NBC and Starz have given TV fans tons of be excited about in the coming months. Check out the list of new shows we can expect to see in the near future.
Starz signs on for two shows featuring Latinx casts
According to Variety, Starz has two shows featuring Latinx casts in the works. The first, Vida, follows two sisters as they learn secrets about their family and themselves.
“‘Vida’ follows two Mexican-American sisters, Emma and Lyn, from the Eastside of Los Angeles who couldn’t be more distanced from each other. Circumstances force them to return to their old neighborhood, where they are confronted by the past and shocking truth about their mother’s identity.”
Vida‘s showrunner will be Tanya Saracho, and Alonso Ruizpalacios will direct the premiere. The show will star Mishel Prada, Karen Ser Anzoategui, Chelsea Rendon, Carlos Miranda, Maria Elena Laas, and Melissa Barrera. Sexual diversity will also be a feature of the show; Ser Anzoategui is a non-binary Latinx/Chicanx actor, artivist and playwright, and Laas’ character on the show, Cruz, is described as an “enigmatic lesbian who has a checkered history with [Prada’s character and one-half of the show’s main sister character leads] Emma.”
The second show, Family Crimes, seems much more generic in the sense that it’s about a well-tread storyline–Mexican organized crime. The show, created by David Ayer, focuses on a woman who has to learn to live a new life.
…[T]he project follows a young Latina who is forced to reinvent herself when the federal government closes in on her family due to their ties to organized crime in Mexico. She must learn to navigate the web of deceit and danger in the criminal underworld in order to survive.
NBC redirects focus on diversity in new projects
According to the Hollywood Reporter, NBC has committed to a family drama created by Sleepy Hollow co-showrunner Albert Kim.
The story is being described as a “multicultural soap” as well as a modern-day Anastasia story of a woman who grew up in the U.S., unaware of the wealth and status she is set to receive.
The project…revolves around a family-owned Korean electronics corporation that is rocked when its CEO dies on the eve of launching their American subsidiary, with his will revealing the existence of a previously unknown heir. Kim based the original concept on Korean chaebols, multinational business conglomerates like Samsung that are run by single ruling families that often go through succession drama.
Her initiation into a family she never knew about “ignites a Shakespearean battle for power amongst her newfound siblings in the Los Angeles-based drama.”
Kim will executive produce the show with Dan Lin under his Warner Bros. Television-based arm, Lin Pictures.
Kim’s show will feature a nearly all-Asian cast, and incredibly enough, this isn’t the only show NBC is committing to that highlights diversity both behind and in front of the camera. According to NBC News, NBC has committed to a legal drama that would star the first Sikh lead in American network television.
The show will be co-executive produced by activist, filmmaker and lawyer Valarie Kaur and based on a concept by her husband Sharat Raju, an NBC Emerging Directors Program alumnus.
According to Kaur, the idea, which she and her husband worked on with their friend Tafari Lumumba, would feature “a band of law students in a renegade law clinic, fighting the good fight.” The show is being produced under America Ferrera’s new production company. Ferrera and Kaur’s relationship began when Ferrera featured Kaur on several panels for NBC writers rooms and showrunners, which led to This Is Us featuring a Sikh character in the show.
NBC has also put into development Love After Love, sold from Kaptial Entertainment and Universal TV. According to Deadline, The show is written by Lisa Takeuchi Cullen and based on the Argentinan series Amar después de amar otherwise known as ADDA.
An extramarital affair is exposed in a car crash that leaves the man in a coma and the woman missing–soon to be found dead of a gunshot wound. As their spouses try to piece their lives back together, police struggle to solve an ever-deepening mystery. Think The Affair/Unfaithful meets How to Get Away with Murder.
What do you think about these shows? Give your opinions in the comments section below!
Looks like Fox is not looking to be outdone by ABC and its inclusive comedies. Fox is making history by buying an autobiographical comedy Reservations, bringing a Native American story to the forefront of American TV.
So what do you need to know about this groundbreaking comedy? Thanks to Deadline, here are the big three facts you need.
1. Reservations comes from writer Lucas Brown Eyes: Lucas Brown Eyes (pictured above), a member of the Oglala Lakota tribe, got his start with the ABC Disney Writing Program in 2014 and worked on various Disney shows including Freeform’s Young & Hungry, where he worked as a writer and executive story editor, and KC Undercover.
