OPEN CASE: VERONICA MARS

Season 1 - Episode 4

The Wrath of Con: Is Veronica Mars Good Television?

By Sue– 22-OCT-04

Is Veronica Mars great television? How the heck should I know? You can't know either, or the critics, or the rest of the viewing public. We've seen four episodes, people. Check back with me in four years. Does Veronica Mars have the potential to be great television? Absolutely and here's why:

Great TV results when a show is able to connect with the viewers on a number of levels. First, there must be an engaging plot, which plays out in an attention-holding manner and concludes with a satisfying resolution. This is known as the "Story of the Week." In the early years of television most shows were largely "episode-driven," and plot was paramount. You could turn on any number of shows--western, mystery, lawyer show, doctor show, or even sitcom--and immediately catch onto the Story of the Week. Whatever the plot, it was neatly wrapped up by the end of the show. Anytime a plot ran over into the next week it was clearly labeled "continued". These shows all had characters of course. And the characters sometimes had ongoing, perhaps even developing, relationships with those around them. But the characters and their relationships were largely interchangeable and it was certainly not at all necessary to actually know anything about them to catch on to the Story of the Week. One of the most successful examples of this type of show is, of course, Law and Order. The personalities and relationships of the characters are so secondary to plot that new actors and practically be dropped in and out with barely a ripple. (Likewise the incredible number of sitcoms starring a chubby husband, cute wife, and surrounded by wacky back-up characters.) Dozens of good shows fit this mold.

Second, you must have empathetic characters. People whose lives and personalities draw you in, make you want to know them better and feel invested in their happiness. These shows place a premium on "Ongoing Relationships." They include the great soap operas: Dallas, Peyton Place, Knots' Landing. What is vital to enjoying these shows is knowing the characters and their history. The details of plot are minimal. Who shot JR? It could just as easily been "Who Slept with Sue-Ellen?" or "Who embezzled from Jock?" or "Who is going to get married/ have a baby/ get amnesia/ be accused of murder this week?" The specific details of plot are not nearly as important as the characters' relationships, history and emotional reactions. How else could summarily dismiss an entire year of plot in order to bring a beloved character back from the dead? Many of the most popular sitcoms and reality shows are largely character driven. In fact, they are named after their characters: I Love Lucy, Everybody Loves Raymond, Seinfeld, Friends. In spite of all of the wacky situations the stories are largely secondary to the characters themselves.

Truly great television effectively combines these two elements. Each week there is a well-defined story of the week that is also informed by the history, relationships, back-story and emotional ties of the characters. The integration is seamless but highly interdependent. When Willow stole everyone's memories in Tabula Rasa it made for a clever, rather A/U Story of the Week, but knowing the history and personalities of the characters and measuring that against their actions and attitudes sans memories made great TV. (And understanding Tara's history was especially pivotal in understanding the denouement.) This is why "Buffy" is great TV. This is why "MASH" was great TV. This is why "LOST" may turn out to be great TV.

There is also a third level of interaction that is used by very few shows, called a "Plot Arc." Buffy the Vampire Slayer is the best example of a great TV show that integrates weekly stories, tremendously developed character histories and riveting plot arcs. These are plotlines that combine SOTW developments with specific character developments and play out over several episodes (Willow's control/power/magic issues; Dawn being the key; Spike's redemptive journey; the saga of Angelus; Buffy's post-resurrection issues) yet also, in time, come to satisfying saga-ending conclusions.

It was as if each episode is a chapter; each arc a book; and the entire show a series of books by a great author. I submit that one the reasons "MASH" is considered one of the greatest shows ever televised and is still watched in endless repeats is that it did all of these same things: SOTW; ongoing character personality, emotional and relationship developments; and longer, but not limitless, "arc" storylines. (Consider the arcs in MASH to be largely associated with character changes: the "Henry" arc; the "Hotlips and Frank" arc; the Margaret gets married arc; the "Trapper arc", etc.) The show LOST is also showing signs of integrating all three of these components: SOTW, slowly developing the backstories, personalities, emotions and relationships of a number of characters and use of "arcs": the Locke miracle arc, the missing dog arc, the developing Jack into a leader arc, the as yet unfinished Jin and Sun arc.

