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Dawson's Creek - The Complete Second Season
Columbia/Tri-Star // Unrated // December 16, 2003
List Price: $49.95 [Buy now and save at Amazon]
"Y'know, I can't believe this. After years of gratuitous self-examination, you finally did it...you acted. I mean, I thought you and Joey were going to draw out this 'will-they-won't-they' drama for at least another couple of years. Sam and Diane didn't get together for at least four seasons, and Mulder and Scully...they haven't even kissed! If you and Joey can get across this romantic checkmate thing you've been in for God knows how many years, anything is possible!"
I never tuned into Dawson's Creek during its original six season run; although my geekiness was rampant enough in college that my friends and I turned Buffy and Angel into some sort of terrifying weekly ritual, I couldn't muster the same enthusiasm for what was probably the WB's most popular series. Dawson's Creek was Dawson's Creek and therefore unsuitable for viewing, and somehow that passed for logical reasoning at the time. I've shed much of my college radio DJ-fueled elitism over the years since graduation, and that coupled with my deep and abiding love for clichéd teen movies left me leaping when I had the opportunity to give the second season of Dawson's Creek a peek on DVD.
Despite missing the first season and having little familiarity with any of the characters or plotlines, I found it pretty painless to dive in headfirst to Dawson's Creek, quickly becoming acquainted with the basics without me feeling the least bit confused or the writers having to resort to the clunky "we work for an evil law firm!" exposition that's plagued Angel, another WB series, this season. Although the first season has been reviewed twice at DVD Talk and should supply the necessary background, I'll provide a brief runthrough of the plot anyway. It's a pretty simplistic premise, lacking sassy maids or flashy girls from Flushings working as a nanny for a Broadway producer or Ted McGinley in any capacity. Dawson's Creek is about the trials and tribulations endured by a group of high school-age pals in Capeside, Massachusetts. Dawson (James Van Der Beek) is among them, though as best I can tell, he doesn't have a creek or claim to possess any such rights. Dawson aspires to be a filmmaker, and his idolatry of Steven Spielberg is such that his bedroom is plastered with posters of his films, even dismal efforts like Hook and Jurassic Park: The Lost World. Dawson's bestest buddies are Joey (Katie Holmes), a longtime friend and broke waitress with whom a budding romance has recently started to bloom, and Pacey (Joshua Jackson), a disinterested student with an endearingly self-deprecating sense of humor. Rounding out the circle of twenty-something teenagers that frolick on the beach in the opening credits is Jen (Michelle Williams), a troubled teen shipped out from New York to try to stave off her naughtiness. Jen and Dawson were apparently hot 'n heavy last season, but their relationship crashed, and Jen isn't entirely over the loss of her one true.
Season two introduces a few more recurring characters. There's Abby (Monica Keena), the requisite bad influence that's pretty much everything Jen tried to leave behind in the Big Apple, and, of course, they quickly become best friends. New to Capeside are siblings Andie (Meredith Monroe) and Jack (Kerr Smith), who have moved from Rhode Island to a posh resort community, though their homelife isn't quite as peachy as appearances would suggest. Andie is bright and driven, rapidly developing a love/hate 'ship with Pacey, and Jack takes a shining to his new boss and fellow art enthusiast, Joey. Also chiming in with guest spots are WB mainstay Jason Behr (the star of Roswell also put in an appearance in Buffy's second season) as a skirt-chasing rich kid and stand-in thespian, Ali Larter as Pacey's dream gal, and Rachael Leigh Cook as the star of one of Dawson's film projects.
Normally I rattle off a synopsis of each episode when I tackle a TV-on-DVD set, but because Dawson's Creek has so many intertwined relationships and lengthy storylines, doing the same becomes tougher: what would be considered a spoiler for one episode becomes central to the plot of multiple episodes down the road, and even just listing the episodes' titles would smother some of the surprises. For a brief taste of what to expect in the sixteen hours or so of material in this set, thrill to friends becoming lovers, apparent enemies doing the same, school-sponsored mock marriages, diary skimming, a full moon yanking at the 70% of water in nubile teenage bodies, cheating, klutz kissin', fulfilled fantasies at a homecoming dance, all-night cramming and purity test taking, fisherman fondling, an open marriage, a mentally-ill mom, spilling secrets in a heated student council race, nekkid art posing, sexual detective work, rum-fueled bad blues crooning, waitress-hunting method acting, a best boy gripping, spitting in the face of the entire educational system, poem reading-slash-sobbing, sexual confusion, film criticism, pre-martial jitters, catering catastrophes, fatal plunging, posthumous whitewashing, culinary collisions, spectral sightings, and assorted alliterative altercations.
