ll:veronicamars

veronicamars  asked:

top 5 most bizarre/contrived/ridiculous tv plots u have been subjected to in ur tv watching experience

OH BOY HOWDY LET’S GET DOWN TO BUSINESS

  1. ok i have to start with s4 of ats. when we see the sex scene in 4x07, we are unaware of cordelia’s possession so we are literally witnessing a woman have sex with a young man who a few months ago, was a baby, and she was his surrogate mother. she changed his diapers for fuck’s sake, no matter what supernatural elements play into the show, this is so disturbing and disgusting and the fact that charisma broke down crying and had trouble continuing to film the scene breaks my heart. anyway i could talk about s4 of ats forever (i’m sure u could to) but this is just the first scene that came to mind
  2. spike gets a soul. makes no logical sense based on the mythology of the series in the past and what we’ve seen on angel. angel/angelus are portrayed as completely different people. angel’s (the show and the character) entire mission is to make up for the shit he did as angelus. spike doesn’t have ANYTHING like that sort of distinction?? his souled personality and soulless are SO similar that it’s impossible to defend any of his actions without a soul bc he acts (imo) just as despicably when he DOES have a soul!!
  3. in one tree hill, clay’s dead wife’s lookalike stalks and tries to murder clay and quinn. WHY WHY WHY WHY also i’m gonna include this as one plot cause it might as well have been. THE TRAUMA OF CLAY’S WIFE DYING MADE HIM FORGET HE HAD A SON!!! HE LITERALLY JUST FORGOT HE EVER EXISTED. WHAT THE FUCK I HATE THIS SHOW
  4. everything chris pratt did on the oc
  5. every time the dawson/joey/pacey love triangle got screen time oh my god

So, I saw Veronica Mars last night and I just watched it again. It was so good! I really loved it. Brought back a lot of memories. I am really sad I missed out on funding the kickstarter*, I would have really liked to read the shooting script. 

I think that I may love adult Logan more then teenage Logan. 

But I was so happy with film. It was everything I wanted. Now I can’t wait to read the book that comes out next week. 

PS LoVe is my top ;)

*So I meant to fund it but it was the last my month of my first semester in my master’s program and it was a barley functioning time for me. (Like I literally look back and am so proud of myself for surviving it). I was literally like “You must do this!” And then one day I woke up and school was over and I was thinking “there is something I was suppose to do?” So I am so happy for those people who actually funded. You all work for not being an idiot like me. 

Favorite Scene From Each Episode of Veronica Mars, Day 25: Cheatty Cheatty Bang Bang, or, Logan’s Jerkass Woobieness in Full Bloom

[Previous Installment: Favorite Scene From Each Episode of Veronica Mars, Day 24: Driver Ed, or, How Wallace Pized Away Perfection]

Between a couple of long trips and that darn FanFic Author Appreciation Week, it has been a while since I did one of these Favorite Scenes posts. I have not been missed, as a quick perusal shows that people like bibliophileiz, dieselpunkd, and others are producing far better written and more interesting stuff for susanmichelin’s game. But inferiority has never stopped me before, and since this tumblr (and I am sure this really sets it apart) is all about self-indulgence, away we go (once more).

If I were actually going to pick my favorite scene from “Cheatty Cheatty Bang Bang” at the moment, it might actually be the hilariously lame and awkward double date movie night  with Veronica, Duncan, Wallace, and Jackie. This episode has it all: Donut being a dork, Wallace andbeing way too concerned with what Veronica thinks about Jackie, and, maybe best of all, Veronica (in a hilarious shirt/sweater vest combo thing) getting annoyed at Jackie, and doing her possessive thing about Wallace, foreshadowing her going through the roof when she finds out about Logan and Kendall later in the episode. Honestly, how was Jackie so gracious through all this? Have we ever solved the mystery of why Jackie suddenly decided to go out with Wallace (see the previous post in this series)?