2. Reservations is based on Brown Eyes’ own experiences growing up: The show follows a Native American family “that trades their impoverished reservation for Los Angeles, a move inspired by the dreams of a 14-year-old boy to live in Hollywood.” The move to the glitzy, fame-obsessed town puts the family through an intense (but hilarious) adjustment process.
The story mirrors what Brown Eyes’ family did to help him achieve his writing dreams. As stated in his biography on IMDB, Brown Eyes’ family moved to California so he could study film and television at the Orange County High School of the Arts.
3. The show is brought to us by the people who brought us the new Pennywise: Reservations is the first sale David Katzenberg and Seth Grahame-Smith’s KatzSmith production company has made under their new deal with 20th Century Fox. KatzSmith is proving itself to have an eye for what the zeitgeist want to see; they are behind theIt reboot, and they’re also backing the new Beetlejuice sequel and a film version of Kung Fury.
Riverdale Season 1 | Episode 8 | “The Outsiders” | Aired March 30, 2017
Yes, this is how I feel right now about Riverdale, and all of that got bottled up and compacted into this particular episode. Yes, Polly had her baby shower, she’s moved in with the Blossoms, Archie and Betty found out that Jughead’s dad is a Serpent, Kevin’s Serpent boyfriend Joaquin is having second thoughts about deceiving him, etc., etc. Now, let’s get to what really needs to be discussed: JUST WHERE IS THIS SHOW HEADING?!
I feel like this show is treating us like how Lisle Von Rhuman treated Madeline Ashton in Death Becomes Her. Riverdale is teasing us with a show beyond our wildest imaginations–inclusion, diversity, a fresh take on Archie and the gang, etc.–and it gives us what we think we want. But then, it comes back to us and says, “Now, a warning.” To which we say, like Madeline, “NOW a warning?!” For us, that warning would have been that the show would begin to lose its way and forget what made its characters great and, indeed, avatars for those who didn’t feel included in their everyday lives.
First of all, I feel like, and have always felt like, Riverdale has the potential to be amazing. There’s so much raw stuff inherent in the Archie Comics canon and it’s so frustrating to see how little the show is using what it could use. Instead, it’s pulling from every kind of pop culture reference from the past 30 years to show it’s “smart” and “edgy” and “hip.” And yet, it still comes off as dated and try-hard.
I think Emily Nussbaum hit the nail on the head in her review of the show for The New Yorker, “Archie’s and Veronica’s Misconceived Return to Riverdale,” in which she eviscerates the show for the reasons presented above. To quote her:
“…[S]even episodes in, it’s devolved into dull cosplay bracketed by bogus profundity. Betty and Veronica don kink-wear and roofie Chuck Clayton, a slut-shaming football player. The girls’ tart-tongued gay bestie, Kevin (a character from the new version of the comic strip), seduces a bi-curious Moose. Archie, when not working out shirtless, pursues a songwriting career. “Your songs,” a critical music professor sneers at him. “They’re juvenile. They’re repetitive.” That’s true of ‘Riverdale,’ too, but the show clearly knows it and doesn’t care. Every time a plot feels corny or prurient or preachy, there’s an acknowledgment in the dialogue. It gets exhausting, like hanging out with someone who keeps saying, ‘God, I’m such a nightmare!'”
It’s like the show desperately wants to prove that it’s new and fresh. “This isn’t your mom’s Archie!” is what it wants to say. But it’s consistently showing that it’s a a show that doesn’t realize that teenagers, in general, don’t talk in decades-old references, which makes it seem like this is a show actually for older Archie fans who recognize all of these references from their own childhoods. As Nussbaum said, the show brings up Lolita, Rebel without a Cause, Wild Things, Gossip Girl, Beverly Hills 90210, Pretty in Pink, Faster, Pussycat! Kill! Kill, and plenty of others they off-handedly mention in snarky asides. Like, what do you actually want to be, show! Are you for the young kids or are you for 30-year-olds? Make up your mind!
