It’s finally happened: in How to Get Away with Murder‘s “I Want You to Die,” Bonnie’s finally gotten mad, and now she wants to get even. It’s about time, I’d say. Let’s get into some bulleted points.
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It’s no shock to anyone when I say that How to Get Away with Murder is, albeit a well written show, is a big “OMG” show, as in it’s all about the shock and awe and live-tweeting aspects of today’s primetime soap opera. However, there are those times when the show injects some real-world importance. The first moment was when Annalise took off her wig, revealing her tucked-away natural hair underneath, and many other moments feature same-sex sex scenes. Last week’s episode, “Two Birds, One Millstone,” gave us our first big important moment of the season, I think. We got to see a transgender woman character in an impressive storyline. To top it off, the character was actually played by transgender actress Alexandra Billings, the first openly trans woman to play a transgender character on TV.
In the latest How to Get Away with Murder episode, “Skanks Get Shanked,” stuff happened. Now I’m tired.
This week on How to Get Away with Murder was “How to Have Tons of Sex While Getting Murderers Off (The Hook).” Actually, the title of the episode was “It’s Called the Octopus,” which doesn’t give any indication as to the type of sex that the audience was in store for. Look, I’m not a big, big prude, but I am a prude about seeing tons of sex on TV, especially since I’m currently sharing a house with family members.
When the end of the How to Get Away with Murder episode “She’s Dying” aired, I was left with many thoughts. Too many thoughts. Why will the prosecutor get killed? What did Eve do in court? Will Annalise run away from her problems and live an “Olitz making jarred jam” life with Eve? (I already know the answer to that: Of course not.) Let’s get into my reactions, in bulleted form.
What can I say about this How to Get Away with Murder Season 2 premiere that hasn’t already been said? My jaw literally dropped when I saw the ending. These #TGIT nights are some gag-worthy nights, I tell ya.
Riverdale, Episode 7 | “In a Lonely Place” | Aired March 9, 2017
I’ll give Episode 7, “In a Lonely Place,” this: there were some real moments of touching sentimentality. Some genuine moments of feeling and disappointment were palpable among Veronica and Jughead, and finally, some parents were held up to some consequences, even if it was only for a little while.
First, though, before we get into the sentimentality, let’s talk about the elephant in the room once again: Jughead and Betty’s relationship. The more I see it flaunted in my face, the more uncomfortable and upset I get. Jughead has never been a character that desired romantic relationships. Even when Archie Comics tried to put him in his own triangle (in a misguided effort to keep people from thinking the rumors of the character being gay were true) it didn’t work out; the fans wanted Jughead to remain Jughead and not become some Lothario like Archie. Was Jughead and Betty as an item floated by several Archie Comics writers/artists? Yes. If you go back to the ‘40s, you’ll find Archie covers with Betty flirting with Jughead (with Jughead not falling for it) and throughout the years, you’ll find Jughead show a little warmth towards Betty, not just because he pitied her for always pining for Archie (who was always chasing Veronica instead of her), but because she was his friend and he knew she deserved someone nice and caring in her life. He was the only person to recognize Betty’s worth even when Betty herself didn’t recognize it. (He certainly knew she deserved better than someone like Archie, and he’s Archie’s best friend!) In one comic, Jughead even went as far as to say that if he did like girls like that, he’d definitely consider Betty over anyone else.
But, keep in mind, he said “IF” he liked girls like that. Despite all of the behind-the-scenes shipping the Archie writers and artists had when they took over their own strips or stories, Jughead has remained girlless. Instead, he’s always been a good, close friend to Betty, an enemy to Veronica, and scared of Ethel (who loved him despite the horrible treatment he’d put her through to escape her). Being above the fray of relationships has been Jughead’s distinct hallmark as a character. That was definitely understood when Chip Zdarsky made Jughead canonically asexual. It fits Jughead’s personality and characterization to a T.