(Side note: as much as we talk about all over Veronica’s behavior being guided by her experience of exclusion and stuff, I think we have to give a fair bit of the “credit” for her jealously to being an only child. She is clearly not used to other people playing with her toys.)

If I was going to be more fun and stuff, that is the scene I would discuss. However, for some reason I feel compelled to do beat this Woobie Logan horse once more.

Logan is a jerk. “Jerk” may seem mild, but hopefully it gets the job done via understatement. Yet we also feel sorry for Logan, even at or close to his expressions of jerkassery. As is widely acknowledged, Logan Echolls is pretty much the paradigmatic (and arguably premiere) jerkass woobie in recent television.

Two scenes of his woobieness are quite jerkass-adjacent. These scenes are quite well-known and frequently discussed. I think they are linked, though, by just how badly Logan gets hurt in each scene, who does the hurting, and what it says about where he is at this point in the season.

First, we have the scene where Duncan and Logan are getting patched up by the school nurse (that is some school nurses office!) in the wake of their fight, spurred on by Logan’s asinine, but guilty-pleasure inducing comment: “Didn’t plug her right the first time, huh?”

For once, it’s hard to blame the Dick-meister.

Back to the nurse’s office: the first time I watched this scene, when Logan said “Oh, hell with Veronica. She’s in the rear-view mirror,” I was taken aback. What? Logan doesn’t care about Duncan basically waiting around for Logan to screw it up with Veronica then slip back in via cheesy fortune cookie? Logan is lying, right? Surely all the stuff about Duncan not having his back is a smokescreen!

On further reflection, although the Veronica issue probably added to Logan’s bitterness, on Logan’s end, I really do think it is almost completely about Duncan abandoning him. It is Duncan who viciously shoves Logan’s failings with Veronica into his face: “You lost her; I didn’t steal her.”

It now seems to me that Logan is being honest here: he wants to know why Duncan abandoned him during the worst summer of Logan’s already-less-than-awesome life. It is important to remember how Logan treats Duncan in the first season. Logan does his best to look out for Duncan and take care of him, even if Logan does not always do so in the best way (and sometimes makes things worse). The way Logan looks as Duncan walks away from him in both “Meet John Smith” and “A Trip to the Dentist” says it all.

I enjoy excessive mocking of and piling onto Duncan as much as all good-hearted people, but there is no need for that here. The situation speaks for itself. Logan is not asking why Duncan did not help him burn down the pool or anything like that. He is simply wanting to know why Duncan never contacted him in the aftermath of the horrific revelations about Aaron and Lilly, Logan being nearly beaten to death, and then arrested for the death of one of his assailants and becoming the “eye of the storm.” (Let’s leave aside Duncan’s indication to Veronica in “Leave It to Beaver” that he knew Logan was being abused.) Even at this moment, all Logan is looking for is some acknowledgment by Duncan that he actually cares about Logan. I really do think (and his behavior toward Veronica and Duncan after this episode, though hardly pristine, backs this up) he was willing to give Veronica up if that is what she and Duncan wanted. He really was willing to try and put Veronica “in the rear view mirror.”

Duncan has known Logan long enough to know what Logan is really asking. And while Duncan has clearly been through a lot as well, his response makes one wonder if Duncan is simply being narcissistic (by assuming that only he, and not Logan, suffered in the wake of Lilly’s death), or if he is being deliberately cruel, too (by throwing Aaron in Logan’s face, as if it were somehow Logan’s fault). “Your dad murdered my sister” (followed by walking out)  isn’t as brutal as Duncan’s eye rolling “you were there, too” response to Veronica confronting him about Shelly Pomeroy’s party, but it is a heck of a runner-up. Well done, Duncan.

The icing on the cake is Duncan’s nonchalant attitude after the whole confrontation. “Veronica, it’s no big deal, just what guys do sometimes.” Duncan really just does not get it, or worse, he does get it, and Logan’s situation is just a blip on Duncan’s radar.