I have been growing frustrated by the plot becoming a spinning-of-the-wheels type situation. Jason’s killer is no closer to being found, and clues seem to keep simultaneously popping up and disappearing at the same doggone time. At this point, I’m not sure if I’ll even be shocked when I find out who the killer is because I’m just so bored with the whole procedural element. Again with the references, with the murder mystery itself, the show is trying to be Twin Peaks, another reference for someone much older than the target audience. But, if the show is trying to pull a Twin Peaks-ian surrealist-fest, then when are we actually going to get into the surrealism? Again, Archie Comics has tons of surrealist moments, and that’s not even counting the amount of side-universes they have. Surrealism could come in the form of simply introducing Sabrina, a teen witch who often wants to use her powers for good, but usually ends up messing things up and has to right everything back to how it was. Sabrina could come into town, learn about the murder mystery and, after becoming friends with Cheryl and learning of her sadness, reverse time so that Jason is still alive. That could also be a good opportunity to introduce Afterlife with Archie at this moment, since Jason would be, in a way, undead. There’s your second season.
Or, the show could become a true deconstruction of the idea of classic Americana, something it was billed as being but hasn’t truly delivered on yet. Instead of having Jughead tell us that’s what the show is every week in his voice overs, we could actually see some depth of character and real explorations of race, class, gender, sexuality, and anything else that could use a thorough prodding. I’d say that if Riverdale wanted to take notes from a show doing that right now, it’d be Atlanta. This show, like Riverdale, uses the backdrop of a well-known city to explore the underpinnings of American society and culture, and it does so in a specific, tailored way. It doesn’t have to prove to the audience that it’s “edgy”–it shows its edginess in each episode by delivering on its synopsis each week.
If any place needed a deconstruction, it would be a fictional town like Riverdale, which has stood as a the center for clean-cut “American” life, which usually means white life. With much of the cast race-bent, this would have been a great opportunity to see just how destructive and soul-wrenching it can be to live in a town in which you’re the minority (which, in turn, provides context for the larger conversation about living in a country which still harbors racism against you). We could see how some folks in the football stands might be surprised to see Reggie as the captain of the team. Or, there could be some townspeople who resent that Mayor McCoy won over the white candidate (something the character actually brings up in an episode). Or, we could get more insight into the life of Moose, who doesn’t yet have the courage to live his life as an out gay young man due to fear, pressure to be “manly” or what have you. We definitely could have used Chuck, Josie, and Trev to explore life for black kids in a majority-white town.
I write about this in my piece for Ebony, “Riverdale’s Woke Report Card: Does the Drama Get Its Black Characters Right?”. I give the show a passing grade, ultimately, but I still write about how the show really needs to do better by its black characters.
“Out of the Pussycats, Josie is the one who has been given the most screen time; Valerie has only just now started coming up the ranks, but only because of her relationship with Archie. Meanwhile, Melody still hasn’t spoken more than two words during the run of the series and Pop Tate and Mr. Weatherbee may have been racebent, but they also don’t say much either—and in the case of Pop Tate specifically, nothing at all. Pop Tate is a conundrum; even though it’s great to see more representation on screen, it’s also puzzling as to why he has to be characterized as a silent, kindly butler of sorts, even though he’s the owner of the teen hangout, The Chocklit Shoppe. Basically, Riverdale’s Pop Tate reminds me too much of Uncle Ben, and I don’t like it.”
The show proved my point once again by making Valerie merely a sounding board for Archie this episode. She had three lines, and not one of them was about her point of view or her opinion on the matter of Archie’s dad being driven to near bankruptcy. Instead, her lines were there just so Archie could say he was going to go after the Serpents, as well as to give the appearance that they’re in a loving, stable relationship (which we see in the previews for next week that that might not be the case after all). The next time we see Valerie, she and Melody are at Polly’s baby shower, saying nothing.
If the show wants to be actually inclusive, the least it could do is not make its brown and black characters set dressing or talking props. The most it could do is not create a problematic plotpoint of a black boy in handcuffs at the mercy of a white girl who is acting out a revenge fantasy.
Also for diversity, the show could do well to actually eliminate Bughead and reinstate Jughead as an aromatic, asexual boy, since that’s what he actually is.
Comics Alliance’s Andrew Wheeler wrote “Jughead, Bughead, and the Need for Asexual & Aromantic Heroes in Comics” to point out just how demoralizing Riverdale‘s asexual erasure is (and how it flies in the face of their “inclusion” standpoint).
