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Riverdale quiz: do you think you know everything about this TV series? Here you will find all the tests dedicated to the characters, plot and trivia about the series! Put yourself to the test!

Quizzes about Riverdale. Here are the tests that test your knowledge about Riverdale! If you think you know everything about this series demonstrate it now with quizzes!. The Riverdale quiz tests you with questions about the plot, characters and highlights of this compelling TV series.

Riverdale is a teen TV series that started a few years ago and given its great success still in production. The adventures made of mysteries, love affairs have been addictive in millions of viewers. Its characters have entered the hearts of many fans, everyone has a favorite and everyone is passionate about their events. If you also follow this TV series, you can only test yourself with the test and try toprove that you know everything about the plot and protagonists.

. The subject matter of Riverdale, the environments and all the adventures we will see in the series will have the feeling of already seen. This is because, before the TV show based on theArchie comics and in particular the character of Archibald, who was born in 1941, there have been series that are really very similar. One out of all is definitely Twin Peaks. In the 1990s, the work created by Mark Frost and David Lynch, disrupted television at the time with a much more thoughtful approach to storytelling and staging. What, therefore, is the subject of Riverdale, as well as Twin Peaks? Something very simple: a quiet town with few inhabitants is shaken by an event a tragic. A murder. The police will investigate the possible culprit; instead, we will be catapulted into a small town full of secrets, troubled people and lots of twists and turns.

. It is truly the oldest subject in fiction, that of using a single event as a pretext to tell the story of a town and its characters. Lost, too, in a different way, has the same formula. Riverdale unlike the two works just mentioned is very different for so many reasons. It absolutely does not have the ambition of Lost in tacking on philosophies and themes that look to the most important writers, from Kant to Edward Wadie Said. Nor does it by any means pretend to want to change the canons of television, as Lynch and Frost wanted to do with Twin Peaks, through something popular close to the soap opera, but with a surrealism and storytelling that is still highly relevant today.

. Riverdale, on the other hand, is an audiovisual product that recalls all those feelings of postmodern dark cinema a la Twilight. Lots of slow motion, a precise color palette to describe the almost cursed aura of Riverdale, a soundtrack of pop songs. If we had to find a cinematic example of Riverdale, Twilight would certainly be one of the most fitting, also mentioned in Riverdale via a Cinema sign. It is certainly an approach to television that everyone may not like, just its often baroque visual characteristics and a narrative in constant search of cliffhangers. Riverdale besides all that also has another soul, a more complex and interesting one that knows how to discuss slut shaming and male privilege. As I mentioned in the previous lines, Riverdale has a very common subject.

The episode that will trigger the events sees a popular football player disappear into thin air during a river trip with his sister. What happened to him? Is he still alive? Was it an accident or is there a conspiratorial plot? All these questions will be eviscerated throughout the arc of the first season, in fact Riverdale consists of a mystery each season that is distinguished by deaths, traumas and many other terrible events. Following the teenage characters who attend an American school, we find ourselves observing all the dynamics of the high school movie. Athletes, bullies, cheerleaders and all that goes with it. To embellish this formula, which has become very popular thanks to the cinema of John Hughes, there is a kind of sociopolitical rivalry between the northern part of Riverdale and the southern part. This conflict is one of the most important in the TV show, as it highlights so many clashes: that of schools, the moral one between Jughead and his father belonging to the Serpents group.

These rivalries, go to make up a very clear picture, of what the whole affair related to theNorthside versus the Southside is all about. It is about the classic class struggle, in fact the Northside is composed of the middle class and upper middle class, while on the Southside poverty is rampant. Crime therefore, being a consequence, flourishes in a much greater way. At the risk of appearing too superficial, the writing nicely described that this relationship survives because of both, in fact the drugs that are sold in the Southside are bought by Northside residents, creating a really interesting vicious circle.

