Image A Sound A Extras B
"Pilot," "The Morning After," "Monsters," "Leaving Normal," "Missing," "285 South," "River Dog," "Blood Brother," "Heat Wave," "The Balance," "Toy House," "Into the Woods," "The Convention," "Blind Date," "Independence Day," "Sexual Healing," "Crazy," "Tess, Lies and Videotape," "Four Square," "Max to the Max," "The White Room," "Destiny"
by Walter Chaw What begins as something romantic and mysterious ends as something predominantly memorable for the impact it had on Dido's wan career. Charting the WB's "Roswell"'s downward trajectory from a piquant, lovely pilot to the worst of "The X Files" and "Dawson's Creek" is a fascinating, instructive thing to watch–not only for the schadenfreude of it all, but also for the way that corporate perception of what an audience purportedly wants invariably leads to production of the same kind of dull crapulence over and over again. (Though, in the WB's defense, a grassroots letter-writing campaign that saved the series from oblivion at least once indicates a fervid devotion to this kind of garbage.) In the fine tradition of making a self-pitying clone of "thirtysomething" for teen-somethings played by a cast of twenty-somethings, "Roswell" is "Sweet Valley High" mixed with the Troll Books variety of soft-core science fiction, making that "My So-Called Life" feeling of middle school alienation literal in its tale of three or four actual aliens getting teased by jocks in Roswell, NM. It's the love child of Robert A. Heinlein and Judy Blume, and it ain't pretty.
