- 1.01 The Pilot
- 1.02 Credit Where Credit's Due
- 1.03 Meet John Smith
- 1.04 The Wrath of Con
- 1.05 You Think You Know Somebody
- 1.06 Return of the Kane
- 1.07 The Girl Next Door
- 1.08 Like a Virgin
- 1.09 Drinking the Kool-aid
- 1.10 An Echolls Family Christmas
- 1.11 Silence of the Lamb
- 1.12 Clash of the Tritons
- 1.13 Lord of the Bling
- 1.14 Mars vs. Mars
- 1.15 Ruskie Business
- 1.16 Betty and Veronica
- 1.17 Kanes and Abel's
- 1.18 Weapons of Class Destruction
- 1.19 Hot Dogs
- 1.20 M.A.D.
- 1.21 A Trip to the Dentist
- 1.22 Leave it to Beaver
Scene One: And the Role of the Jackass is Played By ...
When Veronica is going around the 09er table, you'd expect that the description of who Logan is would have taken place before she got to telling about the history with Duncan. But nope. We have the Duncan intro/flashback -- which briefly includes Logan (more on that later) -- and then it ends on "and let's not forget Logan Echolls. His dad makes twenty million a picture. You probably own his action figure. Every school has an obligatory psychotic jackass; he's ours."
Why end on Logan and not Duncan? Wouldn't the former boyfriend be the more likely choice to end the introduction of "main" characters on? You'd think so. But, no Logan gets it. And furthermore, from pretty much the moment the scene comes back from flashback Logan is staring at Veronica. Duncan seems practically oblivious to her presence, while Logan is just so intently all about her. It appears as if he's talking about her in the first shot of him looking at her, then to Duncan; he's looking at her, putting on the little show on Duncan's lap for her. I mean, he's basically "performing" for Veronica. He WANTS her attention. Very interesting.
Now back to the flashback scene for a moment, when Veronica turns from her locker and sees Duncan walking by and basically ignoring her, Logan is with him. And guess what he's doing? You got it ... staring at Veronica. Logan. Does. This. A LOT.
Scene Two: A Long Time Ago, We Used to Be Friends
Next up is the flashback where Logan confronts Veronica about what her dad is doing. Wouldn't it make sense to see interaction of some kind with her ex-boyfriend/Lilly's brother as opposed to laying it on Logan and Logan only. It's as if Logan is the barometer of before and after in a way. She seems completely stricken by Logan's pain and his accusation against her. Why is the concentration on Logan and not Duncan?
And just a note, but Logan is also the first one who we recognize who sees her at the party. A bigger deal is made of Duncan (because he's been macked upon), but Logan is who we first see staring at her. Of course, staring at her.
Scene Three: 'Hey, Ronnie!'
Ah, the drive-by. I commented in a separate thread that I think that Ronnie was a nickname he called her on occasion when the foursome were all together. And I think it was a name that only he did. I'm not quite sure what to make of this scene. I mean, he almost, no not almost, he DID seem sincere in asking her if she wanted to join them, but of course, she didn't and he started being snarky and sarcastic. And she was ignoring him; I don't think Logan likes to be ignored, so he went from an almost playful teasing (the Duncan/no shirt) to barbed, painful teasing (her mom's drinking). It's like he is striking to hurt when she doesn't, I don't know, play whatever game he is playing. There is just such a push-pull with their interaction. It's very fascinating.
Scene Four: The Bong Show
We have the lovely, little fact that he calls her "cute." And, of course, he does a lot of staring. What is interesting is that he is looking at her, calling her cute, pointing at her all in what appears to be gamesmanship. She just set him up to be arrested, most likely suspended as well, and he is grinning. His attitude is almost a show of 'Okay, you got me this round, just wait til it's my turn!' Which flash backs to the last scene before where he kept digging and digging and was just so nasty -- nasty in a way we really don't see him ever at any other time. And taking in this scene and his reaction of near-glee, one wonders if the object was to show that the only spark that Logan got out of life then was his little back-and-forth game of one-upmanship with Veronica and in the parking lot scene, she hadn't played along. And here with the bong, the vicious cruelty of the "Hey, Ronnie" scene was missing because she was playing with him again.
Which leads to the final scene between the two ...
Scene Five: No Fun, Fun, Fun!
I don't know if I can even put my finger on what it is about this last scene with Logan and Veronica, but it's almost like he is taunting her to do something, to retaliate. And it's like, as in the first scene, as if he's "performing" for her. The way he looks at her holds her gaze with that sweet, almost innocent smile, the way he bends down to get close to her, the way that there are moments where it's as if she is the only one there. It's all very tense and ooh, I can't put my finger on the right word. But there is definitely an underlying emotion there.
And then we have Veronica's reaction to Logan's being hit -- we actually see Veronica reacting to Logan's pain twice in this episode: The emotional in the flashback when he talks to her about her dad destroying the Kane family, and the physical in this scene. I don't know and I'll definitely be keeping an eye out for it, but Veronica seems really bothered by Logan being hurt. She doesn't make the snappy comment or comeback during that, but once he's gone, she's back to wearing that facade immediately with Weevil. It's just like she is very conscious of Logan's pain.
I dunno, maybe I'm seeing too much, wanting to see more, but I think that some connection of sorts was being laid all the way in this episode with him. HE pushes her buttons the way no one else appears to and SHE pushes his as well. And just for the record, they really *really* do have some damn fine chemistry.
Scene One: Oh Shoot, My Loss
What I like the best about this scene is how we have (much like in The Pilot) Logan's concentration so heavily focused on Veronica. Veronica isn't really paying attention to him until he asks her a question, but Logan is staring at her pretty much the entire scene. And even better, THIS is the episode where the back and forth verbal warplay between them takes on a tinge of ... foreplay. There is an underlying flirtation to their interaction, especially evidenced by this exchange:
- Logan: Tell the truth Veronica. Did you just sign up for newspaper so you could be around Duncan.
Veronica: No. I'm here so I can be closer to you.
Scene Two: Bummer
Ah, this one has caused some debate. Was Logan responsible for Veronica's flat tire? I fall into the 'no, he was not' category, but fully believe that he either (a) knew who did it or (b) was just being an ass about the fact that she had a flat tire. Considering that he took the time to stop, roll his apple (in a smooooooth move) across the trunk of her car and pause to stare at her, I'm leaning towards (a). On the other hand, this is Logan we're talking about and any opportunity to stare intently at Veronica seems to be a-okay in his book! And he certainly takes advantage of the opportunity here. Not only does he stare at her just a little too long after the lovely "Bummer" comment, but as Troy is talking to Veronica about fixing the tire, we get a few shots of the 09er crew watching them, with Logan staring specifically at Veronica. Of course.
Scene Three: Wrong Again, Miss Mars
Here we have the first instance of Veronica accusing Logan of something that he is innocent of doing. Not really much here for the LoVe train, but they stand staring at one another for more than a few seconds and it gives yet more avid proof that Bell and Dohring do indeed have some fine chemistry.
Scene Four: Phone Tag! You're It!
Maybe it's stretching to say that this scene bodes well for LoVe, but then again, I just don't think it is. (Of course, I'm an optimist! Totally Logan at the Door!) Here we have both Veronica and Logan using the same method (to a degree) to track down Caitlin's Neptune Grand rendezvous-partner. Both are using sneaky means and are using their intellect to get to the bottom of it.
I especially loved how we got the cut between Veronica calling the numbers on the credit card bill before her and Logan running down the numbers on Caitlin's phone. It showed an almost symbiosis between the two and one can imagine that as a team they would work remarkably well together.
But before the game of phone tag, we had another (yes, another!) bout of Logan staring, with Veronica doing a wee bit of staring of her own. Okay, okay, hers was in the determined, 'I'm gonna nail that sucker!' kind of way (and I'm thinking that's the correct description because she tells Wallace about Logan: "I'm gonna nail that sucker!"), but she still stared! And Logan did his patented finger-circling-pointing hand gesture that he uses oh so often on Miss Mars. Oh and while he did it, he stared at her. And while he walked by her, he stared at her. And while he did a turn to change direction, he -- you guessed it! -- stared at her. Lots of staring.
Scene One: Explain Again Why Logan is More Interested in DK's Ex Than Is DK
The continuing motif of Logan Echolls being interested in anything and everything Veronica Mars continues in the first scene featuring our dynamic duo. Logan and Duncan are at Duncan's locker (I believe) and Veronica notices the two, who are pretty much ignoring her. The show then does one of those moody, neato-keen special effects angles with Veronica standing still in the crowded hallway of Neptune High while the other students move in fast motion around her. The effect slows down to normal time as one of those students, one Troy Vandegraff, bumps into her.
They exchange a little chit-chat, which leads to Veronica -- who clearly is sick and tired of being an outsider recently by definite choice, her refusal to go out with Troy -- to finally agree to, yes, go out with him. As they continue their conversation, Logan and Duncan walk into the shot. Initially, the two discuss girls and how they "talk." Veronica and Troy come into view and while Duncan is paying zero attention to his ex, Logan is -- big shocker! -- totally focused on them and their, even from where Logan and Duncan are standing, definitely flirty conversation. In his oh so charming (not!) way, Logan comments upon the interaction with his brand of Veronica-"affection" at this point in the game:
It's worth a note, that following this conversation, Duncan looks sick, Logan comments, then Duncan drops his bag and rushes to the bathroom. You'd think that Logan, who is sooo concerned about his best bud, would either (a) follow him or at the very least (b) look after him. Does he? Of course not. He looks back over at Veronica and Troy. All for DK. Riiight, Logan.
Scene Two: Five Seconds of LoVe
Okay, the BEST five seconds in the entire episode! Upon Duncan's return from the bathroom, he and Logan prepare to head off. To their right, Veronica rushes by with young Justin in tow and pulls him into the girls bathroom. With, I swear to GOD!, an admiring smile upon his face, Logan says in this, again, no other word!, admiring voice: That girl is totally whack! I dunno what the motivation, direction, etc. was for this scene, but those five seconds are just delicious for LoVe shippers everywhere searching for LoVe moments in the drought of the first half of the season.
Scene Three: Logan Echolls: The Return of the Jackass.
Not much going on here, just Logan being a total jackass. I mean, really. TOTAL jackass. Duncan jumps off the bleachers, has clearly, clearly injured himself, bleeding head and all, and Logan's response is ... to shake alcohol from his trusty little flask downwind to ease the suffering? Logan, Logan, Logan. Of course, Duncan was laying with his bleeding head just about in Veronica's arms. And Troy was right beside her. Is it stretching to think that Logan was maybe peeved about their closeness to Veronica and his lack and was thus acting like an ass because he was upset that both Duncan and Troy had the fair Veronica's attention?
Nah, he was just being a total jackass.
Scene Four: A History Together
Another small scene and while the focus is obviously much more on Duncan and Veronica and her concern for him, there was definitely a connection there between Logan and Veronica. What I really liked was how after she asked if Duncan was okay, Logan cast a quick glance at her before looking at Duncan with a look on his face that Veronica's would soon match. And sure enough it did once Duncan wandered off in his drugged-out state; both Veronica and Logan stared after him, mutual expressions of pain on their faces at the return of Zombie Duncan.
