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theshortwavemystery · 4 years

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NOTES FROM WATCHING THE FIRST EPISODE OF “RIVERDALE”

1. Riverdale is a bizarre town that seems cut off from everywhere else, temporally straddled between an eternal 1950’s—more accurately a 1950’s stuck in an endless repetitive loop. But it takes place in the late 2010’s. Even so, the decor in the town is vintage, and the characters recognize this. The activities of the kids are vintage. the internet and cell phones exists, millennials are named, but it doesn’t seem to matter. something is very weird here, as if all these people are ghosts. all the stock scenarios and characters are here, which is to be expected for a teen drama, but there’s an exactness, a literalism, that is too perfect to be unintentional. 2. what is this world? it seems to be a staging of a certain inertia in american culture, which changes in superficial ways—technology, new TV shows, music new taboos—but all if this somehow serves to reinforce, or justify a return to the “leave it to beaver” universe. 3. any reminder that these are modern kids—their frequent references to contemporary TV shows like Mad Men for instance—only serve to increase the spooky vibe. everyone in this town seems to be low key crazy, making the show feel like twin peaks but written by what’s left of your local shopping mall. 4. the show’s script is constantly making fun of itself to the point that we seem directed by it to avoid taking the drama seriously—it is perhaps a smoke screen, like the haze of the presumably northwestern woods that seem to surround the town (it is filmed in Vancouver). the gay best friend is named as the gay best friend, establishing him as a living archaism—i felt bad for him after this. 5. plot points are shown to be cliche—the fake lesbian kiss, once scandalous in the 2000’s, is brushed off as false and an erasure of real lesbians. the script fools us, indicating it means to aim for more intelligent territory. and yet, veronica’s confrontation with cheryl, her tough girl speech, where she reveals her vulnerability as a rich girl fallen from grace but also stands up for betty—this goes without an ironic comment, even thought it is also a cliche, but a more contemporary oneq—the “mic drop” moment. so we see how the naming of particular cliches, employed ironically, serves to hide others the show is earnestly employing. 6. veronica says she needs to be redeemed for her father’s crimes, how is that fair. 7. archie’s desire to make music seems like a stand-in for a recognition that he’s gay. they cover this up by making his character straight but i don’t buy it. because his music itself clearly doesn’t matter. this is similar to the dead poets society where the kid kills himself obviously because he’s gay and he’s afraid his dad will disown him. why? nobody kills themselves merely because their dad shames them for doing theater. the reason is simple: theater is already such a humiliating and abject thing to love that you have to be totally shameless to even start doing it. once you become a theater kid your dad has lost you. in the second episode, the gay friend of betty reveals that he agrees with me here. 8. archie is the decentered center of the show, not a particularly interesting character so much as a holding container for female desire/fantasy. he’s dumb, cute boy who’s kind of artistic and kind of jockish, but the complex psychology belongs to betty, veronica, cheryl so far—all plotting, calculating characters, whereas archie just wants to enjoy himself and be liked—and to be fair, these shallow needs get him in plenty of trouble, but they’re simple needs. but this is always what archie was, even as a comic book character. he’s kicked around like a football like a more jocular charlie brown. 9. archie’s problem is identiied as the problem of "all millenial men", who need to be told what they want—but this is really everyone’s problem. what makes the girls/women different is that they don’t care that they don’t know what they want—they just act on feelings, and try to make the world match up with the feelings. archie thinks he ought to know what he wants, and then do it. but the women, whose desires as women are not even encouraged from day one, are free from this tedious problem. this is why archie is the one who has to be the moral authority regarding his mutual witness to the murder with the hot teacher, while the hot teacher is only afraid people will find out she fucked a student. veronica brushes off archie’s identity crisis as a false dilemma, critiqueing the categories of “jock” and “artist” and insisting he can be both, and anyway who gives a fuck? but this whimsy and indifference toward boundaries can get devious with veronica, who is betty’s friend one second and hooking up with archie the next. 10. although women are still often denied full subjectivity in literature, in real life it’s always been the opposite—men tend to forego personality development in favor of power or the illusion of power, and end up more shallow, rigid and fragile, more prone to the whims of their entourage. they never really have to become anything in particular--masculinity functions like a hive mind. if male relationships superficially appear to have less friction, it is only because men are brutally conformist and end up with little personal to argue about, usually coalescing around some common interest and not prone to discussing their respective inner lives--except, occasionally to defensively deny their existence. so-called "sensitive" men only do this in more devious ways--it's obvious that jughead is the most devious character we've met so far. women, in contrast, are each a hive mind unto themselves, compelled to construct an array of selves, carefully deploying them to get by in a world structured by the male gaze and booby-trapped by the machinations of other women. this complexity is of course terrifying to men who either submit to it as a fetish or suppress it— and one way of accomplishing that suppression in literature is to create stories where the men are supposedly complex and the women supposedly shallow and dependent wholly on men--the typical gaslight job of the mediocre male writer. this is clearly a show that, whatever its other blindnesses, is not going to let that happen. 