The second scene I want to discuss is the memorable “poor little rich boy” scene (as I call it) or, as others call it, the “towel scene.” This scene has multiple dimensions. The one towards which I would normally be drawn – psycho-stalker jealous ex-girlfriend Veronica who gets angry with Logan for having sex with someone else even though she is sleeping with his former best friend (GOTZMINE) – is tremendous, but this time around I want to focus on something a bit more specific.

(Dig that the blue outfit of repression, cheshirecatstrut!)

First of all, keep in mind that this scene, coming about midway through the third episode of the season, is the first time Veronica has spoken to Logan in real time (that is, outside of flashbacks) the whole season. If this post was not already too long, I would go into that in more depth. For now, I will just note (and again, this issue itself could be a whole post, so this is not all there is to it) that this method of protecting herself also serves (unintentionally on her part, at least at first) to hurt Logan – it is as if she is wishing he (and the memories of their time together) would just go away from her “perfectly normal” world with Duncan and their fantastic double dates with Wallace and Jackie. Suffice it to say that there is plenty of pent-up emotion in this scene.

Despite her anger and denial, Veronica is right about one thing: Logan is being deliberately self-destructive. Leaving aside the moral aspects of adultery (and statutory rape on Kendall’s side): as Logan himself noted in the previous episode, the gun-toting Mr. Casablancas has a very similar life philosophy to Logan’s own murdering father.

L(The symbolic aspects of Logan’s affair with Kendall are manifold and too much to get into here. Off the top of my head: the symbolic revenge of cuckolding someone like his father just as Aaron did to him; the “revenge” on Lilly by showing he could do it, too; and most of all, his desire for self-destruction after his perceived abandonment by Veronica in order to follow Lilly, “the love of his life,” down the same path in order to join her in oblivion).

Logan does seem to finally be getting some sense of satisfaction by Veronica simply being there and acknowledging his existence. But it is not enough. Her jealousy, at least in the manner she cannot help but express it, seems to be purely sexual. From his perspective, Veronica did not come to find him until she knew he was having sex with someone else. Without getting into the details, the series makes it pretty clear that Logan can have great sex with pretty much anyone. He is used to being the object of lust. Whatever joy that brings to his life is hardly unique, though. He wants something else from Veronica. He wants her to trust him, care for him, and love him.

While Logan may put a smarmy, self-satisfied look on his face, Logan is clearly feeling something else on the inside as Veronica rants. Yes, Logan is being ridiculously reckless and obnoxious. He has not been trustworthy. But Veronica still manages to find a way to go above and beyond in her cruelty. Logan can accept being a  cliché, a “poor little rich boy with a death-wish.” Veronica goes one step further: “I used to think that it was bad luck that landed you in danger… The knife fight on the bridge and the drive-by in your car. But no, now I see you actually enjoy it, don’t you, Logan?”

Contrast this with Veronica’s (at least in her memories) reaction the night Logan came to her door. Logan said he woke up and Felix was dead, and that he did not kill Felix. Veronica believed him. Veronica’s rant in this scene implies that it was a “knife fight,” that she no longer believes him about that. Perhaps even worse, the drive-by in which not just Logan, but Veronica was also killed (which is implied to have spurred Logan on to the despicable act of burning down the public pool) is glossed by Veronica as something else Logan “enjoyed.” What Logan is hearing is that he is scum who does not even really care about her (when, in fact, she was one of the only things he still cared about; not the only thing, though, as we saw from the scene with Duncan, even if Logan was willing to give up Duncan for her; just as he now seems to be willing to give up Veronica for Duncan), and basically got what he had coming the night of the knife fight.

What Logan hears in all this, then, despite his cocky countenance, is that Veronica, like Duncan (and like everyone else Logan  has ever loved, at least as he perceives it), simply does not care about him.