It was very small, but I liked how it showed that the two do have that history together, even if it was not a romantic one, it was one of depth. This is one of the few early scenes (and succeeded doing so in only a few seconds) that shows that clearly.
Scene One: A Shared Glance
A short scene, about twenty seconds long, but we see an interaction between Logan and Veronica in their shared glance, filled with grief (over Lilly) and wariness (over both clearly remembering their past connection through/with Lilly). And this interaction is the first time in the show's history that we actually see the two of them NOT fighting, snarking, ignoring or just hurting one another.
Scene Two: Logan's Such a Poser!
There are two things of note about this first flashback between the fab four, one specific and one just in general. The first is if you look carefully, in the beginning of the flashback, you can see that behind the main action of Jake, Celeste and Duncan talking, Veronica is videotaping Logan and he is posing for her. It's really adorable.
The second thing of note is more the general vibe, how not only were Duncan and Logan friends, Veronica and Lilly friends and obviously Duncan and Lilly siblings (although, I was slightly skeeved by him checking out her cleavage), but Logan and Veronica WERE friends. There wasn't a shift in the paradigm of the foursome, all four of them were a unified group.
Scene Three: Logan's Truth
Now, now we all know the importance of THIS flashback, which I'll get to in just a bit. But first another interesting thing to note here was how Veronica was sitting next to Logan in the limo as opposed to Duncan (and Logan not next to Lilly). It was no doubt done for framing purposes regarding Logan's truth and of course Lilly's dare, but it was still an interesting choice.
I firmly believe that the reason that Lilly asked Logan that specific question about Veronica was because (a) the show wanted us to be aware that there was a level of attraction there from even before the fab four days.
And I think that little bit of knowledge was definitely one of the more firmly-planted seeds in the garden of LoVe (yes, I actually went there). And it was just cute, his straightening the lapels, Logan and Veronica both blushing, the camaraderie between them. It was just all very adorable.
Scene Four: Snark Without the Heart
Going with the lingering remnants of that shared glance in scene one, even though Logan makes a snarky comment upon Veronica's entrance, really, his heart isn't in it. And Veronica realizing that, just simply ignores it and asks what he's doing. Proof that his heart wasn't in the snark, he answers her questions and the two share (for the first time in the show's history thus far) a non-snarky, non-baiting, actual conversation. It's short, it's simple, but gosh darn't, if it isn't sweet.
And onto the flashback ...
There really isn't much Logan/Veronica interaction at all here, other than Veronica pointing to Logan to make sure he was videotaping an embarrassed Duncan. The only other thing of note is the same vibe from the first flashback, the unity of the four, they truly were all friends and Logan and Veronica's relationship was not exclusive of that.
Scene Five: An Uneasy Truce
And that uneasy truce continues as Veronica offers up Logan her videotape of the homecoming night. This time, Logan doesn't even make the snarky comment, they go straight into the slightly stilted, but not at all snarky conversation. Progress. And voila! we get the first smile between the two (in present day).
It's sad, it's wary and it's definitely uneasy, but it's genuine.
Scene Six: One Small Smile, One Huge Step in Transition
In a lovely bit of symmetry, the LoVe in this episode ends with a shared glance between Logan and Veronica, just as it began. Very nice. And while it is a small moment, less than a few seconds long in entirety, it's huge in the transitioning of Logan and Veronica from enemies to friends to more ... After Lilly's memorial video finishes playing, Logan and Veronica share a smile of connection and it's the very first time (out of flashbacks) where we see interaction between the two without any bitterness, snarkiness or sadness. It's sweet.
And I'd be remiss to not mention a little something about the memorial video. There were four people in attendance the night of the homecoming dance, Logan, Veronica, Lilly and Duncan -- only three of them appear in the video that Logan put together. It makes sense why he would include himself as he was her boyfriend, but why Veronica and not Duncan? It's a small thing, but I think it was that subconscious crushin' in effect. (Hey, I'm allowed to step a little outside the box and fanwank now and then.)
Scene One: Monkey Boy ... Not!
There isn't much in this first scene (but then to be fair their scenes total roughly two minutes the entire episode, so it's understandable). However, we do have an adorable bit of snark from Logan that was a nice change from the nasty insults we'd been getting mostly (with the notable exception of The Wrath of Con) thus far. Veronica starts this round: She calls Logan Troy's monkey. Yes, you read that right. A Monkey of Troy's. Now, Logan has done and said many a cruel thing to Veronica, but has he ever sunk that low? I think not. Instead of taking that as the true insult it is (perhaps because he is rather wasted), Logan chooses to attack the trusty LeBaron as opposed to Veronica herself. (Consistency -- first the headlights, then its very existence.)
Throwing his jacket and bag (why exactly does he have a bag?) into the back seat, he offers up this zinger: "Ha-ha. Nice car. God, it must have been a huge cereal box." Ah, Logan, your delicious snark .. may it never fade. Then he sits behind her. Uhm, and, yeah, and that's about it for the interaction between our delightful duo here.
Scene Two: Playing Nice
Okay, now THIS is why this episode will always *always* be fondly remembered by LoVe shippers. It doesn't matter that she is dating Troy; it doesn't matter that she and Logan barely share two minutes of screentime. It doesn't matter that this was definitely still a part of the 'me hate you, you hate me' phase. We got this little gem of a moment and it's a keeper! After Logan climbs out of her car, he asks (almost offhandedly) if Veronica is going to play nice now. She responds by telling him to walk in front of the car, he does, looking at her through the windshield. Veronica revs the engine and has the wickedest, flirtiest smile on her face as their eyes meet through the windshield. There is just no other way to interpret that smile on her face or his laughing response as he smacks the hood with his jacket, a grin playing on his lips. And that's it right there: Playing. The two are so clearly playing with each other. I rather wonder if that is close to what their relationship was like before -- the teasing snark with just a dash of flirtation. It's certainly possible and not unbelievable considering the way they interact with one another now.
I just loved, loved, LOVED this whole section for the reasons stated above, but also because we got another delicious bout of staring. After he grins, he indulges in one of his favorite pastimes: Staring at Veronica Mars just a tad longer than he should. And he really, really does do this a lot. I mean, A LOT -- almost every single scene with them ends with Logan staring at her just a few seconds longer than he should. (She does a bit longer staring than she should also, but not to his extent.) I don't know if that was in the script or if it was an actor or director choice, but it certainly seems to give credence that there may have been some latent attraction there all along.
Scene Three: The Potentiality of Jealousy
Honestly, the most LoVerly aspects of this scene are at the very beginning and the very end. Everything between them is Veronica accusing Logan of something he didn't do, Logan denying crime and insulting Veronica in turn, Veronica vowing to get him because she doesn't believe his denial, Logan insulting her once more and then Troy shows up. Yeah, it's real stellar. So we'll just ignore that in-between stuff and enjoy the opening and closing seconds.
In a shot used in just about, oh, every single Logan/Veronica music vid ever made (okay, not every one, but it's close) because it's just so damn cute. If you don't have the context as to why Veronica is making a determined beeline for an on-his-knees Logan with a sweet smile on her face, it's adorable and sweet. And if you don't know why Logan notes her arrival with a smile and stands, looking down at her petite cuteness with shiny eyes, it's practically a loving moment. And if you can't hear that his words aren't exactly welcoming, well you would think that these two lovebirds just can't stay away from each other and are beyond eager to be in each other's company.
If you don't know the context. See above about ignoring the in-between? Yeah, that's what we're gonna do now to maintain the admitted delusion that Veronica and Logan just shared a sweet, loving moment based on body language and facial expressions.
Alrighty then, we got to the good stuff at the start of the scene, let's bypass the blahblahblameLogancakes and blahblahI'mgonnagetyouandyourlittledogtoocakes and jump straight to the end. Troy shows up and this is where we have an interesting little bit. If you'll recall from earlier episodes, Logan had paid plenty o' attention to Troy's pursuit of Veronica to the point where questions of potential jealousy arose in the more eager-to-believe-yes, damnit!-he-loved-her-then camp and this next moment offers another Aha! moment for said camp. As Logan makes his parting shot (it's snotty ... of course -- "I guess we're done here, Officer."), instead of walking around Troy, which, you know, would make sense since he thinks Veronica has cooties, but nooooo ... Logan chooses to walk right BETWEEN THEM. There is absolutely no reason to do this. Unless, you jump into the eager-to-believe camp that subconsciously he was jealous of Troy and wanted to separate them.
Oh, and of course, when he walks between them, he stares at Veronica. Intently. For a few seconds longer than he should. And as he walks away from them, guess what he does? He continues to stare at her. It would've been funny, if he had walked into someone during one of his 'I must stare intently at Veronica as if I want to ravish her any second' stares. Teeheehee, that would have really been funny.
Scene One: Ceasefire
I think Logan honestly meant it. In this dinky, lone scene, Veronica once again accuses Logan of something that he didn't do. With feigned pain overwrought with sarcasm, Logan tells her: "I just don't have time to be responsible for everything that goes wrong in your life." And again, going back to sentence one, I think he meant it. This is the very last episode where we see OPJ Logan, and well, honestly, we don't see much of him here at all and I wonder if that's because he really was just tired of the game. We don't see the two interact again until episode ten, An Echolls Family Christmas, and while there is definitely some of that lovely snark going on, the viciousness of it is gone. It's more playful at that point.
Maybe, this accusation was just the final straw for him. He had, obviously, given her so much reason in the past to automatically assume the worst of him. When she did it once again, based pretty much on nothing but dislike, I think he was just plain tired of it. Maybe he was tired of being her whipping boy or maybe he was tired of the overt animosity period, because again, after this episode where we saw a break of three episodes with no interaction (despite the fact that Jason Dohring was in the following episode), that animosity was gone.
Since Logan was the one who started this little war, he had to be the one to finally stop it and there were different stages that had to be gone through. Stage one was a ceasefire of hostility. However, it had to be Logan who decided to withdraw the fire first and considering the timeline, it looks like he made that decision in this episode.
Scene One: They Call the Wind Veronica
"Annoy tiny blond one, annoy like the wind." With those words, that delivery and that too-long stare, the LoVe boat took sail. Cue swelling music.
Okay, maybe that's overstating it a tad bit, BUT, the first scene in this episode between Logan and Veronica -- mainly because of the above moment -- ranks pretty high on most lists as a favorite LoVe scene. There's nothing romantic about the scene, he snarks, she snarks a bit and even drools over another guy. It's just something about the whole tenor of the scene. Maybe it's because this is the first time we've seen Logan and Veronica alone together without the spectre of Lilly. Previously we had the editing Lilly's memorial video scenes in The Wrath of Con, and while they were alone together, the pain of Lilly's death hung pretty strongly in the air. In this scene, we just had Logan, Veronica, snark and chemistry ... and a tad bit of sweetness.
