Roswell:

Grading the Episodes: Season 1

Last updated: October 5, 2003.

Original season #1 episode reviews posted to alt.tv.roswell on September 30, 2000.
An unedited version of the "Rerun Regrades" was originally posted to alt.tv.roswell on February 12, 2003.

 The Cast for Season #1:

   Liz Parker                    -Shiri Appleby
   Maxwell "Max" Evans           -Jason Behr
   Isabel Evans                  -Katherine Heigl
   Maria DeLuca                  -Majandra Delfino
   Michael Guerin                -Brendan Fehr
   Alex Whitman                  -Colin Hanks
   Kyle Valenti                  -Nick Wechsler
   Sheriff Jim Valenti, Jr.      -William Sadler

  with,
   Mr. Geoffrey "Jeff" Parker    -John Doe
   Mrs. Nancy Parker             -Jo Anderson
   Mrs. Diane Evans              -Mary Ellen Trainor
   Mr. Phillip Evans             -Garrett M. Brown   (from about episode 1.8 on)
   Miss Amy DeLuca               -Diane Farr
   Miss/Agent Kathleen Topolski  -Julie Benz
   Milton Ross                   -Steve Hytner
   Tess Harding                  -Emilie de Ravin
   Nasedo (as Mr. Ed Harding)    -Jim Ortlieb
   Agent Pierce                  -David Conrad

It makes me somewhat of a wet blanket to admit that I am not all that big of a fan of Roswell's pilot. Nearly everyone I know (including my own mother!) liked the pilot more than I did. Exactly why the pilot leaves me somewhat flat is hard to say. But, especially on first viewing, I found it slow moving and somewhat uninvolving. Contrast Roswell's pilot with Angel's (which immediately grabs the viewer and never lets up, managing to involve the viewer in the lives of not only Angel's cast, but also in the lives of the guest star and the villain!), and the former is left looking lacking. In a show for which I had such high expectations going in, that was somewhat of a letdown.

However, having said all that, the pilot does a pretty good job setting up the show's premise, theme and most of the characters. The background music in the pilot is uniformly excellent (too bad the rest of the series' episode background music hasn't been as good!). The pilot does an especially good job at setting up the characters of Liz, Maria and Sheriff Valenti. Unfortunately, everyone else gets only a cursory going-over, except for Max (who's character seems to have been changed somewhat after the pilot). And the situation, strangely, isn't as interesting as it could be. But I guess I wanted more from this pilot.

Still, as a "proof of concept", I guess Roswell's pilot does a satisfactory job.

RERUN REGRADE - A- : I guess I had too high expectations for this when I first saw it, but, boy, did it come across a lot better when seeing it again after taking a long break from Roswell viewing. I still don't think it's the best Roswell episode ever, or anything, but the combination of great music, solid pacing, and surprisingly good (early) characterization make this a much better pilot than I remembered.

This episode tends to come off as 'filler', and was the second episode in row (including the pilot) in which (on first viewing) I was left wanting. It was at this point that I started to fear that Roswell might never live up to my expectations (lucky that "Monsters" came next!).

However, this episode does improve with subsequent viewings (hence the "B" grade), and good stuff does happen in "The Morning After", starting with the "Michael" plot. Indeed, Michael's attempts to get into Sheriff Valenti's office to look for evidence (of "the fourth alien") are the best parts of the episode (I love the "candy for charities" bit). Other good stuff happens in this episode: Agent Stevens (Richard Schiff, shortly before being drafted by the infernal West Wing) sticks it to Valenti; the beautiful, lovely and talented Kathleen Topolsky (Julie Benz) appears, arousing Liz's suspicions of a 'plant' (and am I the only one who'd rather see Benz return to Roswell than to Angel?!); and an amusing scene at Michael's trailer with Liz, Max, Kyle and Topolsky takes place. These are all good bits. So, lot's happens here. But, really, how much of it was really important, and how much of it was 'running in circles' for the benefit of character development? On the other hand, I prefer 'character development' to plot, which is why I guess I'm kind of fond of "The Morning After".

RERUN REGRADE - B : A good follow-up to the pilot, I guess. Still, this episode is more solid, or "OK", than "great". The best bits involve the introduction of "Counselor" Topolski, and a suspicious Kyle. In retrospect, the Michael stuff comes off as 'weak', when one considers that nothing really ends up coming from his "discovery" and "revelation".

The first Roswell episode that really started getting me enthusiastic about the series, "Monsters" works even better for me than it might by focusing on my two favorite Roswell characters, namely Maria and Isabel. Add into that another winning performance from William Sadler's Sheriff Valenti, and you have a pretty 'killer' episode, in my book. This episode is primarily an exercise in putting the Maria character 'on the spot' to decide where she comes down on "the alien issue". On one side is Liz, who (with ulterior motives of her own) desperately tries to keep Maria from cracking. On the other side is Sheriff Valenti, who (correctly) spots Maria as the weak link in the Gang's attempts to "keep the secret". Complicating matters is the heavy-handed efforts of Isabel (and this is also the first episode where we get a real look at the Isabel character) to find out how reliable Maria is.

We begin the episode with Maria giving the stranded Isabel (whose car has broken down), a ride. Isabel then miscalculates by pressing Maria about her loyalty, and the result is Maria rear-ending Sheriff Valenti's car! This gives Valenti an excuse to lean on Maria, and things escalate from there. Indeed, Isabel's attempts to use both fear and spying (in the form of Isabel's "dreamwalking" into Maria's dreams) continually backfire all through "Monsters", making Maria more receptive to Sheriff Valenti's fear mongering. In fact, this may be the only episode (regrettably) where we detect an underlying feeling of "contempt for the humans" from Isabel (I guess the writers decided to drop this thread as the series progressed, lest Isabel not be sympathetic enough). In any case, it all comes to a head in a heady interview of Maria by Sheriff Valenti. And, while slightly hokey, the end result is quite satisfying (particularly the last scene as the "Gang of Five" comes together in the school hallway as the camera rotates around them, with each then going off on their separate ways - a cool scene...). In addition, this episode also sports some amusing (and insightful) moments as Kathleen Topolsky, in her capacity as the "school guidance counselor", holds career sessions with the various characters (giving us the first glimpses into the Alex character, in addition to more fleshing out of Max and Isabel). And it's here that Milton from the U.F.O. Center is introduced. So put "Monsters" down as Roswell's first (though certainly not last!) stand-out episode.

RERUN REGRADE - B : This episode was very suspenseful and exciting on first viewing. The problem is, upon seeing this episode, now, after knowing how the promise of the Roswell series (and this episode in particular) went mostly unmet, it ends up being somewhat of a disappointment. One of my main beefs with "Monsters" is that the hints here (and in "River Dog"), that Max, Isabel and Michael might actually be dangerous to the humans, was never pursued. On re-viewing the episode, the best bit may actually be Max taking the job from Milton. While there is some very good work here from Delfino, Heigl and Sadler, the episode does suffer from knowing what is to come (and, more importantly, from what's not to come later on)...

