once his foremost rival -- Liz's ex-
boyfriend Kyle Valenti. The two of them teaming up in a drunken
quest to win Liz back from her mystery date not only lent some much
needed levity to the material, it also illustrated the deeper bond that
exists between Liz and Max as compared to her previous relationship
with the sincere, though less soulful Kyle.
In the end, it is Kyle
himself who asks the question that many of us
have been wondering about for some time. That is, if Max and Liz
really *do* love each other, then why aren't they together? And the
answer, for now, is simply that Max is unable or unwilling to let go of
the burden of being himself -- a complex, confused and frightened
individual who feels compelled to cling to his solitary nature as a
means to protect himself from an uncertain future. Max's transition
from high-spirited candor to apprehensive restraint is all the more
shocking for its abruptness, and Jason Behr does a fine job in those
last moments of showing us just how profound a difference there is
between the "secret-keeper" and his "real" self.
Kudos also to Nick Weschler,
for making his scenes with Max seem
less about frivolity and more about a need to hook up with the one
person truly capable of understanding his continuing heartbreak over
the loss of Liz. Also to Shiri Appleby for allowing Liz just a tiny bit
of conflict between her devotion to Max and the desire to move on to
other, more "normal" pursuits.
Unfortunately, it wasn't
going to happen with one-timer Doug Shellow,
whose pleasant, if boring facade eventually cracked with his subtle put-
downs of the people and places that Liz seems most comfortable with.
She seemed to sense this as well, for when the two of them discover
Max and Kyle ransacking her bedroom, she seems more than willing to
dump her "dream date" on the pretext of keeping Max out of trouble.
Speaking of trouble, the
schism between Max and Michael seemed
worse than ever this episode, with Isabel serving as the reluctant go-
between and keeper of the peace between all three of them. Michael's
need to seek out the mysterious Nacedo as a means of escape from a
life he's obviously disappointed with is understandable both to Isabel
and, I think, to all of us. Max's preoccupation with his own
circumstances are what evidently keep him from grasping the intensity
of Michael's restlessness. Luckily, Isabel makes herself available in
this episode to fill the void. Her attachment to Michael, as well as her
empathy with his situation have been somewhat of a constant
throughout the series, and I found the brief "bonding" scenes between
the two of them to be more affecting than even the stuff between Max
and Liz.
On the one hand, Isabel
seems to be willing to cut the unknown
"fourth" alien a break simply because of who he is and where he comes
from (much like Michael himself). But on the other, she's also
practical enough to see that Max's fears about Nacedo are well-
founded.
Throughout the whole
"flammable greeting card" incident in front of
Roswell's public library, Isabel seems to be there more to lend support
for Michael than out of any desire to actually contact Nacedo. When
the latter individual fails to show up, she quickly soothes Michael's
growing feelings of abandonment, promising to always be there for
him.
There's really not too much
more to say about the episode beyond this.
The scenes with Maria's "Fabulous Baker Boys" act on Alex's garage
band were an amusing way to fill the empty spaces. Not too much
depth there...just the chance to see the rest of the characters going
about their daily business, still trying to conquer new worlds. I must
say, Majandra Delfino's singing voice was quite impressive, and her
rendition of Phil Collins' classic tune was a fantastic complement to
the angst-ridden renewal of Liz and Max's separation.
All and all, I think this
was a very solid outing for the series, though
not necessarily its best. I fear "Blind Date" will go down in the books
as an episode with a lot of activity...and very little forward movement.
Max's sobriety and resultant amnesia were the equivalent of hitting the
re-set button for one of the show's most vital relationships -- a
relationship that's already been caught in a crippling stasis for far too
long now. For that reason, I'm hesitant to give this one top marks,
though I did find it very entertaining.
And as for the closing
moments and Nacedo's rather ominous torching
of our heroes' photograph, all I can say is that Katims and Co. are
certainly laying the groundwork for a spectacular culmination once the
"fourth" finally reveals himself. They've certainly captured my interest
to this point, and I'm fervently hoping they won't let us down.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- Date/Time Stamp: The
Valentine's Day Dream Date Contest puts
this ep squarely in the middle of February for us.
-- **TABASCO ALERT** The
extraterrestrial condiment of choice
makes a comeback in this one. Witness Max dousing a bag of potato
chips and contemplating Liz's "good fortune" in winning the radio
contest. I was disappointed in "Into the Woods" when Michael failed
to add some of that spicy goodness to his bowl of Fruit Loops. Glad
to see it hasn't been forgotten.