It was there, both real and pretend. Real when after he snarked about her super sleuth kit, she turned away and he paused, stopping her from leaving, genuine emotion in his voice. Pretend with his "And you just wanted to say hi?" as one of his opening salvos. Real in the moment after Logan says he wants to get a friend on Connor's set and the look he and Veronica share ... oh, that look -- well, more on that later. Pretend when Veronica says with a smile, "Look at you, all helpful." And here it comes, his response:
I've watched that scene about a thousand times (probably literally) and I still can't quite describe the emotion that best explains it. There is a sweetness, a softness that bespeaks of remembrance of when they used to be friends, a long time ago. There's also a tentative shyness to the quickness of the look he shoots at her as if he can't quite believe that he revealed that he remembers that friendship. It's just this quintessential moment between them, no words, barely any time; it's just there.
Maybe the reason this scene holds such a special place in the hearts of shippers -- and particularly the final moments -- is because maybe the "annoy tiny blond one" was Logan's attempt to still hold onto the animosity that -- in this scene -- did seem more for show than actuality. And that intense stare after he calls the wind Veronica is his wonderment at that. Or then again, maybe it's just Logan doing his patented game of 'I must stare intently at Veronica as if I want to ravish her any second.' I don't know though, this stare just seemed to have more behind it than the latent attraction normally present. Whatever it is, it sure is unforgettable.
Scene Two: LoVe in a Bubble
Seriously ... is there anyone else in this scene aside from Logan and Veronica? I know, I know, Duncan is sitting to the left of Logan, Sean to the right. Weevil is present as well, but really the scene is all about Logan and Veronica. It's Logan that Veronica is addressing most of her comments too -- especially the smart-ass ones, it's Logan that Veronica keeps her gaze most directed upon and it's Logan that Veronica scoots over to sit down next to. On the flip side, it's Veronica that Logan (shockingly enough!) can't keep his eyes off, or that grin from lighting as he looks at her. It's Veronica that his attention is focused upon but for a few looks around here and there.
There is banter, back and forth and playful, snark with a bit of sexy bite between them. It's almost like there is this little bubble surrounding the two here. The other characters are set-dressing and I don't mean in the context of the scene as directed/acted, but rather set-dressing in the life of Logan and Veronica. Weevil, Duncan, Sean were all there and important to the scene, but it was as if Logan was the only person who really mattered to Veronica and vice versa.
I don't know what the producers/directors/whomever were feeding Kristen Bell and Jason Dohring, but in this episode -- this scene just one delightful example -- there was this thrill of connection between them the likes of that we don't see again until the opening scene of M.A.D. Veronica and Logan were thisclose to just plain flirting here and it was just wonderful and so much fun to watch.
Is there really any question at all as to why this episode turned so many viewers into potential (or just plain all-out -- Me! Raises my hand) LoVe shippers?
Scene Three: Bachelor Number Three ... and He's Got It All!
"Ho, Ho ... Ho" And the LoVe continues. Okay, haha, no seriously. Really, this is pretty insulting of Logan, I mean, dude is calling Veronica a whore (or at least the less inflammatory, it's almost taken on a joke-sheen, form of the word). But, again with that "something" ... it's at play still. Similar to my comments about the first scene, the delivery and the wide smile that accompanies it make the insult of the line appear to be more for show than any actual malice intended. And Veronica sees it as such, judging from her just as wide smile, albeit delivered with a mocking laugh of not-really-appreciation.
Also of note, when Weevil offers her a "sodey-pop" (sorry, not a LoVe note, but dang, Weevil can be so cute!) and offers to take her bag for her, you can see Logan is watching them -- or more accurately, her -- which I just found interesting because of Logan's continued interest in all things Veronica Mars. Which plays into the two other aspects of this scene that caught my attention: First of all, the staring. Logan, Logan, Logan.
What I liked best about the constant staring was two-fold: (a) The fact that there was almost this joyful, admiring slant in his expression as he gazed at her, and (b) The fact that the direction gave us so many shots of Logan staring at Veronica. We saw his reactions to her more than we did anyone else's there. I see this (in retrospect) as one of the subtle ways that the show had at building up interest in the pairing of Logan and Veronica.
The other memorable moment of note is Veronica's little take on Logan's possibility as a suspect and his reaction to it. Two words: Too cute!
And then we come to the piece de resistance in this lovely scene: Logan's reaction to Veronica's card-skill. Connor looks surprised, as does Duncan. Logan doesn't look surprised, he just looks dang impressed, this smile of admiration on his face, his gaze sparkling. It's just ... delicious! And worth at least three quick rewinds to rewatch.
Scene Four: That Something More
Our final scene that shares any interaction between the two has an interesting subtext. Veronica is clearly sweeping the game and Logan, with a wry, almost sweet smile, comments:
The animosity was definitely becoming a thing of the past and the softening in the relationship between Logan and Veronica hit full throttle in this episode. The maliciousness was pretty much all gone from this point on and from that point of view, I suppose my initial comment -- the LoVe boat took sail -- isn't overstating that much at all.
Scene One: Tit-for-Tat
In a lovely throwback to the Pilot -- one of many such scenes throughout the series -- as Veronica is marched down the hallway by the vice principal and Sheriff's Department, Logan is a first-account witness. In the Pilot, after the bong was discovered in his locker, Veronica was there to send Logan off and bear witness to his humiliation. So the same happened here. It rather symbolized the constant tit-for-tat nature of their relationship.
Scene Two: Trains of Thought: One Revealed, One Concealed
The importance of this scene lies in two very important things. The first is that, for the first time, we catch a glimpse into Logan's motivation and train of thought; the second is that we do not get the same for Veronica. Interesting that last. While Duncan and Weevil had their moments in Miss James' office, we had an idea of what Veronica was thinking through more than Kristen Bell's facial expressions, because the audience was provided with Veronica voice-overs. When it was Logan's turn at the bat, not so much. There was not one word of inner monologue from Veronica during his entire therapy session.
Viewers had to draw their own conclusions about Veronica's frame of mind regarding Logan based on Bell's facial acting and their own perception of Logan's words. Why that is interesting is because, once again, the show was not hand-feeding us Veronica's growing understanding of Logan. We knew where she stood with every other character through interactions with them and/or Veronica's inner monologue. Not so with Logan. The show wanted us to figure that one out ourselves.
Interesting.
On the other hand, for the first time, we were able to get a reason -- and, for a teenage boy, a pretty damn legitimate one -- for Logan's anger towards Veronica. She had become his scapegoat because he couldn't take it out on Lilly or Aaron and so, to a degree, Logan was taking it out on himself and that wasn't doing much of anything to deaden and/or distract from the pain ... which left Veronica. Like Veronica, Lilly's death left him reeling, not sure where to put one foot in front of the other. However, Veronica learned from Keith's example to persevere, to do the right thing, to get the job done. Logan learned -- well, we all know the lessons of Aaron and Lynn. So, when the time came to deal with what had happened, Veronica sought justice at whatever cost. And Logan sought an escape from the pain by making those he felt responsible -- namely Veronica, himself and Lilly (and again, dead, not much help there) -- feel pain.
God, these two are such beautifully, fucked-up individuals.
Scene One: 'Veronica was My Friend too!'
There's not much to this flashback showcasing the fab four, but it does show that familiarity and friendship was indeed there between Logan and Veronica when the four hung out. It's easy to imagine that Veronica just knew Logan because he was her best friend's boyfriend and Logan knew Veronica because she was his best friend's girlfriend (and their respective girl and boy friend were brother/sister). Moments like this show, however, that Logan and Veronica had a camaraderie all their own that was not just there because of their romantic relationships.
Scene Two: Who's at the Door?
Ah, the pivotal turning point. There were other moments throughout the series that showed a softening between Logan and Veronica; an understanding passed between them now and then; their snark took an almost affectionate (to some, affection bordering on flirtation) turn. But THIS scene, all 13 seconds of it, was the culmination of the softening, the moments of understanding, the turn from viciousness to insult-by-rote.
Logan turned to Veronica and Veronica didn't slam the door in his face.
And that pretty much sums the whole kit and caboodle of it all. Logan Echolls turned to the person he, on the surface, hated the most, while Veronica Mars in turn gave Logan -- the person to whom all bad things derives their source in the world according to Veronica Mars -- the opportunity to speak.
This scene never could have taken place before any episode prior to Clash of the Tritons, the most recent. That is how good Rob Thomas and co. planted the seeds of this relationship between Logan and Veronica and nurtured them along. Without Veronica's eavesdropping on Logan's motives for hating her in Clash of the Tritons, many would have wondered why she didn't just slam the door in his face. And without those softening moments in episodes from The Wrath of Con through An Echolls Family Christmas, many would have questioned Logan showing up at her door at all. However, the groundwork was laid and it made perfect sense in the end that Logan would go to Veronica and that Veronica would accept his presence.
Scene One: Who's at the Door, Part Deux
In an interesting move (that I don't believe happened before or since), the previouslies segues straight into the episode with a slightly different take in Veronica's line reading of "Logan, what are you doing here?" It's a little softer, a little less 'what the hell?' and the camera angles are a tad more intimate with shots that are closer-up. Interesting. Moving along. We see the further play-out of what I wrote about the final scene in Lord of the Bling:
Scene Two: After the Karate Chop
In our second scene, once again we had that slight awkwardness, but this was played mostly by Logan. Veronica had regained her equilibrium in regards to him and was back to the slight insults, the snarky banter. But that makes sense, it's not her mother who jumped off of a bridge supposedly and she wasn't the one who initiated the war in the first place. So while Veronica is throwing lines at him like: "Contrary to popular belief, you can't beat the truth out of someone," as well as the whole "tenacious wit, etc." bit, Logan remained serious and determined to stay on target.
He didn't rise to her bait and as the scene progressed that slight touch of tentativeness disappeared in his need to find out the truth about his mother. And Veronica responded to that. I think the reason she did was three-fold: First of all, I think that Veronica had decided to put Logan in the "case" category in an effort to distance herself (even if she thought she was just doing a favor). Also, she IS a marshmallow. Thirdly, and off-shooting of reason number two, regardless of all that Logan has done, he WAS her friend, he DID lose his mother and she can completely relate to that.
Now a question: What was the moment for you? The one moment where the chemistry really *really* jumped out at you and just smacked you in the face? My moment was in this scene. Sure, I thought they had had chemistry from the Pilot and by An Echolls Family Christmas, I knew that they were the couple I wanted, but this was the moment where I just sat up and went "dayum!" and I was completely hooked, no turning back, take me out to the ballgame, I'm sold.
Veronica, while walking away, explains to Logan how she'll stop him from coming to the station ("Force of will, strength of character, tenacity, karate chop (with accompanying hand motion) ...") and Logan -- who was walking beside her -- puts his hand on her arm and turns her to face him. And when he does, when he does ... oh boy, something about that moment, I don't know what it is but I remember clear as the day the first time I watched this scene and this moment happened, I sat up and actually hit pause on my DVR. And rewound and watched it a few times before continuing on with the scene. And every single time I watch it now, it still reaches out and grabs me. And that is my moment.