Continuing Roswell's rather uneven start, the superior "Monsters" was followed up by the pretty lackluster "Leaving Normal". There's an intriguing concept underlying this episode: namely, what exactly are the practical, as well as moral, "limits" to Max's (and the other two's) powers. The issue is brought up in the form of Liz's much loved (paternal) grandmother, Claudia (Carroll Baker), who comes for a visit. Soon felled by a stroke, Liz is crestfallen, and panicky about getting Max to use his powers to revive her. Meanwhile, Liz, still stringing poor clueless Kyle along, is forced to also confront her ambivalent feelings for him. (And, I feel sorry for Kyle here. He's trying to be the "good boyfriend", but nothing he does will be enough to get Liz back for him). Further, (unbeknownst to him) Kyle's football friends have beaten up Max (for moving in on "Kyle's girl"), causing Michael to carry out little acts of retribution against them (over Max's objections). Finally, Max is forced to tell Liz the truth: saving her grandmother is beyond even his powers, as he can't just reverse the inevitable aging and dying process. What we get instead is the pro forma (and emotionally manipulative, as always!) "Good-bye" scene between Liz and Grandma Claudia, thanks to Max. So, while I like the underlying issue and the performances in this episode, "Leaving Normal" is a little too dominated by the weepy Liz-Max interaction for me to get too excited. Frankly, the best part about this episode involves Maria getting Isabel to help waitress the Crashdown Cafe; honestly, I'd rather have seen more of that!

RERUN REGRADE - B- : This episode actually borders a 'C+' upon seeing it again. The Kyle stuff is good, and the Isabel in the restaurant stuff is cute, but most of the rest of it is basically filler. This may be my least favorite episode of the "first 16" of season #1.

An episode that improves on subsequent viewings, "Missing" left me a little flat on first viewing. However, repeat viewings left me more favorably impressed, likely indicating that there were details I missed the first time around. Aside from Liz's quest for her missing diary (a quest which ends up alienating her (and/or Maria) from Alex, Kyle and Liz's Mom!), this episode also boasts a great subplot with Michael getting in touch with his "artistic" side while trying to make sense of the visions he had back in "The Morning After". Several of the scenes with Michael and the art teacher are pretty funny, and Michael's discovery that he actually has a talent at something (even if, in this case, it is in the service of his "obsession") is actually sort of heartwarming. Meanwhile, there are more intriguing hints here about the odd, inexplicable distance between Liz and her mother/parents (a theme further amplified in "Into the Woods" and "Sexual Healing", and I hope this is further followed up on in season #2). This episode also begins process of letting us in on exactly who Kathleen Topolsky is (and who she's working for/with). Finally, with the help of kooky old Milton, Max and Isabel stumble onto the identity of Michael's mysterious geodesic dome. And, in the end, we get a revealing scene between Michael and Liz (and pretty much the end of Liz's diary, which totally disappears from the series soon afterward). Another solid (if not particularly noteworthy) episode.

RERUN REGRADE - B : A 'B' sounds about right. The Michael's art class stuff is good. Topolski attempting to drive a wedge between Alex and Liz is also good - probably my favorite part. And the missing diary stuff is decent. Indeed, Michael's admission to Liz at the end may be the most sympathetic moment the character ever has.

Without question, the single most all-around solid episode of Roswell, this episode manages several amazing feats: 1) it involves almost every single character into the action (only Alex is missing), 2) it juggles all of the characters well, 3) it yields important insights into nearly every character, 4) it's important to the overall mythology, 5) it's a great "Part 1"/set-up episode for a 2-parter, and 6) it's funny! No single episode better personifies the (original) vision of Roswell better than this one. Nearly everything 'hits': the Maria-Michael interactions (Maria: "You're kidnapping me! No! Wait! You're abducting me!"), the Max-Kyle interactions, the Liz-Isabel interactions, the Liz/Max 'shipping (poor Isabel!), Topolsky's behind the scenes scheming, Sheriff Valenti's obsessive interest in the goings on of the gang, Kyle's justified (and yet still wrong-headed) concern. Things happen in this episode, and circumstances flow from the characters (not the other way around, as too oft happens). The last 5 minutes are, particularly, edge of your seat time, and are the most exciting final minutes of a "Part 1" that I've seen since Buffy's "What's My Line (Part 1)". Everything in this episode just plum works. If I have a complaint about this episode (and I did when it first aired), it was that the conceit of the kids doing each other's biographies was actually a worthy enough concept that an entire episode should have been devoted to it. And while this is true (and would definitely have been true of a more "conventional" teen/High School series), I can't let that one little regret dent this otherwise nearly flawless episode. If you check out no other episode of Roswell, I strongly urge anyone interested to track down "285 South". I don't think you'll be disappointed.

RERUN REGRADE - B+ : While a good episode (indeed this is the episode that totally sold me on Roswell originally), upon reseeing it "285 South" suffers from one important thing: its follow-ups (starting with the 'sequel' "River Dog") majorly disappoint. There's a lot of promise shown in this episode, promise that is squandered later on. This may also be as good as it gets in terms of ensemble work on Roswell - from here on in, characters tend to be more and more 'hermetically sealed' from one another as the series progresses (e.g. when is the next episode in which Kyle and Michael share a scene?!, etc.). Still, there's a lot of good stuff in this episode. And while it's maybe not as good as it could be, it's still darn good.

Much to my disappointment, the excellent "285 South" was followed up by the much less impressive "River Dog". I'm probably harder on this episode than I should be, as several elements work, and a couple of scenes are standouts. But, coming after "285 South", "River Dog" is certainly a letdown. Plus, the whole conceit of the River Dog character is as cliched in modern contexts as the old "fearsome Indian warriors" were 50 years ago. The parts of this episode that work best relate to Valenti's and Topolsky's machinations vis a vis "The Pod Squad", and with each other! (the best scene in this episode is unquestionably the bar scene where Valenti lets Topolsky know who holds the 'high cards'), and the increasing stress and paranoia that arises in the Pod Squad as a result. Not to mention the exciting car-'wild goose' chase that ensues as the gang attempts to give Topolsky and crew the slip. Finally, to the rescue rides cuddly Liz to save the day! The episode's final payoff is a little underwhelming, though that last scene is saved by River Dog's warning. Indeed, River Dog's implication that maybe Liz isn't right to trust Max (and, by extension, the rest of the Pod Squad) is a legitimate concern, one that I fear was dropped by the show's writers to never be explored further. (But, I wish they would.) Other good stuff? The scenes with Max and Isabel with Mrs. Evans and Deputy Blackwood after the 'break in', and the Maria/Michael flirting. So, a pretty good effort. But a letdown after the outstanding "285 South".

