Veronica Mars Season 3 Retrospective

At lot changes in between Season 2 and Season 3 of Veronica Mars, and change is scary. Behind the scenes, the network that the show was on, UPN, was undergoing a merger with The WB, a similar channel. Together the two would form The CW and there was much discussion over which shows from each network would make the cut and air a new season on The CW. Imagine having to turn 20 hours of programming in to 10, while also considering new shows… not an easy task, and Dawn Ostroff, the new president of The CW at the time, had a lot of hard decisions ahead of her. Veronica Mars was never a high rated show, even for UPN’s standards, but what it always had was an incredibly loyal and passionate fan base. I recall the campaign that fans undertook to convince Ostroff, et al to pick up the show for a new season on The CW. The fans even went so far as to hire an airplane to fly over Ostroff’s office that carried a banner that read: “Renew Veronica Mars! CW 2006.” Talk about dedication. The renewal did come to pass (Everwood fans, who also conducted a strong campaign, were not as lucky) as Ostroff picked a schedule of shows both from the UPN and The WB, with one slot going to a new show, Runaway.

A new network meant new rules, and there was one stipulation that Rob Thomas and his team had to follow if the show was lucky enough to get picked up: no more season long mysteries. Instead the season was designed to feature three shorter mysteries, the first taking up 9 episodes, the second 6, and then 7 episodes for the final mystery. An interesting and admirable compromise, it seemed, that would still allow overarching plots amidst the smaller mysteries and character work. Unfortunately due to the show’s (perceived) low ratings, the episode order was cut from 22 down to 20, and instead of a final mystery of 7 episodes the season was restructured to have 5 final standalone episodes, which would end up as the final episodes the series would ever air on television. An interesting note: the final season of the show averaged between 2.5 and 3 million viewers; in 2013 The Vampire Diaries, now considered The CW’s biggest hit and signature show, gets similar ratings. Times change, the television construct and viewership shifts, and one can’t help but wonder what would have been if The CW had stuck with Veronica for a few more seasons. Alas…

The show’s changes also extended to the opening credits, which featured a new moody version of the Dandy Warhols theme song and a darker, more beach noir visual look. I’m still not crazy about it.

Change was afoot in the show’s context as well, as Veronica found herself shifting from high school to college. Every example I can think of that has a show making this change  is rife with growing pains, and unfortunately Veronica Mars is no different. The reputation of Season 3 of this show is less than stellar, with some going so far as to say that it’s terrible or that it “jumps the shark.” I think these are reactionary comments based on certain developments (many of the romantic variety) that upset hardcore fans. In season 3 Veronica Mars remains enjoyable and engaging, with all of the characters and wit that we have grown to love, but I will not deny that this is the weakest of the seasons. The major issues exist both in intent and introduction. While the town of Neptune, CA remains a vital setting for the show and it is as well developed and sleazy as ever, Neptune High School was also pivotal and the loss is felt. While the Season 2 episode “The Rapes of Graff” was a shrewd way to introduce Hearst College long before Veronica, Mac (Tina Majorino joins the main credits this season and is as great as always), Wallace, Logan, and Dick find themselves as students there, it also introduces the first of Season 3’s main mysteries: the serial rapes. After the thoughtful way rape had been handled previously in this show it was a bit concerning to see the ball dropped just a little bit in Season 3. This is a troubling way to start off both because the narrative of the mystery has some “icky” elements and also because it does not make Hearst seem like a particularly welcoming place. A lot of bad things happened at Neptune High, of course, but that was after the show had taken the time to set it up properly. Veronica never liked Neptune High, but it was an accomplished setting for the program.

