Classic comic “Archie” is back as a new TV series

Gone are the days of malteds, Sadie Hawkins dances, and celibate love triangles. The era of sex, murder, and secrets is very clearly here to stay when it comes to teen drama on TV.

If it weren’t for the shock of red hair on its leading man, the CW’s “Riverdale” would be all but unrecognizable as an adaption of the wholesome and beloved Archie Comics, which, until last year, had hardly changed their appearance or content since the 1940s. “Riverdale,” despite having 70 years of source material to pull from, instead draws its inspiration from the likes of “Pretty Little Liars” and “Gossip Girl” with their twisty plots, objectively inappropriate sexuality, and statistically improbable number of deep, dark secrets lurking within one small town.

Archie Comics have reached iconic status as they follow the lives of the title carrot top and his two (possibly simultaneous, it’s never really clear) girlfriends, Betty and Veronica, along with a vast supporting cast that includes Jughead the eating machine and Josie and the Pussycats. “Riverdale” certainly had its work cut out for it in adapting the classic comics, since the signature love triangle is, by modern standards, horribly tired and at times problematic (teenage girls fighting over a guy is so 2007). Surprisingly, “Riverdale” approaches this touchy subject with sensitivity— the unrequited crushes and insecurity of adolescent love are remarkably nuanced and relatable. Unlike so many of its predecessors, the show really seems to understand the problems that high schoolers face— when they’re not trying to solve a murder or hide their affair with their teacher, that is.

Objectively, “Riverdale” is certainly not a bad show. It has the right balance of suspense and high school angst, of tropes and subversion. But in the crowded field of teen dramas, there is nothing that makes it unique. This is especially obvious when you consider that there is a certain expectation attached to it to begin with. Adaptations have a reasonable degree of responsibility to their source material and “Riverdale” seems to be doing everything in its power to break the connection to its past. Sure, the characters have the same names and personalities (and they are very well cast), but the similarities end there. The rest of the show seems devoted to getting as far away from the G-rated comics as possible. It might feel genuine if it were for the purpose of maturing the characters or bringing them into the modern day, but what is the purpose of Betty and Veronica making out in the middle of cheerleading tryouts? We understand that this is “not your parents’ Riverdale,” but we don’t need the lazy titillation that so many of these shows seem to think passes for good writing.

“Riverdale”’s compelling plot and brand recognition are enough to keep it on the air for the rest of the season, so there is plenty of time for it to carve out its identity in this age of sex, murder, and SATs, but it will have to show a level of respect for its origins to really find a reason to return for a second season. The first two episodes have shown hints that this is possible: the upgraded cover of The Archies’ 1969 saccharine love song “Sugar, Sugar” in episode two is truly fantastic. The days when an animated band could top the Billboard charts for four weeks may be gone forever, but some things never go out of style.

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