OPEN CASE: VERONICA MARS

 

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Season 2

Episode 9

My Mother, the Fiend: What Goes Around Comes Around

 

By Sue

 

Cleansing the Palate

 

During formal dinners involving a number of courses a light sorbet is often served in between heavier dishes as a method of cleansing the palate: removing the taste of a previous dish and preparing one's taste buds for a fresh experience. That's how I view this episode of Veronica Mars. Some people disparaging refer to it as "filler." But a palate-cleanser is not supposed to fill you up, nor exist simply to take up (fill) time or space. It serves a very real purpose. In the midst of a number of heavier courses it allows one to catch one's breath, gastronomically speaking. Yet it is normally quite enjoyable in it's own right. According to my sources (well, yes, I do mean Google), "sorbet is widely used for cleansing the palate. It contains little or no sugar and the acid that is present in the fruit used will clean the taste buds nicely."

 

My Mother, the Fiend is a palate-cleansing episode. After back-to-back intense, hard-hitting and sometimes dark episodes we are being allowed to catch our collective breath and reset our viewing compass. I'm not sure what we are being prepared for, but I can't help but feel that just maybe this episode is the long slow ride back up to the top of the hill before the roller coaster takes another devastating plunge into a ravine.

 

So, what do we find in our delightful little sorbet? A bit of sugar combined nicely with a dollop of acid.

 

 

My Mother, the what?

 

You would have to be at least 45 years old for the title to immediately call up the 1965 television series, "My Mother the Car." (Ranked by TV Guide as second worst on their all time list of worst TV shows---Jerry Springer was number one.) What is the connection to this episode? Here are the original theme song lyrics:

 

Theme Song: "My Mother the Car"

Written and Sung by: Paul Hampton

Everybody knows in a second life, we all come back sooner or later.
As anything from a pussycat to a man eating alligator.
Well you all may think my story, is more fiction than it's fact.
But believe it or not my mother dear decided she'd come back.

As a car...
She's my very own guiding star.
A 1928 Porter.
That's my mother dear.
'Cause she helps me through everything I do and I'm so glad she's near.

My Mother the Car.
My Mother the Car.

 

It would take only minor editorial changes (dropping two lines and editing the last two slightly) to see how splendidly this jingle sums up the situation in Neptune:

 

Mothers come back: In this episode Celeste makes a return appearance. Mary had never really been away but she re-enters Trina's life as her mother. And Lianne Mars is certainly present in spirit and Veronica's thoughts.

 

Mothers in Neptune range from pussycats to man-eating alligators: Over the past few episodes we've seen some pretty ferocious mothers. Sweet Mary, however, is a pussycat. Although, once she learns of the (bogus) health threat to Trina we see her spring into action quite protectively.

Of course, it's no stretch at all to classify Celeste as a man-(woman-girl) eating alligator. Kendall on the other hand doesn't even belong in this category. Kendall is the anti-mother. Could she possibly be any more repulsed by Duncan's "animatromic parental lifestyle simulator?" Lianne seems to embody first one, then the other image.

 

Moms can be a "guiding star:" Veronica is not at all sure that Patty Wilson's observation, "You are so much like your mom," is a compliment. I hope Veronica's treatment of the APLS in no way reflects her eventual parenting skills. After all, what can you really expect of an 18 year old? At least she has Keith's example to emulate. Finally, who knows where Meg will fall on this spectrum? Assuming she's even allowed to keep the baby, somehow I don't see the Mannings allowing her much parental autonomy unless she gets out of the house.

 

 

Acting Out

 

With Trina in the episode we can naturally expect a lot of references to acting, as well as a good bit of over-acting. It's what she does, and not just professionally. Trina lives large and not entirely in this world: "The play is my master and I am it's whore!" Dramatic pause, wonderfully followed by a full body shot of Kendall. That Rob Thomas, he's a funny guy; and not always subtle. Trina uses drama to keep a bit of distance between her and the rest of the world. It's clear that she actually does care for Logan but isn't entirely sure how to express that. Especially not in a way which Logan would accept. It is so sweet to see her respond naturally and without artifice to mother Mary's embrace.

 

Veronica, naturally, also gets to play a number of parts. She is, indeed, a natural. In fact, if Veronica's not careful she'll begin to use playing a part in exactly the same way Trina does---to keep real emotions and relationships at arm's length.