Ahem, back to the scene: The intensity of his delivery persuades Veronica to let him come along, which really isn't a surprise. See "she is a marshmallow" above. This isn't the first time she's given in to a "client's" request to join the sting operation. So, sigh, as much as I'd like to give her capitulation to burgeoning feelings of love (feel free to roll your eyes), I think it's just, well, she's a marshmallow, LOL!
In this scene, we also had the first time that Logan saw Leo. It's not much and it may have actually been nothing, but when Veronica sees Leo and tells him "Hi" there is a quick look from Logan towards him. Again, it may have been nothing, or it may have been something thrown in there by Dohring (or the director) possibly knowing the upcoming growing relationship between Logan and Veronica.
Scene Four: Maintaining Balance
In the second scene, Veronica had been the one who seemed to be getting back on track with the usual push-pull of their relationship but after what happened at the Sheriff's station, she regressed back to that tentativeness that we witnessed at her apartment. And here we have the reversal: Logan, much like Veronica at the school, is now trying to establish some of that same back-and-forth acidity. Perhaps it's because he needs it for his equilibrium, to maintain his balance.
Upon entering, he overhears a phone conversation Veronica is having as she tries to make a doctor's appointment. While he does make the rather snarky, pointed reference to VD (and excuse me while I laugh -- heehee, VD!), his tone just does not even remotely have the usual bite. It's as if he is saying the words just to say them, recapture the solid ground upon which he usually stands when interacting with one Veronica Mars.
And as in the second scene, the sparring partner doesn't return the favor. Whereas before, Veronica was keeping things to a degree of status quo between them while Logan did not, we have Veronica simply going with the sincerity of the situation and not playing games. Whereas, Veronica ignored Logan's lack of retaliation (for lack of a better word), Logan, perhaps for the same reason he made the initial snarky comment, does retaliate. But again, his heart is not in it; I just don't think he cares about this stupid vendetta that he had created against Veronica. His mother very well may be dead; that rather puts things in perspective -- although, you would think that Lilly's death would have done that trick.
Hmm, interesting. It was one huge, life-altering event -- a death, Lilly's -- that put Logan and Veronica on the bitter path that they were on and it is another huge, life-altering event -- another death, his mother's -- that is seemingly healing that bitterness. God, I love this show.
Sorry, back to scene: So, it seems that Logan has realized somewhere inside, due to his lack of overt asshattery, that the vendetta against Veronica just does not matter. Still, I don't think that realization has hit conscious level yet. After all, he has spent the last year and a half building and nurturing said vendetta and so the show must go on. Thus we had the VD comment and now we have: "This isn't a favor, it's a job, you know. I mean, we're not exchanging friendship bracelets."
However, do note that he does not say it to be mean. There is no accompanying OPJ tone of voice or smirk. He is stating -- as he knows how they stand now, as he has created how they stand -- the facts. And I sense an undertone of confusion in this statement, how he delivers it. He intended this as a case, but yet, Veronica clearly didn't, so does she hate him? Doesn't she? Why is she helping him? The boy is just a bundle of confusion. And I believe that Veronica sensed this because her response is not snarky, is not mean; it is just a soft response to his statement, designed not to bait or antagonize but simply to keep that equilibrium going.
Scene Five: The Loss of Hope
The bulk of this scene revolves around Lynn and Aaron's truly obsessed fan and it isn't until her delusion about Lynn is revealed that we get any interaction between Logan and Veronica. Leaning against the partition, Veronica's voice is soft -- it very well may be as soft as we ever hear it when talking to a "client" -- as she shows empathy for him, something that wouldn't have been expected or believed to be even remotely plausible nine episodes ago. But yet it is, thanks to the brilliant groundwork laid out in the flashbacks and last four episodes, as well as the skill and chemistry of Bell and Dohring.
Scene Six: V and Sympathy
Sigh. These are usually filled with lighthearted fun, sweet and/or snarky moments recounted, but dang is this an episode a downer or what?! I'm on the last scene and am just depressed. Even the next episode has some moments that I can have fun with, but this one, damn! It's just so incredibly sad. And it continues and just about ends on that note. As in the scene before, the interaction here is not between Logan and Veronica but for the ending, and so my analysis comes mostly from how Veronica deals with the situation.
We've seen Veronica handle cases, upstarts, varying situations from silly to serious and she generally does with a smart-ass comment and a blithe grin, not so here. The closest similarity would be her reaction to Justin Smith's parentage reveal in Meet John Smith, but even then, there was a distance. Yes, Veronica clearly personalized the case there, but not to the degree that she is personalizing Logan's case. And it didn't come across so much in this scene here that she was empathizing with Logan -- as it did in the earlier scene -- but rather, she is showing sympathy. Her pain, and it's clear that she is pained by this, is for Logan. There just wasn't the sense that she was thinking of her maternal loss, but only of Logan's loss. And she also felt his high. When she got that text message, when she ran out there yelling his name, breathless with the quick desire to reach him, again, we had Veronica wanting to be there for him, give him hope, relieve his pain.
Quite a change, but bless Rob Thomas, a believable one, from the girl who gleefully set him up for a drug-related bust in The Pilot. But then again, in that same episode, the same girl couldn't stand to see Weevil knock Logan down. Oh yeah, it's been there all along and how beautifully the show has brought it to the surface.
Scene One: Well, You Know What They Say: Veronica Mars, She’s a Marshmallow
I wrote about Veronica's demeanor regarding Logan's "case" in the Mars vs. Mars LoVe analysis:
While it's in the next thirty seconds or so that we get the physical and verbal confirmation of where they stand with one another, it's not necessary to let the viewer know because their interaction while sitting in the quad makes their position clear enough. There is simply no animosity between the two anymore. Whereas, in the last episode they still made the show of dislike, even if their hearts weren't in it, they had spent so long building and nurturing their vendetta that neither was ready to completely just drop it. Now they are. Or more importantly, Logan is. Veronica IS a marshmallow. It's almost used as a punchline to describe her at times, but it is entirely true. Logan started the war, Veronica just learned to become a worthy opponent. Now that Logan has finally realized that the war had no true reason for its existence, Veronica -- because she is indeed that marshmallow -- no longer fights.
In this more than anything else I concede to those that have determined that Veronica is a better person than Logan that they have some "proof." However, as an addendum I would point out that Veronica has had Keith to guide her on right versus wrong; Logan has had Aaron and Lynn. Again, I repeat the former, Logan has had Aaron. Yes, Aaron. Is it any wonder that Veronica has a higher moral compass with which to find her direction?
And speaking of direction ... I found this little bit interesting as the scene progressed. As Veronica rose and went along her way, there was barely any time lapse between her departure and his following her. Therefore, when we next see them in the school interior, it's clear that not only did Logan get up and go after her immediately, the two must have walked in silence through the quad, through the doors and down the hallway before we had Logan's verbal/physical moment of acknowledgment. I don't know why I like that little fact; I just do. I don't believe we ever see them just walking side by side in public at any other time in the series (minus a few moments at the party in A Trip to the Dentist). And it's just a nice thought, that even though we don't actually see more than a few seconds of it, the knowledge is there that indeed they did walk side by side at Neptune High for longer than what was shown.
Now to that moment of acknowledgement. Because this show is called Veronica Mars and we've seen Logan from her point of view (mostly) through the bad and the good, I'm going to make another amendment, this time to a different statement. Above, I commented that it wasn't necessary for the viewer to see Logan confirm that things had changed, re: his almost shy gratitude and gentle shoulder squeeze, and I believe that. However, I also do believe that the little bit of dialogue, the sweet physicality, not to mention those soft puppy-dog eyes, were needed for an entirely different reason: As much as many of us love Logan now, as sweet as Logan is being to Veronica now, much of the early part of the season -- even as recently as his snarky, albeit without heart, comments from the previous episodes -- Logan has been a big jackass to Veronica. He's treated her horribly and, damnit, she IS helping him out of the goodness of her heart, "case" or not, and we needed to actually WITNESS his acknowledgement of that in order for us to fully accept this change in their relationship. And so we did.
One more note about this scene. After Logan ambles off, Veronica sees Duncan helping with preparation for the school dance (as President of the Student Body -- nice nod to continuity there). What follows is a line that makes perfect sense in light of this episode, but is interesting in light of later episodes. He casually asks with what appears to be a genuine smile: "Did I just see my best friend ask you to the [dance]?" And you'd almost think that he wasn't terribly bothered by the idea. Hmm.
Scene Two: I'm Inspired!
Not much here, really, other than the fact that Veronica is clearly not cool enough to get how awesome Logan's inspirational quote of the day cell message is. She actually rolls her eyes. Hello? Veronica, that's a totally cool idea!
Scene Three: When is a Cliche Not a Cliche?
Despite this being the first scene where one of them kisses the other, where endearments, sweet words, etc. of any kind are exchanged, this scene really isn't one that bears a rewatch on repeat. Why? It's not just the fact that it's not real -- they are playing the "engaged" couple role in order to get information -- but because this scene didn't seem to be in place for the reason that most faux engaged couple scenarios are cooked up for on television/movies. Generally, such a scene is set-up to throw the couple who aren't together, but are going to be together soon enough into close proximity with a degree of forced intimacy due to the charade. The point is that such a situation sets up the couple to experience that unresolved sexual tension (or UST as first defined in the Mulder/Scully of The X-Files fanship) to such a heightened degree that it hastens the onslaught of a real romantic relationship.
That does not even remotely happen in this scene.
The purpose of this scene is for the plot. Yes, Rob Thomas actually uses one of the most time-honored cliches out there and pretty much takes the cliche out of it. The faked engagement doesn't show any UST, doesn't help get them to a state of resolution, and doesn't really even put them into a situation of close proximity with forced intimacy due to the charade. A kiss on the cheek, an arm in the crook of his elbow, a few endearments and that's pretty much it. Yes, we do see Logan seem to get a sense of "damn, Veronica Mars is on the ball!" but honestly, we've seen that before and highlighted much more clearly. Much of the emphasis on Logan's emotions were all about the possibility of seeing his mother alive and well in the very near future.
Yes, what we get in this scene is the plot furthered along. And that's pretty much it. We get more information that proves that Lynn is possibly alive, we get Logan's hopes going up, up, up! We get Veronica doing her little mojo to get said information and then we get Logan reclining on a couch and turning down Veronica's offer of slipping upstairs. An offer that would be (prior to the decline) the next logical step in the cliched scenario. However, we don't get it. Logan turns her down, Veronica with a look of, 'oh, you foolish boy, I could accomplish so much more, so much quicker and in a much cooler way!' simply walks away.
See, pretty much all moving along the plot, not the relationship. Brilliant! Because we are then of course blind-sided when the next couple of scenes (which are essentially a one-shot broken up by commercials), while moving along the plot, do function more in advancing the state of their relationship ... in a much less shallow and a much more satisfying way.
Scene Four: Under Her Wing
Next we have another Duncan/Veronica bit that revolves around Logan. While it fits in with this episode, it also makes sense in light of future episode events (quite different from the comment in the first scene as mentioned above). At Caz's party, Duncan asks her if she has any idea why Logan would be staked out at the Sunset Regent and the perplexed look on his face when Veronica's response makes it clear she (a) knows why he's there and (b) that she'll take care of it is actually quite funny. Poor Donut. He's so confused.