My initial expectation was that I'd intensely loathe Dawson's Creek because of my baseless preconceptions, but that turned out not to be the case. This isn't going to turn into a fawning, glowing review or anything, though. My thoughts kind of fall somewhere around a "pretty good, I guess", probably preceded by a prolonged "hmmmmm" or maybe hesitantly waving a hand slightly from side to side. Put more explicitly, I liked it enough that I found myself genuinely interested in seeing how a few plot points were resolved, I didn't find sitting through these sixteen hours to be at all a chore, and I wouldn't complain if I had to watch other episodes of the series, but I don't have any immediate plans to pick up season one and will more than likely pass on future seasons. It's a passive brand of positivity.
It's not difficult to see how Dawson's Creek established such a large fan base, benefitting from a likeable cast, well-rounded characters versus the cardboard stereotypes I was expecting, decent writing (Mike White, one of my favorite comedic writers of recent years, is frequently credited for his work this season), effective juggling of numerous subplots, self-aware winking, and excessive biting of lower lips. Really, it's like a total motif or whatever. There are some clunkers, like "Psychic Friends", but not enough to drag the season as a whole down. Monica Keena is cute as a bug on an elephant's ear or whatever that stupid expression is, but she doesn't sell sinister, and I don't think anyone would be able to sell sterling dialogue like "Who do I have to sleep with to solve this mystery?" in "Sex, She Wrote". What? As terrible as I thought portions of that episode had been (Abby Morgan != Nero Wolfe), it's redeemed by much of its second half, thanks in large part to Joshua Jackson. He's Dawson's Creek's secret weapon, consistently putting forth some of the most impressive acting and providing what is by far its most interesting character. My favorite episodes of the season tended to be the ones that featured him most prominently, particularly "To Be or Not to Be..." and "...That Is the Question", a two-parter in which Pacey takes a stand for what he believes in, squaring off against an abusive teacher and defending his girlfriend's brother, regardless of the consequences. Dawson Leery is a nice, fairly together guy with a bright future whose biggest problems are a disintegrating home life and a floundering relationship with the love of his life, and that isn't nearly as compelling as what Pacey has endured and how he matures throughout the course of the season. The series' characters may do and say a lot of things that seem silly and overwrought, things that seemed completely unrealistic until I thought about it and remembered that quite a bit of what happens in real life is silly and overwrought too, if not quite to the same extent. Everything seems more dramatic when you're sixteen.
Video: The quality of the full-frame video is inconsistent, though this may be representative of how these episodes appeared when they originally aired. The image often has a grainy, noisy appearance, varying in weight from shot to shot. The level of detail isn't particularly impressive, intermittently becoming rather soft as well. Substantial chunks of "Full Moon Rising" are almost VCD quality, and a number of episodes have moments like that, if not to the same extent. Six discs is the industry standard for a twenty-two episode season of an hour-long drama, but Dawson's Creek compresses that to four DVDs for this release. I'm not sure if beefing up the bit rate by spreading the material across more DVDs would have made a difference, but I can't say that I'm all that impressed with what I'm seeing here.
Audio: Dawson's Creek features a set of Dolby stereo surround tracks (192Kbps). It's standard issue dramatic audio, with dialogue front and center, music responsible for the bulk of the activity in the rears and subwoofer, and not really much else of note. Ambient sounds also keep the surrounds frequently chittering, thanks to chirping crickets, squawking birds, and scattered crowd noise. Stereo separation is noticeable in effects such as a car careening from one end of the screen to the other, clinking trays in the school cafeteria, restaurant chatter, and briefly but perhaps most impressively, a conflagration in the season finalé. Not home theater showcase material, but close to, if not a slight improvement over, what I'd expect from a television broadcast. Subtitles in Spanish and Portuguese have also been provided, as well as closed captions. For some completely bizarre reason I don't entirely comprehend, a Spanish subtitle appears by default in the episode "The All-Nighter", after Chris tosses Jen a note before a midterm, as well as the "To Be Continued" in "High Risk Behavior".
