As I reflect on the 25-year journey of “Roswell”, I can’t help but feel a sense of nostalgia and gratitude for the experiences it brought me. Working on that show was like stepping into a time machine, transporting me from the confines of my writer’s room to the wild, uncharted territories of television production.
In the autumn of 1999, Jason Katims and his fresh teen drama show “Roswell” narrowly made it past the outdated trial by fire known as the television pilot season on broadcast networks.
Not too long ago, traditional broadcast networks would debut numerous shows each year, selecting what they believed could be successful, and unveiling them to advertisers at the yearly Upfronts event in New York City. While this process continues today, it’s not like it once was. As Katims explains to EbMaster, “It was a frenzied race where things could shift dramatically within hours.” At the time, I found this chaotic system absurd. Now, looking back, I yearn for those days because you knew immediately if your show would proceed, and you had to swiftly move into production to air it as quickly as possible and fill those time slots.
Since then, Katims successfully navigated the chaotic race to produce cherished series such as “Friday Night Lights,” for which he received an Emmy, and later “Parenthood.” However, 25 years ago, “Roswell” was a more challenging proposition.
The series, initially produced for Fox, revolves around Liz Parker (Shiri Appleby), a resident high school student in the small town of Roswell, New Mexico, notorious for the rumored 1947 crash of an alien spaceship. In the pilot’s initial scene, Liz’s work at the Crashdown Cafe is abruptly disrupted by gunfire, and she gets shot. However, before she succumbs to her injuries under a coffee machine, she is mysteriously revived with a gentle touch from her enigmatic classmate, Max Evans (Jason Behr). It isn’t until later that Liz fully comprehends how Max managed to vanish the bullet in her chest; he confesses he is one of the aliens who crashed in 1947, awakened after years, now living as superpowered yet ordinary teenagers. Katherine Heigl (before “Grey’s Anatomy”) and Brendan Fehr portray his extraterrestrial counterparts, Isabel and Michael respectively.
Prior to this stage, Katims had contributed to just two television series: writing for three episodes of the acclaimed “My So-Called Life,” and creating the brief drama “Relativity.” However, under his contract with 20th Century Fox Television, he received the rights to a potential development project – the first novel of “Roswell High” by Melinda Metz. Later on, she also served as a writer for the series based on this book.
He expresses his deep affection for the concept of this tale and its characters. Although he’s never delved into genre writing before or much since, he was captivated by the notion of portraying aliens and alienation as symbolic representations of adolescence. The allure also lay in creating a story that featured genuine challenges to their love, reminiscent of classics like ‘Romeo and Juliet.’ The idea of a girl falling for an alien was something he found irresistible, and continues to adore.
As a follower, I was ecstatic as our pilot soared above expectations for Fox, and the team gleamed with anticipation about securing a place on their fall schedule during Upfronts. However, the television world can be unpredictable. “It almost happened,” Katims shared. “We genuinely believed it would make the cut. But when they announced they wouldn’t take it, word quickly spread to The WB within hours. It all transpired so swiftly, but a few days later, it morphed into a show for The WB.
It was logical, as the WB was thriving with shows catering to young adults such as “Buffy the Vampire Slayer” and “Dawson’s Creek.” “Roswell,” in turn, beautifully combined elements from these shows. While Katims took pride in achieving a balance between its human and alien aspects right from the start, it was at least initially successful in doing so.
According to Katims, who oversaw the series, we aimed to portray bravery within the narrative. We experimented with numerous approaches. On one hand, the show had a campy or over-the-top feel; these teenage extraterrestrials were consuming Tabasco sauce excessively! However, there was also a significant amount of pain depicted in the series. I believe there were moments that were intensely emotional and thought-provoking.
Appleby initially appeared as a guest star on series such as “Xena: Warrior Princess” and “Beverly Hills, 90210.” However, it was the character of Liz that caught Katims’ attention during the show’s early planning. The role of Max, though, was a close call. Filming was about to start, and they had auditioned numerous actors in Los Angeles for the part. Yet, Katims recalls, they were still waiting for Behr.
As a movie enthusiast, I’d put it like this: “I’d heard tales about him, but illness had silenced him. When he eventually walked in, it was just me and David Nutter, the director. After he read, I could sense it instantly – that undeniable spark. But then came a moment of doubt – was it his gravelly voice due to sickness or genuine talent? Thankfully, when he regained his health, his performance remained outstanding.