-- Assuming Alex is the
principal songwriter for the Whits, I find his
choice of lyrical material rather interesting. "Love Kills" and "Hurt by
Love." Any guess as to what's on this boy's mind these days?
-- Well, they finally
clarified the mystery surrounding the "V" of stars
that appears so brightly in the skies over Roswell. Unfortunately,
Michael (or the folks at Katims Productions) need to ante up a few
bucks and invest in a basic stargazing guide. Aries is one of the
smallest Zodiacal constellations and is nowhere near as bright as the
pattern we've seen on the show. Furthermore, Aries is best seen (i.e.
appears overhead) during the month of December -- not April.
-- Speaking of which...a guy
like Michael, who spends his down time
reading arcane literary works and contemplating his off-world
existence, ought to have a better understanding of the sky above him at
this point. Sorry, but the comment about his having to look up info on
the constellations just struck me as odd.
-- If Isabel is able to
clear away the char marks in the grass with a flick
of her wrist, why not just have her start the fire to begin with? Seems
like that would be easier than toting around about a thousand feet of
rope, gasoline and a book of matches. I suppose the use of the more
mundane, earthly flammable material made the scene a little more
dramatic.
-- So, I'm guessing that Liz
now has a permanent reminder of Max's
lovelorn wackiness in the form of a heart with their initials on the
brick wall and a bizarre photograph of the two, er, three of them. Try
explaining those to Mom and Dad when they get home.
-- What exactly *was*
Nacedo's intent in burning the snapshot of
Isabel, Max and Michael? A sign of skeery things to come? We can
only hope. The one thing this series has been lacking up till now is a
truly credible villain. Having him be one of the aliens' own seems like
a great way to stir up the mix.
"Independence Day"
Review by Beth Swik
Episode: 1X14, airdate
2/16/2000, Rebroadcast 8/7/2000
Writer: Toni Graphia
Director: Paul Shapiro
Rating: ***1/2 stars (out of
four)
"You can't make up for in
one night what he's never had in a
lifetime."
After seeing the promo last
week, I'd been looking forward to
"Independence Day" as an episode packed with the same mix of
detail and emotional complexity that has made "Roswell" such a
compelling series. I was not disappointed.
For starters, the story
gives us a much-needed break from the
ongoing romantic deadlock between Max and Liz, and an
opportunity to take a closer look at one of the series' more
enigmatic characters, Michael Guerin. His family "situation," his
relationship with Max and Isabel, his growing connection to
Maria, and finally, how and where he sees himself in the bigger
picture of his own life and that of the people most important to
him.
In this episode, as in the
real world, change is often effected by
things we don't really expect and can't possibly control. All that
remains in the end is a resolve to pick up the pieces and
reassemble them within a new and hopefully, better framework for
ourselves. That seems to be what writer Toni Graphia brings to
the table in "Independence Day."
The story begins as
Michael's domestic plight finally reaches a
crisis point -- exploding into violence and a betrayal of trust and
respect that no one should ever have to face from a foster parent
or otherwise.
These unpleasant
circumstances become the catalyst for
Michael's struggle throughout the episode, as he fights for some
kind of lasting resolution to the dilemma of his life. It's a rite of
passage for the character more than anything else, and as a viewer,
I was grateful to Katims and Co., as well as Brenden Fehr for
allowing me along for the ride.
And what a ride it is.
Michael's transition from denial to
decisiveness is a journey that encompasses a wide variety of
emotion -- from his early attempts to hide what is happening to
him, right on through the eventual acceptance of his situation and
a willingness to do whatever is necessary to take control of his
own life.
Michael's overall movement
into the realm of greater maturity
and responsibility works for the episode on a number of levels.
Not only because of Fehr's ability to pull off the difficult material
convincingly, but also because Graphia et al take full advantage of
other characters (particularly Isabel and Maria, but also Max) by
weaving them in and out of the story at critical points. Heigl's
fiery emotion combine with Behr's quiet intensity and Delfino's
capricious sympathy and concern to help drive the story of this
willful, sensitive young man to its inevitable conclusion.
There are too many great
scenes in this episode for me to
highlight every single one, so I'll take a shot at a few that seemed
particularly effective:
For starters, nearly all the
interaction that occurs between
Michael and Isabel. One of Isabel's primary drives throughout the
series has always been to preserve the bond shared by all three of
the aliens -- a bond which she seems to feel more deeply than
either of the other two, and a bond that was threatened more than
ever before by the events of this episode. Isabel has been afraid
of losing Michael for some time now. That fear was painfully
evident in every single shift of her emotions -- from concern, to
disappointment, to anger and frustration, to anxiety, to
resignation and acceptance. And, finally, a quiet, yet firm display
of love and support for Michael that both he and the audience
could not fail to perceive in the end.