This Northside vs. Southside, will feature in ongoing struggles, physical and verbal, becoming over the course of the series a vital element for Riverdale. Althoughthe characters in Riverdale are initially stereotypical because of some previously expressed social characteristics, over the course of the episodes they will become increasingly complex. Betty is the classic pretty girl next door, kind, accommodating, and blonde. Almost a protagonist of Hitchcockian memory. Archie is a vessel of all that could be a perfect boy, while instead slowly he too will be explored and corrupted by the events of Riverdale. The latter is of course the real heart of the series through its recurring places: the river, Pop's, the Blossom house and so on. The writers of Riverdale know very well that while there are no dragons, witches and fantastical elements , the show must possess a mythology. The latter must surround everything from characters to places. If we think about the very first factor, that of characters, we observe how in the first season an inseparable pair of friends is born, a duo known to all.

Betty and Veronica will become B and V. Two letters that will be enough to let any member of the school know their background, their power as a duo. If Betty is we have already figured out on which model it was conceived, who is Veronica? She from the point of view of the relationship with the viewer, represents the newcomer and the mirror character of the audience that through her knows the school, the characters and the school dynamics. Veronica is the viewer's instrument of identification. The character, on the other hand, represents the classic fish out of water, a very rich girl from a large metropolis who ends up living in a small town. The B and V duo stems from one of the most interesting and feminist musings in the entire series. That of slut shaming. In an episode of the first season we learn thatsome boys have a book in which they note down their sexual conquests, put grades and ridicule girls, as well as carry out an aberrant ogettification of women. B and V, still called by their names, engage in trying to bring justice and expose these abuses indifferent to the school system that undervalues them or does not consider them at all. After ridiculing one of the molesters, action was taken and many of those boys were suspended. This very timely reflection that also recalls the theme of revenge porn, is as compelling and lucid as it has to describe male enjoyment in glorifying his figure and exploiting his own privilege.

In contrast, the dynamic of Betty's perversion that could engulf everything that came before is less fitting. It remains, however, a very good test of doing entertainment and civic education at the same time, talking about issues related to feminism. From there on, Betty and Veronica will be recognized by everyone as B and V. Although Riverdale is often a very underrated series, it has merits as we continue to observe that are not insignificant. Today we hear a lot about "The Queen's Gambit" starring Anya Taylor Joy. If the protagonist of that show has an upward path, giving the viewer continuous satisfaction, Riverdale has a totally opposite approach to storytelling. In fact, the entire ensemble cast follows paths filled with up end downs, where the audience never has that empathetic satisfaction of seeing the characters they identify with win in the various challenges. Think, for example, of Archie's first performance at the school play and Josie's performance with the Pussycats. Archie is very nervous since he has never performed in front of an audience, in fact during the audition he leaves the stage following a panic attack. Josie, on the other hand, is experienced in live performance, but in this case there is a foreign element to the usual performances, a variable represented by her father. The latter demands so much from his daughter, as he himself is a very accomplished jazz musician. While Archie's performance is a total success, Josie comes off badly. Her father will leave the stage but we will never hear from him again. These never one-sided paths also serve to make us empathize more with the characters, because in life one's path is never an ascent like the chess queen.

As we mentioned earlier Riverdale is a choral series, so it is composed of a lot of characters that we will get to know during the episodes, however one of the many of the cast never physically appears in the first season but we know a lot about him. I refer to Hiram Lodge. This character is the talk of the town, at one point seeming to have an involvement in the investigation of Jason's disappearance. This writing process is very fascinating, as it manages to characterize someone who never appears. We know almost everything about Hiram except what he looks like. We will only find out in the second season. Although in the audiovisual industry we have ascertained that Riverdale is indeed very common,it is able to mix two distinct genres in a very successful way. We have from the very beginning the feeling of being in a murder mystery. Jason's disappearance, the hidden secrets of the various characters, all the suspicions hovering over the town itself. It all owes this to Twin Peaks, from the scenic settings to the dark atmosphere that would like wooded areas full of danger. These characteristics merge with the teen soap, from Gossip Girl to Pretty Little Liars where feelings and sexuality hold an important piece. As well as the mise-en-scene very much steeped in slow motion, pop songs, and an aesthetic that can recall that of a video clip, another feature that makes Riverdale a very postmodern series is the quotationism. From that said through the characters to that shown by the images. From Mad Men to Truman Capote, the TV show is great at exploiting this constant quotationism as a device to reflect on its own stereotypes and clichés.