The packaging lists the inclusion of "brand new music selected by the executive producer". Presumably that means that Dawson's Creek has fallen victim to the prohibitive cost of licensing music for home video release, which has prompted similar changes in series like Wiseguy and is keeping others like WKRP in Cincinatti off store shelves entirely. Not being intimately familiar with Dawson's Creek or chart-topping guitar-pop that the kids are listening to in general, I can't really speak as to the severity of these changes, but fans of the series may want to take that into account before whipping out their credit cards for a purchase. For a list of songs used in the original broadcasts, the Dawson's Creek Music Guide has a comprehensive list. Skimming through that, I don't recall having heard "Save Tonight" by Eagle-Eye Cherry, "Flagpole Sitta" by Harvey Danger, "Sell Out" by Reel Big Fish, "Celebrity Skin" by Hole, "Slide" by the Goo Goo Dolls, "I Do" by Lisa Loeb, "Freak of the Week" by the Marvelous 3, or "Magic" by Ben Folds Five. I didn't keep a running tally and may be misremembering (the music isn't always prominent in the mix), and that's not by any means an assertion that the other songs listed there are present. They definitely cleared "Kiss Me" by Sixpence None The Richer since that musical fallback is used incessantly throughout.
Supplements: The set's extras are scant, limited to a pair of bookend audio commentaries by executive producer Paul Stupin. He chats over the season premiere, "The Kiss", as well as the finalé, "Parental Guidance Suggested". I think a hands-on executive producer is perhaps the ideal person, maybe just shy of a showrunner, to provide commentary for a TV series, given their involvement in so many aspects of production. Stupin covers most every facet in these entertaining, comprehensive commentaries, keeping the discussion going at a steady clip without a single pause of note. He speaks at length about the origins of the series' new characters, the casting process, the motivation behind some of the season's story arcs, how film clips are cleared, reworking the premiere because it made Joey seem insensitive, the vast differences between shooting the first and second seasons, the disparity in what the crew sees in raw dailies versus what's broadcast on television after post-production tweaking, accomodating actors' appearances in other films, the sometimes problematic weather and six-legged creatures in Wilmington, shooting around tides, intracoastal heroics, the rules and regulations for soundstage pyrotechnics, the network's initial refusal to air one episode, and even giving Wiseguy a nod when chatting about one memorable sequence in "Parental Guidance Suggested". Despite the length of that laundry list, that's just a portion of what Stupin covers. He's also able to take a step back from the series and comment about what doesn't work entirely well, using the word "spurious" several times throughout the two commentaries to describe certain decisions made throughout the course of production. Both tracks are excellent and absolutely worth taking the time to hear. However, because Stupin does talk about season two as a whole, I'd suggest that first-time viewers hold off until watching all twenty-two episodes before listening to either of them.
Also tacked onto the first disc is a trailer gallery, including plugs for Charlie's Angels: Full Throttle, Dick, Go, and Lone Star State of Mind. I'm not sure if there's a Dawson's Creek tie-in for Charlie's Angels, or at least not one that a quick skim of the IMDb could uncover. The other three trailers are all other Columbia/Tri-Star releases featuring the show's cast, starring Michelle Williams, Katie Holmes, and Joshua Jackson, respectively. Technically, these trailers are all over the map. Charlie's Angels is the only anamorphic widescreen clip of the bunch, presented at an aspect ratio of 1.85:1. Go boasts the same ratio but is only letterboxed, and both Dick and Lone Star State of Mind are full-frame. Lone Star... is the sole stereo track of the four (encoded at a bitrate of 192Kbps), while the others are in full Dolby Digital 5.1 (448Kbps for Go, 384Kbps for the remaining two).
All four discs include 4x3 menus with corny animation and sappy music, and the episodes on each DVD can be viewed individually or consecutively. Each episode is also divided into multiple chapters. The packaging is similar to series like Buffy the Vampire Slayer, consisting of a slipcase and a fold-out interior. Tucked into a flap inside is a booklet plugging other CTHV TV-on-DVD releases, a list of episodes and credits for this season (very mildly annoying is that the discs the episodes are on aren't listed), and a $5 mail in rebate for viewers who bought both this season and the series finale DVD.
Conclusion: Dawson's Creek sports a slimmer list price than many comparable television box sets, carrying a sticker price of $49.95 and available online from a couple of retailers for just over thirty bucks. Despite the lack of extras, I'd imagine that's a price point that even more casual Dawson fans will still find palatable. Uninitiated viewers will probably want to start with the first season or TiVo some of those late morning second-run episodes on TBS, but the second season of Dawson's Creek still comes recommended.
