Aaron Sorkin has this little habit of titling the first season's last episodes on his various television series "What kind of day has it been?" He takes every stopping point as an opportunity to take part, to look back at what has happened before and look at what is to come. Although Riverdale has anchored himself to the duties of duty, the writing staff writes a reflection of this species during the history they have to end in "Chapter Fifty-Five."
The final stage in particular, which allows our central quartet to regroup with pops with milkshakes after all the different dangers of the year, promotes this sense of summation. They all share a chuckle over the staggering volume of traumas they've had to deal with this year alone, the organ-cutting cult, not one but two masked homicidal lunatics, the revelation that their friend's mother is a criminal mastermind, death in every direction so The far eye can see and vowing to return to normality. There are probably lots of fans that echo the same emotions, eager to get back to the routine of classes and crushers.
Roberto Aguirre-Sacasa has other plans. It makes sense that he would think of a return to this year's ventures as a devolution, that the show cannot go back to its lighter and simpler self. How else does the shocking flash-forward explain that it was seriously misplaced that any hopes for the college's innocence? The coda, what would have been a "water cooler" if we still had water coolers or monocultures to discuss around them, comes as a smack in the face of anyone hoping that the exhibition would break out of this pheasant phase season. Archie, Veronica and Betty are standing around a humming fire in their underwear, burning their clothes and throwing the devastating, absent Jughead's beanie in the last. There is a remark of cruelty in the juxtaposition of what really looks like a vicious pact with the unpleasant happiness of the four characters back in their present. The children are seduced if they think they just need to worry about pop quizzes from now on. So we are.
This scene suggests that the jam-filled madness of "Chapter Fifty Seven" will be the order of the day and we all get better used to it. Determined to end with a stroke and not a snooze, the writing staff fills more intense showdowns that can be counted with one hand in their forty-five minutes. It is also not approximate language; This episode reduction feeling can be attributed to the fact that six different scenes carry flattering emotional weight to end the episode, but only one did. Mastermind Penelope Blossom has set up a sadistic scavenger hunt for her teens, and jumps a life-changing horror on them after another. "A lot of crazy shit happens" can pretty much describe most Riverdale episodes, but they have all been reprieves from the solemnity that this episode does not ignore a bad hour exhibition between a reunited Archie and Veronica, married coursing through their veins . There is no soft pedaling allowed, not this week.
Archie must kill a bear! Jughead must kill Chick! Betty must kill her dad! Veronica must kill herself (or she believes)! In a show that thrives on its own, it is also possible that Aguirre-Sacasa and his writers have finally developed a way to have too much. The four life or death records face each character with its innermost plague – the bear has been a recurring symbol of Archie's violence, except for giving him an excuse to say "Oh, shit, not again," turns Jughead toward the Betty's design danger in the form of Chic, Veronica's supposed guilt over getting so much danger for Riverdale solves as she tries to take a Russian roulette ball for her chums and Betty faces her own dark side through her father. It makes sense on paper, but that's just the problem.
Two teenagers who now own significant pieces of property in Riverdale make perfect sense in the show's loyal internal logic, as well as a scene opening on a craniotomy. We have been trained not to have fun on this during the last three years, but we have no idea what to do when this exhibition requires us to receive emotional efforts seriously. It's no wonder the episode's best scene also happens to be the most funny, where the mini-archery in Pretty Poisons comes just in time to fight back the Gargoyle threat. Of course, no one will die here (a phenomenon I have learned is known as "plot armor"), but it is not even a concern when we just have fun joining this show for the tour. If the script suddenly insists that these [homicides] will be much more outrageous than the previous blows, the most difficult forces.
But even though Riverdale stumbles in his attempt to break into a sprint thing becomes dangerous American Horror Story here, although Cheryl Blossom friends with his brother's dried corpses are delicious things – it's just a matter of time until the show returns its feet. Mama Jones will remain for a while, as long as the authors prevent Fred's death, and she sends her own son. Charles has reintroduced the Cooper family universe, tying up family trees and priming the show for a distinctly different dynamic between Betty and Jughead next year. Not to mention Alice's new partnership with the FBI, another thread with great potential during season three.
But the heart and soul of this show live within Archie, Jughead, Betty and Veronica. The last stage leaves a sour taste, spitting the kind of high school melodrama that originally launched this show in the battlefield. This season's high score has come when the show almost resembles its former self; test anxiety, school games, prom night. Getting away from it can be an elevated slope, which gives the writer an erroneous idea of what it means to manage himself. It is the constant mandate on buzzy TV shows, to come back bigger and darker and more intense each year. But this is not Riverdale's criterion. For this exhibition, no more cliffhangers or piglets are required.
Balance has been the name of the game from season one, when the show turned out how much it would be Twin Peaks compared to how much it wanted to be An invitation to love ]. The third season has learned more to the former (although driven by True Detective by Lynch Country), and it appears that the fourth season will continue the trend. Maybe it's just that these plotlines have largely kept the main characters apart, but they pull vibe down. Even when this season has turned pale, it tried to maintain a sense of levit; just look at the big organ harvest revealed. Good thing is what Riverdale is about, and losing touch with it represents the greatest threat to the show's continued success. Solve, everyone! The murders have been divested, it is summer time and a new school year is coming up. They tell students who are starting older years to enjoy every moment, because it will be over before they know it. I would give the same advice to the cast of Riverdale: guarding every moment where you may be insufficient, accessible and likeable children. It's just a matter of time until it's back to the blood.
- Another banner week for Cheryl Blossom lines, our gal now completely liberated from the sword The farm had held over her. The specific tone of Riverdale sometimes makes it difficult to tell if the youngest cast members are really skilled artists or just extremely well suited to these roles; I was officially sold at Madelaine Petsch as a bona fide, good actress when Cheryl Blossom adopted a position of power and told Kevin and moose: "Save the eyes of the bedroom, the boys, we come out of the devil's house." , any doubts that may have lingered were permanently cursed with her screams off, "KEVIN'S FATHER is a lawyer, he will not surpass his son who lives in TENTH CIRCLE OF HELL!" Someone gets this girl a movie car. And, god, let it be better than F Prom .
- Penelope's line that Riverdale is "a horrible and cruel place, twisted and cursed" reminded me of an excellent essay that ran on this site back during Mad Men days. Like Sterling Cooper Draper Pryce, Riverdale destroys the people staying there for too long. They are both toxic environments where the hostile atmosphere of violence and malice cannot maintain kindness or goodness.
- How many teens did Cheryl Blossom mention Patty Hearst and started googling? If they start reading the Symbionese Liberation Army literature and become radicalized, will we hold Roberto Aguirre-Sacasa responsible? Military teens, drop in the comments!
- Is there a clause in Mark Consuelo's contract that dictates a minimal number of scenes where he will be shirtless? His pecs look like they would crack my skull open if I tried to headbutt them.
- And it's a season three wrap of Hot Archie Who Fucks ! It has been a real privilege to go on this journey with you all, sharp as it has been with bloodshed and poor property decisions. This is such a weird and wonderful show, and I think I'm not alone when I say that even though Riverdale can frustrate me, I love it very much. It is my sincere hope that I will see you all here again this fall over the years, and for this show's attempt to Gossip Girl their graduates in all who remain within the same radius. Take care of the summer and just say no to Fizzle Rocks.