In fact, a very strong point of Riverdale is that it is totally aware of its ambition, which never becomes specious. The series created by Roberto Aguirre - Sacasa, knows its limits and from those it begins to tell stories, which as we have seen along this analysis, has several remarkable elements. Despite this compactness, Riverdale was initially envisioned as a film project.

Warner Bros. was indeed interested in developing the character of Archie into a film, however it became increasingly demanding as a project, in fact it involved time travel and much more. This idea was abandoned and later became a television series in development at Fox, but the latter was of the same defeatist decision as Warner and left the project. The latter saw its fruition with The CW network.

. An interesting curiosity that could upset the Riverdale narrative by making it take on fantastical and far-fetched connotations resides in itssister series set in Greendale. A town we often hear mentioned in the show under analysis. We are talking about "The Terrifying Adventures of Sabrina" series also based on Archie comics. We know for sure that both series are set in the same universe, so we might think that there is room for magic in Riverdale as well. This possibility has not yet materialized into a cross over, moreover there seems to be no future possibilities, also because the TV show starring Sabrina will end soon. Instead Riverdale seems not to want to stop, in fact the series has been renewed for a fifth season that apparently will not be the last. As an audiovisual proposition Riverdale certainly has the merit ofbeing the classic binge watching series for several reasons. Certainly because of its continuous search for the cliffhanger not only in the season finale but also in the episode finale, however it is also the 40-minute episode length that facilitates the viewing of the series. In the latterin addition to the already mentioned Archie, Betty and Veronica, another key character will be Jughead. In him we can see many characteristics of the nerd, but in reality the latter does not exist. Instead, Jughead has a far more important role, that of the narrator who as well as in noirs accompanies us through the episodes with his point of view of the story.

In spite of all these excellent elements, Riverdale has its weaknesses: sometimes it sins because of some not particularly good actors, while sometimes it forgets interesting storylines such as Josie's with her father. For sure, however, the TV show conceived by Roberto Aguirre -Sacasa has the virtue of being able to appear superficial and therefore great for a relaxed viewing, while if one wants to reflect Riverdale also knows how to insert excellent insights such as the one about slut shaming.

Stranger Things quiz: do you know all the secrets this TV series? Here you will find all the tests dedicated to the characters, plot and trivia about the Stranger Things seasons! Put yourself to the test!

Stranger Things quiz: Here you will find all the tests about the seasons of the fascinating TV series Stranger Things!. The 80s revival had begun well before Stranger Things, yet if we were to think of an audiovisual product involving this fad, the television series under analysis is probably the first one we would think of. Certainly, this is due to the enormous popular success that Stranger Things has had over time. Not just nominations forGolden Globes and Emmys, but just incredible affection from the public. It is clear that this is all part of a nostalgia operation for a world that no longer exists, but other audiovisual products have attempted this route, yet Stranger Things has been more successful. It managed to emerge in 2016, when the revival was continually producing works subject to this trend. What we might think is the peculiarity of Stranger Things is precisely in the adaptation of those years. Let me explain. The television series created by the Duffer brothers does not really represent the 1980s but only the pop culture that would later become mythology for posterity, from music to fantasy cinema. The musical and cinematic references are constant and not even particularly researched, precisely because Stranger Things is interested in tracing a story with all the topoi of those years, all those fears and worries that became material for cinema and music in those years. Including all that, criticism of the TV show, which has been challenged for constant references and "plagiarism" to other successful works, is also legitimate. This characteristic Stranger Things has never attempted to hide it but to embrace it,so The Goonies and E. T. become very strong inspirational material. The series therefore actually constructed something that no other product had done: a modern-day adaptation of 1980s pop culture without relevant fears about possible accusations of plagiarism or anything else. Stranger Things looks like so much else, but nothing else is like Stranger Things.