From a LoVe standpoint, I like how Veronica has seemingly taken Logan under her wing, as if he's in her care. It truly began at the end of Mars vs. Mars when she ran after him with the credit card usage information and it continues throughout this episode. It's a nice thing, and for this viewer, does a good job of letting us live vicariously through Veronica -- because Logan is just so begging for the comfort here. Having it be Veronica again helps set up the groundwork for the relationship to come.
Scene Five: Under Her Wing, Part Deux
In this scene more than any other (yes, even in the breakdown scene) we see Veronica playing the maternal card. The way she stops upon seeing him, her facial expression, the patient way in which she tells him that he can't sit there forever all have a tone of understanding care of the maternal ilk. It's that note of exasperation mixed up in the affectionate concern that does it. And it strongly continues that theme of Veronica taking care of Logan.
Scene Six: A Show of Solidarity
And now we come to one of my favorite shots from the entire episode: Veronica sitting by Logan's side on the couch. It's just such a show of solidarity and I love it. They aren't holding hands, he isn't leaning against her, but just the fact that she is sitting there next to him -- as opposed to the previous scene where she was sitting across from him, adding to the whole maternal angle -- joining him in his wait adds a level of intimacy to their interaction. Intimacy, not in the sexual sense, but in a shade of survivor-affinity. They've both been through so much in the last year and now they have this shared pain of losing their mother. And that affinity was shown through the simple act of Veronica sitting by his side.
Scene Seven: Body Language
Despite the fact that Logan (and Trina) are the focus of the scene, any analysis of LoVe relies on Veronica in the background alongside one crucial moment with Logan. However, before we get to that moment though, we have Veronica's hilarious body language as she glances around the lobby as Logan raises his voice; as Trina and Logan snark at one another, as Trina tries to gamely include her in the conversation. Veronica's looking around, twisting her hands, trying to cover a laugh here and there, sending worried glances Logan's way ... it's really quite funny and Kristen Bell is so on. Why I relate this to LoVe is simply because all of Veronica's reactions are just so based on what is going on with Logan -- she is just so keenly aware of him.
Especially in that afore-mentioned moment. As Trina mock pouts at Logan about the abuse suffered by Logan at Aaron's hands (which she clearly doesn't believe), Logan mouths the word 'No,' shaking his head, while Veronica sharply glances their way, a look of disbelief meshed with horror meshed with confusion on her face. The conversation continues and by the time we get another glimpse at Veronica, she is once more anxiously twisting her hands and looking around, but her attitude seems to be more focused on what this is doing to Logan. I can't describe why it comes across as so, it just does -- thanks again to Bell's impeccable acting choices -- and that belief is proven when Veronica just steps forward (running her hand along Logan's back and then down and up his arm. **Sigh**), trying to get him away from Trina and succeeding.
Scene Eight: Enemies No More
The breakdown is, of course, what we most remember from this scene, in fact it is (alongside Logan wearing no pants) the most memorable aspect of this episode. Logan Echolls, who had taken such pleasure in making the life of Veronica Mars hell, was revealing his innermost self and pain to her. And not only revealing, but literally falling apart in her arms. Nothing was held back, there was an openness and vulnerability that viewers had only witnessed in brief flashes of expression and dialogue -- but this was Logan at his rawest all laid out.
And it was Veronica's to witness as well. Her reaction was telling in that you could clearly see the pickle she found herself in. The marshmallow core that Wallace rightly called her on in The Pilot was at war with the enemy that Logan had made of her. In the seconds between the confusion she felt when he first fell upon her and when she began patting his back and making shushing noises, the war was over, finally.
What had begun when he had shown up at her door, through his gratitude to this breakdown at last, after a year and a half of bitterness, was at an end. They were enemies no more.
Scene Nine: Everybody Wang Chung!
Really not much here other than pantless Logan. And Veronica frustrated with Tom Cruise butting into her life (you and the rest of the world these days, Veronica!). Okay, there's a bit more than that. Note that we see two different reactions to Logan's drunken Wang Chung demand: Duncan's and Veronica's. Duncan's expression is one of "what the fuck is he doing?!" Veronica's is frustration, yes, but also concern. She and she alone knows where this is coming from. Sadly, I must note that it was Deputy Leo who first went after Logan, but he IS a deputy and Veronica went along as if she planned to go after him herself, so there!
Scene Ten: Who's This Dude?
Two main things in this scene that I absolutely adore. Adore as in up there in my favorite LoVe moments ever. First of all is ... Fact A: Veronica is practically frisking Logan while looking for his keys and Fact B: Logan is giggling -- he's giggling! and it's like the cutest thing ever! -- as she is frisking him. Heeheehee! Love, so, so much love for the frisking and the giggling.
The second thing is Logan's reaction to Leo. I had noted (once again in Mars vs. Mars -- but really that was when the shift really happened on-screen)
Simply put, there is absolutely a somewhat jealous vibe to the way he spoke and acted about Leo. Now, I don't know that it was so much 'She's my woman, back off!' as more Logan wanting Veronica to be focused only on him. And that notion is strengthened by his reaction as Trina pulls him away. Logan looks back at Leo and Veronica with the same look on his face that was there when he was asking who "this dude" was. Again, I don't think it was a 'She's mine!' look, but more of a 'She's with me!'
And as a LoVe shipper, it was just so much fun to watch (ignoring the Leo/Veronica aspect of the scene, of course) because we really saw Logan clearly WANTING Veronica to be the one there for him. And for Logan, hell, that's tantamount to love.
Scene One: The Reveal of the Thaw
Really, it must be said. The music -- all happy, saccharine-sweet? A bit much. Okay, more than a bit. I generally have no issue with the music choices, both vocal and instrumental, on this show. However, in this scene, not only do I think that they actually made a bad selection, I believe that were it not for the talent of Kristen Bell and Jason Dohring (and incredible charm of Dohring), that music choice would have completely ruined the scene. It was way, way over the top.
We get that the ice has completely thawed; we get that the insults and the viciousness and hurt are gone. We get that they've reached an understanding. Both actors are really, really good; the writing staff of Veronica Mars is really, really good. We don't need anvillicious musical chimes telling us that things are going swell. Damn near tinkerbell notes are so beyond overkill.
The ever-growing pleasant tenor of their relationship was translated beautifully through the carefully phrased dialogue and most especially through the acting choices of Bell and Dohring. About the "charm" comment above. The reason I specifically noted Dohring's charm in my take on why the scene did work is simply because this is one of the rare scenes where the adorable charm that he appears to have in real life (as relayed from cast appearances) really shines through.
Putting aside the horrendous music choice, the scene is fairly simple. Yes, in retrospect we definitely get some interesting 'information,' but for the arc of the story, the relationship now, this scene was all about one thing: The reveal of the thaw. Yes, for the absolute first time since the series began there was no animosity, real or feigned, there was no lying, no viciousness, no pain, there was just two people talking. And that was nice. There was a spare simplicity to the scene (overdone by the music, grrr). The tentativeness that we had seen in Mars vs. Mars and Ruskie Business was there and not. There was a tentativeness, but it was a different kind. In those episodes, the hesitancy appeared to be grounded in 'where do we stand with one another?' In this scene, the careful maneuvering of words and looks, pauses and smiles seemed rooted in hope.
And we didn't need the damn music to telegraph that, thank you very much.
Scene Two: Just Off
This scene is just a weird mix of being really off and yet really on in terms of the emotional intimacy between Logan and Veronica which in and of itself (at this stage of the series) is just off. Past Veronica's first question (and that's mostly where the just plain "off" part comes in -- why does he never answer her question and why doesn't she ask it again?), their voices are so soft, practically dripping with a suppressed yearning and tenderness. If you have the "movin' on" scene from Hot Dogs, listen to the way Veronica says "guilty about what?" and it's almost the same tone that she uses throughout this scene. Logan's voice is gentle as well, like a sweet, soothing rain, and his eyes are in full, puppy-dog mode.
It's just -- I mean, it's nice from a LoVe shipper point of view, but I remember watching it when it first aired expecting something to happen between them. I expected something edging away from just the emotional brand of intimacy because there was so much emotional intimacy ever-present in the scene. And it's not just their voices, it's the way they're looking at one another, the way that Logan slides nearer to her, the way Veronica gazes at him, her eyes practically limpid pools (I kid you not).
And then comes the kicker: Before he tells her that Duncan's fit happened when she and DK broke up, he stands up and they are inches apart. He pauses and there is something in that pause, in the way he stands before her, holds her a gaze a bit longer, breathes out the words, "weird, huh?" and then pushes away and leaves that really makes me believe that it hit him in THAT moment that he was thinking of his best friend's ex in romantic terms. But I'm not sure that I was even supposed to get that from this scene or that moment.
I dunno; it was just off.
Scene One: Classroom Flirtation
I'm rather confused as to the placement of Veronica, Logan and Duncan in this first scene. It's as if both Veronica/Logan fans and the Veronica/Duncan fans were being given one last even playing field to choose for whom they wanted to root. The scene begins with Veronica calling Duncan super-cute (not once, but twice!) as she stares intently at him. Sure, it's part of a smart-ass voiceover, but she DOES call him super-cute (which, personally, I just don't get, but that's neither here nor there) and she IS staring intently at him. So, score one for the fans of VD. Of course, that victory is followed by a touchdown from the crowd cheering on team LoVe.
We get all of these absolutely, totally high-school, I like him/I like her back and forth looks and smiles. Veronica even does one of those 'it really wasn't that funny, but he said it and so I'm going to giggle in appreciation because I want him to know that I appreciate him' laughs followed by the patented, followed by 'is he looking at me to see that I'm appreciating him' looks. Ah, the looks. Let's talk more about the looks. They are the 'out of the corner of your eye' looks, the 'sideway glances taken every few seconds' looks. The latter are seen especially from Logan because apparently he's in the stage where he believes that if he does not actually see her she might just disappear. In addition to the looks and the smiles and the giggles, you also have the source of the laughter: Logan is trying to make funnies specifically for Veronica (and let's note that ever-important distinction) as opposed to most of the previous year and a half funnies designed specifically to insult Veronica.
But then -- then post fire-drill, as everyone is walking out of the classroom, we get an overly friendly discussion between Veronica and Duncan that falls under the category of 'trying too hard talking about something, anything just so that you can be close to one another' and poor Logan is left a few students behind and then several students behind them to talk to an extra. So what was the point of the tinge of closeness between Veronica and Duncan bookending a center of flirting between Veronica and Logan? Now, I'm not saying that anything between VD before and after the looks and the smiles and the giggles between LoVe was flirting because it could absolutely be read as not, but because it WAS Veronica and Duncan, there is that history ...
Eh, who cares, right? We got the looks and the smiles and the giggles. And those were thoroughly enjoyable and considering the angst-o-meter on this show, I'm thinking we should just take what good times we get and don't look a gift horse in the mouth, damnit!
