By making Reggie an out-of-towner and an awkward boy, Betty becomes the nexus of the “love triangle that’s just kinda a love angle” instead of Archie, who takes the place of girl-next-door Betty. One last aside: an observation I had watching “Halloween II” was that they’ve inverted the usual Archie, Betty, and Veronica dynamic this season. Not only is it grody, like those 4-year old orange sodas, but you are definitely tempting fate and the serial killer on the loose. All that’s gonna lead to is a hurt Reggie and, wouldn’t you know it? That’s exactly what happens! Reggie deserves better, though he was a good bro and left Archie and Betty to fuck in the ghost, murder house. This was kind of annoying because Betty clearly likes Archie more and just thinks Reggie is sexy. Well, before he bails right after the commercial break (aka 10 seconds after Betty implies she wants to fuck all three of ‘em that night) because of resident jackass Julian Blossom and his federal felony bat. Side note: why do they always make KJ Apa look so shiny? Like…is Archie supposed to be sweating oil or something?Īnyway, instead of Betty deciding that a threesome is what she actually wants, compulsory monogamy dictates she decides who she actually wants so she comes up with this whole meshuggeneh plan that involves dressing Dilton Doiley up as a pumpkin to pretend to be a kid. Specifically she’s trying to follow them into the pants of the two hunky boys she fixes cars with. See, now that she’s accepting her desires as normal and natural, she’s trying to follow them. The brighter the mask, the more distracting it is after all.īetty may not have attended the party at the Babylonium but that’s only because she had her own party planned. Clay & Kevin have noticed something is up but are too polite to push more. There’s a loneliness to Veronica in her private moments that she’s making up for by being extra outgoing in public. It ties more into Veronica’s current subplot with her parents kicking her out of the Pembrook out of petty revenge. What is strange is the inclusion of a somber, sad subplot involving Día de Los Muertos. That seems like it’s still WAY too soon to turn into shirtless dancers in slightly white makeup. It’s just kinda weird that her first idea is: you know what Halloween needs? Stripping versions of these teens that died 4-years ago. It’s built for them, by them, and lets them have fun during a night they were previously expressly forbidden from having fun on. Veronica’s plan to bring Halloween to the teens of Riverdale is sound. ![]() After discovering that Riverdale has its version of a holiday specific tragic-backstory when she’s the only one in costume at school, she decides, you know what these people need? A debauched rager and then a burlesque show – all PG-13 of course. It was only a matter of time until the Babylonium lived up to its name and re-created the wondrous, incongruous nonsense that was La Bonne Nuit. AND the discovery that the writer of the Milkman comic had died mysteriously, that his name was Ted, and that the tale was an allegory? Priceless. And the party at Pep comics? Double gold. That section where Jughead goes full paranoid about milk? Gold. It is’t as goofy as “American Graffiti” but it is definitely within the ouvre of the show. ![]() Regardless of my disappointment with the lack of lurid scares, I enjoyed much of the episode and this plot. ![]() Jughead is going full-on paranoia was a nice start, and the continued reappearance of the Milkman at previous sites of death was a good touch, but I needed this to be the one that laid it on thick. Despite being titled “Halloween II,” there is a distinct lack of slasher action and tension in the episode. Two weeks in a row now have we been teased with revelations and horror and two weeks was the promise not delivered on, at least not in full. I have to say I’m quite disappointed that Riverdale is up to its old tricks with the Milkman. We must never forget this crucial, life-altering fact. ![]() What’s up river-bitches?! Milk is America.
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