So, to get back to the original question: Is Veronica Mars great television? My answer remains--it's too soon to tell--but the potential is most assuredly there.

In the first four episodes the writers have done a superb job with the Stories of the Week. (Remember the first season of Smallville: someone got exposed to Kryptonite and became a monster. Clark discovered a new power and defeated the monster. After the 6th iteration I lost interest. Way too predictable.) We've had the pilot which, even with all of the backstory, managed to present the saving Wallace from the motorcycle gang story, followed by the stolen credit card plot, the missing father turns out to be a woman plot, and now the (girl)friend has been duped by computer nerds plot. Great variety. All very interesting, well executed and not at all formulaic!

The Story of the Week

Wallace has a crush on Georgia. Lucky for Wallace, Georgia has a problem and turns to him for help. Wallace immediately turns to Veronica; sure that she can "save the day." Which she does, of course.

Veronica leaves a message for "Karl", calling herself "Amber." (Great acting--notice how both her voice and body language change when she impersonates Amber, even over the phone.)

She meets up with Karl, only to discover he has himself been "duped" and is merely is a front for the really swindlers. But Karl has a phone number which leads to Gameland. Wallace informs her this is a video game-playing dive.

When next we see our heroine she is undercover--impersonating Jennifer Garner impersonating a whacked out version of a catholic schoolgirl. (Sorry, it was the black wig and the pleated skirt which gave me that visual). Veronica eyeballs GRR-ant then uses her nifty P.I. skills to lift his I.D. card and track down his dorm room. She picks the lock and enters illegally, only to be busted by a security alarm. (Can you do that in a dorm?) Fortunately our clever sleuth had planted a diversionary clue in the form of a picture of the fake Karl. While Grant and accomplice are confused she makes her escape with Wallace.

At this point she presumably does some off screen thinking and planning. She ropes her dad into joining the caper for a little father/daughter bonding time during which he impersonates a DEA officer. He plants a bug in Grant's room, which enables Veronica to decipher the alarm code. Is this really possible? And on the first try. Our Veronica is quite the little MacGyver.

Dad continues to pitch in by luring Grant and roommate out of the room using Wallace and a private viewing of a new "Matrix Reloaded" video game as a diversion. For smart guys who specialize in duping others Grant is pretty easy to manipulate; or maybe it's just that Matrix Reloaded is irresistible to nerd-boys.

Veronica again enters the room, dismembers the computers, steals the hard drives and leaves behind a ransom note. She is about to leave and is retrieving the bug when she notices wires leading to the closet where she finds a safe. Apparently her bolt cutters are no match for the lock but that can't stop our Veronica, who manages to ruin the contents by pouring soda into the conveniently located opening on the top. Now I know very little about hard drives, discs, or safes so I just accepted the entire scenario.

Meanwhile the Gameland scam turns out to be another dupe. The entire Story of the Week is all about impersonations and "duping." (Ashton Kutcher would be proud.) Georgia was duped; Karl is both dupe and duper; Veronica and her father both participate in impersonations and dupes. Grant is duped. The Story of the Week plot ends happily for our heroes as Georgia's money is recovered, Veronica gets a nice commission and we are assured that the good guys didn't actually destroyed potentially valuable property, just hid it in the garbage can but that Grant and friend may still receive further comeuppance from the FBI. What’s more, Wallace gets kissage!

Ongoing Character and Relationship Developments

Wallace and Veronica continue to cement their friendship. Wallace immediately turns to Veronica for help, brimming with confidence that she can and will help Georgia. She doesn't disappoint. In return Wallace is there for Veronica at every turn, impersonating a nerd, despite his protest that "even with a pocket protector I'm still full of pimp juice" and the fact Veronica calls him as "Papa Bear." There is also a cute exchange between them when Veronica wants to have a little "girl-talk" about Wallace's feelings for Georgia. (Is Wallace's relationship with Georgia ongoing or simply part of the SOTW? Several peripheral characters have made one-episode appearances so far, such as the newspaper sponsor and the guidance counselor; we don’t know if they will play any larger roles.)