Scene Two: And the Role of the White Knight is Played By ...
There is one thing I adore about the phone conversation and one thing that slightly, well, bugs. First the good, Veronica clearly looks to see who is calling her before she answers and as she begins speaking, she has a smile on her face. Awwwwwww! Logan's number (or name?) made her smile. Double awwwwwwww! Now the buggy -- she makes the comment "you would have loved it" after telling him that Duncan took her head off. I understand where the comment came from (duh!), but I felt that if that was going to be re-introduced as such, it should have been acknowledged by Logan in some way. This rather reminds me of my major issue with one particular scene in Kanes and Abel's:
I'm tickled by the fact that Logan is positioned continually in the room as to easily protect Veronica. When she is in the bathroom, Logan is standing next to the opening, essentially between her and Ben. And when she comes out, even though he moves, he stays within a few feet of her. He's so darn sweet. And it makes one almost wonder though, if he had ever felt that he had to protect Lynn from Aaron and thus why he was so aware of where he needed to be just in case? Anyhoo, moving along.
Of course, that protective vibe continues in full force when Ben asks him to leave the room. We get the funny 21 Jump Street allusion and then this I really love: Yes, he's still playing the White Knight card when Veronica tells him it's okay by his 'leave the door open/I'll be right out here' bit, but what is really fabulous about this moment is that he listens to her. He doesn't play all brute force, I am Man, hear me roar! He listens to her, trusts that she can take care of herself, and, yes, lets her know that if she needs him, he's only a few seconds away. Sigh. I heart Logan.
Scene Three: Something Happens
Did Veronica mean to kiss Logan on the cheek or the lips? That is the one question I always find myself asking when she leans up to give him that small peck. He didn't move, so it wasn't that. Was it a misfire -- incorrectly judging where the kiss would land based on height difference? It's possible that Kristen Bell and Jason Dohring never actually physically rehearsed this scene because they wanted it to be as natural as possible. I don't know. I've just always wondered -- why the kiss on the corner of the lips? Why not just on the lips? (Which, in and of itself, would have just been weird.) Why not on the cheek? I dunno.
What I don't question at all, ever, is the feelings and thoughts going through both Veronica and Logan's minds after she places that small kiss on him. And that is all thanks to just how truly amazing both Bell and Dohring actors are. There is not one word of dialogue in this scene past the first few seconds in the beginning:
All of that is conveyed in a mere few seconds solely by the body language, facial expressions and what can be read in the eyes of these two young actors. Just wow.
As for The Kiss itself, I must confess that I've watched it about a thousand times by now and I've looked at all of the different angles (both literal and not) and I forever remain in the 'it was perfectly executed' camp. It wasn't a perfect kiss per se, but it was perfectly executed. It was awkward, it was desperate, it was confused, it was passionate -- before, during and after and it perfectly fit where they are right now as two people trying to figure out what this thing is between them without really trying. It was a first kiss that was unexpected but once the moment hit and The Kiss became inevitable, it was as if The Kiss was as necessary as breathing to the both of them and there was so much there in that moment, that they were left grasping for a hold as desperately as they could. Worked for me.
And the aftermath of The Kiss worked as well too. I adore the looks between them, again saying so very much. As wonderful as The Kiss is itself, it's really the intense staring that passes between them that really and truly sells the scene. Especially Jason Dohring's big brown eyes. They were just made for this scene. Sigh ... ahem, anyway. I also particularly loved how his hands go to encircle her waist again and it's THAT movement that seems to wake them up to where the hell they are and what the hell they just did.
And then it's like a free-for-all -- he pulled away, she stepped back, he stepped back, she ran away, he started to follow for the slightest of seconds and then stopped and just stared at her as she ran downstairs, as she got to her car, meeting her gaze as she stared back up at him while a cross between a shiver, a shudder and sigh wracked her body. And as she got in her car and drove away, he still stood there staring.
Pretty damn intense. I don't know what crack Rob Thomas was smoking!
Scene Four: Can You Say Awkward?
And the title pretty much says it all. The interaction between Logan and Veronica runs about 30 seconds in this final scene and it's pretty much all about the looks ... again. Geesh, are we sensing a theme for this episode? Back and forth, we've got her looking at him and him looking back and both reads pretty much amount to "What the hell do we do now?"
Scene One: Saved by the Bell
Ah, the first interaction after The Kiss. Much like the final scene in Weapons of Class Destruction, the key word for this scene is "awkward." It's just that this time it's an overall awkward feel with dialogue as opposed to an overall awkward feel without dialogue. Which, of course, makes the scene hilarious! It's so obvious that they want to talk about The Kiss or at least acknowledge in some way what the hell is going on between them, but do they? Noooooooo. They talk about Duncan and Celeste and exchange shy smiles and glances. So cute.
What makes the whole thing even more adorably funny is the nature of both characters. They are both pretty take-charge kind of people, meeting things head-on and so forth ... but when confronted with this thing between them, both are completely blind-sided. And once more for the road: It's hilarious. And adorable. And it's in this scene that I think we begin to see the first signs of SchmoopyLogan (with Veronica -- we've seen SchmoopyLogan in the past with, uhm, past girlfriends because he's a schmoopy-with-girlfriends-kinda guy). It's just in the looks and tone of voice (especially the tone of voice) and the way he just is. It's as if he has a schmoopy emanation and it starts to, well, emanate, with Veronica in this scene. Adds to the adorable.
And the bell thing? The pointing up and then the bell rings, I have no idea why that works as such a great capper to the scene, but it does. The entire scene is fraught with unpredictability; neither knows whether the other is actually going to say something of substance or, honestly, shallowness, about this thing and then comes the pointing at the bell. It's as if as Logan stood there, wallowing in the "what the hell?" of the moment, he seized -- subconsciously -- for the one thing he knew about, the one thing in that moment that was predictable. The ringing of the bell. And then his "See ya," had almost this wistful tone like he didn't want the conversation about not-what-they-really-wanted-to-be-talking-about to end.
Lastly, about Veronica's voiceover: It was really a bit of a hallelujah! moment as this is the first time since things started to thaw between them that we got a voiceover about Logan. And while I do love the fact that she considers kissing Logan "heaven" (really, who can blame her?), I do find fault with the timeframe she references. Two minutes? I wish! More like 18 seconds. I mean, hello!, the scene itself is barely over a minute long. Ah well, I guess we can just fanwank it that the gloriousness of it lengthened the time in her mind. It happens. Something, you know?
Scenes Two and Three: Three Things
Note: I'm combining the second and third scene because the first clocks in at only 25 seconds and it's mostly set-up for the following scene.
There are only three specific details I want to point out in these scenes. The first, and most obvious, is the fact that Logan not only goes to Veronica to ask for her help without a qualm, but he also does so not in a way that suggests it's another "job." Furthermore, unlike the last time he visited the office of Mars Investigations, Logan just strides in as if he belongs there -- well, not so much that he belongs, that's not quite the phrase for which I'm aiming. It's more that he enters as if it's not some strange quirk in the universe that he is there.
In Mars vs. Mars, Logan entered the building almost tentatively (the "stained glass" remark comes to mind in highlighting that) and ventured close to Veronica's desk just to throw the tabloid onto it before stepping back. Here, he walks right up to the desk and stands there during the reveal of why he's there. By the time Veronica is off the phone and working her mojo on the PI's best friend website, he has actually moved behind the desk and is standing right next to her. He even leans in close at one point to read over her shoulder and there is this frisson of awareness just because Kristen Bell and Jason Dohring have such awesome chemistry.
The second thing of note is the issue of Logan's offer to "return the favor." There has been some noise made about his "penchant" for violence, but I don't see it as such -- every instance of violence has been instigated in some form or another by those he is tangling with and he IS a teenaged boy -- and more importantly, Veronica doesn't appear to have a problem with it. Upon Logan's casual comment about returning the favor of beating the crap out of Dylan, Veronica just as casually agrees to get the information for him.
And the third little tidbit is Logan's smile as the first (25-second) scene closes out. It's a combination of joy and admiration in just the tiniest flicker upon his lips. The joy seeming to come from Veronica's easy acceptance in helping him and the admiration for her can-do-it-attitude. And that smile of joy and admiration in full schmoopy Logan mode just grows and grows as the second scene continues when Veronica impresses with her Nancy Drew skills. What can I say? It's just so much fun seeing schmoopyLogan.
Scene Four: That's Amore
Alrighty then, the first part of this scene is about 10 seconds long (Logan and Veronica running out to see Aaron beating the crap out of Dylan) and pretty much the only LoVe analysis I can wring out of it is that, uhm, they're standing next to each other? Really, any analysis of this scene is going to center on Veronica seeing Aaron in action, Logan's screwed-up psyche and Aaron's screwed-up psyche. Sad to say: Not so much with the LoVe there. However, 'tis okay because once the locale immediately jumps over to seeing Dylan on his way, we get the LoVe, baby.
Note, this whole scene (including the "That's Amore" section) is a total of three minutes long and, to be honest, the first 1:20 really doesn't do all that much for me as a LoVe shipper. In terms of character and story, they work beautifully, but there is just too much talk of Logan loving Lilly and Lilly loving Logan (even if it wasn't as much). There is just too much emphasis on Lilly for me to fully enjoy this part of the scene as a fan of the Logan/Veronica pairing. However, that does not mean that the last minute of that 1:20 isn't incredibly important to the LoVe relationship. For all intents and purposes, I do believe that Lilly and the spectre of Lilly in the potential relationship was put to rest and THAT is a very good thing. Just not in a 'ooh, let's rewatch this over and over and over again because LoVe are so damn good' way because, again, the emphasis was on Lilly and Logan's relationship with her.
Now before I discuss what follows after that 1:20, I am going to jump to the 2:15 mark and point out that the last forty-five seconds also 'suffer' from the emphasis on Lilly. Therefore, that part of the scene doesn't so much fall into the 'rewind until your VCR/DVR/DVD breaks' mode either. Once Veronica's memory is jogged by Logan's "secret notes" comment, while we are still getting some great LoVe, the spectre of Lilly -- this time the mystery of her death as opposed to the Logan/Lilly relationship -- returns and that just makes those last 45 seconds not as much fun in the HotDamn!LoVe! way.
Of course, there is still much to enjoy from a LoVe point of view in the beginning and ending of the scene, the soft voices -- Veronica's has the sweet, hopeful note to it, Logan's has his sweet, schmoopy tone going on, the adoring, limpid eyes gazing sappily at one another, the hopeful hesitancy in their voices, it's all quite lovely. And it should certainly not be discounted; it's just that the spectre of Lilly does bring the LoVe quotient down a tad when compared to the 55 seconds in the middle of pure, unadulterated LoVe bliss.