The "packing" scene between
Max and Michael, while more subtle,
was rife with the same kind of emotional strength. Not only did
we get a brief, but meaningful, glimpse into the heart of Max's
sometimes crippling self-restraint, we also got to hear just how
important he considers Michael to the equation that connects all
three of them in Roswell.
And then, we had Michael's
flight to an unexpected source of
comfort as the sky was falling both literally and figuratively all
around him. His appearance at Maria's home was probably one of
the most emotional moments in the series' short history. It's
clearly significant that his previous declarations to Isabel about
not asking for help didn't apply in Maria's case. And I was
impressed by the way that Maria stepped up the plate in the
maturity department and gave him the unconditional back up he so
obviously needed. The overall set-up for the scene, beginning
with her gulp of grief relief and the "just say no, no, no, no"
commentary, and ending with her heartfelt disclaimer "you don't
have to tell me," was incredibly affecting.
Which leads me to comment on
the other crucial component of
this episode -- the character interaction between Maria and her
mother. One thing I appreciate about "Roswell" is its level of
respect for the adult characters, and a willingness to portray them
in a reasonable, believable, and (dare I say) even hip manner.
Frankly, it's refreshing. And Amy DeLuca is no exception. From
the moment I first saw Diane Farr raising hell with the school
secretary in "Heat Wave," I knew I would want to see a lot more of
this character. "Independence Day," drew us closely into the
intimate world of Amy's relationship with her daughter. Not only
did we get to see all the hopes, fears, and concerns that most
parents have for their children in Amy's scenes with Maria, but
also the very deep level of trust, respect and understanding that
cycles between them as well.
Maria's candid observations
about her mother's personal life,
while brutal, showed us the extreme level of comfort she
obviously has with the relationship. And the same is true of Amy.
Even as she is coming down hard on her daughter about
responsibility the need to respect certain limits, she's not afraid to
show her own vulnerability as a means of emphasizing the point.
The chemistry between
Delfino and Farr is simply amazing, as was
the direction in all of their scenes. It's subtle, but watch carefully
as the two of them are standing, cooling their heels in Valenti's
office. Their movements and mannerisms are almost exactly the
same throughout, lending a skillful credibility to the idea that
these two characters are supposed to be related.
I'd be remiss if I didn't
mention the small, but still notable
moments between Amy DeLuca and Sheriff Valenti in this
episode. Strange though it seems, this is a fascinating relationship
with a lot of dramatic potential -- especially if Valenti ever does
discover a way to prove the origin of Maria's otherworldly friends.
One wonders if this was what Maria was truly referring to in her
comments to her mother about Valenti "using her."
And the sight of Maria and
Liz freaking out in the kitchen upon
finding out about the "date" between Amy and Valenti was pure
gold from an entertainment perspective.
About the only quibble I
really have with this episode is that it
seems to be a retread of some issues raised in an earlier episode,
"The Balance" -- right down to the flashbacks and the territoriality
issues arising between Maria and Isabel concerning Michael.
While I disliked "The Balance" because it seemed to rely on
Michael's "vision quest" as more of a plot device to separate Max
and Liz instead of focusing on Michael himself, the events at the
end of "The Balance" also seemed to imply a certain level of
character movement for Michael that was never really fulfilled in
the later episodes. I'd like to think that "Independence Day" took
on similar themes where "The Balance" failed. Let's just hope we
don't start backsliding again for the rest of the season.
Finally, we get even more
uneasy foreshadowing about the
"fourth" alien in the closing moments of the episode, with
Nacedo's appearance in Valenti's office and the subsequent
revelation of his murder of Hank. I can only repeat that the
"Roswell" staff has me completely ensnared by the mystery of
who this man is and what his true motivations are. I think it's
becoming more and more clear that Max's fears of him being a
highly dangerous individual with his own agenda are very well-
founded. Certainly, Hank deserved to be taken to task over his
treatment of Michael, but the idea of the man being tortured to
death is not a pleasant one. The fact that Nacedo refuses to reveal
himself or his purpose to the kids is not a good sign in my
opinion.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- **TABASCO ALERT** Yep,
there it was in plain sight on the
Evans' dinner table. Good to go all over that yummy "green bean
delight" I guess.
-- Speaking of dietary
quirks, Nacedo seems to have one of his
own as he was hitting those Tic Tacs pretty heavily in the end.