RERUN REGRADE - B- : An episode that never lives up to the promise of its "Part I", it's a mostly decent episode all the same. There's some suspense in this one (e.g. the break-in at the Evans house), and I love the Valenti-Topolski scene. But beyond this, there just isn't that much "there" there, and nothing really ever ends up coming from the writing on the cave wall that River Dog shows Liz & Max (nothing substantive, anyways).

This is the episode (coming so soon after "Monsters" and "285 South") that convinced me that, despite its unevenness (up to this point in the season), Roswell was something special. "Blood Brothers" focuses on a character who, up until that point in the show, was a minor figure in the show, and manages to make him both 3-dimensional and immensely personable. All this is done while still delivering some good insights into and developments with several of the other characters, notably Liz, Max and Michael. This is also the key episode in terms of Kathleen Topolsky's development, and Topolsky's and Liz's none too subtle attempts at manipulating Alex form the crux of this episode. "Blood Brother" exposes Alex to be a kind, decent, trusting human being, perhaps even being the most genuinely likable of any character on the show (which may also make him the most boring too! LOL!). In any case, the last several gambits where Liz, and then Topolsky, each plead their case to Alex are nearly outstanding, the side-story involving Isabel and (primarily) Michael and Maria tracking down the identity of FBI Agent Ross (and his relationship to Topolsky) is quite amusing (and a little heartwarming, though (again!) poor Isabel!), and the final scene of Topolsky's unmasking and her final (apparently genuine) warning to Alex and Liz is a keeper. All this makes this episode a near stand-out. Kudos...

RERUN REGRADE - A- : A good episode all around, there is again excellent ensemble work in this episode, as well as good character development, and some good suspense elements. My main regret about this episode is that this is where we lose, 1) Agent Topolski (and, boy, do I miss her! - IMO, the biggest mistakes this show ever made were letting Sheriff Valenti in on the truth at the end of the first season, and not making Topolski a series regular), and 2) the innocence of the Alex character. But I very much like the Topolski-Alex-Liz "reveal" scene. One other regret - Topolski's warning at the end (that the gang was better off with her around than with her not around) is another storyline that disappoints from here on in. But, all in all, I like this episode a lot.

"Heat Wave" is another episode more concerned with character than plot, but that's not a bad thing (especially considering the final payoff for Max/Liz 'shippers!). There are good (and often moving) character interactions in this episode: Maria's groping attempts to "deepen" her fling with Michael (and Michael's resistance to that); the banter between Sheriff Valenti and Maria's Mom, Amy DeLuca (Diane Farr, perfectly cast! and adding a nice bit of 'whimsy' to the adult characterizations); Liz's repeated attempts to reach out first to Alex, and then romantically to Max (only to be rebuffed on both counts); Isabel's at first paranoid, and then (after a significant "dreamwalking" session in Alex's dream) genuine, attempts to bond with Alex (Isabel: "Alex is a complex individual, with lots of... complexities!"); even Kyle's awkward attempts to move beyond Liz. These are all good bits. However, the real payoffs in "Heat Wave" don't come until the rave party and after, specifically: Valenti's breaking of his date with Amy, Maria and Michael (apparent) ending of their fling, Isabel's bungled attempt to get Alex "on board", and Valenti's equally clumsy attempt to use jail time to get Alex to talk. Finally, the best bits in "Heat Wave" are the final ones: Liz's admission of the "truth" to Alex, finally! (and this scene works as well as it does because Appleby plays this scene as more than slightly 'crazed', making Alex's incredulity that much more believable), and then, ultimately, Liz and Max's big "makeout" session in the final scene. To my mind, "Heat Wave" gets a little too 'cutesy' in parts, and is a little more superficial than many of Roswell's episodes. But it's a pretty decent episode nonetheless, with Appleby and Farr getting the major props in this one.

RERUN REGRADE - B- : An episode that really only survives on the power of three great sequences - the Isabel-dreamwalking-into-Alex's-dream is quite good, Maria telling off Michael is long overdue, and the Liz-Alex jail scene(s) are virtually outstanding. But, beyond these several scenes, this episode is inundated with sappy romance stuff, and I'm not a fan...

A "Sci-Fi" based episode that is perhaps a little too "funky" and "out there" for some tastes, "The Balance" turns out to be an episode I have a lot of affection for. What begins as Michael's quest for identity ends with everyone else ending up on a quest of unity in the face of crisis. "The Balance" really serves two primary purposes: 1) finally uniting "The Big Six" into a cohesive "team", and 2) ultimately, serving as an excuse to keep Liz and Max apart (again!). This episode is much more successful and credible with the first task. The catalyst for all this is Michael (and Isabel's) discovery of that Max has been keeping the cave paintings (from "River Dog") secret from them. Michael (as expected) is incensed, and uses the circumstance of Max and Liz's first real "date" to take off to find River Dog. Find him Michael does, but the Navajo ritual that River Dog is performing when Michael gets there has deleterious effects on our alien hothead. Meanwhile, a skeptical Alex must be convinced of the truth by Maria, and then eventually Isabel. While Alex's enthusiasm (and public outbursts) in the UFO Museum nearly cause Isabel to kill Alex, Michael finally keels over from the ill-effects of River Dog's ritual. This is the event that finally unites "The Big Six" to action. While Max and Liz tear out to find River Dog, Isabel tries to push Maria and Alex away while tending to bedridden Michael until ultimately realizing that they belong there as much as she does. Once River Dog is found, Michael and the rest of "The Big Six" come to the cave on the reservation, and with the help of River Dog and five stones given to him by the mysterious fourth alien Nasedo, cure Michael. This scene has a moving bit where Liz, too overcome by fear for Max's safety, is unable to take part in the ritual to save Michael. This turns out to the 'out' the writers use to break up Max and Liz. While Max claims he's doing it because he needs to find his (alien) "center", I suspect the real reason is that Max is (justifiably) put off by Liz's "fear" of Michael's illness (and Max's potential susceptibility) and the overall "alien situation". Meanwhile, Michael figures out that the so-called cave painting is a map. So, a lot happens in this episode. Alex, Maria, Isabel and Liz/Max are further developed, and the alien "mytharc" expands to include "Nasedo" and the nature of the cave painting and the five alien "stones". This marks "The Balance" as an "important" episode in Roswell's development.

RERUN REGRADE - B : On the level of "mytharc reveal", this episode ends up being pretty much a dud. But that's because nothing really ever came of Roswell's 'alien mythology'. On the other hand, looking at this one as more of a character study of Michael, Isabel, Max, Liz and Alex, it's actually pretty decent. So it works on that level...

