#2000stv

Two Roswells, One Michael & Maria — And the Version We Never Got

Being wildly unpopular might actually be my favorite sport at this point.

Every time I write something like this, I fully expect at least three people to be ready to fight me in the tags. But here’s the thing: I don’t write to be attacked. I write because I genuinely love open, honest, civil conversations. I like contrasting opinions. I just prefer them without digital pitchforks.

So.

Today’s Ship Scream is about Michael and Maria.

Both versions.

Yes. We’re doing this.

The Two Roswells

I watched both:

Roswell (1999–2002)

Roswell, New Mexico (2019–2022)

And yes, I liked both. They’re similar, but they feel very different — and you can feel the twenty-year gap between them.

Both are inspired by the Roswell High novels by Melinda Metz, though neither adaptation is fully faithful. I never read the books (they weren’t published in Italy), so my attachment is entirely television-based.

And in both shows, my ship was the same:

Michael Guerin and Maria DeLuca.

Roswell (1999): The Heat Wave That Started It All

Let’s start with the original.

Teenage Michael and Maria were pure enemies-to-lovers chaos.

The turning point? “Heat Wave” (1x09). The hormonal spike. The uncontrollable attraction. The kisses that didn’t stop. Maria hiding hickeys under a sleeveless turtleneck like it was peak Y2K drama.

That was iconic.

What I loved about them in the original Roswell was the tension. The friction. They were opposites. They clashed constantly. But the chemistry? Explosive.

Seasons 1 and 2 built them beautifully. Especially Season 2, which I still think is the show’s peak (Alex’s death, Tess’s arc — that was the emotional core).

But Season 3?

That’s where things fell apart.

The show struggled with post-high school storytelling. The energy shifted. Some character choices didn’t land (Isabel’s marriage to Jessie still confuses me). And Michael and Maria suffered from that instability.

They were living together. Stable. Settled.

But suddenly it felt like Michael was complacent while Maria wanted more — music, growth, independence.

And instead of deepening their maturity, the show kind of fumbled it.

By the finale, they reunite — but it feels rushed. Like boxes being checked to give everyone a happy ending.

So in the original:

I loved how they started.

I loved their teenage intensity.

I didn’t love how their adult arc was handled.

Roswell, New Mexico: The Mature Version… With Complications

Now we move to the reboot.

And here’s where I might lose some of you.

First: Michael being bisexual was not my issue.

Let me be very clear about that.

My discomfort wasn’t about sexuality. It was about narrative balance.

In Roswell, New Mexico, Michael’s relationship with Alex is deeply developed. Their high school history is emotional, layered, painful. I actually liked it. A lot.

Michael hiding his healed hand because Alex still sees him as injured? That’s beautiful storytelling.

But here’s the structural issue: Alex’s death in the original Roswell was foundational. It reshaped the group. It reshaped Isobel. It altered dynamics permanently.

In Roswell, Alex’s death fractures everything.

In Roswell, New Mexico, that role is replaced with Rosa (Liz’s sister). And while Rosa is interesting, she never quite carries the same emotional gravitational weight.

The ripple effects are different.

And that changes everything.

The Michael/Maria/Alex Triangle

Now we get to the part that really didn’t work for me.

The threesome scene.

I’m sorry. I know. I know.

But narratively? It felt like Michael trying to stand in two emotional worlds at once.

If he wants Alex — choose Alex.

If he wants Maria — choose Maria.

But that “foot in both worlds” energy diluted the emotional clarity.

And it weakened what could’ve been a powerful adult Michael/Maria arc.

Because here’s the thing:

I actually loved Michael Vlamis and Heather Hemmens as Michael and Maria.

They feel mature. Grounded. Adult. Their dynamic in Season 1 especially had that familiar enemies-to-lovers spark, but with lived-in weight.

And that’s where my frustration lives.

My Unpopular Take

If I could fuse both versions, I would.

I’d take:

The mature writing and adult depth of Roswell, New Mexico.

The slow-burn emotional commitment of Seasons 1–2 of the original Roswell.

Because what worked best in the original was this: Michael and Maria were the counterpoint to Max and Liz.

Max/Liz were destiny. Soulmate energy. Almost mythic.

Michael/Maria were friction. Fire. Constant collision.

They weren’t poetic. They were volatile.

But in that volatility, there was real love.

And I wanted that same trajectory in the reboot.

Instead, in both versions, I loved how it started… and struggled with how it ended.

So yes.

My perfect Michael and Maria doesn’t exist.

It’s a mash-up.

Original Roswell’s emotional arc. Roswell, New Mexico’s adult depth. A bisexual Michael with a meaningful past — but a decisive emotional present.

That, to me, would’ve been perfect.

So now I’m asking you:

Which Michael and Maria did you prefer? The chaotic Y2K version? The mature reboot version? Or are you Team Michael/Alex?

And please — let’s argue like adults.

🎉 The Top 10 Teen Shows of the 2000s - The Ultimate Countdown! 🎉

Welcome back, everyone! Today, we're diving into the best of the best—The Top 10 Teen Shows of the 2000s. If you grew up glued to your screen watching Disney Channel, Nickelodeon, or even the more niche networks, you know exactly the magic these shows brought into our lives.

