Riverdale, Season 1 | Review


Published on Oct 08, 2017


Last January I had richly snubbed Riverdale. A teen drama targato The CW “thrown” into the fray of the series inspired by the DC Comics characters – that of the drama, they have too – I had not been tickled so much by going on the vision while keeping in mind that, fortunately, the first season would consist only of 13 episodes.

Then accomplice in the search for something “light” to be seen during the sultry summer evenings, it is taken binge watching to be honest without too many expectations and demands.

The surprise was total. Do not underestimate Riverdale, and especially not to think of Riverdale as just a teen drama.

Let's take a step back: Riverdale is based on the characters from Archie Comics, which are published for more than 75 years and whose adventures are set in the small town of Riverdale where to do so by the master, with a good dose of comedy, is the love triangle between Archie Andrews and the duo of Betty and Veronica.

The TV series completely overturns the premise of the cartoon series: the love triangle, in fact, passes into the second floor while the center of the plot is the mysterious murder of Jason Blossom school friend of Archie and the scion of the rich family Blossom.

The tone of the series is anything but light-hearted rather is based on the morbidity from a small town that is universally applicable where the gossip and the appearances are the masters.

The label of teen drama and then fades away towards the drama in the round of the classical tradition of american television. On the one hand, you get some stylistic features of the cornerstones of the genre teen drama – Dawson's Creek to the O. C. but also the more recent Gossip Girl and Pretty Little Liars – let's see the characterization of the girl-next-door Betty, or the outsider coming from the great city, the Veronica, on the other, the writers manage to penetrate the items adolescent with the story of the adults – with the ever-present families in the struggle – among them a Luke Perry (Dylan in Beverly Hills 90210) big sweep in the shoes of the father of Archie.

In the course of the 13 episodes is not only the plot thickens, full of revelations and twist placed in a strategic manner, and never ends in themselves, hollowing out so the drama of a good dose of murder mystery that, while finding a resolution in the final episode, but that also opens up interesting, and present scenarios for the second season.

Another point in favor of the series is the desire to concentrate on the characters. If the plots extremely complex and articulated and are the mantra of the television series modern, Riverdale, prefer to focus the attention of the quartet of Archie, Jughed, Betty and Veronica, making them an integral part of the development of the plot. The 4 guys will be absolutely pro-active in respect of the triggering element – the murder of Jason Blossom – becoming instrumental to solve the mystery and discover the behind the scenes.

To the 4 characters is also provided the necessary space to grow and mature in the course of the 13 episodes, one of Jughead that outsider introverted and character-marginal and support becomes central in the narrative and will be the one that, ultimately, will be invested, most from the changes that the small town will cross in a crime.

One thing is very important to emphasize: even if the protagonists are teenagers the series does not always fall in the trivial – can not miss of course the moments of light-hearted, with ballets and some song – but the series formula is a perfect balance, avoiding sviolinate overly sentimental or dramatic.

For example, the theme of the music is treated in a surprisingly realistic one: Archie is doubtful whether to continue to play football or continue in the study of song and guitar, the father, of course, will lean to the first option more solid and able to guarantee him entry to the college. Simple example but case in point, and with which anyone can easily relate to, the will of the writers to maintain a modern cut and sincere.

From this point of view the writers are so sure of their formula to deal with immediately – already in the third episode – the elements of social justice: in the episode in question deals with the theme of slut-shaming through social networks. The result is an episode soon – with special guest Shannon Purser already well known for its of Barb Holland in the first season of Stranger Things – light years away from the prevailing politically correct.

Worthy of note is also the final episode of the season, which not only unleashed a good dose of hormones almost kept barely at bay throughout the season but ends with an unexpected cliffhanger on which surely the writers are going to build a new mystery for the second season, and they can also improve a series of reflections and social issues.

Also good is the director who adopts simple solutions by focusing on the rhythm and some of the solutions borrowed from the great series of the past all of Twin Peaks, especially for the use often alienating of the flashbacks and soliloquies interior of the characters. Photography algida and illuminated by neon lights, it seems instead to refer to certain films of Brian De Palma, Ridley Scott and, more recently, Nicholas W. Refn accentuating a certain kind of atmosphere oppressive and sinister, which are combined with the backbone, the murder mystery of the series.

More O. C. or Dawnson''s Creek and then Riverdale resembles that jewel the past nearly unnoticed in our country that was Friday Night Lights in which the element of adolescence was central but not overwhelming, and above all was treated in a mature and “real”.

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