Favorite Scene From Each Episode of Veronica Mars: Day 18: Weapons of Class Destruction, or, Mary Sue’s New View

[Previous installment: Favorite Scene From Each Episode of Veronica Mars: Day 17: Kanes and Abel’s, or, Forgiveness Check]

First things first: Veronica Mars is not a Mary Sue. However, in “Weapons of Class Destruction” she has a slight Mary Sue-ish tinge to her. Despite being a social outcast and pariah at school and in her community at large, she is nonetheless the object of affection for four different males in this episode: Deputy Leo, Logan, Norris Clayton, and, via his Veronica 1.0 doll Meg (poor Meg), Duncan. Even Mac seems to have a bit of a crush on Veronica:

Whatever it takes to excuse a cheesy rhyming title for a post, huh?

The Kiss is perhaps the obvious scene to pick susanmichelin​‘s Favorite Scene From Each Episode game, and why not? It is earned dramatically within the context of the season, set up perfectly within the episode (yet still manages to surprise), and is shot beautifully. The characters’ reactions make sense. I am not good enough at this to add anything interesting about The Kiss at the moment, and people are probably sick of my beating the drum of Veronica and Logan’s two tracks to each other. (Although that does not mean I will not continue that drumming).

Leo’s “cute” conversation with Veronica (from which the screencap that adorns the header of this blog is taken) is worth a mention, but I have already covered Leo. Veronica’s confrontation with Duncan (and his subsequent flight) only really hits home in the next few episodes.

Of more interest is the somewhat anvilicious parallel between Norris and Logan. Both have pasts as bullies and jerks, but Veronica has seen a different side of Norris when he stood up for her once when she was being shunned but, given the length of her hair in the flashback, apparently before the events of Shelly Pomeroy’s party and Veronica’s reincarnation as an angel of vengeance. And, of course, Logan also comes to her rescue (not really, but that’s an important topic for another day). Pete’s vicious and meticulously-planned vengeance on Norris (for something truly horrible) is obviously meant as a contrast with Veronica’s own dealings with Logan, her own personal bully. Finally, we have Veronica’s almost completely self-centered interaction with Wallace as Keith and Alicia start dating.

All of that and more is worth discussion, but what strikes my fancy today is the scene in which we first meet Ms. Stafford, a.k.a. Chasing Amy lady, having taken over the journalism class for the long-missing (and pregnant) Mallory Dent. More precisely, I want to address Veronica’s perspective on Logan and Duncan in this scene.

Fans of the show understandably obsess over what Veronica, Duncan, Logan (and Lilly) were like in happier times. The problem is that we have no direct access to that time – everything is filtered through memories (mostly Veronica’s) which are selective and less-than-reliable.

This scene, however, seems to give us something like a view of the past. We see Duncan coming in cheerfully and shoulder-bumping with Logan (maybe the last moment of their relatively untainted friendship in the series). Duncan is filling the role The Good Boy and Good Student of Veronica’s past memories of Prince Charming, and makes an intriguing suggestion for a story. Veronica is impressed.

Logan also fits Veronica’s previously seen memories of him, constantly clowning and making jokes as Veronica and the rest of the class laugh along.

One thing Veronica Mars does so well is getting viewers to share Veronica’s perspective. This is especially true with respect to the audience’s changing perspective on Logan as the season progresses, even though Veronica and the audience do not have the same information at the same time (e.g., Logan being abused). While, as usual, we do not get Veronica’s direct thoughts or feelings about Logan in particular, this scene’s placement of Veronica in (mostly) the position of a passive observer (as is the audience)  of Duncan and Logan in action in their “usual” roles also reveals her changed perspective while encouraging the viewer to take on that same perspective.

The scene opens with a voiceover that itself points to Veronica’s altered standpoint as Duncan walks into the classroom:

“Dear Seventeen Magazine. How can I tell if the super cute boy in my class likes me?  No. Scratch that. Dear Seventeen. How can I tell if the super cute boy in my class killed his own sister?”

This is all about Duncan on the surface, but it is tempting to hear it, on the heels of the her recent encounters with Logan, as two separate thoughts about two separate boys: the boy who might “like” her is about her erstwhile tormentor in juxtaposition with her concern about Duncan potentially murdering Lilly (concern spurred on by Logan’s report of Duncan’s attack on Jake).