Related Reviews: DVD Talk also has reviews of the first season of Dawson's Creek and the series finale.
I never tuned into Dawson's Creek during its original six season run; although my geekiness was rampant enough in college that my friends and I turned Buffy and Angel into some sort of terrifying weekly ritual, I couldn't muster the same enthusiasm for what was probably the WB's most popular series. Dawson's Creek was Dawson's Creek and therefore unsuitable for viewing, and somehow that passed for logical reasoning at the time. I've shed much of my college radio DJ-fueled elitism over the years since graduation, and that coupled with my deep and abiding love for clichéd teen movies left me leaping when I had the opportunity to give the second season of Dawson's Creek a peek on DVD.
Despite missing the first season and having little familiarity with any of the characters or plotlines, I found it pretty painless to dive in headfirst to Dawson's Creek, quickly becoming acquainted with the basics without me feeling the least bit confused or the writers having to resort to the clunky "we work for an evil law firm!" exposition that's plagued Angel, another WB series, this season. Although the first season has been reviewed twice at DVD Talk and should supply the necessary background, I'll provide a brief runthrough of the plot anyway. It's a pretty simplistic premise, lacking sassy maids or flashy girls from Flushings working as a nanny for a Broadway producer or Ted McGinley in any capacity. Dawson's Creek is about the trials and tribulations endured by a group of high school-age pals in Capeside, Massachusetts. Dawson (James Van Der Beek) is among them, though as best I can tell, he doesn't have a creek or claim to possess any such rights. Dawson aspires to be a filmmaker, and his idolatry of Steven Spielberg is such that his bedroom is plastered with posters of his films, even dismal efforts like Hook and Jurassic Park: The Lost World. Dawson's bestest buddies are Joey (Katie Holmes), a longtime friend and broke waitress with whom a budding romance has recently started to bloom, and Pacey (Joshua Jackson), a disinterested student with an endearingly self-deprecating sense of humor. Rounding out the circle of twenty-something teenagers that frolick on the beach in the opening credits is Jen (Michelle Williams), a troubled teen shipped out from New York to try to stave off her naughtiness. Jen and Dawson were apparently hot 'n heavy last season, but their relationship crashed, and Jen isn't entirely over the loss of her one true.
Season two introduces a few more recurring characters. There's Abby (Monica Keena), the requisite bad influence that's pretty much everything Jen tried to leave behind in the Big Apple, and, of course, they quickly become best friends. New to Capeside are siblings Andie (Meredith Monroe) and Jack (Kerr Smith), who have moved from Rhode Island to a posh resort community, though their homelife isn't quite as peachy as appearances would suggest. Andie is bright and driven, rapidly developing a love/hate 'ship with Pacey, and Jack takes a shining to his new boss and fellow art enthusiast, Joey. Also chiming in with guest spots are WB mainstay Jason Behr (the star of Roswell also put in an appearance in Buffy's second season) as a skirt-chasing rich kid and stand-in thespian, Ali Larter as Pacey's dream gal, and Rachael Leigh Cook as the star of one of Dawson's film projects.
Normally I rattle off a synopsis of each episode when I tackle a TV-on-DVD set, but because Dawson's Creek has so many intertwined relationships and lengthy storylines, doing the same becomes tougher: what would be considered a spoiler for one episode becomes central to the plot of multiple episodes down the road, and even just listing the episodes' titles would smother some of the surprises. For a brief taste of what to expect in the sixteen hours or so of material in this set, thrill to friends becoming lovers, apparent enemies doing the same, school-sponsored mock marriages, diary skimming, a full moon yanking at the 70% of water in nubile teenage bodies, cheating, klutz kissin', fulfilled fantasies at a homecoming dance, all-night cramming and purity test taking, fisherman fondling, an open marriage, a mentally-ill mom, spilling secrets in a heated student council race, nekkid art posing, sexual detective work, rum-fueled bad blues crooning, waitress-hunting method acting, a best boy gripping, spitting in the face of the entire educational system, poem reading-slash-sobbing, sexual confusion, film criticism, pre-martial jitters, catering catastrophes, fatal plunging, posthumous whitewashing, culinary collisions, spectral sightings, and assorted alliterative altercations.