The Roswell episode that actually comes closest to nabbing an "A+", there isn't much about this episode that I don't like. It's Roswell's most powerful and moving elucidation on the show's theme of "alienation" (and, simultaneously, on the corrosive and often self-destructive effects of lies, evasions and omissions). "The Toy House" is powered by outstanding performances from Jason Behr and Katherine Heigl, and very strong supporting work by William Sadler, Nick Wechsler, Shiri Appleby, Brendan Fehr and guest star Mary Ellen Trainor as Mrs. Evans. This episode is rather heart-wrenching on several fronts. As Mrs. Evans starts to see that something is not quite explicable about her two "perfect" children (especially Max), dissension begins to tear apart the Pod Squad. While Isabel finally wants to tell someone who's actually important to them the truth of their identities, Michael vehemently councils against trusting any human (even the humans they're already supposed to trust!), while Max is just confused, guilty and afraid. Swirling around all of this are the dogged efforts of Jim Valenti to prod more people on to the truth, and Max's repressed feelings for Liz which are complicated by Liz's rapprochement with the injured Kyle. Meanwhile, a furious Maria just sticks it to a recalcitrant Michael. (You go, Girl!) In short, this episode is jam packed with good emotional conflict and turmoil. It is also perhaps the Roswell episode mostly deeply rooted in the characters themselves. (My only complaint is the heavy use of _The Counting Crows_, a band I hate!) The final scene with Max and Isabel is a heartbreaker (when you've got me close to tears, you've done your job well!), and Max's final conversation with his Mom is nearly as powerful. Good stuff. Just damn good stuff, all around.

RERUN REGRADE - A- : Arguably the best episode of Roswell, this episode is just plum full of good stuff all around. Every character (except Alex) has something important to do, and even guest star Mary Ellen Trainor is allowed to shine. Indeed, Trainor, and William Sadler as Sheriff Valenti may be the most underappreciated things about this episode. Further, this may be the best "Max" and "Isabel" episode there is (the final Max/Mrs. Evans and Max/Isabel scenes are fabulous), and the Michael/Maria and Liz/Kyle stuff is also really good. If I have a 'serious' complaint about this episode is that it takes a little too long to get going. But when it does, it's stellar. (My 'unserious' complaint about this episode is the heavy use of _The Counting Crows_, a band I absolutely despite - but even they can't ruin this episode for me.)

An episode that is mostly thematic and character-driven, "Into the Woods" is primarily a rumination on fathers and children. Here we have Michael desperately looking for a father (any father, it seems), Kyle trying desperately to connect with his, Alex and Max & Isabel using their fathers for other ends (and I wonder how their fathers would feel knowing that?!), and Liz seemingly trying to ditch hers. One thing I like about "Into the Woods" is that it may be the only episode where some effort is made to take the 'shine' off Liz's halo. Quite honestly, it's hard to sympathize with Liz in this episode when she's so cold towards her father (with no really good reason). OK, the "Sci-fi" plot is pretty threadbare (and was never followed up on, I might add), but we get a lot of good character insights in this episode, especially regarding Kyle, Alex, Isabel, Michael, the aforementioned Liz (though, as I said, it's pleasingly not positive insights!), Mr. Parker, and finally Jim Valenti (who's starting to get a little too "Ahab" by the time "The Toy House" and "Into the Woods" roll around). It's just another good, solid "character" episode. I wish more shows (aside from Once & Again, which also does these well) would do them...

RERUN REGRADE - B : This episode is essentially a 'filler' episode, but it's a function how good first season episodes of Roswell were that even a filler episode like this is darn good. The character stuff is all good in this one.
   In retrospect, there are some major problems with this episode, relating to the resolution of the 'alien mytharc' part. My major problem with this one is that we're led to believe that the UFO sighting was real, and that a ship actually visited this spot. Of course, later Roswell story developments render this interpretation moot (there are no alien 'space ships' shuttling back and forth to Earth in the 'Roswellverse' we later find out). So we're left to assume that little ol' Nasedo was behind the whole thing, but that would seem to make Nasedo more powerful than the character we see later. No matter what, the 'alien' part of this episode is just sloppy...

"The Convention" brings Roswell back to the "Sci-fi"/suspense side of things, without leaving too much of its other elements behind. In fact, what is rather surprising about this particular episode is that it manages to meld together a fair amount of humor with a lot of 'high tension' moments. Yet the funny stuff is still pretty funny: Max teasing Isabel and Michael in the 'alien' costume, the 'crazies' at the UFO convention, Jonathan Frakes playing against himself! as a pampered, finicky 'star type' (and there are a number of gags related to this subject that are a hoot!), Alex pestering Isabel, Maria's Mom Amy freaking out, Michael coming to the rescue during the wrestling match, Liz comforting Jennifer (from the pilot episode), Larry (also from the pilot) getting hauled out of the convention after Michael makes him look like an ass (with more funny stuff from Frakes).

Yet, this is all harmoniously balanced with the real 'meat' of this episode: the story of Everett Hubble, and his reasons for coming out of hiding to attend to convention, and his relationship to Jim Valenti, Jim Valenti, Sr. and the truth of what happened 30 years ago when Valenti, Sr. lost his job and was committed to the sanitarium. Hubble is well played by Tom Bower, and he has good scenes with William Sadler. The suspense around Hubble's motives and story, and the truth about Valenti, Sr. and Nasedo, are the payoffs in this episode. This all comes to a head in a couple of outstandingly good scenes, first with Hubble effectively kidnapping Max, and then in a final confrontation among Hubble, Max, Michael, and Valenti. In fact, that final scene may be the best ending (packing quite an emotional wallop!) of any Roswell episode to date.

So, put "The Convention" down as one of Roswell's best episodes...

RERUN REGRADE - B : My previous grade for this episode was based on only one viewing of the episode (as opposed to the usual two viewings), and I think I remembered it more fondly than I should have. There's a lot of good character work in this episode - Amy Deluca gets some moments to shine, the "Mud" subplot with Max and Michael trying to resist their attraction to Liz and Maria respectively, some truly amusing ancillary moments with Milton and Jonathan Frakes having a ball lampooning himself, etc. The problem is, in retrospect, nothing of consequence happens in this episode - any revelations about Nasedo here are virtually glossed over in later episodes. Another problem is that the only really 'standout' part of the episode doesn't come until 45 minutes into it - the last 15 minutes are riveting suspense, but the first 45 minutes are pretty slow. Finally, the subplot with Jennifer & Larry (returning from the pilot) detract much more than they add to "The Convention".
   Some good supporting work is provided by Tom Bower as alien-obsessed Hubble and John Cullum as Jim Valenti, Sr., and some truly standout performances from William Sadler and Jason Behr lift this episode up some. But, all in all, I was disappointed upon seeing it again.