But to make Jughead not asexual, or at the very least averse to being in relationships regardless of his sexuality, shows distinct misunderstanding of Jughead’s character. There’s a lack of understanding of what makes Jughead great. The fact that Riverdale is written in part by Roberto Aguirre-Sacasa, who is a self-professed Archie mega-fan, should mean that Aguirre-Sacasa understands what makes the characters tick. He should know what makes the characters who they are. Making Jughead part of the muck of relationships shows a lack of understand about who the character is and where the character is now in terms of our current discourse about sexuality, representation, and diversity. Making Jughead just like everyone else makes him a completely different guy who just so happens to be wearing the classic whoopee cap. (Well, it’s a knit version of the classic whoopee cap, but same difference.)
Also, in the dream sequence scene, in which everyone is done up in classic Archie drag, Jughead dreamed of Betty wearing a wedding band. Again, we’re taking Jughead further and further away from what makes him him. STOP IT, SHOW.
Okay, back to the touching moments of the show.
Overall, this seemed like a half-filler, half-substantive episode, but what stood out to me were Veronica and Jughead’s problems with their parents. First, Veronica’s mom Hermione wrongly forged her name to the contract allowing Fred to get the construction job at the old drive-in. Why a mother would do something like that, I’ll never know. Why it needed to be done with this particular thing, especially since Hermione already has Mayor McCoy in her back pocket, is kinda weird to me. Couldn’t the both of them just collude to forge an entirely new document or something? I don’t know. But Veronica has every reason to be angry with Hermione, and while I’m not sure how clubbing works with getting back at your mom, Veronica’s monologue about how Hermione took the last thing that belonged to her—her name—was a deep moment for this character in particular.
The other moment of the night was Jughead dealing with his dad F.P. F.P. is going through it and has been since Fred fired him. But F.P. was already doing some shady dealings anyway—maybe with the Serpents, perhaps?—but now F.P. is a drunken mess and his wife left with Jellybean, leaving Jughead behind to fend for himself. We find out in this episode that ever since the drive-in closed, Jughead’s been living in a school supply closet.
Finally, Archie got out of his own issues long enough to find out that Jughead’s not at home, and ultimately, he and Fred give Jughead a place to stay so he won’t have to stay with his dad. But until we get to that point (which involves Jughead getting pulled into the sheriff’s office for having the sheriff’s murder board), Jughead actually does go back home long enough to talk F.P. into working for Fred again. Archie does what he needs to do to get his dad to give F.P. another chance, and for the most part, things are as smooth as they can be between two Fred and F.P., two former best friends.
When we get to the part of the episode where Jughead gets pulled out of the sheriff’s office thanks to Fred covering for him by saying Jughead was working for him (which means Fred’s now technically a criminal too, since he’ll have to forge timecards for Jughead), we finally get to some ACTING. Not to say folks haven’t been acting before, but if we’re going to be a melodrama, let’s actually get to the DRAMA, not the shenanigans and antics. Jughead wants to trust his dad, who has broken his promises to get his act together over and over again, but F.P. looks so sorrowful and pitiful that Jughead, who is clearly angry with his father, still decides to give him another chance. I thought that was a great moment for a character who naturally leans towards the more soulful mindset anyway.
I know I’ve skipped all around Polly and the baby and the Blossoms and the Coopers–frankly, I’m caring less and less about this baby and Polly. If Polly ends up being the killer, then I’ll end up being intrigued in her life once again. #Sorryaboutit.
(And yes, I’m planning on recapping/reacting to this season of RuPaul’s Drag Race. As a superfan, it’s a show I should have recapped/reacted to long before now.)
Other things of note: We had our first sighting of Ginger Lopez!
Will we see more of her? I hope so.
Also, we’ve seen some more of Reggie!
I can’t wait for his storyline to open up. Since the show has the Season 2 greenlight, they’d better give us more Reggie (and possibly Josie/Reggie).
Lastly, I really did like the dream sequence. I know it’d be a sexist storyline, but if the show was literally a hyper-realistic version of the old-school comic book, I’d watch the heck out that. The dream sequence art direction was really nice. Check it out:
What did you think of that episode? Are you sick and tired of Betty and Jughead? And why are fans calling Lili Reinhart “Daddy”? (I legitimately want to know that question.) Leave your comments and answers in the comments section below!
Annalise may not be a murderer, but she certainly is a master manipulator. Although it appears even she’s not cut out to carry the weight of this particular lie.