Wheeler interviewed colorist Sigi Ironmonger (a grey-asexual nonbinary trans-man); webcomic creator Sarah “Neila” Elkins, (romantic asexual), webcomic creator Jayelle Anderson (demisexual) and literature student LuciAce (aroace) about their opinions on Jughead in the comics and in Riverdale. They mentioned how important it is to have asexual representation in the media, especially for young kids still figuring out who they are. As Elkins said:
“To me it’s important because, growing up, I didn’t know it was a possibility to be asexual. I thought there was something wrong with me that I wasn’t interested in the idea of having sex like other girls my age. Friends called me a ‘prude.’ These were good friends of mine, friends who were also queer, that didn’t know that asexuality is a queer identity. Even among the ‘weird kids’ I was the odd one out.
I think if there was more representation (or any) of asexual and aromantic characters in comics as well as other books aimed at young readers, and other media, that my friends, and myself, would have known I wasn’t broken or weird. I didn’t learn about asexuality as an orientation until I was out of college. I stumbled across it online and thought, “Oh, wow! That’s what I am! This makes so much sense!” I don’t want anyone else to have to go through that, so I write asexual characters in my stuff. I hope to write something in the future, be it a comic or a novel, that’s aimed at younger readers.”
They also discussed how disheartening it was to see Jughead and Betty actually become an item, erasing the canonical asexuality the character had before (and, as far as I’m concerned, has always had). To quote Ironmonger, Elkins, Anderson and LuciAce:
Ironmonger: “Honestly, as soon as I heard about the erasure, I’ve steered clear of the show, so I can’t speak of the storyline at all. I don’t watch a lot of TV as it is and I don’t feel like prioritizing something like that, you know? I don’t really understand a decision like that and I can’t stand shoe-horned relationships of any kind but especially at the expense of LGBTQ+ ones.”
Elkins: “I really had my hopes up about that show before it came out. I was so hopeful I know I dismissed friends who said “you know they’re just gonna screw it up, right?” My friends were right. They announced online that Jughead in Riverdale “wouldn’t be asexual” and that he’d “totally want sex” or something like that. It deflated the big hope balloon I had clung onto that we’d finally have some representation on TV in a show aimed at younger viewers. It was crushing. I can’t even bring myself to look at the commercials for the show. Each time I hear the music for them I mute the TV or change the channel.”
Anderson: “Getting rid of this trait in Jughead for the television show just perpetuates the cycle of normalizing often hypersexual behavior that doesn’t fit everyone’s life. Sometimes young people’s only role model are the characters they see on television, so it is important to show that asexuality is a thing, too.”
LuciAce: “I’m really angry about the way they’re handling things. Having aroace representation on TV would have been huge, and instead, they… made him straight? Because apparently there aren’t enough allo straight characters on TV yet. I’ve never seen a character like myself on TV, and I would have been a die-hard fan of the show if they’d kept Jughead aroace and touch-averse like he is in the comics. As it is, the show just makes me furious and sad.”
The show seems to have an understanding of just how offensive Betty and Jughead as an item are, which seems evident in how they are doubling-down on shoving it down our throats (or so it seems, since the episodes have been filmed months before now). Having Jughead and Betty kiss in almost every scene seems and feels unnatural, just like how it felt unnatural when writers would try to give Jughead an interest in girls in certain comic book issues. Jughead’s characterization just isn’t one in which he’s a guy who is interested in the opposite or same sex like that, and that’s perfectly fine and normal. However, the show’s insistence on making him straight and sexual feels like a very 20th century thing to do. If we’re in an age where Kevin Keller can be proudly out as a gay teen, then we should also be in the age where Jughead can be proudly out an asexual aromantic teen. Teens in general, regardless of sexuality, shouldn’t be made to feel like they have to be in a relationship to be normal.
The last grievance I have is about that twist of a plotpoint with Hal Cooper, who apparently forced Alice Cooper to have an abortion. ¿¿Qué??
Why, what when and where did this plotpoint have to come up? Why have we had such little to show for Hal’s characterization until now? I know we had that part where he told Betty that Polly was with the Sisters for whatever dire reason they have, but I wish we had gotten the sense that Hal was a total abusive husband way before now. If that had been built up from the very beginning, that would have been really interesting and it would have given us more reason to try to understand Alice until this very episode. We would already know why she acted like someone driven to desperation–it’s because she’s been brainwashed by her husband’s fruitless demand for perfection from his family.
