It’s been 20 years since fans met Dawson Leery, Joey Potter, Jen Lindley and Pacey Witter down in Capeside. For many millennials, the four core characters of Dawson’s Creek were an introduction to the intricacies of high school, finding your identity, growing up, falling in love with your best friend and a sophisticated vernacular you expected to get in the ninth grade. But the show almost didn’t happen. “I had many people tell me that it would never get made,” explains executive producer Paul Stupin. “I had many people say that it’s just not right for TV. I just had every criticism possible, and I had to listen to them all, but I didn’t believe that any of them were correct.”
At the end of the day, Stupin was right. Over the course of six seasons, fans got to experience the Dawson-Joey-Pacey love triangle, Jack’s coming out story, Jen’s path from bad girl to good girl, Pacey’s path to self-worth and so much more. The Capeside bubble of Dawson’s Creek helped shape the culture of TV in the late ‘90s and early aughts. Not only were the characters and storylines impactful, but the music from the show was as well. It captured the essence of what was popular during that time and created an indie and alt-rock fantasy for music nerds. Before the world would dive into The O.C. or Gossip Girl’s sonic database, Dawson’s Creek was one of the shows that set the bar high when it came to curating music and breaking artists. It’s something that wouldn’t have been possible without Stupin (Beautiful People, Switched At Birth), co-producer Drew Matich (Joan of Arcadia, Girlfriends’ Guide To Divorce) and music supervisor John McCullough (That ‘70s Show, Party of Five). Together, Stupin, Matich and McCullough helped artists rise to fame, made pivotal creative decisions and curated musical memories that will last a lifetime.