 

There is so much other role-playing going on:

Weevil and Logan don't have to act their intense dislike---that's real enough. But they are going to both be walking extremely thin lines if they want to work together without arousing the suspicions of their respective compadres.

Mr. Clemmons acts all innocent and clueless---as well as playing the role of the affronted administrator---while all the while he is being devious as hell.

Cassidy intends to play the role of real estate mogul. Although I think he may well grow into the position in actuality.

As for Kendall, she has already become her act. I doubt that even she knows who she is outside of her role of desperate trophy-wife. She knows quite well that she is selling herself and really doesn't seem to mind at all. Or is that just a front to protect her underlying, inner good girl? Yeah, right. Kendall is a shallow as they come. That's no act. What you see with Kendall, is what you get. Although I have no doubt she's quite accomplished at convincing men that they are the best.

Duncan is playing the perfect father and the good son. He's not getting rave reviews in his role as devoted boyfriend, though.

And this week's $64,000 question: Is Meg acting, or is she really just now waking up from a months' long coma?

 

 

Pairings of the Week

 

I started to title this section "Couples of the Week," but realized that we are treated to a number of highly intriguing and entertaining triangles. There is such a perfect parallel between the 1980 triangle of Celeste/Jake/Lianne and the current triangle of Meg/Duncan/Veronica. The Kane male in the middle waffling back and forth between two girls; the Mars (or Reynolds) female who really isn't an appropriate match for a Kane; and the other woman. Recall Patty Watson's retelling of the situation: Jake vacillated between Lianne and Celeste all summer but was rather firmly with Lianne by homecoming, when they suddenly broke up; possibly because Celeste was pregnant, or at least told Jake that she was. Then Celeste moved away to a different school system until she returned (sans any evidence of a child) at Prom in the spring. Currently we've got Duncan, who started the summer with Meg but still pursued Veronica. Now Meg has been "gone" and is clearly pregnant. If the parallel continues Duncan will wind up with Meg in the end. I really wonder if Celeste approves of Meg and what in the world will she think of Meg's pregnancy?

 

There are also two comic relief triangles. The hysterical trio of Kendall/Logan/Trina fulfills a fantasy of many long-term BtVS fans to see Alyson Hannigan and Charisma Carpenter together again. The Veronica/Duncan/Celeste triangle is also pretty funny, if a lot more land mine laden. Of course, Veronica didn't find any humor in Duncan keeping her a secret from his mother (shades of Jake's affair with Lianne--again), but it was a hoot for the viewers.

 

Then there is the Veronica/Duncan/and-baby-makes three triangle. Not much there, except the contrast between their parenting styles, and more evidence that these two really don't belong together.

 

Finally we are treated to the Duncan/Kendall/Logan--um--combination. It's not exactly a triangle. Logan says, "Duncan's not into that sort of thing," -- that is, sharing or taking turns. I'm pretty sure he's not talking about either the car or Kendall. In fact, nobody really wants to be coupled with Kendall at all. Logan, Duncan AND Cassidy visibly cringe from her. As I noted before, Logan may be having sex with Kendall but he visibly draws away and literally adopts a "hands off" stance around her. Likewise, Cassidy physically removes her hands while Duncan physically removes her entire body -- from his lap. Psychologically I'd say all three boys are subliminally aware of the greedy neediness of Kendall's grasp.

There are, however, some promising new "couples." First off, is there anybody who doesn't just love too cute for words MacCassidy? And the buddy movie from hell: Logan and Weevil---cementing their "partnership" with a lovely little brawl in the men's room. Here's hoping for lots more of both of these match-ups!

 

 

Makeovers

 

This episode marked a distinct turning point for several characters:

 

Cassidy: Who would have predicted that Big D's abandonment would turn out to be such a positive development for Cassidy? Now that he doesn't have to beg for Dick Sr.'s approval Cassidy is rapidly taking charge of his own destiny and becoming his own man. He immediately rejects Kendall and her patronizing "your dad would be so proud" gushing. I really wonder if that is still an underlying motivation for him. I am reminded of the parable of the ant and the grasshopper and so look forward to the day when Little Dick has to come begging for funds from his younger brother. I'm guessing he won't call him "Beaver." Considering that he is two years younger, Cassidy is handling his emancipation far more maturely than Dick, Logan or Duncan. And apparently there is nothing like a bit of confidence to totally ramp up the cuteness factor. Kyle Gallner is doing a spectacular job of acting because he even looks like a new man.