Apart from Appleby, Behr, Heigl, and Fehr, the series also featured Majandra Delfino portraying Liz’s chatty best friend Maria. Colin Hanks made his debut as their curious companion Alex, while William Sadler took on the role of the tough Sheriff Jim Valenti in Roswell. Katims invited his pal Richard Schiff for a guest appearance across the first three episodes, playing an FBI agent. However, Schiff’s tenure on the show was brief due to his simultaneous debut on another new series, “The West Wing,” which was airing on NBC during the same time slot as “Roswell.
The series titled ‘Roswell’ debuted on October 6, 1999, immediately following ‘Buffy.’ During its initial phase, the storyline revolved significantly around Liz dealing with the perils arising from Max’s disclosures, her complex emotions towards him, and the repercussions of revealing their, Isabel and Michael’s secret for these alien outsiders. The creator, Katims, favored a realistic small-town narrative style that subtly hinted at the cosmic implications of the aliens’ origin without delving too deeply into it. Yet, they didn’t shy away from incorporating playful references to the absurdity surrounding alien hunting, organizing conventions with guest stars such as Jonathan Frakes, a star from ‘Star Trek: The Next Generation,’ who also directed an episode in Season 3.
Fans instantly reacted to the show, igniting online discussions about all aspects of it, including the romantic storylines and the enigma of aliens. This level of involvement was not as prevalent back then as it is now.
But fan attention was also a constant reminder for the show’s creative minds that the devil is in the details. In one episode, where the characters were translating and printing out alien scripture, Katims acknowledges they had to be careful with their props. “We had to think about what was on the pages being printed out because fans would take a screenshot of it and analyze it,” he says. “We couldn’t just put some bullshit out there. They kept us honest.”
However, as the initial season unfolded, change was already brewing on the horizon. “At one point,” Katims recalled, “someone mentioned, ‘The network head has a message for you.’ This is unusual because I don’t typically interact with the network head, so I was intrigued to learn what it was. But all the note said was, ‘Aliens, Aliens, Aliens.’
In a nutshell, since “Roswell” didn’t score high ratings, the network asked Katims to guide the plot towards the genre he had been avoiding, making the enigma of the alien outsider more prominent and central.
Initially, he approached it hesitantly as he had his own perception of the series. During the first season, one is still discovering the essence of the show. A show’s identity is something that continues to evolve, especially when it combines elements like teen drama akin to “Dawson’s Creek” with a touch of suspense similar to “The X-Files.” Initially, we were instructed to embrace the alien aspect, which we did. If you compare the posters from Season 1 to Season 3, you’ll notice that the focus shifts from the story of this young human girl to the experiences of these three aliens — and later, more — as they navigate life on Earth.
Towards the end of the first season, there’s a significant growth in the show’s mythology. A new character named Tess (played by Emilie de Ravin, known for her role in “Lost”) is introduced, who possesses the ability to manipulate minds, creating a dangerous obstacle for the main characters. Moreover, Tess’s profound link with Max complicates the central romantic conflict of the series. The characters also initiate a search for clues about their alien heritage within Roswell’s indigenous past, a narrative thread that delves deep into complex mythology.
The significant shift in the narrative is now proudly displayed on a shelf in Katims’ office, serving as a lasting testament. Whenever he reminisces about this phase of the series, he reaches for a compact yet robust book made of copper that carries its own weight evidently. To any devoted fan of the show, the metallic book is instantly recognizable.
He remarks, “You’d be astonished by how much this item weighs,” as he becomes acquainted with it once more. “This is a prop used for the performance where the characters discover it. It encapsulates the entire history and the dialect, and everything that reveals where our extraterrestrial counterparts truly hail from. We delved so deeply into it that we essentially penned the definitive book on the subject.
The mission of the network had some success. Although the ratings were average, the fans showed unprecedented enthusiasm for “Roswell.” The unique taste of aliens for spicy food, fulfilled by pouring Tabasco sauce on their human meals, sparked a movement to keep the show from being canceled. Countless bottles of hot sauce were sent to The WB as evidence that the audience existed. In contrast to modern fandoms that can sometimes become toxic, Katims recalls the “Roswell” fanbase as a positive and united group.
Katims remarks, “It was simply extraordinary,” as he continued to receive Tabasco sauce bottles even after the series concluded. He recounts that the head of The WB would share how his office was flooded with Tabasco boxes. It was a brilliant marketing move, he says, and it was a time of genuine innocence. Fans’ affection for the show was so strong that they rallied around it, making it a cherished memory.