That is at most a hint of Veronica’s new view, though. The boys’ words and actions seem to be in line with how Veronica saw them prior to Lilly’s murder. Veronica’s face and thoughts, aside from her opening voiceover, give no indication of the change. But in this case, the implicit identity of the the audience’s perspective with Veronica’s allows the careful viewer to grasp how that perspective has changed even without her having to give us an explicit indication.

Duncan’s suggestion (shot down by Ms. Stafford, who does not think the parents would like it, ironic given how things turn out for her in the rest of the episode), “How about something on oxycontin replacing ecstasy as the drug of choice for high school students?” is a pretty good one, and Veronica seems to approve. Yet his delivery is also annoying (I will refrain from putting this on Teddy Dunn, although that might be fair). He is modelling the Good Boy behavior a bit too much, it is grating, much like the way he spoke to Veronica while setting up the Eighties Dance in Ruskie Business. “You never know.”

Then we come to Logan. Veronica laughs along with his joking, playing her part as the audience, just as she remembers herself watching him goof around with Lilly and Duncan (and filming him in the “Wrath of Con” flashback) in flashbacks. But the viewer sees something else, something that Veronica cannot be missing even as she gives the obligatory smile-and-chuckle. Logan’s jokes are not that funny. They are non-stop and forced. His pep squad/cheerleader imitation is cute and campy, but it is over-the-top. In Veronica’s flashbacks, Logan’s goofiness is just who he is: the cheerful, besotted class clown loving life.

Veronica had probably seen this sort of side-by-side thing with Duncan and Logan many times before in happier days. But what she has learned over the course of the season leading up to this gives her a new standpoint to reevaluate both her present experience and her past memories. Dohring gets this across marvelously not only with the forced nature of the humor, but with the downcast eyes Logan thinks no one notices. The viewer now sees what Veronica does (beneath her going-along-with-it veneer): Logan’s clowning is compensatory; it is a mask he dons to hide his wounds.

Veronica is often a privileged observer of the people and events around her. Yet that privilege is only relative to her location in the narrative at any one time, and her perspective is constantly being altered and corrected. In some cases, the alteration is more obvious than others. The subtlety with which her perception of Logan changes allows events such as The Kiss to seem both surprising and inevitable, and is thus an essential part of Veronica Mars’ beauty.

Favorite Scene from Each Episode of Veronica Mars - 1.12

Pick your favorite scene from the episode and tell us why it’s your favorite. Remember to tag your post #vm episodes (Remember back when I thought I could do a scene a day? Oh, the folly of youth).

Today- CLASH OF THE TRITONS

Let’s start with the title of the episode. It’s a beautiful piece of misdirection because at first you think Rob Thomas is just being punny- clash of the tritons instead of clash of the titans- and you believe it’s only meaning is about the main mystery of the episode (Veronica’s framed -supposedly by the secret society at Neptune High known as The Tritons). BUT then you remember this:

And you realize the actual “clash” that is the most important part of the episode is this one:

AARON: [casually] So…what was the plan? Embarrass me? Destroy my career? Soften up public sentiment for a generous divorce settlement? Turn me into Costner?

LYNN: Course, you’d think of your career and your money before you’d think of the obvious. Did it ever occur to you, I just want to hurt you like you’ve hurt me?

AARON: You had private detectives following me.

LYNN: Only on location. The women here I’ve always known.

LOGAN: [sarcastic but with breaking voice] Gosh, Mom. Gee, Dad. Will I be going to live with Grandma?

AARON: Listen to me. If you try to divorce me, I will leave you with nothing. No house. No career. No club memberships. No maid and no friends-

LOGAN: [explodes and threatens] Dad, you say another word to her and I will kill you.

LYNN: I cannot take this anymore.