Which is coming into detail soon, but first I've got two more paragraphs to go before I hit the magical fifty-five seconds between the first 1:20 and the last forty-five seconds of the scene. I simply must offer the utmost praise for the outstanding music editing department. And when I say outstanding, let me tell ya, I truly do mean O-U-T-S-T-A-N-D-I-N-G! I never even noticed this until I was doing the time breakdown for this analysis. The music editing in this scene is literally jaw-droppingly amazing! I mean, seriously, kick-butt amazing. The music ... just wow! I noted the first 1:20 and the last forty-five seconds had the spectre of Lilly hovering over them and while I haven't gotten to it yet, the fifty-five seconds in between were, indeed, all about the LoVe and if you pay attention, the MUSIC tells you that.
That particular melody that many associate with this scene because it takes place during their second kiss begins its tune at EXACTLY 1:20 and at EXACTLY 2:15 it fades from that and segues into the melody that was playing at 1:19 prior to the LoVe bliss-athon. Again, I didn't realize the music change when I was doing the times to break down when it was about Lilly and when it wasn't, so it was completely and utterly deliberate. What I read in the dialogue, the tenor of the scene due to the acting was telegraphed perfectly in sync with the music, which obviously added to that tenor. How frickin' cool is that? Wow. Can I just say how much I ADORE this show?
Alright, finally, onto the fifty-five seconds: What can there be said? This is the culmination of the semi-flirting amidst the snark, the growing closeness and tenderness, the attraction building, the hormones flying, the feelings growing. Yes, The Kiss was wonderful, but it was all about spontaneity and done with a complete lack of deliberation. It just happened. This time, this kiss, both Logan and Veronica knew exactly what they were doing, exactly what was happening and that once they took this step, shared this kiss, they were knowingly heading into completely new territory for them.
And they still took the step. Excuse me a moment, but SQUEEEEEEEEEE!!!!!!!!!!!!!!!!!
Ahem, it wasn't just the kiss -- which was actually about 10,000 times hotter than The Kiss; for one thing, we got TONGUE this time! -- it was the kiss in combination with the schmoopy looks, the sappy voices, the forehead touching, the giggles. Oh, have I not mentioned the utterly adorable awesomeness of the giggles? The giggles rocked and just added this whole level of intimacy to the scene and that giggling, I think, was one of the things that bespoke of these two having been friends before. That they could giggle between some damn hot kisses and still keep going (hotkiss, giggle, hotkiss, giggle, forehead touch, hotkiss, giggle, rinse and repeat) was just so much fun to watch. So swoon-worthy, so delightful. That was the key about these fifty-five seconds, they weren't just hot, they weren't just sexy or romantic, they were FUN to watch.
And did I mention hot? Sigh. It was pure, unadulterated LoVe and I positively adored all fifty-five seconds of it.
Scene Five: Veronica Mars = Train Wreck
Technically not a LoVe scene but because this is possibly the first time EVER that we've heard Veronica verbalize any feelings about Logan (even if she's lying through her teeth), it's worth a note. Never mind that the scene is with her boyfriend, Leo. Make that, ex-boyfriend. Yeah, she breaks up with him amidst the Logan verbalizing. See why I'm including this scene?
Kristen Bell does a really fabulous job selling this, which is incredibly necessary. Not only does Veronica break up with Leo (excuse me while I laugh and laugh and laugh), but she also does so by telling him that she just made out with another guy (me = still laughing) and then proceeds to ask a favor (on the floor rolling now). And because Kristen plays the tone just right, you understand why Leo does help her out.
I love this scene.
Scene One: Veronica Mars, You Sure Know How To Stop Traffic
I'm probably in the minority in that I wasn't 100% sold on this first scene that shared Logan and Veronica. Don't get me wrong, I loved how Logan was so going for defense of her and the little secret looks and smiles between them were too adorable for words. It's just that the whole blocks and grilled cheese and stuff, the dialogue there just didn't work for me. It was just off. I actually had read the sides of that way, way back when and didn't quite get it then. I was hoping that watching the scene, it would work better. Upon watching it on the UPN site and again last night, nope, it was just weird. I mean, I get what was being said and all that; it just didn't work for me.
But even with that criticism, it still did have many a swoon-worthy LoVe moment. The looks he gave her, the way she casually took his knife (one of many smaller, intimate moments in the episode), the continued looks and smiles, were all deliciously wonderful.
Scene Two: A Hop, Skip and Jump to LoVe
There was a lot of discussion after Hot Dogs about the fact that Logan seemed more into Veronica than she was into him. I think that judging from the way Veronica was just as all over him as he was her in the bathroom scene, they are about on par now. Even more so, he was the one who was able to return to reality and note other things, while it seemed like Veronica just wanted to get it ON!
Little things in this scene I loved. Well, I suppose I'll just get the obvious out of the way. HOT! Yes, very, very hot makeouting-age, the way they were groping and pulling and tugging at each other, how he swept her up onto that counter and the way their bodies were so snug. YOWZA!!! These two really do have some intense chemistry going on, now don't they? And speaking of all of that hot, I loved how when Logan first pulled away, when Veronica was explaining about the barricading, out of order sign, her voice was all breathless and giddy. And Veronica, being quite frankly used to things of an illicit nature, keeping secrets, etc. didn't seem even remotely fazed by their situation. I like that Logan was.
Yeah, he turned it into "boy ... in a girl's bathroom is wrong," but the subtext when he said it was "wrong," was that he just thought hiding was wrong and I think that came from THE respect that he does have for Veronica. However, typical guy, once she added the "so wrong it's right" and angled for another kiss, he just muttered that "yes" in response into her mouth as he kissed her again. Hormones have such powerful sway. Especially in teenage boys.
Another small thing: I loved, loved, loved how Veronica kept tugging on Logan's shirt from beginning to end of the scene. It was just such a girly, intimate, possessive-he's-mine kinda thing, but not in a scary, obsessive-he's-mine kinda way. I loved it.
Moving along, once the decision had been made to cut the make-out session short, did anyone else catch Logan's little flip-kick he did after he said "time travel isn't possible?" At first, I just immediately thought that it was Jason's ode to Logan's ambiguously gay moment of the week (as he tends to have at least one per episode). Then I wondered if it was a throwback to Logan's earlier reference to Brigadoon (from You Think You Know Somebody) -- which is a musical about time travel to a loose degree. And then when Veronica hopped off of the camera, she did this kewpie-doll "oh!" expression that then reminded me of Reefer Madness and I had a momentary wonder if Logan and Veronica were going to launch into a musical number. Now that alone would have been worth just about every other scene on television this year!
Finally, the tail-end of the scene. Did anyone else kinda get the idea that Veronica was showing off just a tad bit for Logan when she whipped out the tardy slips? And then, sigh, when she was against the door and he kinda put his arm over her head, leaning towards her and then double, sigh, the physics talk and the stolen kisses, go to kiss, pause, talk, slightly laugh, kiss, go to kiss, pause, talk, slightly laugh, kiss, go to kiss, pause, talk, slightly laugh, go to kiss, Veronica pushes him away. It was all just so cute and flirty and giddy and adorable and left me with the biggest smile on my face.
Scene Three: Let's Take a Ride
It was very short, but I absolutely loved, loved, LOVED when Logan picked her up from the junkyard place. I saw Veronica walking away from Weevil on the phone and the familiar yellow truck drove by and I was like squeeing inside, "it's Logan!" And then when she just casually opened the door and hopped in while continuing the talk on the phone, I just got all giddy because as I stated above it was one of those little, intimate things. She just opened the door and got in, all business like she belongs there. It was just such a small thing, but it was one of the things that showed me that their relationship is more than just hot hormones and lust.
Scene Four: When the Cat is Away, the Mice Will Play
What I liked best about this scene was actually not the macking, but the overall tenor of the scene (before Aaron showed up), they were both just so happy and teen-age-y. It is one of the few times we've seen them not really dealing with the weight of grown-up things and the dark that lurks in the corners that neither should be dealing with at all, and yet, so often are. The exchange about the "wuv you beary much", "I want my bear won by a show of ring-tossing-ability" was just so endearing in that I think that IS truly something they both want. However, right now they do have to settle for the secret nature of things because of the weight of grown-up things and the dark that lurks in the corners that they DO have to deal with. And that just sucks.
On a lighter note, I have to ask. Am I the only one who is hoping that someday, sometime down the road we see either (a) Veronica with a bear that has a tee-shirt that reads "I wuv you beary much" and/or (b) Logan demonstrating his ring-tossing abilities for Veronica? Just someday.
Okay, yeah and the kissing was hot. LOL! But, but, but, it wasn't about the kissing in this scene for me. It was that they were so happy. Even as they were talking about some of the weighty things (Lynn's death, the weirdness of a relationship between them), they were just content to be in one another's company and I truly enjoyed that. And unlike in the first scene, I really liked the dialogue here and -- but like the first scene -- the little touches. The point of reference to the bong goes back to the Pilot (as a lot of things in this episode did); and then Logan's almost sweet snarking on Aaron filling it with seawater. We had the afore-mentioned beary/ring-tossing and then when Aaron showed up, the dialogue about "your dad, the star of Breaking Point and Beyond the Breaking Point." Nice little touch that for Logan, Aaron is just dad, but for Veronica, he IS one of the world's most famous movie stars. For me, it was even funnier, because of my reaction to Aaron walking in and their reaction. Logan was leaning against the couch, and I said out loud "Oh My God! How embarrassing!" and then Logan said, "Oh my God!" and I squeed!! That whole little section there was so real and uncomfortable and hysterical.
One small, well not complaint, but non-giddy observation: Why did Veronica look so annoyed when she talked about having lipstick on her teeth? As she caught it and then walked to the bathroom, she looked almost pissed and I wasn't sure what the subtext there was. I'm not sure why she seemed so bugged, embarrassed I get, but why so annoyed?
Anyhoo, moving on. Finally, when Dick and Beav showed up, I felt bad for both Logan and Veronica. Logan clearly did not want to be with them, but wanted to be with Veronica, still he was trying to respect Veronica's wishes of keeping it quiet. And Veronica, I think for the first time, realized just how much it sucked keeping it quiet was gonna be. How much do you know she wanted to walk right out there and throw some snark Dick and Beav's way? But because of her own rules she couldn't.
As for Aaron, sick, twisted, multiple personality boy. If we hadn't seen all of his psychoses earlier in the season, he would've given Keith a good race for the running of best dad in Neptune in this episode. He was understanding and kinda sweet about the LoVe make-out; and then he helped Logan out in covering up for Veronica, and with that final look to Logan, showed that he didn't approve of him keeping it secret, showing, what seemed to him a lack of respect for Veronica, but also showed respect for his son by not busting him. And he was sweet and not in your face when he handed Veronica her purse and offered her the ride home. Which leads us to ...
Scene Five: Let's Take a Ride, Part Deux
Again, if we hadn't had such ample evidence of Aaron's not-so-father-knows-best parental skills I would have just thought what a wonderful father Aaron was. It was obviously an awkward situation, but Aaron acted the part of the understanding, concerned father so well -- well, gee, it's no wonder he has an Oscar! He touched all of the right notes and so even though it was coming from Aaron, it was nice hearing someone point out what we've been seeing. Logan was a good kid before Lilly died, that fucked him up and he's been spiraling out of control since, but as Veronica stated, he is "coming to terms." And we've seen that over the course of the season, but especially since he's allowed Veronica back into his life. We have seen him happier, a lot happier in the last couple of episodes. And not just with Veronica, but overall. And, I think it should be noted, that we are actually seeing the same thing with Veronica.