An episode that is virtually all character study (and virtually no plot!), "Blind Date" manages to be both funny, poignant and romantic all in the same episode. Here, finally, both Max and Kyle get a chance to shine, as do Maria and Liz. While Liz is hauled off on a blind date/publicity stunt by a local radio station, Maria forces her way into, and then hijacks! poor Alex's struggling band who are booked for an upcoming public concert (the same one Liz and her blind date are scheduled to attend). Meanwhile, in the episode's major subplot (which may actually be more poignant and affecting that the "A" stories), Michael goes off looking for Nasedo, and Isabel tags along to support him. The Michael/Isabel subplot actually gets the most moving dialogue in the episode (not to mention brightening the hearts of us Michael/Isabel 'shippers!). But there's also lots of good (and funny!) dialogue between the drunken Max and the drunken Kyle. Indeed, "Blind Date" completes the rehabilitation of the Kyle character than began in "The Toy House". Meanwhile, drunken Max's truthful declarations (finally!) to the cautious, guarded Liz provide this episode with perhaps the series' most successful romantic interlude. Though not liked by some (too slow! too boring!), "Blind Date" is nearly a perfect fit for this reviewer. If you want an example of a "quiet, thoughtful" Roswell episode, one devoted to character, this may be the one to see.

RERUN REGRADE - A : A great character study, and fun to boot, this may be the BEST Roswell episode - even better than "The Toy House". There's very little about this episode I don't like (and I say that as someone who's generally averse to 'gooey' romantic scenes), and I lot that I love. Indeed, the episode's, nay! the series'! most insightful line is uttered by Kyle when he warns Max that little, 'harmless' Liz is, in fact, "a man-eater". (Pay attention Max!)
   If there is one blemish on this episode, it's the Michael-Isabel subplot which, while poignant, once again ends with a horrendously misleading final scene with Nasedo. While the final scene strongly implies that Nasedo is the gang's enemy, later events show the exact opposite. Either the writers changed their minds about the aims of Nasedo after this episode was shot, or the final scene is a 'dirty pool' way of misleading the audience. In either case, it's bad. But it's not enough to detract from the things I like about this episode, and there's a lot to like.

An episode that, to my thinking, should be more emotionally involving than it turns out to be, "Independence Day" gives us out first up-close-and-personal look at the home life of one Michael Guerin. Indeed, "Independence Day" so focuses on the home lives of Michael, Max & Isabel, and Maria, that not only is Kyle AWOL, but Alex is also completely absent from this episode as well! Though primarily an exercise in "Michael angst", some of "Independence Day's" better bits actually involve Isabel's growing frustration with Michael (and, after this episode, I think it's hard to deny the idea that Isabel is attracted to Michael in more than a "sisterly" way). The best bits of all are unquestionably this episode's handling of Maria's tricky relationship with her mother, Amy DeLuca (Diane Farr, doing a great job as perhaps Roswell's most sympathetic adult), first over Amy's budding relationship with Jim Valenti (with an amusing "guest appearance" by a shocked Liz!), then over Maria's spirited comforting and defending of Michael, which causes Amy to panic over the "sex thing". Finally, it's Nasedo who moves Michael's issues along by taking Hank Guerin out of the picture, thus providing Michael with a stark choice: run away and skip town once and for all, or stay and face the need to be responsible for his life. (Is there ever any question as to which Michael will choose?!) In any case, I find myself less involved in the Michael aspects of this episode than in the Isabel and Maria-Amy bits. Which I suppose is why I'm not as high on this episode as some others are.

RERUN REGRADE - B : This is an episode dealing with some powerful subject matter - the problem is, it's subject matter that would probably be better dealt on some series besides Roswell (e.g. Once & Again or Everwood or some show like that). Still, there's some good stuff in this episode - the Michael plot, with Isabel trying to "save" him, is quite affecting; and the Amy Deluca-Maria-Jim Valenti-Michael stuff is even better. This is the first episode where Diane Farr is really allowed to shine as Amy, and she doesn't disappoint. This is also the first, and probably only, episode where Nasedo is used in a good, creepy, interesting way. Bottom line: This episode was better than I remembered it.

An episode that is just a hair short of a "B+" due to excessive romanticism/sensuality, and a couple of other flaws, "Sexual Healing" gives us the first no-holds-barred pairing of Max and Liz. Indeed, this long-awaited coupling leads to Max & Liz's virtual romantic inflagration, a situation supplemented by a telepathic link (complete with telepathic images) fueled by their passion. (Apparently, Max and Liz know what it's literally like to be "consumed by desire"! LOL!) As Liz and Max continue to get flashes into each other's pasts (and, in Liz's case, much more significant flashes of Max's and The Pod Squad's journey to Earth), Michael, and eventually Isabel, become increasingly interested in exploring this phenomenon themselves. And, sure enough, it's not to long before Michael and Maria are following Max & Liz's lead in furiously 'making out' in the hopes of getting more flashes themselves. Meanwhile, Max and Liz aren't able to control their feelings for each other now, and romantic inertia is soon bringing trouble down on them, first in a session with the principal and Mrs. Parker and Mrs. Evans, and then later in a bout of thoughtless 'running away'. The Max/Liz romantic stuff in this episode works pretty well (especially on second viewing), even if, in Liz's case, it manifests itself in a probing gaze that suggests a starving Liz looking at Max like he's a juicy pork chop! But, again, one thing I like about this episode is how it again points up Liz's weird distance from her mother. Other good bits include the scene in Michael's apartment where Michael and Isabel proceed to give Max, and then Liz, a hard time; Isabel showing up early in the morning to make a pass at a groggy Alex (though this scene does feel 'tacked on' and rushed, and would have worked better had more set-up been put in place); an ambiguous appearance from Nasedo; and a final scene between Michael and Maria where Michael reveals that he has indeed been getting "memory flashes" from Maria all along. My one problem with this episode is the final fade-out, an abrupt ending that robs us from seeing the ultimate confrontation between Max & Liz and the Evans and Parker parents, a scene that I think was needed, and which was definitely worth seeing. So a pretty solid episode, with the aforementioned minor flaws.

RERUN REGRADE - B- : Another episode damaged by 20/20 hindsight. The enjoyment of this episode is seriously undermined when one knows that Max & Liz will be virtually broken up again in just 2 short episodes (as well as knowing the rollercoaster that is Michael/Maria over the next two seasons), and that basically nothing important comes out of the little do-hickey that Max & Liz discover in the desert. And I still am hugely dissatisfied with the ending of "Sexual Healing" - probably the most intriguing scene in the whole episode, the scene where the Parkers and the Evans will confront Max & Liz, is the one scene we don't get to see! Argh! So, some thumbs down on "Sexual Healing" - I don't think it's as weak an episode as "Leaving Normal", but it's probably the 2nd weakest episode of the 'first 16' of Roswell.