-- A "Rich Uncle Pennybags"
Award goes to none other than Mr.
Evans for being the first and only person I've ever seen outside of
a tournament who actually adheres to the official Parker Bros.
rules for MONOPOLY.
-- Okay, we got to see Liz
and Maria trip out over the growing
"thing" going on between Maria's mom and the Sheriff. I'd say it's
about time we get to hear young Kyle Valenti's thoughts on the
same subject.
-- It's Six Degrees of
Separation, WB style, with the choice of this
week's popular music accompaniment. Collective Soul's "Run"
appears on the "Varsity Blues" soundtrack, which movie also
starred actor James Van Der Beek, who also happens to star in the
WB series "Dawson's Creek," which happens to be the lead-in to
"Roswell." Proving once again that I have *way* too much time
on my hands....
-- Ummm...is anyone else
wondering why the judge would so
easily grant Michael's petition for emancipation without his at
least having a job? I can see where he'd have the educational part
taken care of. Medical too, as long as he steers clear of those
pesky Mesaliko Indian sweat lodges. But financial? Well, I guess
he can point to his budding career on the pro wrestling circuit.
-- Raise your hands if you
were as creeped out as I was by Hank's
attempts to sweet-talk Isabel in the trailer. And give the girl high
marks for threatening to kill him in response.
-- Speaking of eerie, I knew
things were not right immediately
when "Hank" showed up at Valenti's office to assure him he was
leaving town and that everything was okay. Any suspicions I may
have had were instantly confirmed by his parting comment to
Valenti -- "Don't worry Sheriff, I'm already gone." Already gone,
indeed. Was it just me, or did Valenti seemed to sense something
was up with that parting shot as well?
-- And I still seem to be
missing something about this whole
"alien powers" thing every week. Here we have Nacedo, capable
of killing people with a touch of his hand, igniting the ground with
a single gesture, and completely altering his physical appearance -
- and then using a plain old shovel to dig Hank's grave on the side
of the road. Hmmm....
-swik
"I've thought about it, and
I want to take control of things. And I
think I'm ready to do that now..."
"Sexual
Healing"
Review by Beth Swik
Episode: 1X15, airdate
3/1/2000, rebroadcast 8/14/2000
Writer: Jan Oxenberg
Director: David Semel
Rating: ** 1/2 stars (out of
four)
"Maybe it was all planned
this way. That this is how we'd find out
who we really are -- by connecting with humans."
After the Michael-intensive
episode, "Independence Day," it was
easy to forget that ROSWELL's focus tends more towards the on-
again, off-again relationship between star-crossed lovers Max
Evans and Liz Parker. A point that was driven home by this latest
installment, "Sexual Healing."
For a change, we got to see
Max and Liz surrendering to their
impulse to bond in a way that managed to be both acutely physical
and spiritual at the same time. And the intensity of those
encounters somehow let them breach the barriers of each other's
inner selves -- allowing them to see things they may never have
discovered on their own.
But these new experiences
raised a lot of serious questions about
intimacy, privacy and the need to understand another person's
motivations. In order to preserve the delicate balance of
trust, respect and security in their relationship, Liz and Max
ultimately found a way to resolve the difficulties sparked by their
newfound closeness -- as well as tracking down yet another clue
to the mystery surrounding the aliens' origins.
I'm afraid I don't have all
that much more to say about what we
saw happening between Max and Liz in this episode. The
"climactic" force of the visions they shared about each other was a
less overt, but still obvious allusion to sex, with all the ensuing
baggage that such a physical relationship entails. I have to say that
I admire the creativeness on the part of writer Jan Oxenberg for
exploring such a tender issue without actually having to "cross the
line" as it were between the two characters.
Some of the scenes really
worked, notably Max's careful handling
of Liz's reaction in the girls' locker room when she realized he'd
become privy to her most secret fantasies about him. His
willingness to share the depth of his own vulnerability spoke
volumes about his high regard for both her feelings and her level
of self-respect. We all know it's not easy for him to open up and talk
about himself this way. The fact that he was able to do so shows
some real progress on the part of his character, and the change in
direction was a welcome one.
Beyond that, I have to admit
that some of the more, erm,
"innovative" stuff they tried was a bit over-the-top for me. The
glowing hickey was particularly bizarre, and I'm still trying to
determine if this, along with Maria's warnings about potential
unknown physiological consequences, was to have been some sort
of vague reference to the very real danger of STD's.