 

Lianne: Even in absentia she is make over from fiend to friend. I'd love to get more backstory on when and how she and Keith met and got together. We do get hints that Lianne was (is?) at core a good, loving person. Not that I'm really all that interested in having her back. Makes me wonder what's up with Keith and Alicia though.

 

Trina Echolls: Made over into Trina Mooney/Moorehead. A bit more evidence of the compassion Trina showed Mary and maybe she'll become a real girl. Here's hoping nature will win out over nurture. Although I'm unclear about whether Trina was actually raised by Aaron and Lynn or by Aaron's first wife, her adoptive mother. Principal Moorehead may be a lowlife ratfink, but anybody has to be better than Aaron!

 

Meg: made over from virginity poster-girl then comatose victim to wakening mother-to-be.

 

Clemmons: made over from likeable Veronica foil to Machiavellian manipulator. I like him!

 

Kendall: And, again, I say that with Kendall what you see is what you get. I'm not sure she can be made over. Let's say that her image is being made over. She's a piece of work in progress. Cassidy hopes he can make her over into (the image of) a corporate executive. Well, not really. He's happy to settle for corporate figurehead. I'm guessing that Kendall will be able to succeed in that roll. Unless she latches on to the first big investor, divorces Big D, and resumes her coveted position as trophy wife.

 

"What goes around, comes around," Veronica tells baby APLS (Apples?) as she turns its head toward the flagpole. Weevil taped Wallace up there, now it's his turn as Logan repays violence in kind. Principal Moorehead is finally reaping the dubious rewards of seducing a student then abandoning both her and their child. Duncan hides the truth about Veronica from his mother, as she has been less than honest with him in the past. Cassidy uses Kendall before she can use him. And Lianne unknowingly reaps the benefits of what she sowed twenty-five years ago by befriending and sticking by Mary. By being a true friend Lianne has been redeemed in her daughter's eyes. What goes around comes around; we reap what we sow, for both good and ill. Given some of the past behaviors exhibited by both our heroes and the mysterious villains of the season I can't even begin to guess at what is still to come around.

* * * * * * * * * * * * * * *

 

 

Small (but significant?) details; random observations

 

What to make of Kendall's comment to Duncan: "Do they chemically castrate you boys over at that school?" I'm not sure why she uses the plural but I find this reference to Duncan interesting. I continue to wonder if his medication(s?) deprive him of normal emotional reactions and even of normal teenaged sex drive. He does not pursue Veronica all that lustily; he refuses Kendall; he and Meg really had no opportunity (time or place) to have a physical relationship. I seriously doubt that he is the father of her baby. I think Duncan's comment about Celeste's fears regarding Lilly getting pregnant further support this conclusion. Duncan offers this observation without irony. He doesn't seem to think it has any application to him. I think Duncan knows he's not the father. Although he does give Veronica a bit of a look when she mentions breeding with a Kane.

 

Logan showed unusual good sense in not going after Weevil with a knife or a gun.

 

Given everything we see week in and week out about parents in Neptune I find it remarkably strange that we know absolutely nothing about Weevil's parents. Last season I postulated that maybe Weevil was actually Lilly's half-brother---the real Kane half-sibling rather than Veronica. This season I'm entertaining wildly imaginative thoughts about Weevil being Aaron Echolls' bastard and Logan's half-brother.

 

Door metaphor of the week: Revolving door parents.

 

"Why go out of your way to pick off a 25 year old scab?" ---Keith. Foreshadowing?

 

"What a difference one letter makes." ---Veronica. This has simply got to be a reference to Meg's hidden letter from Chris Talley.

 

"Then I'd just be some bald guy with tattoos (pretty accurate so far) who rides the school bus." ---Weevil. "Riding the bus" is clearly a metaphor for "loser." In fact, riding the bus has proven to be quite literally the "kiss of death."

 

Did you notice the bell which went off to signal class change the start of the boxing/wrestling match between Weevil and Logan? And, did anyone else's mind flash on Buffy saying "could there be some sort of oil involved?"

 

Did Felix do something to bring the wrath of Thumper down on himself?

 

And last but never least a lovely little Jossverse tie-in: Mary Mooney was played by Terrylene, who also played the deaf woman in episode 4.19 of Angel. Under Jasmine's influence during "The Magic Bullet" Mary signed quite a vicious diatribe against Fred. For fans whose memories are even longer, she also played "Laura" on three episodes of Beauty and the Beast.

 

 


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