The anticipated return of Kathleen Topolsky marks the heralded "Final Six" episodes of Roswell's season #1, and the much ballyhooed 'change in direction' to the decidedly more Sci-Fi side of Roswell's dichotomy. Still, this episode does manage a good balance between "plot" and "character" (unlike the last 3 episodes of season #1, which fall down on this score). The best parts of this episode are unquestionably the performances from Julie Benz, as the crazed and tortured (figuratively and literally) Kathleen Topolsky, and Majandra Delfino who gets a real chance to shine as Maria toward the end of this episode. I also like the palpable tension and conflict among the "Big Six" as each side squares off over what to do about Topolsky and her rantings. I must also compliment Shiri Appleby for her excellently understated turmoil in her restaurant meeting with Topolsky. Also noteworthy in this episode are William Sadler as Sheriff Valenti (who ends up ping-ponging back and forth on whether Topolsky should be believed) and Brendan Fehr as Michael (who ends up being ping-ponged back and forth by Maria!). Unfortunately, I'm not as big on Maria's attitude in this episode, even if it is understandable. And Tess Harding's introduction is jarring, to say the least (and why exactly is Isabel so friendly to this uppity stranger, anyway?!), and may account for the highly negative reaction to the character among many in the Roswell fandom. In addition, what was shaping up to be a pretty excellent effort nearly junks in the last 10 minutes, as a series of plot holes undermines the episode. To wit: How did Nasedo know what he knew about Topolsky and Topolsky's shrink (especially when it appears he hasn't left Roswell since "Blind Date")? And why does Valenti believe him? How did Nasedo (and Valenti) know where to find the "Big Six" when Liz, Max and co. went after Michael and Maria? And how did Pierce know where to find Topolsky at the end of the episode? (Though this last scene, as Topolsky screams in anguish while being taken away, is powerful stuff!) It would appear that, in the rush to make "Crazy" suspenseful, the writing took a dive in the last act. Too bad, as this episode was cruising toward an "A-" until the last 10 minutes...

RERUN REGRADE - B+ : A good suspense piece that brings back one of my most beloved characters (Kathleen Topolski), and introduces Roswell's most sinister and plausible villains (Pierce and the FBI 'alien hunters'), while still doing some very good character work, particularly in starting to elucidate Jim Valenti's change of heart. The best performance in this episode has got to be Julie Benz, who completely sells you on the idea that she has been tortured (literally) and terrorized to the brink of sanity. There is also very good work from Shiri Appleby (especially in the restaurant scene with Topolski) and Marjana Delfino (especially in the scene at the end of the episode where you can see her visible terror for Michael's safety). The only negative aspect to this episode is the jarring introduction of Tess (Emilie de Ravin) - while Alex's reactions are amusing, Isabel's attitude is inexplicable, and Tess is seen just too much in the episode, which detracts from the other proceedings. Bottom line - a more gradual introduction of Tess (over several episodes) would have been preferable, which is what I suspect Katims & co. originally had in mind before The WB ordered changes to Roswell. My original points about the plot holes in this episode are also still valid. But a good episode nonetheless.

An episode that focuses on the gang's effort to investigate Tess and her creepy father, Mr. Harding, "Tess, Lies and Videotape" (TL&V) is probably the best of the straight "suspense" episodes. It also may also be the only "Final 6" episode that actually manages to properly integrate Liz (and even Maria and Alex) into the proceedings, making her an integral part of the action, if not until toward the end of the episode. (Comparatively, the last 4 episodes, especially, strike me as pretty "Liz lite".) This episode starts out with shifty, silky Tess giving Max the mental/sexual "whammy", first in the Crashdown, and later on in Science lab. Meanwhile, Sheriff Valenti attempts to track down the whereabouts of Kathleen Topolsky (who turns out to be 'extra crispy', and whose psychiatrist, Dr. Margolin, has never heard of Valenti despite having supposedly met Valenti in "Crazy"). As Valenti goes to warn Max of Topolsky's demise (subsequently returning the orb to the Pod Squad), Michael investigates Tess, and smells "FBI Plant"! (while Max suspects something else). Tess' weirdness escalates from there when Isabel goes to Tess' place to meet her and Mr. Harding in their new home (and neither of them is all that "normal" around Isabel). Tess follows this up by putting the final "whammy"/major league kiss on Max, and Michael's and Max's pursuant fight on the subject leads to a discovery: Michael's apartment has been bugged by a miniature camera! This leads to the final showdown: Maria, Michael, Alex and Isabel send Liz into the Hardings to plant the camera on Tess and her "father" to find out what they are up to. This all leads to some great "suspense" scenes as Liz spars with both Tess and Mr. Harding. The interesting question about episode is: What the Hell is Tess' angle?! Is she in cahoots with old man Harding? Or is she pursuing her own agenda? Even knowing what happens in the subsequent episodes, and even knowing the truth about Tess, I still can't tell if Tess is scared of old man Harding (aka. Nasedo), or is an integral part of his plans and is plotting with him? In other words, is Tess really a manipulative, duplicitous bitch? Because this episode would definitely lead one to believe that answer is "Yes", when you consider that Tess doesn't utter one truthful word during the entire episode. This is one question that I strongly hope is followed up on season #2. Otherwise all of Tess' behavior in TL&V will be nothing more writer's convenience to further the plot (i.e. getting us to strongly believe one thing, when something else entirely is true), and not true character development, and that would be beneath a show like Roswell. But that's really the only blemish on this episode.

RERUN REGRADE - B+ : The best part about this episode is unquestionably the sequence where Liz is trapped in the Harding home with Tess and Mr. Harding. There's some very good, and very subtle, stuff going on in those scenes. I particularly like Tess' silent reactions to what transpires between 'Nasedo' and Liz - she gets a 'cat that swallowed the canary' look where you can literally see Tess anticipating Liz's "end" at the hands of the murderous Nasedo. (And you can see her disappointment when Max shows up to save Liz's bacon!) Basically, the only time the Tess character "works'" in the Roswell series is in these early episodes where Tess' motives are still a mystery (and implicitly sinister). Meanwhile, more good stuff with Jim Valenti's continuing evolution into "true believer", and good work by Jason Behr as Max, whose confusion and desperation is palpable (and who's getting virtually no help from Michael, Isabel or Liz). One problem with this episode - this is the episode that begins to confirm the 'demotion' of Liz's importance in the Roswell series (until at least season #3). But another good episode.
   P.S. No matter what they say in this episode, I will never believe that Kathleen Topolski is really dead! ;)