In any case, while I was
happy enough to see the two main
characters basking in the glow of their mutual attraction, I also
kept wishing that the production staff would cut back some of the
more long, drawn out scenes between Max and Liz in order to
better cover some of the other important issues raised in this
episode.
Michael and Maria's scenes
were the only other ones that seemed
to get enough attention to work properly. Though desperately
awkward and difficult to watch at some points, the interplay
between these two also smacked of reality and the very common,
harsh struggles faced by two fiercely independent people who
have begun to care about each other. Maria's decision to reveal
her earlier duplicity to Michael was a big step on her part, and she
said as much herself in that last act in his apartment. For
whatever reason, Michael has always been willing to bare his own
faults and flaws to her, going all the way back to the events of
"285 South." So it was a nice switch this time to see her relating
to him in the same manner.
Delfino and Fehr truly have
wonderful chemistry with each other.
Everything about those final moments worked between the two
characters -- from Michael's rather atypical quiet restraint, right
down to the beatific smile that Maria always seems to save just
for him. It would be nice to see things move forward for these
two on a slightly more even keel from this point.
Speaking of moving forward,
I'm assuming that was the idea
behind the kiss that Isabel and Alex finally shared towards the end.
Unfortunately, the
abbreviated circumstances surrounding that
whole scene contributed to a kind of an unsatisfying 'feel' for me.
Sorry, but one coversation with Michael about 'connecting' with
humans just wasn't enough to offset Isabel's rather firm refusals
with Alex up to that point.
However, as with some of the
preceding episodes, I'm trying to
understand the source of her restraint with Alex. She obviously
likes him. I'm wondering if her need to hold back is based on
ethical considerations and concern for his feelings in the wake of
her unsanctioned jaunt into his subconscious, or the more potent
desire to protect herself from being hurt. I'm guessing it's the
latter. That and the fact that she seems to be aware on some level
of the vital role she plays in holding the three members of her
"family" together.
Isabel is a very complex
individual. By now, I'd say the writers
owe her a little bit more space on the series to better explore the
multitude of conflicting concerns and emotions that drive her
character.
All things considered, I'd
have to say that "Sexual Healing"
really suffers from biting off more issues than it could properly
chew over the course of an hour. And it wasn't just the situation
between Isabel and Alex either. With all the emphasis on what
was happening between Max and Liz, a few more of the secondary
plots came up short as well, including the strained relationship
between Liz and her mom, and the underlying mythology arc.
For what it's worth, we had
seen glimpses of some sort of
pressure between Liz and her mother a in earlier eps like
"Missing" and "Leaving Normal." Of course, getting called out of
work for a meeting with the school principal is bound to cause
friction under any circumstances. But the conflict between Liz
and her mother seemed a bit more pronounced this time, largely
due to their painfully hobbled method of communication.
While the early scenes
unfolded well enough, things went
downhill after Liz got caught sneaking back into the house. At that
point, the interaction between mother and daughter seemed to
devolve into a senseless power struggle that essentially led
nowhere. I'm guessing that time constraints led to the awkward
editing in the third act that resulted in such an odd flow for the
story. I found it jarring when we went from such an emotional
confrontation between Liz and her mother directly to Max
showing up and Liz acting as though everything was fine.
And the brief scene between
the Evans and the Parkers at the end
seemed somewhat superfluous because we never got to see any
type of resolution upon Max and Liz's return. Of course, all that
was implied. But the lack of quality interplay between the adult
and teen characters in this episode was just not what I've normally
come to like and admire about this series.
As for the mytharc, I have
to conclude that the visions and finding
the rock were more of a metaphorical device in this episode
rather than anything really substantive. This bothers me because it
seems as though we were left with more questions -- when I truly
believe we need to start seeing some answers. Who buried the
rock? Has it been there since the crash, or did Nacedo bury it?
Were the things Liz "saw" from Max's subconscious memory, or
were they sendings from Nacedo? What exactly have they
unearthed and what does it all mean?
Nacedo's appearance in the
end without either Max or Liz
suspecting his true identity was certainly intriguing, and yet it still
left us with little more than nothing.
Ultimately, I guess the
basic question is whether or not the
episode was entertaining enough to hold one's attention for a full
hour. While my answer is a pretty solid yes, I also think it's tough
to ignore the missed opportunities with certain characters and the
lack of any real advancement with the mythology.
I wouldn't exactly place
this one in the top echelon of the show's
work so far...but it's certainly far from the weakest.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO
Sightings....