I guess what I’m getting at ultimately with this point is that for this to be a dramatic show about a murder, there are literally no dramatic stakes coming out of these characters. Yeah, we get it every once and a while, like with Jughead confronting his father and still trying to find some hope in his heart for him, and Cheryl coming to grips with her brother’s death. But the show is quickly losing the plot of both what it wants to say and who these characters are. The reason we have connected with these characters for 50+ years is because of their relatable cores. We all know some hapless goof like Archie, who is a great friend, but is endearingly clumsy (and sometimes emotionally tacky) all other areas of his life. We know someone like Jughead, who is so cool and interesting, yet they’re so enigmatic, you feel you know nothing about them. Veronica is definitely that person that many of us wish we could be–cool, rich, and a boy magnet–while Betty is who we feel we are at the present moment–the girl or boy next door, nice, loyal, but just “regular.” Their strengths and flaws are what make them so much fun, and either you see yourself or you see your best version of yourself in these characters. Right now, I’m not seeing anyone I relate to anymore. I was seeing it at the beginning of Riverdale, but now, as Nussbaum points out, all we’re getting is some great cosplay without the real commitment.
I’ll say that the only person in the main cast who feels like they are with their character in spirit is Cole Sprouse. Not too many of the main cast have read the comic books back to front, but Sprouse has said in many interviews how he studied his source material and, in so many words, came in with a gameplan as to how to approach Jughead from a position that would remain true to the character. However, the show itself is limiting him from actually playing Jughead the way he truly wants to play Jughead, I feel. While the powers that be want Jughead to be a sexual being, Sprouse has been advocating for Jughead to be canonically asexual, as he is in the comics. However, the powers that be aren’t hearing him, and it’s a shame, since not listening to the actor who knows the character is what could actually make this show a whole lot better and definitely a whole lot more interesting.
In short, I hope the show quits trying to prove that “It Goes There” like Degrassi and actually goes there. If this is going to be a teen murder mystery, then by all means, up the murder, up the mystery, and definitely up the characterizations, plots, and respect for the differences in others.
The Olympics is like the Super Bowl in that lots of big properties reveal their big trailers. Three such trailers were released during the Rio Olympics: Luke Cage, Rogue One: A Star Wars Story, and Hidden Figures. Let’s take a look at each.
First of all, it looks incredible. If I’m being completely honest, I’ve never tuned into a Marvel Netflix production, either because I didn’t know the lore or, quite frankly, I just didn’t care. But the updated ’70s blaxploitation take on Luke Cage is both reminiscent of past awesome crime fighters like Shaft and extremely timely to what’s going on today.
Everyone has mentioned the imagery of the unkillable black man in a shot-up hoodie providing both commentary and relief from the constant deluge of black men and boys being killed by police or overzealous, racist men. But seeing that imagery in motion, just in the trailer, says so much without Luke Cage every saying a word. Also, the story itself seems to be told in such a way that someone like me, who has a hot-cold relationship with keeping up with all comics except for Archie Comics, can come into it fresh. It engages the audience whether you know about Luke Cage from the comics or not. That kind of treatment of comic book lore is gold, since you can’t always assume your audience knows everything about every character, especially if that character hasn’t become part of the collective consciousness in the same way Superman, Batman, and Spider-Man have.
Overall, this is a WIN for me. I’ll check out the series once it drops, despite my own squeamishness of hearing/seeing broken bones.
As Marv Albert would say, “Yes!”—this is ticking all of the boxes for me. I think from now on, I’ll lessen my usage of “diversity” and starting using the word “inclusion” more, because the rebooted Star Wars series (yes, rebooted—let’s just admit that the prequels are out of canon now) is showing other movie franchises how inclusion is done. You don’t just hire actors of color to be sidekicks, MARVEL MOVIES. You hire actors of color for substantial roles and treat them just like any white actor. You create characters that actually represent and empower your audience, not just appease them with some paltry offerings. Somehow, Marvel seems to do better at inclusion with their television shows and Netflix series than they do with the actual movies. Even stranger is that Marvel and Lucasfilm are now under the same Disney umbrella, so you’d think some cross-pollination with casting tactics would have happened already. Marvel needs to take some notes from J. J. Abrams, stat.
