There’s a reboot coming, and it’s of your favorite alien-teen drama! Roswell, which originally aired in 1999 and spanned for three seasons, is getting its own TV-movie rebootproduced by Lawrence Bender.
Bender has also produced works like Pulp Fiction, Reservoir Dogs, and the latest Netflix hit: Seven Seconds, which takes racial tensions and puts them at the forefront, using entertainment as a means for educating people on what’s really going on in the world.
The new plot of Roswell, which takes the core concept popularized in the books and in the show and infuses them with today’s troubles: immigration, takes Liz Parker back to her hometown. In this other-worldly reboot, the Roswell gang is all-grown-up, with Max being a police officer, and Liz landing her dream job of being a bio-medical researcher; however, the show doesn’t use the original series as the “past”. The reboot is going to be a TV-movie where Liz meets Max for the first time and discovers his alien abilities through a tragic mishap.
Hitting Two Birds with One Stone
So where does illegal immigration come into play? Simple: Bender takes on the reality of living in a town bordering Mexico, something that the original series never touched on. In the reboot, Liz Parker’s parents are undocumented immigrants, and with her new entanglement with the police (Max) we’re sure to see some tension or problems with her parents being illegal. If you’ve ever seen the original, this wasn’t the case for Liz’s parents, as they owned a popular tourist trap named The Crashdown Café – an alien-themed restaurant where Liz and Maria worked; the original location that set the tone for the TV series.
Lawrence Bender is known for getting his hands into political issues, taking on environmental and racial problems without any second thought. In his newest Netflix series Seven Seconds, an African American boy is critically injured by a Caucasian cop, leading racial tension to rise, much like our world today. Of course, the Roswell TV reboot had to have its own spin, taking on the most sensical, but high-in-tension problem right now amongst Americans: immigration. With groups fighting over DACA’s “Dreamers”, Liz Parker and the reboot are both perfect candidates for injecting Bender’s political flavor into the concoction.
Why We Need These Storylines Now More Than Ever
With the police brutality and political tension rising in the United States as we speak, it’s no secret that we need a bit of love and education to be spread around. Because of today’s events, there are two types of ignorant in this country: those ignorant of what’s going on in the world that are easy to write off politics in entertainment, and those that are genuinely ignorant due to not having any time to watch the news. Entertainment is our last hope for spreading awareness on these issues, while not making the content unenjoyable to watch or straying too far from the original storyline.
Sure, people like to watch dramatic events on television that won’t ever happen to them – or what they think won’t happen to them, but the storylines in “Seven Seconds” and the “Roswell” reboot are a harsh reality for others that aren’t so fortunate. The intertwining of these sub-storylines will allow people to see what’s really going on in hopes that people will open their eyes, rather than using political plots for profit.
Those that are fortunate enough to not have to deal with immigration or racial profiling never have to worry about being stopped on the street or have to watch their back daily, but for those that have to deal with this day in and out, the two shows are going to shed more light than ever towards those that are naturally gifted from the political Gods.
Television and entertainment is supposed to make you feel a plethora of emotions. A good writer or story will make you happy, sad, or just plain angry. When done right, using this method of getting through to the audience will allow people to feel exactly how the characters feel in that scene. With how much empathetic education that needs to happen across America, this way of connecting is imperative to the success of understanding and the success of compassion.
The Roswell of Today Meets the Roswell of Yesterday
Portraying emotions through media is a calculated science. Instead of making the entirety of the Roswell reboot race-oriented, it will be a sub-storyline that pays respects to the original concept without going too far off. We think that the original cast of Roswell is very much onboard with the new entanglement of the two concepts, as Majandra Delfino, who played Maria DeLuca on the original series, is a loud advocate for racism in the entertainment industry. She herself has discussed on Instagram about how she could never get cast as an American Latina because she passed off as “too white”, and how angry that makes her.
Awww! Sweet networks of prime time TV! What’s that? I’m not Hispanic enough to play an American Latina? Oh. Wait. What’s that? Ohhhh. You say you agree I am Hispanic enough (“technically”) but you worry hiring me “would be an insult to Hispanics” because I’m too light skinned. Ohhh. Cool cool. Well, let me help you here, that RATIONALE is what is insulting to Hispanics. Cuz guess who is the only group of people who don’t accept me as 100 percent Hispanic? You guys! Oh and one more thing: No – I will NEVER go in to a meeting with you guys with my face painted “a little more brown” and faking “a little accent.” That is so insulting to all of us. How on earth does someone even suggest something like that? Would you ask a light skinned African American to put on black face and have an accent you deem appropriate for black people? Holy mother of God are you serious? Guys! Travel the country or something and take some notes about how different we all look and sound. I don’t know what would help, but please just do what it takes to stop saying things like this. It makes our industry seem incapable of its great potential for brilliance and inclusivity. 👊🏻🇵🇷🇻🇪 #pullittogether #IWonAnAlmaAwardForCryingOutLoud #AndGuessWhoGivesThoseOut??
This is something real that happens in the entertainment industry. These racial plot lines are based off of real events that are going on in the United States, and Lawrence Bender’s team is taking them on tastefully, while not hiding the truth or glamorizing these horrific issues that we unfortunately regularly face.