The biggest issue with the serial rapist mystery is the way it involves various groups of action that are portrayed in a less than convincing/appropriate fashion. The fraternities and sororities, the Lilith House girls, the Lampoon boys, etc. are all thinly drawn groups of characters that exist only to serve a viewpoint. The Lilith House girls, in particular, are very troubling characters that seem to act in a way that goes against what they should stand for. Perhaps that’s the point? No matter. The conclusion of the rape arc, “Spit & Eggs,” is an unexpectedly terrific episode in the mold of the finales of season 1 and 2 that both amps up the thriller aspects of the show and, like only Veronica Mars can, ties in seemingly insignificant previously established details into the ultimate reveal of the rapist. As a direct opposition to other big mystery arcs that were solved in the show it subverts the expectations that audiences may have had about the way this show resolves mysteries. The episode also has one element – the use of both a rape whistle and the drug testing coasters, tangible effective real life rape deterrents – that do a lot to clear up the moral issues I had with the arc previously. 

The first batch of 9 episodes is certainly not without its enjoyment, however. The show always presented serious issues beyond the years of its characters, but this season’s overall tone is a bit more grim and intense that befits their matured ages. The mini-mysteries do a better job of setting up Hearst College, and I particularly liked one involving an on-campus Casino and one in which Veronica finds herself mistakenly accused of plagiarizing a paper she writes for her criminology course. Keith’s cliffhanger from the end of season 3 comes in to play as the loose ends involving Kendall Casablancas and the Fitzpatricks are tied up. The show also sticks to its tradition of having a 1980s star appear on the show; this time it is Richard Grieco. Where these episodes excel, of course, is in the characters. Both Veronica and Logan remain fantastically performed and drawn characters, and these episodes afford us the first opportunity to see them actually dating for a significant period of time. There are ups and downs in their relationship to be certain, but their chemistry is so palpable (and the sex/romance so scintillating) that it is incredibly enjoyable. Both Wallace and Mac live in the dorms on campus, and their new roommates – Piz (Chris Lowell) for Wallace and Parker (Julie Gonzalo) for Mac – join the main credits. Piz is a main point of contention among fans because he ends up dating Veronica later in the season, but in actuality I find both Piz and Parker to be likable characters, with Parker emotionally involved in the rape arc and Piz as a campus radio DJ with a strong witty streak. Logan and Dick bunk up at The Neptune Grand, and Dick’s arc is actually one of the more surprising elements of the season. After the events of Season 2 Dick is a broken shell of a man and we see new layers and new levels of hilarious debauchery that make him a joy to watch. Veronica lives at home, which is a perfect choice that allows the wonderful father/daughter relationship to flourish. Weevil is also in the mix as a maintenance employee of Hearst College but for the most part his character is completely wasted throughout the season, particularly after his compelling arc in season 2.

The first episodes also introduce members of the Hearst faculty, such as criminology professor Landry, his TA Tim Foyle, dean Cyrus O’Dell (Ed Begley, Jr.), and the dean’s wife Mindy. All 4 of these characters are fascinating and come in to play in a big way in the second mystery arc. Without going in to too much detail, I will say that this arc is by far the most purely noir story the show has ever constructed, with Mindy O’Dell as the ultimate femme fatale and the concluding episode, “Papa’s Cabin,” as a terrific bit of hard boiled fiction. Throughout this arc the show begins to improve from the issues of the earlier episodes as Hearst becomes a more robust and well defined place without all of the messy baggage that the rape arc brought to the table. Thus, the mini-mysteries have more impact and slowly but surely the season finds a better groove that allows the characters to grow and mature.

The final episodes of the season are all standalone in terms of mystery, and thus it is the characters that we must latch on to the most. A few of these episodes seem like they are tackling “very special issues” such as the perception of Muslim Americans or the history of an African child solider (an advertisement for the charity Invisible Children) and thus they have the ability to go a tad over-the-top. A secret society called The Castle comes in to play and an old foe once again makes their presence known. Certain supporting characters get more screen time, such as Bronson, Max, and Ratner, while Wallace is almost entirely wasted. Paul Rudd also has a terrific guest star appearance as a rock star in “Debasement Tapes”, and Leo makes his grand return in the same episode. Two stories contain the most impact and lead in to what retroactively became the series finale. First of all, Sheriff Lamb (Michael Muhney) joins the main credits this season although his fate unexpectedly ends in death. This allows Keith to become Sheriff once again (yes!) while the special election is set up by the town of Neptune. Who’s set to run against Keith? Vinnie Van Lowe, of course. Unfortunately, Veronica’s actions turn into a scandal that prevents Keith from winning said election. The second involves the new love triangle between Veronica, Logan, and Piz (and Parker makes it a quadrant, to an extent) and the emotional turmoil that these young adults cause each other. Violence, angst, and anguish erupt, and the worst comes when a sex tape of Veronica and Piz makes it way into the public eye.