-- Yes, the dreaded Liz
Parker voice-over is back. At least this
one was short, sweet, and to the...uh...point, as far as sexual
fantasies go. And we got a date stamp out of it -- February 20th,
to be exact.
-- **TABASCO ALERT** Of
course you saw Isabel splashing
her pizza with very liberal amounts of the Red Pepper Sauce just
as Alex happened on the scene. But did you catch the two bottles
atop Michael's fridge as Isabel was unpacking his groceries? I
guess no extraterrestrial culinary arena can be truly complete
without the stuff.
-- In the
"so-creepy-it-must-be-a-coincidence" department: the
science teacher who was kind enough slap detention on Max and
Liz was played by actor Michael Chieffo. "X Files" fans will note
that he also appeared once as a pathetic psycho in that series' third
season outing, "Oubliette." Strangely enough, F/X rebroadcast
that very episode the same night that "Sexual Healing" aired.
-- Okay, a show of hands for
those who find the WB's new
practice of airing commercial "previews" for a show that's
actually in progress to be annoying as hell. So much for sitting
through an episode unspoiled....
-- Boy, is Michael a true
Renaissance man or what? Queued up
that Chaka Khan on the CD player...right beneath the Metallica
poster, I suppose. Throw it all in with James Joyce, "Win Ben
Stein's Money" and the hockey game and I can honestly say this
guy's tastes are as eclectic as any I've ever seen. Can't wait to see
what Fehr and the writers come up with next.
-- Speaking of Michael and
hockey, that little reference is proof
once again that you can take the Canuck out of Canada, but there's
no taking the Canadian out of the Canuck. So which team do you
think he was watching? Geographically, the Dallas Stars are
probably closest. But the smart money goes to the Phoenix
Coyotes, formerly known as the Winnipeg Jets -- the very town
where Brenden Fehr hails from.
-- Now, I'm guessing that
the ROSWELL staff figures that
sleeping out on a blanket beneath the stars in the middle of the
desert is really romantic and all...but I wouldn't try that one at
home, kids. Forget close encounters with alien artifacts. Instead,
you can cozy up with a host of scorpions, lizards, tarantulas and
rattlesnakes, not to mention the occasional coyote. Or, even
more fun, a bobcat. Let me tell you, living in the southwest just
sort of ruins those kinds of scenarios for you.
-- Well, this is the second
episode in a row with an AWOL Kyle
Valenti, and I can hear the angry gnashing of teeth from Nick
Wechsler fans right here through my PC monitor. Worse, poor
Kyle takes it in the shorts big time in this one with the whole beer
barfing commentary between Max and Liz. Sheesh. Some folks
just can't buy a break, I guess.
-swik
"If you know so much, then
tell me, Max -- what's my destiny?"
"I only know the part I'm hoping for."
"Crazy"
Review by Beth Swik
Episode: 1X16, airdate 4/10/2000, Rebroadcast 8/28/2000
Writer: Thania St. John
Director: James Whitmore Jr.
Rating: *** (out of four)
"I can't believe she's back. I thought this was all over with."
One thing is certain -- the creative talents at Katims Productions
had a tall order to fill with last night's "Crazy." Since the series
has moved to a new home on Monday nights, this episode
basically needed to catch new viewers up with the mythology of
the series and maintain enough suspense and excitement to
encourage those same people to keep coming back for more. And
yes, they also had to satisfy the old viewers following the show
from Wednesday nights, who've spent the last three weeks sitting
on their hands and watching reruns, waiting for the payoff in a new
story.
Luckily, the staff managed
to accomplish all these things in
a very confident and entertaining manner, with some solid writing
and performances by both guest actors and the recurring cast.
Even if the plot did drag in a few places where they took time to
explain some things that most regulars already know, I'm not
complaining. I wish the series the best of luck in its new spot.
In terms of the story,
"Crazy" tells us a lot of things, especially
about the characters and their relationships -- something
ROSWELL never disappoints at. It also sets the tone for the
remaining five episodes this season, laying the groundwork for
many of the revelations that I'm guessing are soon to come.
We got to see the continuing
evolution of Maria and Michael's
relationship as they struggled to find a path together through the
strange terrain of their conflicting wills -- the pressure on them
coming not only from within themselves, but also from the
outside stimulus of the crisis descending upon Roswell.
The crisis, of course, is
none other than the return of the intrepid
Ms. Topolsky, school guidance counselor and undercover FBI
agent extraordinaire, who left the series rather abruptly after being
unmasked in "Blood Brothers." This time, she returns in an
altogether different state of mind.