This scene is pivotal for so many reasons:

First, it’s another brushstroke to the portrait of Aaron Echolls that Rob Thomas has been painting. Aaron seems affable and calm in those first few seconds and then he turns ugly -threatening his wife and making it all about him. Again, we see how important his “image” is and to what lengths he will go to protect it. This continues to establish Aaron’s motive and let’s us see how quickly he can rage out of control (nicely foreshadowing the “family barbecue” in Hot Dogs). Rob is building a very complex and three-dimensional villain for the audience and he makes me want to diagnose Aaron with narcissistic personality disorder:

  • An exaggerated sense of self-importance
  • Exaggerating your achievements and talents
  • Believing that you are superior 
  • Requiring constant admiration
  • An inability or unwillingness to recognize the needs and feelings of others

Second, the scene sets into motion Lynn’s suicide, which eventually brings about the reconciliation between Logan and Veronica (a very important and necessary plot twist -for those of you who don’t ship LoVe, trust me, their relationship was very important for this show- but that’s a post for another day). Anyway, Lynn’s suicide- it troubles me that the final straw for her was the threatened loss of status. It’s ironic to me that she’s accusing Aaron of only thinking of himself and not how much he’s hurt her while she’s guilty of doing the same thing- thinking only about herself and not how much this is hurting her son. I’m very conflicted on the character of Lynn Echolls although probably not as conflicted as Logan. I go back to the scene in Return of the Kane where she lets Aaron whip Logan. Talk about standing idly by- Duncan could take lessons from Lynn. Is it any wonder that Logan would suffer from a feeling of extreme worthlessness when his own parents (the ones who are supposed to love you unconditionally) are these two narcissistic characters? They don’t even acknowledge that he’s sitting there while they spew venom at each other.

Interlude. Logan’s “say another word to her and I’ll kill you” threat. Had season 3 not been a train wreck of dropped plot threads, we might have gotten an actual investigation into the murder of Aaron Echolls and this scene would’ve made an excellent callback. The person who walks out of the office midst confrontation could have come forward with the “I heard Logan threaten his father” witness statement. Plus after solving the case, Veronica could’ve come to some much-needed realizations about “nice guy” Duncan. End Interlude.

The other thing that Logan’s threat does is show him trying to protect his mother (FYI Logan it was her job to protect you). It’s not the actual start to establishing this character trait of Logan’s (as ngsezdeputyleoisacreep points out in his wonderful analysis of The Pilot, a case could be made that Logan took Weevil’s beating without fighting back in order to protect his friends), but it is the first blatant example of him coming to the defense of someone he loves. We will see this motif over and over again when he comes to Veronica’s rescue at The Camelot, when he stands up for her at his not-birthday surprise party, his war with the PCHers after they took a shot at Veronica, brandishing the unloaded gun at Liam Fitzpatrick, hiring a bodyguard, the beating of Piz, and then Gory. By no means is this an exhaustive list, but you get the picture. Logan is very much about keeping people safe and being a protector. Everyone knows this (except maybe the creator of the character- Rob Thomas- really Rob? Logan left people to burn to death in a motel fire without trying to help? Really?) because you can see how this trait was used against him in the movie- his supposed “friends” knew he would come running to Carrie’s rescue if he thought she was in trouble- easy frame job.

Of course Logan “failed” to protect his mom, Lilly, and (in the future) Carrie (from both her own demons and her murder) and this makes me think about how truly frightening it is for him to love Veronica. The very things he admires about her -she’s not weak, doesn’t need saving, she’s resourceful and smart, headstrong, determined, etc.. - are also the things that make Logan feel that Veronica doesn’t need him. The only things he thinks he has to offer her -brute strength and protection- are things she doesn’t want from him. Additionally, her chosen profession coupled with the sometimes reckless disregard for her own safety while in pursuit of the truth means that he has to live with the constant fear of losing her like he’s lost everyone else he’s ever loved. Dealing with her dangerous ways without being able to protect her must be a constant struggle for him of denying his defining character trait in order to give her the freedom to be who she is. That’s LoVe, baby.

