Riverdale Ending Explained: The Conclusion That Was Always Destined to Happen

After seven seasons, fans of Riverdale were given a conclusion that took them on a sentimental journey back to the final day of senior year, set in the show’s 1950s-era timeline.

This approach provided a way to check in on the futures of the show’s expansive cast. While the hour was filled with the usual over-the-top charm and heartfelt moments, there weren’t many jaw-dropping surprises.

However, one revelation stood out above the rest, answering a long-standing question about the show’s ultimate romantic pairing. The response was far bolder and more fitting for Riverdale’s wildly unpredictable nature than anyone could have expected.

The finale sets the stage with an unexpected voiceover from Jughead (Cole Sprouse), stating that “67 years have gone by,” making it clear once again that Riverdale never felt obligated to follow conventional storytelling rules.

What followed was an offbeat twist as the show introduced a ghostly version of Jughead, recently deceased in the present timeline, who appeared in a Christmas Carol-style visitation to bring Betty (Lili Reinhart) back to the 1950s.

This allowed her to relive a day of high school she had missed. The choice to incorporate time travel—an element that played a crucial role in Riverdale’s later seasons—provided an opportunity for Betty to inquire about the lives of her friends, serving as a story tool to update viewers on where each character ended up.

The reason Betty needed these answers was that, in 2023, she was the last surviving member of her friend group and was gradually losing her memory. Fortunately, ghost Jughead was there to remind her—and the audience—about the fate of the teenagers who had defined the series.

With a history that includes multiverses, guardian angels, serial killers, atomic explosions, time travel, pyrokinetic characters, battles with wild animals, haunted dolls, underground tickle rings, extraterrestrials, a cult leader attempting space travel, human sacrifices, the search for the Holy Grail, and so much more, Riverdale was always a show that thrived on excess.

Still, surprising the audience was no easy task. Yet, as Betty sat at the lunch table with Kevin (Casey Cott) and his devoted partner Clay (Karl Walcott), the series delivered one last unexpected moment.

Kevin prompted Betty to be honest about her love life, leading to the most unexpected romantic reveal of all. Since the show’s debut in 2017, fans speculated about which pairing would define Riverdale.

In the final episode, creator Roberto Aguirre-Sacasa found a way to embrace the show’s signature outrageousness while giving nearly every fan something to appreciate—because Betty wasn’t just involved with Archie (KJ Apa) or Jughead.

Instead, she had been part of a romantic “Quad,” dating both of them along with Veronica (Camila Mendes). An absolutely fitting twist, executed to perfection.

How Riverdale Remixes the Archie Comics

Defying expectations has always been central to Riverdale’s identity. From the beginning, it reimagined the wholesome world of Archie Comics through a darker lens, drawing inspiration from Twin Peaks to create something completely different from its source material.

As it evolved under the guidance of Roberto Aguirre-Sacasa, it became one of the few network television series to feature multiple LGBTQ+ main characters.

Cheryl Blossom (Madelaine Petsch), Toni Topaz (Vanessa Morgan), and Kevin Keller played a major role in shaping the show’s direction, leading to an even stronger focus on diverse queer relationships.

Given this history, the decision to include a romantic connection between Betty and Veronica—through a playful 1950s interpretation—was completely in line with the show’s spirit. Although the episode didn’t explicitly confirm whether Archie and Jughead were also romantically involved, the subtext strongly suggested it, making for a perfect resolution.

Additionally, Riverdale ensured that its other LGBTQ+ couples, including Kevin and Clay as well as Toni and Cheryl, had fulfilling relationships, growing old together and living rich, complete lives.

Although the finale revolved around a supernatural journey into the past, the revelations about where the core four ended up felt surprisingly grounded.

During their senior year, Betty, Archie, Jughead, and Veronica maintained a fluid, affectionate relationship, enjoying their time together in beautifully filmed romantic moments.

This dynamic was reinforced in the second-to-last episode, where the characters recovered memories that had previously been erased, reminding them how much they had enjoyed being involved with each other.

Despite this, none of them ended up together in the long run. Archie eventually moved to California, pursuing his passion for poetry and becoming the only one to marry. Meanwhile, Betty, Veronica, and Jughead remained single, dedicating themselves to their careers and achieving remarkable professional success.

This unexpected choice reflected an understanding that, no matter how extravagant Riverdale could be, it also recognized something real—many people don’t end up with their high school sweethearts, and for those who identify as queer, fulfillment often comes from paths outside of conventional relationship expectations.

That said, the series was never bound by reality, and its ending made sure to embrace its signature surrealism. In her final moments, Betty peacefully passed away in the back seat of her granddaughter’s car, only to find herself in an afterlife that took the form of Pop’s Diner, a place filled with familiar faces and youthful nostalgia.

There, she was reunited with her closest friends and her three great loves, spending eternity as a carefree teenager, indulging in milkshakes, wearing vintage fashion, and basking in the joy of young romance.

Riverdale closed its run in the most fitting way possible—delivering an ending that was equal parts heartwarming, outrageous, and completely in tune with the unpredictable nature of the seven seasons that preceded it. Everything fell into place, both in the story and beyond.