Topolsky has something very
important to tell the group -- a
warning about her bosses back in Washington DC and the lengths
to which they'll go to discover the aliens' secret. Upon her failure
to gain the kids' trust, Topolsky turns to Sheriff Valenti instead.
Her panicky disclosures set
off a chain of events, leading the kids
to believe they may be in more danger now than ever before, and,
surprisingly, reinforcing the ongoing metamorphosis of Sheriff
Valenti from a once ruthless adversary to dogged protector.
If only things were really
that simple. The stress and strain of
impending harm has the unwanted effect of pulling our heroes
further and further apart as the episode unfolds -- finally
exploding into some very difficult scenes toward the end between
people who are otherwise supposed to trust and respect one
another.
And if that's not
complicated enough, Topolsky isn't the only one
back in Roswell to pursue an agenda. The FBI, is back too. As is
Nacedo, the mysterious shapeshifter whose motivations are still
unknown. While his actions quite possibly saved the gang from
getting in deeper trouble with the FBI, his continuing refusal to
reveal himself still makes his character suspect at best.
Besides which, Nacedo isn't
the only new player in town. We're
also introduced to the enigmatic Tess. A recent transfer to West
Roswell high, she manages, against all odds, to break though
Isabel's trademark reticence to bond almost instantly with the
other girl. At the same time, knowingly or not, she also disrupts
the growing intimacy between Alex and Isabel -- setting herself up
as yet another potential threat to the already tattered harmony of
the group.
Writer St. John is
successful in blending a lot of different points
together into a coherent whole, something that's not easy to do
when you have less than an hour to work with. Though we don't
learn much about the alien mythology beyond Topolsky's claims
about the "communicator" and the reappearance of Nacedo, the
story moves along at a quick pace, building suspense and
emotional intensity to a rather forceful conclusion.
I can't say I'm all that
thrilled with the reverse "Men in Black"
approach they're taking with Agent Pierce and the FBI
(government shadow conspiracies are becoming somewhat pass�),
but I'm willing to give it the benefit of the doubt until we have a
better idea of where this is all going.
Of course, strong acting performances contributed a great deal to
making this episode successful. Actress Julie Benz gives good
unhinged, a real departure from the tai chi-slick demeanor she
displayed in her earlier performances on the show. And the
chemistry between Majandra Delfino and Brenden Fehr continues
to impress, as some of the emotional scenes between Michael and
Maria were so desperately awkward it was painful to watch.
Director James Whitmore Jr.
did a nice job bringing us into the
emotional state of the characters with some well-timed close-ups
throughout the episode, though I'm less sure about those angles
where the camera seemed to swoop down on the action from
above. He's done some nice work for the NBC's "The Pretender,"
over the past few years, and St. John's story held up well beneath
his direction.
And, as always with ROSWELL,
it's the small scenes that make
the biggest difference, grounding the series and making it so much
fun to watch. I'm speaking now of such moments as the "kitchen
talk" between Max and Michael about the proper way to romance
the girls. Then there was Alex's busting in on Liz and Maria as
they were preparing for the date, as well as his attempt to entice
Isabel into a low-key evening with "Notting Hill" on the VCR.
Max's not-so-subtle kick to Michael's shin after he blew it with
Maria in the restaurant brought a smile to my face as well.
Many intriguing questions
were raised with this episode. Issues
that I'm now dying to see resolved. What is Nacedo's purpose?
How much of a threat really is FBI Agent Pierce to our favorite
Roswellians? Who is Tess and why did she seem so immediately
comfortable around the pod squad trio of aliens? How will the
series fare in its new slot on Monday nights?
Hopefully, a whole lot of
people will stick around to get the
answers and see the show through to a second season. I know I
will.
:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:
Miscellaneous UFO Sightings....
-- **TABASCO ALERT** Not much to work with here beyond
the usual sightings at the Crashdown. Maybe we'll have to add
sugar to the alert as well, since this episode featured Nacedo
chowing down again on Tic Tacs, and Isabel and Tess adding the
stuff to everything from yogurt to soda pop.
-- Just who *is* that Nick
Wechsler guy they show in the opening
credits every week? A good question, since we've yet to catch a
glimpse of Kyle Valenti in the past three new episodes. It seemed
odd to me that the Sheriff would be sparring with a crazy woman
who'd broken into his home -- and make absolutely no mention at
all of where his son was or what he might be doing. Come on
guys, at least have Kyle leave a message on the answering machine
or something so that we know he's still alive on the series.