Veronica's dad is also there to help her out--both when she requests it and behind her back-- canceling Troy's hotel reservation without letting Veronica know about his less than honorable intentions. Protecting her. He good-naturedly exhibits a bit of fatherly jealousy over the time she is spending with Troy but it is in sharp contrast to the possessive smothering we have seen on the part of Mrs. Kane for Duncan. Veronica is also good-natured in ribbing her dad about "investigating" Troy by running his license plate--or his fingerprints.

As for Veronica's relationship with Troy, well, there has been significant progress since last week. Notice that the "previouslies" end by recapping the first meeting between Veronica and Troy--an immediate clue that this relationship will be front and center during the episode. Indeed, as the previouslies wrap up the episode begins by showing the pair kissing enthusiastically (apparently for eight and a half minutes) outside Veronica's front door. Troy also issues a backhanded invitation to the Homecoming Dance. Veronica mentions that he is going to have to meet her dad soon, but Troy brushes is off with a smirk and the comment, "I give good parent." His breezy dismissal of Mr. Mars did not seem promising. Despite her experiences of the past year she remains a bit trusting and naive about Troy's nature and intentions. Troy's plans for Veronica stand in marked contrast to Duncan's confession a year ago of being a virgin. (Can we assume he still is?) Troy's intentions are subtly broadcast at the moment he asked Veronica, "About homecoming, we are on for that, right? Just so I can make the appropriate arrangements.” The jury is still out on whether Troy is a good guy or sleaze, although you had to laugh when Veronica asks the limousine to stop and Troy says, "I think we should get straight to the dance." Oh yeah, former-sheriff Mars is a pretty intimidating guy.

Finally, conveyed in only a few short scenes there is a lot of progress made in the healing of hostilities between Veronica and Logan.

The Lilly Kane Murder Mystery Arc

Finally, despite an intriguing, well-developed story of the week, and interesting character developments, a huge amount of the episode was actually devoted to the continuing arc of the Lilly Kane murder mystery. Lots of flashbacks contribute greatly to our understanding of Lilly and her relationships with those around her. In fact, the episodes starts out by recapping Jake Kane's comment, "We all lost Lilly, but that doesn't mean we stop living our lives." And also replaying Lilly's appearance in Duncan's nightmare where her bloodied form reminds him (and us), "The truth is going to come out. You know deep down inside that it doesn't add up." These quotes are big on the cryptic, but point to something we already know--there's a lot that we have yet to learn about Lilly's murder. It also makes me wonder what Duncan might know “deep down inside” that he is repressing.

We learn a lot about Lilly herself this episode, as well as her relationships with those around her. Flashbacks throughout the episode deal with last year's Homecoming Dance. It's clear that Lilly is the dominant personality in her relationship with Veronica. The Veronica of a year ago is much younger, more naive, and less adventurous. Veronica has bought the ultimate ingénue homecoming dress: pale pink A-line with spaghetti straps. Lilly scoffs. She tells Veronica: "You're not a yellow cotton dress, you're red satin--strapless red satin." And, indeed, a year later Veronica wears a strapless satin dress to Homecoming. It's not just the dress that has changed drastically.

Continuing the story of last year's Homecoming Dance we see Lilly and Logan, Veronica and Duncan in the back of a limo with no intention of going to the dance. Veronica is worried that her father will find out. Lilly tells her, "Grounding lasts a week. You are going to remember the fun for the rest of your life." "Seize the day" is pretty much Lilly's motto. Her words are prophetic since the rest of her life turns out to be a very short period indeed. Veronica also remembers as another flashback commences, "I've already lived the dream--everything else seems like a cheap reminder."

Three of the flashbacks reveal much about Lilly's relationship with her mother. As the date commences Lilly's mother wants to take photos of the group. Lilly is late and her mother comments, "You know Lilly--it's not an entrance if you're on time." As a matter of fact, Lilly turns out to be two hours late to her own murder. Also, it is clear that mom is appalled by Lilly's dress. Lilly deliberately plays up the sluttish behavior, clearly pushing her mother's buttons.