Favorite Scene from Each Episode of Veronica Mars - Episode 1.10

Pick your favorite scene from the episode and tell us why it’s your favorite. Remember to tag your post #vm episodes

Today- AN ECHOLLS FAMILY CHRISTMAS

No, no, no, I won’t do it and you can’t make me! There is NO WAY I can pick just ONE scene from this episode and call it my favorite. 

So I could monopolize this post with fantastic screen caps of Logan (thanks jdohring.com) and remind you of each PERFECT minute of this episode (sorta like this):

MATCHING BOXERS!

WEEVIL & LOGAN… Seriously, WEEVIL & LOGAN!

EVERY DAMN SECOND OF THE LoVe FOREPLAY IN THIS SCENE:

THE SMILE WHEN VERONICA TELLS THEM SHE KNOWS WHODUNIT

THE REVEAL

THE (GRUDGING) ADMIRATION OF VERONICA’S CARD SKILLS

THE STABBING OF… Excuse me, be right back…

(42 minutes and one rewatch later)… Where was I? Right, the perfection that is An Echolls Family Christmas. Okay, maybe one scene squeaks past the others- the entire exchange between Logan and Veronica in the pool house. The acting, the exchanged looks, the sarcastic insults, the witty banter, and the sizzling chemistry. I could write multiple posts about how and why I love this scene (entire episode), but I won’t waste your time- just go (re)watch it. 

(Least) Favorite Scene From Each Episode of Veronica Mars Day 21, Morning: A Trip to the Dentist, or, Searching for a Better Metaphor than “Fly in the Ointment”

[Previous Installment: Favorite Scene From Each Episode of Veronica Mars Day 20: M.A.D., or, Three Levels of an Awkward Car Ride]

We are coming into the home stretch of the first season for susanmichelin‘s Favorite Scene From Each Episode of Veronica Mars game, and I have given up any pretense of limiting myself to one scene per episode. For “A Trip to the Dentist,” I am going to stretch the “Day” into three parts, cleverly entitled “morning, noon, and night.” Please hold your applause until the end.

I am not really a morning person. Actually (and I imagine many people are like me in this), I probably am a morning person, but I often stay up too late wasting time and then am too tired to be truly effective in the morning. I am thus a morning person who behaves like a night person. It is every bit as stupid as it sounds. In any case, mornings after a late night are not pleasant, so for my morning post for “A Trip to the Dentist,” I need to discuss something that, like my mornings, should be great, but for is not, and for a specific reason. My apologies, susanmichelin, for going against your intent and discussing my least favorite scene from this episode.

Like a scene with Celeste Kane, just about any scene with Weevil and Logan is an automatic candidate for the best of the episode. The characters are well-written, and Francis Capra and Jason Dohring feed off of each other brilliantly. The encounter between Weevil and Logan near the beginning of this episode is good even by their usual standards, except for one little thing.

To see why that one little thing is so bothersome as to make this scene my least favorite in the episode, let’s see why I think the scene is so good (and thus marred by the problem).  As usual, the conversation between Logan and Weevil is intense and funny. This particular case is elevated because it has multiple angles.

On the immediate level, Weevil is entertainingly snarky and nasty while making good points at the same time. “When they run away like that, it is a hint they’re not interested.” As usual, Weevil’s irritation increases because while he is trying to get Logan’s attention, Logan is primarily paying attention to Veronica. Weevil’s line about the day planner is a classic, and gets Logan to begin to focus on him. Weevil says he is looking out for Veronica (for a reason to be discussed below). Bringing up Lilly finally gets Logan’s attention, and Weevil scores points by answering Logan’s insults in a way so hurtful that even Logan, typically the master of the riposte, cannot answer: “What makes it worse? Thinking she had feelings for me, or that she was using me for sex?” In response to Logan telling Weevil to stay away from Veronica, Weevil returns to the opening theme of their encounter: “I’m not the one she’s running away from.”

