I’m generally wary of reboots and remakes, but when The CW announced a new take on the WB/UPN young adult soap Roswell, my interest was piqued by the plan to use the series for immigration commentary, a departure from the original. As Roswell, New Mexico premiered on The CW, it became clear that audience reception to its immigration-focused perspective would be divided.
The Bottom Line: Not your mother’s ‘Roswell,’ and not necessarily improved.
Air date: Jan 15, 2019
Some viewers might exclaim, “Keep politics out of my teen supernatural dramas!” This group will likely be frustrated by a series set in the American Southwest in 2019 that attempts to link its extraterrestrial premise to real border issues. However, to dismiss this connection is to fundamentally misunderstand science fiction’s potential for social commentary. These viewers will likely not enjoy Roswell, New Mexico.
Others will argue, “If you’re going there, commit fully!” This perspective desires Roswell, New Mexico to more effectively explore the immigration metaphor. It’s the very element that gives this reboot relevance, so a half-hearted approach diminishes its purpose.
Of course, some viewers might find the balance just right. Personally, I lean towards the latter camp. As an immigration parable, Roswell, New Mexico presents a worthwhile perspective and sparks a relevant conversation, even if that conversation is sometimes subtle and at other times heavy-handed in the initial episodes provided for review. In its more understated moments, Roswell, New Mexico operates as a fairly standard CW forbidden romance, offering a few unexpected twists, but struggling to establish a distinct identity. It’s not a failure, but it feels underdeveloped and hesitant to embrace its own strengths.
Developed by Carina Adly Mackenzie (The Originals), Roswell, New Mexico still draws inspiration from Melinda Metz’s Roswell High book series. Character names and the basic premise remain consistent with both the books and the 1999 Jason Katims television adaptation. However, Roswell, New Mexico quickly forges its own path.
Our story begins with Liz Ortecho (Jeanine Mason) returning to her hometown of Roswell. Now a biomedical researcher, Liz left after college and the tragic, controversial death of her sister. The reasons for her return are somewhat convoluted – a mix of funding issues, the anniversary of her sister’s death, a conveniently timed high school reunion, and other factors. She soon reconnects with Max (Nathaniel Parsons), a police officer and former lab partner, and Kyle (Michael Trevino), a surgeon and her ex-boyfriend. Despite Roswell’s actual distance from the U.S.-Mexico border, the town is depicted as rife with racial tensions and xenophobia, issues that directly impact Liz as her father, who runs an alien-themed diner, is undocumented.
These tensions escalate, Liz is wounded, and Max, who has always harbored feelings for Liz, saves her life. He possesses this ability because he is also an undocumented alien, albeit from outer space. His healing powers, used to save Liz, cause friction with his sister Isobel (Lily Cowles) and their fellow extraterrestrial Michael (Michael Vlamis), who fear their secret will be exposed. But will Liz and Max be too caught up in their burgeoning romance to care?
Adding another layer to the narrative is a shadowy government agency with a clandestine facility near Roswell, perpetually searching for evidence of extraterrestrial life stemming from the supposed 1947 UFO crash – because of course, there is.
Even in the pilot episode, when Liz points out that Roswell is outside the 100-Mile Border Zone, the writers’ struggle to integrate the immigration theme seamlessly becomes apparent. It’s as if they want to tackle the issue head-on but encounter resistance, metaphorically speaking. References to the current political climate, including the “wall,” and a Paul Ryan mention that already feels dated, are present. The town features an anti-immigrant mayor, and some initial antagonists are cartoonishly racist. However, the narrative attempts to present a more nuanced perspective through Kyle’s mother, the local sheriff, who expresses resentment towards Liz’s father and other undocumented workers. While the series name-checks contemporary issues, it doesn’t always organically weave them into the storyline.
Another significant change from the original Roswell series is the aging up of the characters by a decade. They are adults, not high schoolers. Sort of. Liz’s identity as a researcher feels tenuous, and Kyle’s surgeon status is primarily conveyed through occasional appearances in a lab coat. The show relies heavily on “professional costume equals profession,” which extends to the portrayal of police officers. Isobel’s occupation remains unclear, and her adult relationship with her husband feels underdeveloped. The implication that every character has been romantically stagnant since high school is also peculiar. Thus, the benefit of aging up these characters remains questionable.
Despite these shortcomings, the series presents some unexpected plot twists in the second and third episodes. While the show’s commitment to these darker turns remains to be seen, the Vampire Diaries/Originals lineage of many on the creative team – Julie Plec directed the pilot, which effectively captures the New Mexico setting – offers both hope and caution.
This Vampire Diaries/Originals influence is also evident in the casting, though less so with the lead, Jeanine Mason, whose career progression since winning So You Think You Can Dance has been impressive. Mason possesses strong screen presence and energy, particularly when allowed to be spirited or humorous. Even the show’s more contrived dialogue is delivered convincingly, except when Liz discusses her “experimental regenerative medicine study.” Parsons is somewhat limited by Max’s brooding, one-dimensional character, while Vlamis and Trevino, with more dynamic roles, make stronger initial impressions.
Knowing that Lily Cowles is Christine Baranski’s daughter makes the resemblance hard to ignore, especially when Isobel is exasperated. While such genetic connections can sometimes be distracting, in this case, Cowles’ performance is enjoyable, and she could easily fit into The Good Fight.
The majority of the remaining cast falls into the “strikingly attractive” category. While not inherently negative, it can be distracting during heightened dramatic scenes, where the cast seems better suited to lighthearted flirting. This might align with what The CW’s core audience prefers over discussions of ICE checkpoints and border security. Similar to The CW’s Charmed reboot, Roswell, New Mexico reveals the intentions behind updating the franchise, but one wishes for a more refined execution.
Cast: Jeanine Mason, Nathan Parsons, Tyler Blackburn, Lily Cowles, Heather Hemmens, Michael Trevino, Michael Vlamis, Karan Oberoi
Developed by: Carina Adly Mackenzie
Airs Tuesdays at 9 p.m. ET/PT on The CW, premiering Jan. 15.