The infamous "Wait a minute! Did Tess just come on to Isabel?!" episode (great, just what The WB needs! another ambiguous, bisexual!), with the "WOW! Isabel looks great in that dress!" dream sequences, there is actually a lot about this episode that I like. The mystery of Tess is finally confronted (though, damned if I can figure out what the final answer actually was!), and a lot of weird, creepy, kind of cool stuff happens when that little Aussie cutie is around. Indeed, while Emilie de Raven's performance takes some getting used to (I wasn't sure if I liked it first time around, probably because I was so used to de Ravin as Beastmaster's Curupira), it actually comes through much better on second viewing. De Ravin's turn as Tess, who comes off as just a totally bizarre person/alien (not inconsistent with someone who's been raised by Nasedo!), is pretty much crucial to this episode, and (though clearly still a novice) de Ravin pretty much rises to the challenge (though I'm not quite as enamored with her in the final scene with the "four aliens" in the desert: too much squinting!). Yeah, sure, this episode, and Tess's behavior, requires some heavy doses of 'suspension of disbelief', but on this ride, I was willing to give the writers just that. Aside from Tess, this episode is primarily an "Isabel" episode (with generous doses of Michael, and some Max, thrown in), and there's good Isabel stuff to be had here: Isabel looking HOT in the dreams!; Isabel pulling 'con' on the school lady; Isabel getting freaked out by Tess; Isabel finally yelling at Max and Michael (aka. The Testosterone Twins); Isabel trying to reach out to Alex, Isabel freaking out over dream babies and pregnancies and such, etc. The one problem with this episode is the main problem with the Final Six (especially, the Final Four) episodes: namely, where are Liz, Maria and Alex?! Indeed, the three human characters are shoved into the background in a big way starting here, and they never really emerge from there throughout the remainder of season #1. Let's hope the writers don't make a habit of this...

There are rumors that this episode, "Four Square", was the originally planned-for season finale. I won't lie: I think I would have been a lot happier if this had been the season finale, because I like "Four Square" more than what followed it...

RERUN REGRADE - B : An episode that looks good on the surface, it unfortunately begins to unravel somewhat if you start to think about it a little. The best part of "Four Square" is, once again, Jim Valenti who, by this episode, is pretty firmly in the gang's 'camp'. Less convincing in this episode are the efforts of Emilie de Ravin (who was much more solid in "Tess, Lies & Videotape") and Katherine Heigl (who just seems... 'off' in this episode). There's still a great, truly creepy scene between Tess and Isabel in the Evans' kitchen, and Heigl is also quite good in the scene in the school office. But many of the rest of the scenes with either Heigl or de Ravin are less convincing.
   This episode also has a "rushed" feel to it, which would be consistent with the idea that this was an original planned-for season finale that was 'pushed up' by other factors. Because of this, there are 'plot holes' aplenty in "Four Square". (E.G. Why do Max-Michael-Isabel assume that Tess is Nasedo?! - who would Mr. Harding be in that case?! Why does Nasedo/Harding go to visit Jim Valenti, when all that will do is further inflame Valenti's suspicions?! (i.e. why would Nasedo want to do that?) What is Tess hoping to accomplish with the Michael/Isabel dreams? Why does Tess unnecessarily beat around the bush about the truth and who she is? Etc.) And let's not even get into the whole 'alien pregnancy scare' nonsense, which this episode really didn't need. Many of these are examples of poorly thought-out 'plot-driven' writing that was beneath Roswell.
   So, while I like the episode overall, it is somewhat of a 'mixed bag'.

An episode powered by a 'tour de force' performance by Jason Behr as Max and sinister doppleganger Nasedo, this episode suffers from some plot questions and plot holes that tend to distract from the overall effort. My first and biggest problem has to do with Tess' portrayal. In both TL&V and "Four Square", we got a bizarre, duplicitous, intriguing and quasi-sinister vibe from Tess. Suddenly in "Max to the Max" (MttM, for short), we get a 180 degree reversal, as Tess suddenly becomes rational, straight-forward, and not at all duplicitous. If that's the case, what the heck was she trying to pull over in the preceding three episodes?! And why the sudden change?! Are we supposed to believe that Tess will behave like a "good girl" all of a sudden, now that she's gotten what she wants? And why didn't she just come out and tell the Pod Squad the truth sooner? This is one of the starker examples where the purported "rushing" of the writing of the Final Six episodes really hurt series' continuity and credibility. My other big problem is my main problem with The Final Six: what happened to the humans?! (Not including Jim Valenti, who's actually as prominent in the Final Six as The Pod Squad.) Indeed, the human characters don't even show up until 15 minutes into this episode (and they weren't anymore prominent in "Four Square"). Alex is basically an afterthought, Maria is basically a plot device, and even Liz, who has a fair amount of screentime in this episode, is reduced to being a totally reactive character here. And then there are the questions of the believability of Nasedo's tactics (surely there is a more straightforward and less risky way of attracting Pierce's attention than kidnapping Liz?! and does Nasedo really think that Max will be kosher with him if something bad happens to Liz?!), and of Valenti buying Pierce's contrived story about his father.

Still, MttM is saved from a "B-" grade by its performances: specifically, Appleby's, Sadler's, David Conrad's (as Pierce), and especially Jason Behr's as both Max and Nasedo-as-Max. Indeed, Behr's menacingly sinister turn as Nasedo (who seems to get his rocks off not just from emotionally toying with Liz, but also from making out with her!) is the best part of the episode by far (though it is immediately contradicted by the way Nasedo acts in "The White Room"), and lifts this shaky enterprise above the norm. This is also a good "suspense" episode, and keeps you guessing right up until the end. And, while contrived in the extreme (hey, why don't the aliens just "zap" all those mirrors?!), the Fun House/Maze of Mirrors segment is visually arresting, and highly suspenseful.

I just wish the portrayals and motivations of, especially Nasedo and Tess, made more sense here.

RERUN REGRADE - B- : The test of a truly good episode is that, when you watch it again in reruns after having seen the entire series, the episode still holds up with no ill effects. "The Toy House" and "Blind Date" (and a number of first and second season Buffy episodes) are such episodes. "Max to the Max" (and "The Convention"), however, are episode(s) that do not. "Max to the Max" ends on an exciting cliffhanger. But the enjoyment of this episode is seriously undermined when you know what happens after this episode and how this situation resolves itself down the line (poorly, as it turns out). Aside from this, many of the problems I had with "Max to the Max" originally, primarily Tess' instantaneous and inexplicable turnaround from scheming, dangerous bee-atch to A-one 'team player' (in a single episode!), still hold. (On the plus side, at least the nonsensical and ill-advised 'pregnancy scare' is quickly wrapped up early in this episode...)
   Basically, the only thing that holds this episode together is the excellent (dual) performance of Jason Behr, and the solid supporting work of Shiri Appleby. There's also some very good supporting work from guest star Jason Conrad, who keeps you guessing right up until the last scene.
   But overall, this episode marks the beginning of the descent of Roswell into more problematic territory...