However, Weevil’s well-placed comments to Logan cut both ways. If Weevil really treasured Lilly’s memory, why is he using her to score points against Logan in such a crass manner? Despite Weevil’s outward confidence, Logan’s “pork rind” comment may have struck a nerve: Weevil may be hurt be the idea that Lilly just using him for a thrill. The parallel with his cousin Chardo points in that direction, and the later revelations about Lilly and Aaron surely reinforced Weevil’s own doubts. Weevil says he is looking out for Veronica, but he had no idea why Veronica would be avoiding Logan; this particular encounter is more about Weevil having a problem with Logan than Weevil helping Veronica. (As opposed to Weevil picking up Veronica from the Echolls’ estate at the end of the episode, which is  an authentic “white knight” moment.)

Finally, Weevil’s opening and closing statements, “When they run away like that, it is a hint they’re not interested,” and  “I’m not the one she’s running away from” are quite ironic coming from him, especially given that they bookend Weevil throwing Lilly in Logan’s face. After all, the fearless Lilly Kane was so rattled by Weevil’s emails that she asked to be transferred out of a class they shared. Veronica characterized Weevil’s pursuit of Lilly as stalking. Even Weevil recognizes he had crossed the line into creepiness, so he steals another letter he wrote to Lilly, brilliantly manipulating Veronica along the way.

None of this is intended to decide any sort of issue between Weevil and Logan. The ambiguity between the levels are what allows this exchange (potentially) to be so great . The encounter encapsulates much of the complexity that makes Logan and Weevil so compelling as individual characters and in their scenes together.

But it is ruined. Somehow, the Veronica Mars writers and producers took a fine steak and decided to put ketchup on it. Actually, if they had put ketchup on the steak, that would have been much better. As the reader can probably tell, I am having trouble coming up with a metaphor to express my irritation about how this scene gets ruined.

The problem line is Weevil’s “if you think you’re going to lay a hand on her the way you did Lilly.” As you probably know, there was supposed to be a subplot involving Weevil having seen bruises on Lilly while they are together. He assumes they are from Logan. However, the bruises on Lilly actually came from Duncan during one of his “episodes.”

That is a great idea. It makes more sense of Weevil’s extreme (if inconsistent) hostility to Logan all the way back to the pilot as well as Weevil’s willingness to believe Logan is capable of killing Lilly in the season finale both more understandable. These sorts of misunderstandings are good dramatic fodder, and this one complements many other misunderstandings in Veronica Mars and the specific characters that would be involved in this case.

The problem is that the plotline was dropped except for Weevil’s line, which was left in there without explanation in-universe. The only reason we know what was intended was because it was explained in articles and interviews. In-universe, there was no need for Weevil or Logan (or Veronica) to ever fully understand what had happened. But the viewer needed to know, even if the characters did not. Putting the line in this scene without any explanation at any point in the series, thus leaving it completely unresolved (and leaving questions about both Logan and Weevil), is just poor craft.

The situation is made even worse by having having Weevil obliquely refer to it again in a conversation with Veronica in the third season episode “President Evil”: “You’re dating Logan again? After the way he treated Lilly?” Once again, it is just left out there. Even waiting until the third season to give an explanation to the viewer in-universe would have been better than doing nothing initially, bringing it up again, and then just dropping it.

I get it, though. There was clearly way too much Weevil in the last season already. We definitely would not want to spend any more time on him and this plot point and take away from the Very Special Episodes, Paul Rudd’s tapes, Piz, or any of the other tremendous stuff from the final season I have blocked out of my mind because my brain cannot handle the awesomeness.

That reminds me, I can’t find screen shots for my Favorite Scenes posts for a lot of the third season episodes. Does anyone have screenshots from the closing credits?

Sarcasm aside, I guess one bright spot about the third season of Veronica Mars is that there are (relative to the first two season) so few great scenes that it was less opportunity to ruin their potential as they did with this scene in “A Trip to the Dentist.”