My initial expectation was that I'd intensely loathe Dawson's Creek because of my baseless preconceptions, but that turned out not to be the case. This isn't going to turn into a fawning, glowing review or anything, though. My thoughts kind of fall somewhere around a "pretty good, I guess", probably preceded by a prolonged "hmmmmm" or maybe hesitantly waving a hand slightly from side to side. Put more explicitly, I liked it enough that I found myself genuinely interested in seeing how a few plot points were resolved, I didn't find sitting through these sixteen hours to be at all a chore, and I wouldn't complain if I had to watch other episodes of the series, but I don't have any immediate plans to pick up season one and will more than likely pass on future seasons. It's a passive brand of positivity.
It's not difficult to see how Dawson's Creek established such a large fan base, benefitting from a likeable cast, well-rounded characters versus the cardboard stereotypes I was expecting, decent writing (Mike White, one of my favorite comedic writers of recent years, is frequently credited for his work this season), effective juggling of numerous subplots, self-aware winking, and excessive biting of lower lips. Really, it's like a total motif or whatever. There are some clunkers, like "Psychic Friends", but not enough to drag the season as a whole down. Monica Keena is cute as a bug on an elephant's ear or whatever that stupid expression is, but she doesn't sell sinister, and I don't think anyone would be able to sell sterling dialogue like "Who do I have to sleep with to solve this mystery?" in "Sex, She Wrote". What? As terrible as I thought portions of that episode had been (Abby Morgan != Nero Wolfe), it's redeemed by much of its second half, thanks in large part to Joshua Jackson. He's Dawson's Creek's secret weapon, consistently putting forth some of the most impressive acting and providing what is by far its most interesting character. My favorite episodes of the season tended to be the ones that featured him most prominently, particularly "To Be or Not to Be..." and "...That Is the Question", a two-parter in which Pacey takes a stand for what he believes in, squaring off against an abusive teacher and defending his girlfriend's brother, regardless of the consequences. Dawson Leery is a nice, fairly together guy with a bright future whose biggest problems are a disintegrating home life and a floundering relationship with the love of his life, and that isn't nearly as compelling as what Pacey has endured and how he matures throughout the course of the season. The series' characters may do and say a lot of things that seem silly and overwrought, things that seemed completely unrealistic until I thought about it and remembered that quite a bit of what happens in real life is silly and overwrought too, if not quite to the same extent. Everything seems more dramatic when you're sixteen.
Video: The quality of the full-frame video is inconsistent, though this may be representative of how these episodes appeared when they originally aired. The image often has a grainy, noisy appearance, varying in weight from shot to shot. The level of detail isn't particularly impressive, intermittently becoming rather soft as well. Substantial chunks of "Full Moon Rising" are almost VCD quality, and a number of episodes have moments like that, if not to the same extent. Six discs is the industry standard for a twenty-two episode season of an hour-long drama, but Dawson's Creek compresses that to four DVDs for this release. I'm not sure if beefing up the bit rate by spreading the material across more DVDs would have made a difference, but I can't say that I'm all that impressed with what I'm seeing here.
Audio: Dawson's Creek features a set of Dolby stereo surround tracks (192Kbps). It's standard issue dramatic audio, with dialogue front and center, music responsible for the bulk of the activity in the rears and subwoofer, and not really much else of note. Ambient sounds also keep the surrounds frequently chittering, thanks to chirping crickets, squawking birds, and scattered crowd noise. Stereo separation is noticeable in effects such as a car careening from one end of the screen to the other, clinking trays in the school cafeteria, restaurant chatter, and briefly but perhaps most impressively, a conflagration in the season finalé. Not home theater showcase material, but close to, if not a slight improvement over, what I'd expect from a television broadcast. Subtitles in Spanish and Portuguese have also been provided, as well as closed captions. For some completely bizarre reason I don't entirely comprehend, a Spanish subtitle appears by default in the episode "The All-Nighter", after Chris tosses Jen a note before a midterm, as well as the "To Be Continued" in "High Risk Behavior".
