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SourK

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  1. Kay. Veronica's in financial trouble because her finances are mixed together with her husband's, and they're still not divorced, and the reason she owes money is actually because he owes money, and the whole reason she's scheming is to pay off his debts. So then he calls her and tells her he has a way to pay off his debt, and she's like, "No, I don't need your help. I'd rather pay all of your debts by myself." And then she purposely torpedoes the business he started -- presumably still with their money, since they are still married? Also LMAO, when she said she needed "one more person" fo
  2. I would love it if the in-universe explanation for this was just that someone stands on a table and says, "You guys, you guys, you guys -- I'm gonna sing a song, and you need to imagine it's good." And that was, like, the Riverdale way of socializing.
  3. I had mixed feelings about this. I liked the costuming, and that Melody girl is really talented -- and I would watch a spin-off where they solve mysteries on a music tour bus -- but I also sort of felt like this was the producers going, "You get ONE EPISODE about black characters, so you'd better enjoy it." The strangest, most off-putting part was when Toni randomly showed up to join a musical number, seemingly just so it would be three black women. And so she could do product placement for Baby GAP. Like, not to get super heavy, but ever since Vanessa Morgan rightly called them out last
  4. I forgot about that in wake of the Rat King, but you're right -- that bothered me, too. Going to a psychiatrist (which is different from a therapist, but whatever) is a lot like going to a medical doctor. They diagnose you and write a prescription, and then you get the prescription filled. They don't just take a bottle of pills out of their desk and give it to you.
  5. It's hard to pick my favourite part. These are the two contenders: When it turns out that the big, important memory Jughead had to recover was the time he fell down a hole and landed on rats. When Cheryl tries to seduce someone by telling her the story of how Jughead fell down a hole and landed on rats. What I got out of it was that nothing happened when he got picked up by the trucker, and he made it back to New York, and solved the mystery of his memories of the rat king, and then went to AA. I'm not sure if this means the trucker didn't kill him because he's not a woman (
  6. Why do TV shows suddenly believe that, when you watch someone die, you have to remember them as a dog? This is the third example I've seen. (I did like the dog though. When they cut to him snarling because he had PTSD, I was like, "Precious.") When Archie got depressed and said there was nothing in Riverdale worth saving because it was the worst town ever, I honestly just agreed with him. I was like, "Yeah, you finally get it." I also enjoyed his pre-murder chat, which was mostly just, "It's great to see the light leave someone's eyes." In seriousness, I like Betty an
  7. If I'm reading Mark Consuelos correctly, I think he actively likes it when the plot line is stupid, which probably makes it more fun. But I agree, there's a level of professionalism in showing up for the script, no matter how silly it is, and performing it as well as you can in the circumstances. I think KJ Apa does that, too, and I've come to respect him for that as I watch this show. Riverdale is one of those trade-offs where you sacrifice being challenged as an artist in exchange for a bigger paycheque. So, psychologically, I think it would be harder to be on this show if you got cast
  8. In a weird way, I kind of appreciate the retcon to explain why Hiram acts like he's in the Italian mob. But mostly I felt frustrated and wished I was watching a better show. The actor playing Young Hiram did a decent job of imitating him, though. ... And I just googled and it's Mark Consuelos' son. So that makes sense.
  9. I'm late, but I've been binging the show on YouTube and I'm almost all caught up. I feel bad about Aisling in Series 5 -- she just seemed to have such a rough time, and part of me was like, "That's me if I were ever on this show. Not understanding the task, cutting my hand, and getting awkward sympathy sounds from the audience." The reason I came here, though, is that I'm curious as to whether anyone else thought Series 11 had a different tone? One thing I like about the show is that it seems pretty laid back and good natured, but 11 felt more hostile to me. There was one point where Sara
  10. I almost didn't realize this was back on. Gosh. I liked how Smithers tried to tell Veronica it was The Purge and she was like, "No, no, wait. I have to explain my recurring plot point to you first. See, I have this ugly rock..." I was mildly interested in the development where Jughead got high and apparently the lies he told the preppies started to come true... and then it somehow turned out that that lie was true the whole time, and the same homeless man who saved him as a child saved him again, and Jughead was like, "Thanks, I'll visit you some time." Maybe help him not be homeless
  11. Same. The scene had a menacing mood, and I totally expected her to be like, "I don't care what happens to me -- I just need to kill Fred." I guess it would have created a problem for the narrative if she'd murdered him in his hotel, but we could have arrived at the same point where Luke is like, "No, that's too far for me." She's kind of being a deadbeat. She doesn't seem to love Luke anymore or want to be in a relationship with him -- at least not as much as she wants to make out with Nick before they kill people -- and it sounds like she's expecting him to take 100% responsibility fo
  12. I thought this was dumb. I'm happy that Fred didn't get to just walk, but Gilead used to feel dangerous, and now it feels like anyone billed high enough in the credits can pretty much do whatever. It's annoying from a story-telling perspective, but it also kind of makes light of what totalitarian states are like, and how hard they are to deal with in real life. This is my favourite line of dialogue in the series. Yvonne Strahovski didn't really get anything to do this season, which bums me out because she gives my favourite performance on this show -- her line reading of stuff like is
  13. I think Fred and Serena are not really getting a great story line this season -- and the characters have probably outlived their usefulness. But that scene reminded me that Serena is (I think) manipulating Fred to get him to cooperate with the Americans. Which is what she was asked to do so her deal could go back on. So, I think the whole, "Gosh, Fred, how will you protect me and our son once you go to jail? If only there were some way out of this situation -- my feeble mind can't think of it..." bit was for his benefit, rather than the truth. But, it's hard to read the situation bec
  14. I think it's a lot to ask Luke to be stoked that his wife, who doesn't totally seem to love him anymore, is going to go see her boyfriend. Then, add on top of that that he's spent the last seven years trying to find his daughter with no luck, but maybe Nick can do it. I thought the scene where they first talked about the idea of June going to see Nick was acted oddly. If I want to read a bunch of layers into it (which, I don't know that I trust this show enough to think the layers are actually there), then it read kind of like Luke was seriously proposing that June go see Nick, but also t
  15. The music almost made me care about Nick, and then I remembered that I hate him. I don't know how this stuff works in real life, but, if the whole point of the last episode was to try to convince the International Criminal Court to try Fred, does the USA actually have the ability to stop that? Like, if the ICC says, "We want to try him for war crimes, now," can the US government say, "Nah, never mind"? I found that weird, too, and I'm not sure what they expected him to say on the call. Like, obviously, it wouldn't be private -- or he wouldn't be able to trust that it's private. So
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