Plot and genre mixing

In a seemingly quiet Indian town named Hawkins, a child suddenly disappears under mysterious circumstances. The characters have absolutely no idea of the supernatural cause that abducted the poor unfortunate, yet the viewer guesses that it is an alien creature, something that should not exist. We follow Will's friends, the kidnapped boy, and everything surrounding the incident. In this narrative incipit it might all seem very linear to you and indeed it is but Stranger Things has the audacity to mix different genres, precisely because it is inspired by the whole 80s cinematic universe. From E. Steven Spielberg's T. to John Carpenter's The Thing. From Richard Donner's The Goonies to John Hughes's Sixteen Candles. While it is true that Stranger Things has taken so much from the 1980s, it is also undeniable that it has managed to create an incredible mix with very different ingredients. The Duffer brothers therefore take us into an episode where we are almost to terrified, while a second later we are in a High School Movie laughing with Finn and his friends. It all works beautifully.

Stranger Things and the setting of a mythology

. When creating a series that is to endure, whether film or television, one must pay a great deal of attention to mythology. The latter is divided into two types: one internal and the other external. The former organizes the setting of the mythology: what powers do we grant Eleven for example? How powerful is the creature? What other monsters and fantasy-horror elements do we want to include? All these questions are crucial as they determine the beginning of the conflict and the forces at play. Without a logic and organization of power values, for example, we end up with the Dragonball effect, where we do not understand how strong one character is compared to another. Another risk of setting a mythology, is the fear of having so few fantastical elements, that you insert so much fantasy material into the narrative incipit and then don't know how to handle it. What does the first season of Stranger Things tell us about this? Will as we know has been by a creature that has weaknesses but without remarkable weapons, it is impossible to defeat. He is no longer in our world but in a dimension called "Down Below" where he is constantly hiding from the creature that hunts him. In addition to all this there is the whole sci fi segment of human experiments and in fact because of the latter, the protagonists will meet Eleven. The latter is a little girl like them but endowed with dormant powers that are very dangerous if not managed and controlled. These are mostly telekinesis and other dynamics related to that. If this is theinitial mythology setting, what will the evolution in the coming seasons entail? All of this is part of the external mythology. The latter encompasses everything that was not included in the initial fantasy setting but equally fitting with the context of Stranger Things. New powers to Eleven and other characters? New creatures? And so much more. If the first season of Stranger Things is a truly remarkable product in terms of structure and pacing, it is due to the great deal of internal mythology work employed. The positive forces at play and the villain work beautifully, as do all the rest of the storylines. Let's say right away that unlike later seasons, Stranger Things in its first year always chooses paths traced by 80s cinema without ever taking risks. Of this first season some six years later, Stranger Things debut in 2016, remain a truly remarkable episodic structure and her. We will talk about this in the next few lines, but if we knew the group of kids back in the 1980s, if we had more or less seen the creatures before, Eleven is really what strikes you the most. Although in this first season she seems to trace the path of the Spielbergian alien from E. T., therefore the magical comprimario of the group, as was the alien creature created by Carlo Rambaldi, Eleven had never been seen. A very younggirl who slowly becomes the center of the show and the one who can save men and women from the disaster of the upside down. The first season of Stranger Things is the birth of one of television's most important heroines. Her journey, that of the heroine, will begin mostly in the next two seasons.