-- Nice shot of the gang on
location at a place that could easily
double for Bottomless Lakes State Park, which is just south of the
real Roswell, NM. Anyone else notice that there was a tower of
rocks stacked up behind Maria the first time they were out there?
I have no comment on that really, other than to note its apparent
weirdness.
-- Evidently, the Chinese
restaurant from "The Balance" suddenly
switched to a menu featuring Mexican fare when nobody was
looking. At least the pool table is still there, though.
-- Speaking of restaurants,
it's a wonder the Crashdown stays in
business when the entire staff just picks up and takes off at a
moment's notice. I guess customers can compensate for the
drop-off in service by not paying the check. After all, fair is fair.
-- Three cheers for the WB's
annoying trick of showing previews
for the current episode during the commercials -- NOT.
However, it *was* nice to see the ninety seconds of clips aired
prior to the ep for viewers who might not be all that familiar with
the show. In fact, all the promos seemed much more dramatic
than usual last night, making me feel better that the WB is at least
willing to promote the show properly in its new slot.
-- Is anyone else convinced
that Topolsky really does need to have
her head examined if she believed that wrecking his apartment was
a good way to convince Michael to believe her? Trust wouldn't be
the first thing to cross my mind while standing amidst the debris.
-- I'm curious just how Dr.
Margolin/Nacedo found out about the
meeting up at Buckley point. That was never adequately explained,
as Topolsky herself clearly intended to show up there to meet
with Michael. I do believe that Nacedo pulled his act with Valenti
and the gang to keep them from actually meeting Topolsky
because he wanted to keep them out of the hands of the FBI. If
nothing else, that seemed clear from his comment while disguised
as Margolin about "hating to see any harm come to them out in the
middle of nowhere."
-- Finally, if Nacedo's
purpose on the show remains unclear, I'd
say that Tess's is even more murky at this point. In any case, I had
a hard time buying the instant bond that snapped into place
between her and Isabel, especially in light of Isabel's comments to
Alex about her fear of intimacy. Perhaps it's a question of
chemistry? Or maybe something else...
-swik
"Roswell attracts all kinds. You never know who's going to turn
out to be your friend or your enemy."
"Tess,
lies and videotape"
Review by Beth Swik
Episode: 1X17, airdate 4/17/2000, Rebroadcast 9/4/2000
Writers: Toni Graphia and Richard Whitley (story by Richard
Whitley)
Director: Paul Shapiro
Rating: ***1/2 (out of four)
"So what you're saying is that this is not only a romantic problem
now, it's...you know...intergalactic?"
At its heart, "Tess, lies and videotape" is really a very simple tale.
The story of a small group of friends, united by a common bond,
and the way it affects them all when a new player comes to town --
forming new alliances, upsetting the old, and generally changing
the way everyone sees things.
With an average group of
teenagers in an average town, we'd chalk
that up to the sort of periodic adjustment that everyone
experiences. But Roswell is no ordinary town. These are no
ordinary teens. And in the context of this particular drama, what
you don't know can be more than a little dangerous. Fortunately,
our intrepid gang of heroes is astute enough to realize that they
need to know more about Tess Harding. A lot more.
In this latest installment
to the series, writers Toni Graphia and
Richard Whitley have taken a familiar scenario and filled in the
broad strokes with a series of complex emotional moments,
packing the story full of important details -- more than can be
assimilated in a single viewing. I often remark that ROSWELL
episodes improve with repeated watching. "Tess, lies and
videotape" is no exception. The story is smart, fast-paced,
suspenseful and satisfying. Even if the action does bog down a bit
in some places, it's still one of the better installments the series
has offered us thus far.
The tone is set quickly in
the episode with the teaser, which
begins with the typical, familiar Crashdown formula. Everyone's
hanging out, Max and Liz are affectionate, Isabel is disgusted and
Michael watches from a distance. We even have brief moment
with Sheriff Valenti to bring us up to date: reminding us he's now
in possession of an alien artifact, with nobody knowing quite what
to make of that. Yet.
In comes Tess, inserting
herself into the comfortable rhythm of
the group, subtly brushing Liz aside and capturing Max's attention
with very little effort. In the blink of an eye, we are transported
with him into familiar territory. A vision of esoteric symbols --
one of which denotes four interconnected pods. Max and Tess are
standing over it with hands linked. What can this mean? There's a
flash of a younger Tess, suspended, and a quick glimpse of what
appears to be a cave, or even a ship's deck with four gestating
pods, and what seems like some adult-looking capsules as
well. One of the pods appears to be hatching--
And we are back inside the
familiar environs of the Crashdown, |