Anyways, we’ve got talented actors doing talented things in this film. Even cooler is that the central character is a woman. Also cool is that Darth Vader finally looks cool again (once again, proof that this is a completely rebooted series). We also have some disability representation with Donnie Yen’s blind Jedi or Jedi-adjacent character. But will Yen’s character dip too far into the “mystical Asian kung-fu master” trope? Because if there’s one potential issue I see, it’s that. We just have to wait until the movie comes out. The other potential issue: Forrest Whitaker’s odd accent. But on the whole, Rogue One looks like it’ll proudly carry on the awesome legacy that began with Star Wars: The Force Awakens.
The film looks like it’s going to be one along the lines of 42 and Race in the sense that it’s going to be a feel-good film that also manages to teach the audience a historical lesson about overcoming discrimination to achieve excellence. But this film is also a reversal in practice for Hollywood, an industry that has ignored a story like this until now.
This role is something Taraji P. Henson should have played long before now, and its these types of roles Hollywood should have cast her in. What I’m saying is that usually, this type of “feel-good” role featuring a female character from the 1960s usually goes to a white woman, because in the ’60s as in today’s time, whiteness allows a certain privilege, meaning the character won’t have to deal with any sticky issues like race.
However, turning attention away from the history makers and achievers of the time only keeps black movie narratives stuck to the Civil Rights Movement. While that part of the ’60s is wildly important, there is more to the black experience than just misery. We didn’t exist just in the south; we existed all over the country, doing all kinds of things, including sending a man to the moon. Stories like this should have been lauded decades before now, not just now that Hollywood is slowly waking up to what many call in jaded tones the “diversity trend.”
On a much more shallower note: much like Whitaker, I’m unsure of Janelle Monaé’s accent in this film. I’m assuming she’s portraying a southerner; as a southerner, I’m always…disturbed by bad southern accents in films. There is an art to the southern accent not many non-southern actors have mastered. They always want to take it to that Scarlett O’Hara level, and not all southern accents are remotely like that. (I hated writing this paragraph, because I’m a loyal member of Electro Phi Beta…but I can’t lie about the accent.)
What do you think of these trailers? Give your opinions in the comments section below!
As you will see in a few days on JUST ADD COLOR, I am a huge Archie Comics aficionado. Back in the mid ’90s, when I was still in middle school, I happened to pick up an Archie Comics digest from the grocery store, and fell in love with these kids’ hijinks and the art style. The more into Archie Comics I became, the more I loved it. The more I loved it, the more I started to dissect and analyze, and the more I hoped the company would grow into something beyond just reliving its glory days of the ’60s.
Since then, Archie Comics has really come into not just the 21st century, but into its own new identity as the comic book for humorous, slice-of-life teenage comedy. In many ways, the company went back to its core tenet of being about teens, for teens by becoming what it was when it first debuted in the 1940s—fresh and relevant. Archie Comics has exploded now with the new Archie and Jughead series, both of which are amazing in terms of writing and illustration, and the upcoming CW teen drama, Riverdale.
Riverdale continues Archie Comics’ obsession with relevance by rejiggering the concepts of the “America’s Favorite Teenager” and what life in the picturesque Riverdale is really about. To quote Archie Comics:
The live-action series offers a bold, subversive take on Archie, Betty, Veronica, and their friends, exploring small-town life and the darkness and weirdness bubbling beneath Riverdale’s wholesome facade. The show will focus on the eternal love triangle of Archie Andrews, girl-next-door Betty Cooper, and rich socialite Veronica Lodge, and will include the entire cast of characters from the comic books–including Archie’s rival, Reggie Mantle, and his slacker best friend, Jughead Jones.
Popular gay character Kevin Keller will also play a pivotal role. In addition to the core cast, “Riverdale” will introduce other characters from Archie Comics’ expansive library, including Josie and the Pussycats.
Let’s take a look at our group of Riverdalians (with character descriptions quoted from Archie Comics’ Riverdale posts):
Archie Andrews (played by K.J. Apa)
— Archie Comics (@ArchieComics) March 22, 2016
— Archie Comics (@ArchieComics) March 20, 2016
— Archie Comics (@ArchieComics) February 26, 2016
In an exclusive announcement, Deadline described Apa’s Archie as “an intense, conflicted teen, a boyish high school sophomore who got pumped up over the summer working construction and is now juggling the interest of several girls, as well as trying to balance his passion for writing and performing music–against the wishes of his father and his football coach.”