The series ends with Veronica standing in the rain (a rare occurrence in Southern California), lost and alone, having caused all of the important people in her life great pain. It is a nihilistic and ambiguous ending (Rob Thomas hoped it would convince The CW to give the show another season since so much was left up in the air) that looking back is actually a perfect noir ending for the show. Veronica Mars stuck to its ways until the very end, and although Season 3 is a bumpy ride without the overall complexities of previous seasons I still prefer it over a great deal of other television out there and hold it close to my heart.

As a note, Rob Thomas and Kristen Bell got together and produced a 12 minute “mini pilot” for a reboot of the series that was to serve as a pitch to The CW for a prospective 4th season. This short piece is available on the DVDs or on YouTube, and it is a time jump that involves Veronica’s time in FBI training at Quantico. It is absolutely not canon, but is fascinating to watch and shows one direction that Veronica’s future might have taken.

 

Best Episodes:

5. Welcome Wagon – Although I accused the 3rd season of not doing a good job in setting up the show’s new setting, this very first episode, before the rape arc overwhelms everything that is going on at Hearst College, is a light and breezy return to the show the at the very least effectively introduces the new cast members and sets up the new status quo. Seeing Logan and Veronica finally as a true couple is a delight, and Veronica’s quest to find Piz’s lost stuff is unsubstantial but fun. Veronica’s excelling in her criminology class and the way she impresses the professor and TA is positively inspired. Perhaps the most unique material involve’s Keith Mars, as he finds himself on a road trip that results in the shocking death of a favorite character from season 2.

4.  Postgame Mortem – This episode is effective both in its investigation of the Dean’s murder and the murder of the basketball coach, but also because it is one of the best showcases the show ever gave to Logan Echolls. After his epic breakup with Veronica (sigh), Logan spends a weekend sulking at the Neptune Grand while also babysitting Dick’s new girlfriend’s little sister. It sounds like a hokey idea, but it is actually incredibly delightful and sweet. The episode also features one of the loveliest scenes ever between Veronica and Keith; they’re the best! Plus, who doesn’t love a Kiss Kiss Bang Bang reference?

3. Spit & Eggs – The second episode that Rob Thomas himself directed, this finale of the rapist arc begins in media res and is a spectacular thriller from top to bottom. The rapist is revealed, emotions run extremely high, and as I mentioned above decisions are made that quell some of the initial moral concerns with this arc. What I love best about this episode, though, is that the loyal group of friends Veronica has all team up to help save the day, and it is a beautiful thing. This episode also features terrific use of the Fatboy Slim song “Right Here, Right Now.”

2. The Bitch is Back – The unintentional series finale is one of the darkest and most painful episodes in the show’s history. It’s nihilism and ambiguity make way for a perfect act of noir closure as Veronica stands on the street, lost, and drenched in the rain. Veronica’s actions have caused great sorrow for many. Is this really the best life for her? In its own way the entire series comes full circle as characters that we haven’t seen for some time return and the show’s history haunts all that is new. It’s a painful but somehow perfect way to end the series.

1. Papa’s Cabin – As mentioned above this is the most beautifully noir and hard boiled detective episode of the entire series. Veronica’s fantastic investigative skills are on display as she gets to the bottom of the identity of the Dean’s killer. Perhaps not a favorite among all fans, I love this episode for its effective plotting and satisfying conclusion. It epitomizes many of the show’s best strengths, especially its sharp intelligence.

 

Up next… the movie, which is open in cinemas today. Enjoy it, Marshmallows!

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