In this video, I'm counting down the most iconic seasons from the shows that defined a generation—those that gave us characters we loved, storylines we related to, and moments we still quote today. From Miley Cyrus living a double life in Hannah Montana to Miranda Cosgrove’s wild web show antics in iCarly, these series were the soundtrack to our childhoods. And while I've picked the top 10, we can't forget to give a shoutout to other amazing teen shows that rocked the 2000s:

Disney Channel: Lizzie McGuire (Hilary Duff), Even Stevens (Shia LaBeouf), Phil of the Future (Ricky Ullman), The Proud Family (Kyla Pratt), Kim Possible (Christy Carlson Romano), The Suite Life of Zack & Cody (Dylan & Cole Sprouse), That’s So Raven (Raven-Symoné), Hannah Montana (Miley Cyrus), Wizards of Waverly Place (Selena Gomez), Sonny with a Chance (Demi Lovato), The Suite Life on Deck (Debby Ryan)

Nickelodeon: Drake & Josh (Drake Bell & Josh Peck), Zoey 101 (Jamie Lynn Spears), Ned’s Declassified School Survival Guide (Devon Werkheiser), The Naked Brothers Band (Nat & Alex Wolff), Unfabulous (Emma Roberts), iCarly(Miranda Cosgrove), True Jackson, VP (Keke Palmer), Big Time Rush (Kendall Schmidt, James Maslow, Carlos PenaVega, Logan Henderson), Victorious (Victoria Justice, Ariana Grande), Just Jordan (Lil’ JJ), All That (Amanda Bynes, Kenan Thompson, Nick Cannon)

These shows had it all—from laugh-out-loud comedy to real-life drama—and they played a huge role in shaping our pop culture. In today’s video, I’ll be breaking down what I think are the top 10 teen shows of the era, with a special focus on their most iconic seasons.

My SMALLVILLE opinions that no one asked for

Clois >>>>> anyone else in this show, their love dynamic was amazing. I love how they went from strangers - friends - flirting - lovers, I forgot how far into the show they even got together because of how close they were

Pete >>>>> Chloe, I loved the friendship between him and Clark, the fact that he was first to know about Clark's secret was amazing and his protectiveness of his friendship with Clark and Clark's with Lex is completely understandable.

SMALLVILLE Justice League >>>>>>>> Whatever DC makes today, I actually haven't really watched any Superhero movies other than the Batman Vs Robin, Justice League Vs Teen Titans, or THE BATMAN since I'm not really a fan of WB and there are some actors in the newer movies that I DO NOT want to support, but SMALLVILLE always gave these characters interesting stories (even if they only appeared in a few episodes) and a full episode dedicated to them

Clex >>>>>> Superman Vs Luthor, the fact that their origin has them being friends???? I mean like

Look at this it's perfect, the billionaire and the farm boy, Lex really valued this friendship and the fact that they met at like age 3 (Clark) and age 9 (Lex)

This meeting was so wholesome, I re-watch this episode over and over again because it was so strong for a pilot episode, I remember when I was 10 and first watched it I was blown away and wanted to see more.

Martha and Jonathan Kent were amazing, they were great parents to Clark, they had character and their chemistry was just so natural, my heart broke when Jonathan died because there'd be no more of them

Lex >>>> any other Villain origin story, Alexander Luthor's story wasn't all "happy life turns sad then person turns to evil" Lex literally fought hard to be a good person, sure he had his untrustworthy moments but SMALLVILLES Lex Luthor had such a good story that I even forgot that he was Superman's greatest enemy

H2O Deserved to Grow Up With Us

It’s been a while since I did an episode breakdown, so let’s talk about something that shaped an entire generation.

Let’s talk about H2O: Just Add Water.

A series that was probably underestimated at the time — and yet somehow had an enormous cultural impact.

It was clearly written for a younger audience. I’d say 12 to 15-year-olds. It wasn’t trying to be dark. It wasn’t trying to be edgy. It wasn’t trying to reinvent fantasy television.

And yet.

In Italy — and I know this because I’m Italian — we are now thirty-year-olds who are still not over H2O. We still talk about it. We still rewatch it. We still think it deserved more seasons. More development. More depth.

Which is why I genuinely believe that, if revived properly, H2O could become something incredible.

Not darker for the sake of being dark — we don’t need it to turn into Siren — but deeper. More mythological. More emotionally layered. More intentional.

And that brings me to the series finale.

The Meteor Comet Arc: The Promise

When Season 3 ended with the meteor storyline, I remember being genuinely excited.

For the first time, it felt like the show was expanding its mythology in a meaningful way.

A comet returns to Earth’s orbit every 150 years. It threatens to collide with Earth. 150 years earlier, an Irish mermaid had stopped it — alone — and then disappeared.

That detail alone is powerful.

What happened to her? Did she die? Did she sacrifice her humanity? Did she choose the ocean?

Already, the mythology felt bigger.