Josie McCoy (played by Ashleigh Murray)
— SuperheroesInColor (@HeroesInColor00) February 25, 2016
— Archie Comics (@ArchieComics) March 21, 2016
Murray’s Josie is described as “a gorgeous, snooty and ambitious girl who is the lead singer for popular band Josie and the Pussycats. She has zero interest in recording any songs written by fellow teen Archie.”
Jughead Jones (played by Cole Sprouse)
— Archie Comics (@ArchieComics) March 15, 2016
Sprouse’s Jughead is described as “a heartthrob with a philosophical bent and former best friend of Archie Andrews.”
Veronica (played by Camilla Mendes)
— Archie Comics (@ArchieComics) February 27, 2016
— Archie Comics (@ArchieComics) March 15, 2016
In the exclusive announcement, Deadline described Mendes’s Vernoica as a silver-tongued high school sophomore who returns to Riverdale from New York, eager to reinvent herself after a scandal involving her father.
Betty (played by Lili Reinhart)
— Lili Reinhart (@lilireinhart) March 30, 2016
— Lili Reinhart (@lilireinhart) April 8, 2016
In an exclusive announcement, Deadline described Reinhart’s Betty as “sweet, studious, eager-to-please and wholesome, with a huge crush on her longtime best friend, Archie.”
Cheryl Blossom (played by Madelaine Petsch)
— Archie Comics (@ArchieComics) February 25, 2016
— Archie Comics (@ArchieComics) April 8, 2016
In the exclusive announcement, Deadline described Petsch’s Cheryl as rich, entitled, and never accountable. A manipulative mean girl who kills with kindness, she recently lost her twin brother in a mysterious accident.
Reggie Mantle (played by Ross Butler)
— Ross Butler (@RossButler) March 21, 2016
— Ross Butler (@RossButler) March 20, 2016
No official Archie Comics/Deadline character description, but we know already from the comics that Reggie is Archie’s rival in all things, including the dating department.
Dilton (played by Daniel Yang)
— RIVERDALE NEWS! (@CWRiverdaleNews) March 10, 2016
Again, no official description for Dilton, but in the comics, he’s the nerdy, brilliant friend to the core Riverdale gang. He also dated Cheryl Blossom at one point in time, so don’t sleep on Dilton’s hidden mack game.
Moose Mason (played by Cody Kearsley)
— Riverdale Brasil (@RiverdaleBrasil) March 20, 2016
Once again, no official description, but Moose is Midge Klump’s long-time boyfriend. Moose is also on the school’s wrestling team, and is often depicted as being, to use one of Wendy Williams’ favorite phrases, “less than smart.” It was only relatively recently that Moose’s depiction was scaled back and taken a bit more sensitively; he was diagnosed with dyslexia, which explains why the character often has trouble with schoolwork. Maybe his dyslexia will become a feature of his characterization in Riverdale.
Tina Patel (Olivia Ryan Stern)
— Archie Comics (@ArchieComics) March 17, 2016
No official description, but Tina is from the later wave of old-style Archie comics. Tina was introduced as the younger sister of Raj Patel, the town’s resident aspiring filmmaker. Unlike Raj, Tina was following in her parents’ footsteps of becoming a doctor, making Raj the black sheep of the family. If memory serves, she also was bumped up a grade, so she’s actually in the same grade as Raj despite being younger than him.
The adults cast so far include:
— Archie Comics (@ArchieComics) March 4, 2016
— Archie Comics (@ArchieComics) March 4, 2016
— Archie Comics (@ArchieComics) February 24, 2016
Yes, ’90s friends; that’s Mr. 90210 himself! With him as a part of the cast, this already feels like the baton of stellar teen dramas has been handed down to the next generation. Riverdale has the Luke Perry Seal of Approval.
What can we expect?: Already, we can see some ways in which Riverdale is distancing itself from the Archie stories of old while bringing the Archie Comics company further into the now. We have a multiracial, multicultural cast, with several characters cast as non-white actors, including Apa, who is Samoan-Kiwi.