Stranger Things and the processing of trauma

. The first season of Stranger Things saw the creature defeated, almost all the characters saved, but obviously what had happened had left internal wounds. Trauma. This second season in fact chooses the path of psychological insight and therefore chooses not to enrich the mythology of the series so much. Sure, there are plot twists that hint at a plot related to Eleven and other kids with magical powers and a creature more powerful than expected, but really this second season is quite static. This is not a flaw but a definite choice to stop and deepen all the dynamics, to take better care of the plot of the characters. The trauma associated with the incident has erased the naiveté of that phase of life. Nearly a year without incident, creature and eleven, Hawkins seems to be back to the quiet little town it always was. Of course, this is not the case. Our protagonists will once again be called upon to fight an even greater threat. The very first new features of this season consist of several new characters such as Max and his half-brother Billy and an increasingly encroaching adolescence that ties in with an anniversary of past traumas. This season, rich in quotations as was to be expected, is clearly less solid than the previous one. Structure and pacing are far weaker, yet the psychological deepening of the characters is fairly well handled. From an expectation-laden second season we perhaps expected more, however the Duffer brothers and the creative team behind Stranger Things expand the mythology without overdoing it and deepen the characters down featured in the first season. After the huge and somewhat unexpected success of the debut, Stranger Things 2 wanted to stop and package something very good. Among the best points of the show is again Eleven, played beautifully by Millie Bobby Brown. Hers is now officially a heroine's journey, composed of distinct stages and able to build an absolutely three-dimensional character.

Stranger Things and the coming-of-age tale

From the absolutely deserved success of the brothers and the creative team behind the television work under analysis, there is that certain process of natural fondness that arises whenseason after season the characters grow with you. It is not something you create but is absolutely subjective. Stranger Things had already entered this path in the second season, but with the third season the affection toward the characters is even more powerful. Do not think that it is so easy or simple, in fact it happens to those audiovisual products that build piece by piece a formation story that needs continuous stimulation. The emblematic example was of course the Harry Potter saga in the past. Now in the landscape like Stranger Things, there is really very little else even for this detail. It is unbelievable therefore that the whole fantasy segment about the mind flayer, creatures, and the ever-expanding fantasy universe is interesting up to a point. This is also due to weak and repetitive writing when it has to create conflict, but it is also an issue related to the characters and their growth. Finn, Eleven, Max, Will, Dustin and the whole group in their turbulent adolescent growth are much more interesting. The Mind Flayer, on the other hand, appears more and more a pretext for living along with the protagonists of Stranger Things. It was not easy to create a group of 1980s characters so charismatic that they could speak to us in 2021, yet they did. Thisthird season of Stranger Things in fact seems to have two macro storylines:one related to character growth and the other related to conflict, to confrontation with threat. The former is clearly the best. While all the main characters grow up and become closer and closer to adulthood, Will has fallen behind in boyhood. He still longs to play Dungeons and Dragons, longs to spend time with his friends without girls. His discomfort is treated with a very rare sensitivity. When we think about what happened to them, it is definitely normal to want a childhood crushed by the Mind Flayer. Lucas and Max, El and Mike, Dustin and Susy, in all of them it is evident the transition from child to boy. Only Will is left behind. The whole aspect related to that is treated very well. Also very important is the representation of different sexual orientations in current audiovisual products, and television, much more than film, is clear about this urgency. Stranger Things also remembers this and in fact includes the wonderful character of Robin, Steve's work colleague now totally changed since the first season.

Stranger Things - When the quote becomes storyline

Easter Eggs, quotes and so much more also makes Stranger Things a continuous game of who can guess the most 80s references. Beyond that, this third season even more than the others, exploits an entire strand of the 80s to build a key storyline of narrative development. The Russians segment is clearly derived from that whole strand of American propaganda cinema that found the Russians to be the main enemy. This conflict, however stereotypical, is better than that of the Mind Flayer, as it is a new element that we did not know about. This completely absurd segment is also embellished by a weird couple that seems to replicate buddy movie stylings. I'm talking about Dustin and Erica, grappling with the evil and unscrupulous Soviets. Their journey inside the dungeon is truly remarkable, as the comedy that is created plays the perfect counter-altar to the completely two-dimensional Russians.

Stranger Things - Conclusions

Despite the fact that the 80s revival continues to eclipse day after day,Stranger Things still remains one of the most important audiovisual products of contemporary television, capable of creating a heroine like Eleven. A character destined to enter the imagination of pop culture. We still don't know much about the fourth season except for a few spoilers about Hopper. There will probably be yet another time jump, so we will return to Hawkins in the late 1980s, perhaps 1987. We remain anxiously awaiting new updates on the fate of Stranger Things, a show that has proven its uniqueness in a trend of often equal audiovisual products.