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It also had a rather well-received Crossover episode with other Man of Action Studios series Generator Rex, Ben 10/Generator Rex: Heroes United. It was still notable, however, for two major Author's Saving Throws: giving an explanation for Kevin's change of personality between the original series and Alien Force, and turning back the badly decayed Vilgax and Forever Knights into credible threats. It was generally viewed as too similar to Alien Force to even be considered as a separate series, and it is usually rather seen as a continuation of the previous one the only major changes it brought to the franchise were Ben starting to use a new Omnitrix and his identity being revealed to the world, confirming further his evolution as a Living Legend in-universe. Much like its predecessor, Ultimate Alien had a controversial reception and maintained the Broken Base amongst the fans.
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It was a training ground for great artists, and the show continues to be that for young generations of kids.The second season is mostly made of filler episodes, but there are some episodes that link into the third season's story arc involving an Eldritch Abomination named Diagon linked to the past of the Forever Knights. You should take risks like this." In our careers, that's what we learned. When I left that show, I thought, "That's raising the bar for theater. There's a level of respect that those adults on that creative team had for young people. He was always so connected to "The Guilty Ones," the fans of the show, that saw themselves on stage. There's that clip from Columbine in the documentary, and Steven Sater saying, "I wanted to create a show for the souls of the youth of America," and he did it. Steven and Duncan gave a gift to young theater kids everywhere by hearing them and listening to them. There's not a lot of shows that challenge people at this age with really, really dark, difficult material. GROFF: When you ask a lot of young people, they rise to the challenge. John Gallagher talking about suicide, and Lauren and Lilli sharing their stories - they were asking a lot of the young actors, and we were giving it. Just to be reminded of the depth of that material and the power of that material, it didn't feel different, but it was like, "Oh wow, we were really going for it here." Emotionally, the last 10 minutes of the show is insane. These scenes require a lot from anyone performing them. That we got to play these characters at such a young age, they're still challenging as adults. These characters are so complex and so grown up. Oh, I'm going to be your wound" with 15 years of life and the ways that we've been wounded over the last 15 years, collectively and separately, looking back at that you're like, "Whoa, for young people to be forecasting that wound is so deep." But there was a familiarity and almost an empowerment. The material, going back to it, there were certain things where we were like, "This is what this means." Singing, "Oh, you're going to be wounded. I could use a reminder of him in my life every day. It was like touching a power source or touching on truth. Coming back to do it again, I felt it again. He gave me a personal inner strength and confidence that I didn't have in my real life. GROFF: The character of Melchior felt, when I was 21, like everything I wished I was. Let's revisit each other." The most important piece was that it was a benefit for the Actors Fund, who had given over $24 million over the last year and a half during the lockdown to everyone in our industry that lost their jobs suddenly because of COVID. Everybody was ready to be in a room again and look at each other and say, "Look what we did. We were all reflecting on how much this show meant to us and how it changed all of our lives, from the cast to the band to the creative team.
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It was beautiful timing, and the scenario never would have happened without the pause of COVID.
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Everybody's schedules were free because of the lockdown. It was a really beautiful thing because everyone was feeling very reflective during the lockdown. Kevin Adams did the lighting, who lit the show. We had Christine Jones, our set designer we had Susan Hilferty, who did costumes. Brian Ronan, our sound designer, was there. Our director, Michael Mayer, came back to direct the night. It still boggles my mind that we had the entire original cast and the entire original band.