A second flashback occurs the morning after when the two couples return to the Kane household after being gone all night. Mrs. Kane is so livid that she doesn't even worry about her tantrum being observed by Keith and Veronica; she screams at Lilly, "Why do you insist on humiliating me?" To which Lilly pointedly replies, "Oh, two kids out all night and only one gets screamed at." Mrs. Kane, "Because I know you Lilly. Any trouble this family has ever had--you've been at the root of it." Play the ominous foreshadowing music in the background, this is an important exchange. The third flashback takes place during the game of Truth or Dare. Lilly reveals that she has seen her parents having sex and mocks her mother.

Not all of the revelations take place via flashback. There are the scenes involving the creation of the tribute to Lilly and the unveiling of the "Lilly Kane Memorial Fountain." Mrs. Kane wants a video montage to honor Lilly at the dedication of the fountain. Mr. Kane asks Duncan to compile it. It seems clear that this will be very painful for Duncan. Logan, however, asks if he can do it--he wants to, Duncan agrees. When next we see Logan he is in the video room at Neptune High working through the tapes provided by Mrs. Kane. Veronica comes in and Logan reluctantly answers her questions. He comments about Lilly's whole life being on film and says with some contempt: "Memories both misty and water-colored." I found this phrase interesting since all of the flashbacks are somewhat hazy and oddly colored. Veronica concurs, commenting that it's "Lilly as a long-distance commercial." The two of them understand that it's not really about Lilly, it's about her mother's desires and the whole thing would "really piss her (Lilly) off." Veronica returns later with a small cassette that we immediately understand contains more realistic memories of Lilly. Veronica and Logan seem to reach some small amount of understanding in this process.

The almost final shot of the episode is the dedication ceremony. Mrs. Kane is reserved and pompous. She says Lilly would have been moved and describes her as a generous, kind, sweet girl, embodying "Pirate" (the Neptune high mascot) pride, service, loyalty and honor. Anyone who knew Lilly is well aware of the irony. Lilly would be gagging. Duncan plays the video which opens with the misty-colored memories of Lilly but soon moves on to a close-up shot of Lilly saying, "You wanted Lilly, you got her--now sit back and enjoy the ride!" followed by shots of the limo party which has been featured throughout the episode. It's all tied together.

Predictably, Mrs. Kane is livid, but both Duncan and Jake Kane are greatly moved. And, so, rather unexpectedly, is Weevil. Now there is an interesting development.

The Summary

This episode is all about impersonation. Everyone is playing a part. Characters are both duping and being duped. Some obviously, as part of the story of the week: Karl as rich kid in need, Veronica as Amber, Wallace as nerd, Mr. Mars as DEA agent; but others much more subtly. Troy is impersonating a "good" boyfriend. Is Veronica being duped? Mrs. Kane is impersonating a good mother. Is anyone taken in?

Lilly...what can you say about Lilly? Are we really seeing the real Lilly, or just the persona she plays to irritate her mother and entrance her boyfriend? Mrs. Kane wanted a video of Lilly impersonating the perfect daughter--she wanted to think she was duping her classmates and others to believe in a totally different Lilly. I'm pretty sure no one was buying it. I'm also sure there is still a lot we don't know about all of these characters.

And so, I submit: Veronica Mars does an outstanding of job of offering great television at three different levels: episodic storylines which are highly entertaining and widely varied; characters who are empathic, entrancing and complex; and an ongoing mystery arc which continues to intrigue. I hope this show gets the time to prove itself as great TV.

Random Observations: Quotes, Likes and Dislikes

Grant was played by the kid from Picket Fences.

No matter how many times I rewound the tape I couldn't make out what Wallace said in regard to Gameland: "Only girls they see in there are __________. So you're not gonna really blend."

I like the recurring motif of conferences in the girls' bathroom. At least this time Wallace tries to explain, "...overflowing toilet....use the faculty room." (Not in any high school I've ever worked in!)

Loved Kristen Bell's body language, voice and even the choice of alter-ego name: "Amber"

Lilly has "Susan Sarandon eyes." It's a medical condition.

"mini-golf"

My first reaction when Veronica went skinny-dipping: Ack! Her hair!

At first I thought it quite ominous that there were no previews, but you may be grateful. The promo is up at www.upn.com and very spoilery. You're gonna love it!

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