But a Rainbow Coalition cast isn’t the only reason this show has my radar. As I wrote above, the show is setting up a subversive take on the Riverdale we’ve come to know and love, and if Season Zero is to be believed, the Riverdale pilot is something that must be seen to be believed. There’s murder, sleeping with a teacher, intrigue, and all sorts of soapy turns. Also, Jughead’s the narrator, which seems like a cool, Jughead-ish thing to do (he is, after all, divorced from all the drama of his friends and acts as the observer of their lives).
As much as Riverdale promises, there’s still some more that it could have done. At one point, Jughead was supposed to be played by a deaf actor. TV Line (as reported by The Mary Sue) had the official casting calls, which asked for a “hearing-impaired” actor. As far as I know, Sprouse isn’t hearing-impaired, so I wonder why the change in Jughead’s character was made. If it was made—maybe the narration we hear are Jughead’s thoughts, and perhaps Sprouse signs on screen. But still, it could have been a great opportunity for a hearing-impaired actor to get his moment. I’m not poo-pooing Sprouse’s acting ability before we’ve even seen him in the role; I wish him goodwill. I’m just sayin’, from an observer’s perspective, some could find an issue with a non-deaf person playing a deaf role, especially since there are deaf actors and actresses out there (such as Freeform’s Switched at Birth stars Marlee Matlin (also an Oscar winner), Katie Leclerc, and Sean Berdy, late night host Stephen Colbert, There Will Be Blood‘s Russell Harvard, and many others in stage theater).
Other observations: Jughead is canonically asexual in the new Jughead books. In the show, Jughead is described as a heartthrob, and that’s actually in keeping with his character, since Jughead gained a kinda heartthrob status through later runs of the old Archie books. Part of Jughead becoming attractive to girls was because he never wanted a relationship anyways, and some girl characters took at as a challenge (like Ethel, who hasn’t been cast as of yet). But parts of the fandom had also decided that Jughead was gay, which may or may not have led to issues featuring Jughead in an ill-fated love triangle of his own. Stories of Jughead in one-off relationships would then become peppered throughout the old Archie canon for whatever reason there was at the time, but Jughead had already been linked to someone in the old ’40s comics—Betty. Back then, it seemed like there was less of a love triangle between Betty, Archie, and Veronica, and more of Betty trying to disrupt Veronica and Archie’s relationship and, being desperate for any male attention, would try to seduce Jughead, who just went along with it because of his friendship with Betty.
However, with all of that said, will Jughead actively engage in relationships on Riverdale because he is a heartthrob? Or is he a heartthrob because he’s unattainable? Will Jughead become the second out asexual character on television (the first being Voodoo from USA’s Sirens)? Or, if Jughead’s asexuality doesn’t extend to the show’s canon (which it might not, since the show’s not adhering to old or new Archie stories, anyways), then will Jughead’s sexuality once again become the hot button issue of the day? One of the enduring parts of Jughead’s character is that, because he’s removes himself from the heteronormative discussion, everyone can see some element of themselves in him. You can believe he’s straight, gay, asexual, aromantic, bisexual, and any other type of sexuality, and you’d be justified in your theory. Jughead is one of those characters in entertainment who become a sexuality litmus test, and it’s fascinating to see just how everyone interprets him differently and why.
Last, Riverdale is breaking new ground by casting two actors from the AAPI spectrum as part of “the beautiful people.” Like I’ve written several times before, Asian men rarely get the heartthrob treatment, and to have Archie and Reggie played by Apa and Butler is awesome. Of course, we’ve got some caveats to discuss. Apa can easily code as “white,” which will surely help him land more leading roles than someone like Butler, who might still have to work against racist casting calls. But both Apa and Butler might face less discrimination than Yang, who is playing a character that now has a very complicated situation. Dilton is white in the comics, so having someone else represent Dilton plays into the movement to have more inclusion on screen. But, Dilton is also a nerd, so what does it mean that an Asian guy was cast as the nerd? Again, like with Sprouse, I’m not ragging on Yang getting a job, but I am an entertainment/cultural critic. I wonder what Yang will do to take the character out of the easy stereotype and into a nuanced, layered performance.
With all of that said, I’m excited to see what Riverdale holds for us. What do you think? Give your opinions in the comments section below!