However, the fans’ backing didn’t come without criticisms aimed at the alterations in the show’s storyline. Katims, as expected, shared these concerns. Yet, he received substantial help in merging his creative vision with the network’s sci-fi requirement during Season 2, thanks to the addition of new executive producer Ronald D. Moore. Moore was fresh from a long stint on various “Star Trek” series and later became renowned for creating genre classics such as “Battlestar Galactica” and “Outlander.
Upon Ron’s appearance on the program, his insights on genre series significantly aided me in understanding this aspect,” Katims expresses. “His way of approaching stories is so naturally human, and each tale he crafts holds deep humanity. He was exceptionally daring and inventive when creating ‘Roswell,’ using the genre to explore the human condition through symbolism – exactly what I had aimed for when initiating this project. This fresh perspective invigorated my enthusiasm for the show’s development, yet simultaneously, I found myself missing my initial concept for it. The series simply wasn’t what I had originally envisioned anymore.
Although Katims expresses pride in his storytelling, Season 2 didn’t resonate as positively with viewers. Critics pointed out the controversial move to separate Max and Liz, focusing instead on Max and Tess for most of the season, which also introduced a baby into their narrative. The ratings declined further, leading The WB to cancel the show in 2001. However, luckily, the UPN network was seeking established content to add to its programming, and they picked up both “Roswell” and “Buffy the Vampire Slayer,” airing Seasons 3 for “Roswell” and Season 6 for “Buffy.
In its third season, “Roswell” shifted focus somewhat, delving less into mythology and more back to the high school narratives that characterized its initial episodes. However, it didn’t skimp on raising the show’s tension; it introduced time travel and hinted at the potential of the human character, Liz, gaining her own superpowers. In May 2002, UPN declared that after airing 61 episodes, the series would not continue with a fourth season. The finale, focusing on high school graduation, provided a generally positive conclusion for both the characters and the dedicated fans, although they were forced to leave Roswell due to the impending threat of FBI arrest.
The button was delightful for a show that ventured into uncharted territories in search of the coveted ideal spot, which Katims had always been striving to find. A quarter-century down the line, Katims reminisces warmly about the series, referring to it as his “personal journey towards maturity as a television writer and producer.
He explains that the previous two projects he was involved with ran for just one season and were cut short. In contrast, ‘Roswell’ marked his solo debut as a showrunner without any protective shield. This was a real-world learning experience for him, unlike the fantasy world of being a showrunner, which might seem ironic considering the nature of the show. He didn’t have experienced mentors or protectors by his side during this time, and it was here that he developed as a showrunner.
As a movie enthusiast, I can’t forget my first dive into the creative symphony that is the collaboration between writers, directors, and the unsung heroes behind the scenes. It was the day I realized I was the central hub of this intricate web, the go-to person for everyone involved. “It was the daily chaos of managing a production – from endless discussions about hair to ensuring continuity. Those young actors were always eager to experiment with their hairstyles. But maintaining consistency is crucial!
In 2018, Warner Bros. Television brought back “Roswell” on The CW as “Roswell, New Mexico.” Unlike the original, it avoided focusing on a high school setting and presented a contemporary, progressive adaptation of the original story. However, it should be noted that executive producer Jason Katims did not participate in this new series, which spanned four seasons.
He mentioned that he didn’t catch the event, explaining that the unusual circumstances surrounding its occurrence left him puzzled. Specifically, there was a remake unrelated to the original studio, and neither he nor anyone else involved in their production were connected with it.
In the revival, Appleby was the sole prominent figure from the initial cast who participated. He directed two episodes and made appearances in several others, even starring in the final episode of the series.
For Katims, “Roswell” serves as a pivotal point at the turn of the millennium, reminiscent of Max, Isabel, and Michael’s underground dwellings post-1947 crash. It provided him with a nurturing environment to develop until it launched him into the world of television as a successful showrunner. Reflecting on the 25 years since those tumultuous days in autumn 1999, he recalls his initial visit to the actual Roswell for creative insight while penning the pilot script.
He admits that they soon understood the need to create their own version of the town from Roswell, he says this with a chuckle. Unlike “Friday Night Lights,” it wasn’t as if we were transported into a genuine Texas setting. Those places are authentic. However, Roswell is unique. We concocted the intense fascination with aliens that was an integral part of life in our Roswell, and I still appreciate that aspect. The concept that it is this location where people come to indulge in this absurdity –– and yet, everything about it was real.
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2024-10-06 19:49