11. we are told through veronica that archie is more dangerous than he looks. why doesn’t the show want us to figure this out ourselves? this feels ironic on the writers' parts, another winking use of cliche. 12. everyone’s problem is a cliche—archie’s father pressures him to do sports to get into college, he wants to do something else. betty’s mom is controlling and betty is a people pleaser who already in the first episode explodes about how perfect she has to be all the time and can’t she just do something for herself for once? 13. the music is annoying and cloying but it also grounds the contemporary nature of the show, because of its peculiar sense of melodrama, which is endemic to this time period, and the neoliberal overvaluing of the self. 14. the video on this show seems filtered into oblivion, or photoshopped or otherwise conspicuously treated. just like the self-awareness of the script, it contributes to the sense of unreality. 15. more self-aware cliches: archie and betty grew up next door to each other—they’re stuck in a feedback loop of being the ____ next door. cheryl describes herself as the queen on stage at the dance. 16. classic literature is referenced oddly—betty loves toni morrison, even though by the end of the episode, we have been introduced to zero black main characters. is this self-aware critique of white fetishization of blackness? and there's also thornton wilder’s “our town”… veronica suggests that the high school is part of the lost epilogue from “our town”—wilder also presented a transparently fake and timeless town to stage his existentialist story in, one in which horrifyingly, dead people remain in a liminal space between death and life, vainly trying to communicate with the living they can still see. 17. every celebrity/media reference is bizarre. a thin veneer draped over an unchanging reality. "Riverdale" seems not so much about the dark underbelly of suburbia, but about the idea of suburbia is the dark underbelly itself. a murder has to happen because someone has to bring death here, lest everyone become paralyzed by their immortality. 18. archie’s “making a deal” with the hot teacher is way more erotic than anything he’ll do with b or v… why is this happening at the Dance lol, unless we are to read it this way? they have shared the most precious thing in this town, death... why does archie love the teacher and toy with his peers? because they can't give him death. clearly archie is blackmailing the hot teacher into continuing the relationship, but he does so seemingly unaware of his own motives. he lives in the age of youtube tutorials, he doesn't need music instruction. and here is another paradox of the modern gender binary--men think they don't know what they want, but unconsciously they know what they want--they receive their instructions from the Borg Queen of masculinity and pursue it ruthlessly, whereas women end up thinking they know exactly what they want, but unconsciously they don't, because it's fractured amongst their afformentioned hive of selves. This is why both traditonally-socialized genders are completely right in saying the other is full of shit. 19. “we have no past” goes the song josie sings—and maybe this is america’s problem—the past is empty, the past of ordinary suburbia, interrupted only occasionally by wars perhaps but untouched by cultural progress—and because we have no past we can have no present, only an empty recycling of the same void, the same problems, the same catharses—new episodes of the same show. we live forever at the cost of never changing. is riverdale a socially critical prestige drama LARPing in the ironic costume of a CW teen soap??? 20. all the characters are trapped in a carnival haunted house ride. the theme: adolescence. 21. cheryl’s party—brett kavanaugh could have been at this party 22. jughead is the narrator, and i like the idea that this is all in jughead’s head, which is why it’s so unstuck in time aesthetically, so stylized and knowing. and it's no wonder he's the most popular character, because he represents the writers themselves, and fandom is to have an illusion of a privileged relationship not so much with the characters, but with the property's creators--and to be hyperinvested and, if necessary, hypercritical of their choices. 23. the gay hookup is interrupted by the presence of a corpse—a classic trope in teen horror but it’s interesting to see it with a gay pair. it’s as if in the clash between the perpetual 1950’s aura and the contemporary references and morality, a gruesome surplus appears, the specter of homophobia. which, incidentally is a corpse of a man guilty of a sexual act that is still considered taboo—incest. a corpse symbolizes the death of innocence for a hetero couple, but for a queer couple it can’t just be that—it also must evoke the threat of actual murder. which makes this a very different moment. 24. jughead says riverdale has changed—but it has only been revealed to be what it always was—"full of shadows and secrets", as jughead puts it. he must be putting us on—this place is way creepier than Sunnydale, and that place had actual demons… but this is often what a change amounts to—not the addition of a new trait, but the acceptance of one that was already there. 25. jason blossom is a ginger like archie and he therefore seems tied to archie in a unique way. he dies on july 4th, given some fuel to my reading as a show with something to say about america’s self-image. 26. all the parents are single parents or in strained, unhappy marriages in this town. this us realistic, but that should tip us off: what in the show has been realistic so far? debuting in january 2017, "Riverdale" seems retrospectively shaped by the trump era-a teen drama not about the undead, as buffy was, but a teen drama which is itself undead, fitting for a president who also wished to raise the dead, and also what had never lived. riverdale’s preservation of the old “great” america is superficial—indoors, a very contemporary isolation and alienation reign, in contrast even to the desperation of actual 50’s suburbia. 27. is everyone dead already in this show? is riverdale purgatory? is that what explains its being unstuck in time and drenched in fog? but i’ve been to small towns in the northwest that look like riverdale—nothing has been updated since 1954. in order to seem fake, riverdale has to be even faker that real life, even more uncanny—and that’s a tall order.

#riverdale

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