And then there were the blue crystals. The new necklaces. The hints that Mako might be connected to the comet itself — that maybe Mako wasn’t entirely terrestrial in origin.

What if Mako was created by that celestial event? What if the girls’ powers weren’t just magical, but cosmic?

The show introduced these ideas…

And then resolved everything in what felt like five minutes.

“A Date with Destiny” Was Almost Better Than the Finale

Ironically, the episode before the finale — “A Date with Destiny” — is almost more compelling than the finale itself.

The rising temperature of the moon pool. The compass no longer spinning wildly, but pointing south. The fish disappearing from around Mako.

The girls investigating. Piecing together clues. Realizing the scale of what’s coming.

At the same time, Sophie is trying to exploit Mako for profit, creating a grounded, human conflict parallel to the cosmic one.

That episode builds tension beautifully.

It feels mature. Elevated. Almost like H2O is stepping into something bigger.

And then we reach “Graduation.”

And everything gets resolved… very quickly.

They create the massive water vortex. They lose consciousness underwater. For a moment, it feels like they might die.

They sink.

They disappear.

And then… they come back.

The next day: graduation ceremony. Smiles. Life goes on.

And that’s it.

The Ending I Thought We Were Getting

Now, I never expected them to die. It was still a teen show.

But I genuinely thought there would be consequences.

Permanent ones.

What if stopping the comet had amplified their powers beyond control? What if they could no longer fully return to being “just human”? What if saving Earth meant binding themselves permanently to the ocean?

That would’ve explained the Irish mermaid’s disappearance 150 years earlier.

Maybe she didn’t die.

Maybe she chose the sea.

Maybe once you cross that threshold — once you protect the planet — you no longer belong to land.

That would’ve created a before and after.

Instead, the story resets.

And that’s where it feels like a missed opportunity.

The Mako Mermaids Question

Then came Mako Mermaids.

I watched it. I wanted answers.

In H2O, we have human girls who become mermaids but remain rooted in their human lives.

In Mako Mermaids, we see “pure” mermaids with a full underwater society, rules, clans, politics.

But how do these two systems connect?

Are the Mako mermaids originally human? Did some transformed girls choose to stay in the ocean permanently and build a society? Are they entirely separate species?

The show never clearly bridges this gap.

And because of that, the two series feel adjacent instead of unified.

It could have been one massive, cohesive mythology.

Instead, it feels slightly fragmented.

And that fragmentation is probably why I never fully connected with Mako Mermaids the way I did with H2O.

Why H2O Deserves a Reboot

I truly believe H2O deserves a mature reboot.

Not dark. Not gritty. Not violent.

Just… layered.

We’ve seen this work before. Look at what was done with Roswell and then Roswell, New Mexico. The newer version didn’t betray the original — it deepened it.

Or think about Marvel's Runaways or School Spirits — teen protagonists, but emotionally and thematically accessible to adults.

H2O could do that.

Keep it in Australia. Keep Mako. Keep the ocean.

But expand the mythology. Explore the cost of transformation. Explore identity. Explore the divide between choosing humanity and choosing the sea.

There is so much lore sitting there, untouched.

It’s been sixteen years since H2O ended.

And I still have questions.

If you have answers, please give them to me.

Final Question

So I’m asking you:

Would you want a more mature H2O reboot?

Would you want deeper Mako mythology? Clearer answers about the mermaid society? Real consequences for cosmic-level events?

Or do you think it’s perfect as it is?

Let’s talk.

And if you grew up with H2O and still think about Mako Island at least once a year… you’re not alone. 🌊✨

If You Loved H2O… You Might Want to Meet Naples’ Mermaids

Before I end this breakdown, I need to say something.

If you loved H2O — and especially if you ever wished it had gone a little deeper, a little more mature without losing its heart — there’s a series you might not know about.

It’s called Sirene, and it aired in Italy in 2017.

And I say this as someone who is very critical of Italian TV: it was surprisingly beautiful.

The premise? There are only two places on Earth where mermaids can live among humans: New York… and Naples.

Yes. Naples.

According to legend, the city was founded by the siren Parthenope — and in the show, that mythology actually matters.

The story follows a family of mermaids — not just three girls, but a mother and her daughters — who come to Naples searching for the last surviving merman in the Mediterranean.

What I loved about it is this: it explores the tension between sea and land in a way H2O only hinted at.

What does it mean to choose humanity? What does it cost to leave the ocean? Can you belong to both?

It’s romantic, funny, emotional, and unexpectedly layered.

If H2O was about girls discovering magic, Sirene is about what happens when magic has to coexist with real life.

So now I’m curious:

Have any of you seen it? And would you watch a subtitled mermaid series set in Italy if it expanded the mythology H2O left behind?

Because honestly? If we’re talking reboots and expanded universes…

Maybe the answer isn’t to remake H2O.

Alright, so we’ve been talking cartoons, but let’s not sleep on the live-action side. Because here’s the thing: both Cartoon Network and Nickelodeon have had their fair share of live-action shows over the years. And if the merger between Paramount Global and Warner Bros. Discovery is happening, then this is absolutely the perfect time to go all out. I’m talking about a crossover so massive it…