Advertised as Roswell's creative equivalent of "Hush" (see: Buffy's greatly overrated episode), "The White Room" manages to be almost as uninvolving as Buffy's "Hush", often for many of the same reasons. In short, this is an episode that is long on gimmickry, "action" and "plot", and short on the kind of emotionally involving aspects that made Roswell (and, for that matter, Buffy, back in the "good old days") such a standout series in the first place.

On the plus side, we do get some needed background and exposition on the Sci-fi "mythos" of the series, courtesy of baddie/heavy, FBI "Alien Hunter" Pierce (David Conrad, playing against type since his "Relativity" days). And Liz, Maria and Alex finally roll a saving throw and bring in Valenti (something they should have done way back in "Crazy"). But almost all of the "good" stuff in this episode is overshadowed by the "less good" stuff. Too wit: This episode is extremely short on any sort of characterization or character development, and is almost all "plot" and "suspense" (rather reminds me of an "action movie", in that way). In addition, there are some huge plots holes that can't be simply overlooked. Things like: 1) Do they really expect us to believe that Michael, Isabel and Tess could get into the base that easily, and remain undetected?! Powers or no, hasn't the FBI heard of "perimeter guards", and lots of them?! I guess the FBI isn't very serious about this "alien treat", if they assign it so little security and personnel. (This is the one plot hole that I really can't swallow.) 2) Once again, people seem suddenly OK with Tess. Why? What has she done to earn their trust?! 3) The myriad questions surrounding Nasedo once again go unanswered. And doesn't anyone challenge this guy for his harebrained scheme of kidnapping Liz?! That whole deal is what got Max captured in the first place!

"The White Room" is unquestionably the weakest episode of season #1 Roswell, and if this is representative of what we're going to get in season #2... well, color me concerned. Very concerned...

RERUN REGRADE - B : An episode that's better than I remembered, the only thing holding this episode back from an even higher grade are two unfortunate circumstances: 1) the rapidly degrading 'alien mythology' which becomes even more muddled in this episode, and 2) the honkin' plot holes that I tore into when I original reviewed this episode. The latter are a particular problem, when we're asked to swallow the ridiculous notion that a highly sensitive military facility would be lacking in such basic things as, you know, perimeter guards and security cameras (there's a couple of lines of dialogue later in the episode that tries to explain these things away, but I ain't buyin'). Another quibble is that the 'downgrading' of the human characters in favor of the alien ones really accelerates in this episode. But, in retrospect, if you can look beyond these problems (and my mounting reservations about the characterizations of Tess and Nasedo/Mr. Harding), this is a pretty suspenseful episode...

A season finale that moves right along, it sweeps by so fast that you tend not to notice its flaws... until the ending beats you over the head with them! But let's back up first...

This episode starts right off the bat with the suspense, and never lets up. And the suspense part of the episode largely works, because it leaves the viewer so 'on the edge of their seats' and so preoccupied with wondering what is coming next that the nagging problems don't even register. So we get some great chase scenes, some (final) Max/Liz cuddling, some Tess feeling really like an outsider, some "Kyle in jeopardy", some "Will he or won't he betray them all?" ambiguity from Jim Valenti, some "turnabout is fair play" on Agent Pierce, some "Healin' Power!" from Max (and, viola! the Valenti boys are 'in the bag' for the Pod Squad!), and some "Can they save Nasedo?!" suspense.

Then we get to what one fellow Roswellian once referred to as "Holomom", and Roswell starts looking like its mythology is suffering many of the same problems as "The X-Files"! (And, trust me, this is not a good thing. It is a bad thing!) There are some real holes in all of this: How exactly does "Holomom" expect Max and co. to save their homeworld puttering around on Earth? (What are they expected to find?! "Alien Raid" in a can at the local WalMart?!!!) How can Nasedo pass as Pierce if he can't even get through the scanner in "The White Room"?! And if he can pull this off now, why the Hell didn't he do this 20 years ago, and shut down the "Alien Hunting Unit" in 1970?!!! (Hell, this is exactly what Mystique did in "The X-Men" movie - doesn't Nasedo go to the movies?!) How do we know "Holomom" is real, and not some kind of stunt from Tess? And why are Max, Michael and Isabel trusting either Nasedo, or Tess, at all?! Why does Michael choose now to dump Maria? (He's had multiple chances before, and this time didn't ring true.) And is it really credible that Liz would suddently duck and run now just because of Tess and "Holomom", and not fight for her "soulmate"?! (I actually buy this last development, even if several others don't...)

Further, while this episode does manage to actually integrate Kyle into the action (for the first time in ages!), and does manage to put Liz on screen more than she was in the previous two episodes, Maria is once again reduced to being a reactive and secondary character, while Alex barely registers at all. It's not looking good for our human characters at this point...

And don't even get me started on final scene's revelation that there are legions of aliens apparently out there in the "Heartland" (led, not surprisingly to this reviewer, by none other than Howie from _The Backstreet Boys_). Somebody should remind our dear writers that too many cocks, or too many aliens, spoil the broth.

Which is not to say that "Destiny" is totally without merit. It does merit a "B" rating, and does deliver on the things I outlined above. The final good news? There is (apparently) finally a mythological payoff in "Destiny", and this episode gives the Roswell series a clear direction in season #2. The bad news? I'm not sure I like this "new" direction. In fact, I'm not sure I like it at all.

So a 'bittersweet' rating on the finale from this reviewer: I liked the suspense. I didn't care for the payoff.

RERUN REGRADE - B- : The first season of Roswell comes to a close with this highly uneven season finale. Indeed, "Destiny" is problematic for two key reasons: 1) the pacing of this episode is highly erratic, with some good suspense sequences, and many other rather slow (and generally pointless) scenes; and 2) the 'payoff' of this episode is cringe-worthy, something I talk about in my original review of this episode. Aside from that, this episode has a lot of clunky/bad dialogue, and once again the humans get short shrift (esp. Alex and Maria, who are essentially relegated to the role of furniture). Overall, this finale, perhaps more than any other season #1 episode, bares the marks of having been "rushed", and it would have benefited from several more passes through the word processor.
   On the positive side, the Valenti aspects of this episode once again shine.
   But, overall, it's very hard to overlook the end of this episode - first the inane "HoloMom" sequence, complete with clunky exposition and a show mythology that I wouldn't wish on my worst enemy, and then with the truly ridiculous, cringe-worthy final sequence with 'Howie D' (of _The Backstreet Boys_) and the supposed legion of (what we later learn are) 'Skins' (except for the part where only about 40 'Skins' show up in all of season #2 - So much for the World legion of them! Oops!).
   Considering that season #2 had to base its development on this ending, it should be no mystery why season #2, especially the first half of season #2, is so problematic...

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