The packaging lists the inclusion of "brand new music selected by the executive producer". Presumably that means that Dawson's Creek has fallen victim to the prohibitive cost of licensing music for home video release, which has prompted similar changes in series like Wiseguy and is keeping others like WKRP in Cincinatti off store shelves entirely. Not being intimately familiar with Dawson's Creek or chart-topping guitar-pop that the kids are listening to in general, I can't really speak as to the severity of these changes, but fans of the series may want to take that into account before whipping out their credit cards for a purchase. For a list of songs used in the original broadcasts, the Dawson's Creek Music Guide has a comprehensive list. Skimming through that, I don't recall having heard "Save Tonight" by Eagle-Eye Cherry, "Flagpole Sitta" by Harvey Danger, "Sell Out" by Reel Big Fish, "Celebrity Skin" by Hole, "Slide" by the Goo Goo Dolls, "I Do" by Lisa Loeb, "Freak of the Week" by the Marvelous 3, or "Magic" by Ben Folds Five. I didn't keep a running tally and may be misremembering (the music isn't always prominent in the mix), and that's not by any means an assertion that the other songs listed there are present. They definitely cleared "Kiss Me" by Sixpence None The Richer since that musical fallback is used incessantly throughout.
Supplements: The set's extras are scant, limited to a pair of bookend audio commentaries by executive producer Paul Stupin. He chats over the season premiere, "The Kiss", as well as the finalé, "Parental Guidance Suggested". I think a hands-on executive producer is perhaps the ideal person, maybe just shy of a showrunner, to provide commentary for a TV series, given their involvement in so many aspects of production. Stupin covers most every facet in these entertaining, comprehensive commentaries, keeping the discussion going at a steady clip without a single pause of note. He speaks at length about the origins of the series' new characters, the casting process, the motivation behind some of the season's story arcs, how film clips are cleared, reworking the premiere because it made Joey seem insensitive, the vast differences between shooting the first and second seasons, the disparity in what the crew sees in raw dailies versus what's broadcast on television after post-production tweaking, accomodating actors' appearances in other films, the sometimes problematic weather and six-legged creatures in Wilmington, shooting around tides, intracoastal heroics, the rules and regulations for soundstage pyrotechnics, the network's initial refusal to air one episode, and even giving Wiseguy a nod when chatting about one memorable sequence in "Parental Guidance Suggested". Despite the length of that laundry list, that's just a portion of what Stupin covers. He's also able to take a step back from the series and comment about what doesn't work entirely well, using the word "spurious" several times throughout the two commentaries to describe certain decisions made throughout the course of production. Both tracks are excellent and absolutely worth taking the time to hear. However, because Stupin does talk about season two as a whole, I'd suggest that first-time viewers hold off until watching all twenty-two episodes before listening to either of them.
Also tacked onto the first disc is a trailer gallery, including plugs for Charlie's Angels: Full Throttle, Dick, Go, and Lone Star State of Mind. I'm not sure if there's a Dawson's Creek tie-in for Charlie's Angels, or at least not one that a quick skim of the IMDb could uncover. The other three trailers are all other Columbia/Tri-Star releases featuring the show's cast, starring Michelle Williams, Katie Holmes, and Joshua Jackson, respectively. Technically, these trailers are all over the map. Charlie's Angels is the only anamorphic widescreen clip of the bunch, presented at an aspect ratio of 1.85:1. Go boasts the same ratio but is only letterboxed, and both Dick and Lone Star State of Mind are full-frame. Lone Star... is the sole stereo track of the four (encoded at a bitrate of 192Kbps), while the others are in full Dolby Digital 5.1 (448Kbps for Go, 384Kbps for the remaining two).
All four discs include 4x3 menus with corny animation and sappy music, and the episodes on each DVD can be viewed individually or consecutively. Each episode is also divided into multiple chapters. The packaging is similar to series like Buffy the Vampire Slayer, consisting of a slipcase and a fold-out interior. Tucked into a flap inside is a booklet plugging other CTHV TV-on-DVD releases, a list of episodes and credits for this season (very mildly annoying is that the discs the episodes are on aren't listed), and a $5 mail in rebate for viewers who bought both this season and the series finale DVD.
Conclusion: Dawson's Creek sports a slimmer list price than many comparable television box sets, carrying a sticker price of $49.95 and available online from a couple of retailers for just over thirty bucks. Despite the lack of extras, I'd imagine that's a price point that even more casual Dawson fans will still find palatable. Uninitiated viewers will probably want to start with the first season or TiVo some of those late morning second-run episodes on TBS, but the second season of Dawson's Creek still comes recommended.
Related Reviews: DVD Talk also has reviews of the first season of Dawson's Creek and the series finale.
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