Take another look at the car scene in the beginning, the cell phone classroom/pick-up scene, the Duncan discussion with Keith* and even the small scene where she talked to the teacher about recycling. We've certainly seen chipper Veronica before, but there's always been a slightly brittle quality, that wasn't there in these scenes. (Kudos to Bell for that touch.) There was lightness about Veronica's overall attitude, the same as with Logan. The bottom-line is that whatever fuck-ups have happened between these two, they are damn sure making each other happy now and that has got to be worth something in this world.
And may I just kiss the musical director for the choice of beginning the scene with me and you/and a dog named Boo! Talk about ratcheting up the absurd-quotient to the zenith. Brilliant.
* Now, about that Keith/Veronica discussion about Duncan, was anyone else rather surprised at how disparagingly Keith spoke about Duncan? Obviously, Keith knows that they broke up, but I never got the impression that he knew how Donut had dumped Veronica. Veronica seems to have kept the details of her horror at high school from her dad as much as she could. So, I was quite surprised at how belittling of Donut, Keith spoke.
Scene Six: Episode 1 vs. Episode 20 - A Smash to a Tap
Another small scene, but another gem. Building on the tone of happiness that had been escalating in just about every scene between the two, we got our climax, so to speak, here. Now, I know I wasn't the only person who thought that Logan was just about ready to out them right then and there. All sitting on her car and flirting and googly-eyes and awww! And that was the surface, which I do want to discuss before digging deeper. The overall feel of this scene was just unadulterated happiness (with, of course -- this IS Veronica Mars -- the shadow about her parents). Logan picking her car up for her (okay, having his dad's driver pick her car up for her), throwing her the keys, her oh so I'm digging but not coming out and saying I'm digging for info about the upcoming weekend, him almost bashfully admitting he bailed on the guys, and then asking her out for "what's the word? a date," her smiling acceptance. Just pure bliss.
And then we get to the subtext. First we had him getting her attention and then her turning around to see him sitting on the hood of her car. In the pilot, Wallace got her attention and she turned around to see Logan lying on the hood of her car. In the Pilot, Logan talked about his daddy taking away his car. Here, Logan talked about his daddy's driver picking up her car. And, of course, the piece de resistance, also in The Pilot, Logan smashed her headlights in with a tire iron; here he just gently tapped them with his bent fingers.
Ah, subtext. I love this show.
Scene Seven: The Irony Just Kills
I really, really did not want Veronica to let Tad down, so I was glad that she didn't, even if I wasn't glad with why she didn't do it (the Logan reveal). The guy was just a total jerk bag. I mean, complete and utter jerk bag. Sick, sick fuck. Much hate for that character.
Okay, hold on, let me back up a bit to the VMVO intro of the scene. Proof positive why I love this show, they not only understand irony, they use it well. The very reason that Veronica was there so early before anyone else and had the opportunity to question Tad and thus get that answer from him is because she was dropping a paper off early because she was cutting school to go gallivanting Catalina-style with Logan. The irony just kills.
As did this scene to my heart. I knew it was coming. I was completely spoiled, but when Tad said "Logan Echolls," gah! the look on Veronica's face. It was such an interesting acting choice by Kristen Bell because there was shock and pain, but once we left the closeness of her face, we just got her voice and body language and there was this almost blankness. Like the shell that had been cracking was being reassembled right before our eyes.
Scene Eight: I Think I Could Love Her, Crimson and Clover
I know that Veronica is the star of the show, the main character and all that jazz. I know that Veronica was raped and it was horrible and she just found out that Logan had some hand in it. I know this intellectually. But, but, but -- I've been living with the knowledge that Veronica was raped from episode one. And I was spoiled as to knowing that Veronica found out it was Logan who supplied the GHB so maybe that is why my reaction was two seconds of "poor Veronica," my heart breaking for her and then once it shot to Logan on that boat alone and the strums and then lyrics of "Crimson and Clover" began playing, I jumped into full gear of "poor Logan" and honestly, my heart hasn't stopped repeating that since.
I've had a few "poor Veronica's" still thrown in, but my poor baby, Logan! Everything about that scene, the way it was shot, the sun setting, Logan staring out, looking at his watch, staring out, walking over to the nice meal he had set up, the champagne, amidst the melting ice, opening it, taking a swig, sitting down in such schlumpy despair and all the while we heard ...
However, on the bright side, the set-up of that scene actually gave me hope that things will turn out just fine for our erstwhile heroine and her rogue-ish semi-bad boy. Why? Because that scene was SO over the top in trying to drum up the response of "poor Logan." I mean, how could you not watch that scene and not feel for him? You can't. Unless you have a heart of stone. And so, Rob Thomas is NOT going to take such care in building up sympathy for a guy that Veronica, his show's heroine, is done with, over with, kaput, finished, the end. So the pain actually gave me hope.
Still, Poor Logan.
Just a note, the LoVe scenes in this episode actually work much, much better as a whole if you watch them straight-through with none of the other scenes in between. If you've seen the whole episode, you know what happens, so that is there to fill in the holes and you can just concentrate on the Logan/Veronica aspect of the story. Which, seriously, makes the awkward cuts and "whu?" (for the most) part go bye-bye.
Scene One: See Veronica Run
And here we see the key issue in the Logan/Veronica relationship play out. I had remarked in the "Principles of Democracy" section of the Hot Dogs episode breakdown --
I think that in the romantic stage of her relationship with Logan, he overwhelms her. I remember Wallace's line in An Echolls Family Christmas:
So when potential badness comes knocking on her door, she runs as a way to sidestep that pain. By running, I think that she figures that that is the only way in which she can stop, regroup and figure out how to deal. Because of all of the crap that Logan has (admittedly) pulled and because she has built up these walls (admittedly much because of Logan), it does make sense that she isn't going to trust her instinct to, well, trust him. And so she runs.
Scene Two: Bad, Veronica, Bad!
Sigh, this scene is just so painful. Out of every Logan/Veronica scene, this one probably comes in second in terms of sheer misery to watch as a LoVe shipper -- if you've watched the entire season, you, no doubt, are well aware of the scene that gets the blue ribbon. And, for me, this is actually the one scene that, no matter how many times I watch it, I am pissed off at Veronica. In that aforementioned first place scene as well as other not-so pleasant ones, I'm on Veronica's side even if I don't always like or agree with her words and/or actions. In this scene, I don't side with her and I definitely do not agree with either her words or actions.
Why? Because I honestly believe that she was completely in the wrong in her treatment of Logan here. I understand that she's hurt; I understand that she feels betrayed, but this guy has spent the last two weeks practically worshipping the ground she walks on and in that time frame, she has clearly not led him to believe that she is anything but happy with him. And then all of a sudden, she stands him up, leaves him hanging for several days and then when he comes to her begging to right what he (understandably) has no clue is wrong, she is a complete and utter bitchface to him.
Again, I understand her anger, her frustration, etc., however, to not even give him one fucking iota benefit of the doubt is just wrong. She basically accuses him of raping her, not even stopping to think that if he wasn't responsible, news that she was raped would be a difficult thing for him to learn. Then she essentially threatens him and tells him that he makes her sick and slams the door in his face. And she does all of this off with a nasty sneer and loathing in her eyes. Veronica simply does not appear to even remotely, truly allow the possibility that, you know, maybe the guy she's been in bliss with for the last couple of weeks and has clearly been happier than he's been in just as long DIDN'T DO IT!
And Logan just looks so heartbroken. She has completely -- and when I say completely, I mean COMPLETELY -- treated him like shit and he stands there, heart on his sleeve, eyes all a puppy-dogging away, desperate pleading in his voice, determined to do, say whatever he needs to make it right for her. Not for him, but for her and she just slams the door in his face.
Again, this is the one scene where I truly dislike Veronica as a character. Now, I'm not saying I don't understand why she acted that way or that it's out of character, just that I really disliked her in this scene and there is no other in the entire series where I feel this way. All of my tea and sympathy goes to Logan. (And no, it has nothing to do with the fact that, hot DAMN!, Jason Dohring looks go-ood! in this scene.)
Scene Three: Just Beautiful
Here's where the weirdness starts. We go directly from a Keith/Cheyenne scene to Veronica and Logan sitting on the couch in her apartment with Veronica apologizing profusely. 'Tis a strange, awkward, quick cut and part of the reason it is best to watch the LoVe scenes straight through. Your mind fills in the details automatically and you expect the jump, but your brain actually fills it out more smoothly. Odd, but there it is.
About the scene itself. First off, shallow thoughts (and prepare to be shocked, it's not about Logan!): Oh my! I totally adored Veronica's cute little pig-style ponytails, just so, so adorable. My favorite hairstyle hands-down. Okay, yeah, and Logan looked hot. Ahem. Moving on.
While I did like the sincerity of Veronica's apology (and felt that it was very, very much deserved, see Scene Two), I would be remiss if I didn't point out the irony of us hearing VeroLogan: Hey, have you noticed that the new kid in town has, uh, been all over your trailer-park ex?
Ah, and that's what I love. He DOES care. Ostensibly, it's Duncan he's looking out for -- but really, we all know, he just secretly has feelings for Veronica that he's sublimated into hate.
Duncan: Let it be, Logan.
Logan: Okay, nowhere man, you be the fool on the hill. See if I care.Lilly: What did you think of Veronica the first time you saw her.
Logan: I don't know, I thought she was hot.
Veronica: I was 12 when you moved here!
Logan: Oh, and, like you weren't working it in your shorts and your kneesocks.
Veronica: That was my soccer uniform!
Logan: So, whatever! It totally worked!Logan: Hey, your peskiness being unleashed on Connor brings me joy. Annoy, tiny blonde one. Annoy like the wind!
The line is amusing, true, but really it's the delivery that sells it. It's snarky, but it's not. There's an underlying hint of ... something. I can't put my finger on it, but it's there and it just adds a whole interesting level of subtext. And when Logan stares at her as she walks away, much longer than one would think necessary, an intensity in his gaze, that subtext takes on a deeper meaning. Especially when you take in the scene as a whole. In this episode we had the first sign of non-Lilly-is-dead-bonding softening between them. The calling her back into the room, that look after he refers to her as a "friend." Ah, that look ... Veronica: And then, there's bachelor number three. And he's got it all. Motive. Access. Looks like an evildoer, smells like an evildoer, but surprisingly ... not so much.
All the while Veronica is circling towards him, her voice light, her expression animated, Logan's gaze is following her and he is grinning adorably. Like in the scene above, this flirty, fun connection was just so there between them. Logan: Okay. I say we take a little break. Let the cosmos realign because obviously something's up.
That comment, on the surface, is about the fact that Veronica is kicking all of their asses in the poker game, but what if we've got some subtext there? Looking at the expression on Logan's face as he looks at Veronica on the "take a little break," I couldn't help but think of the undercurrent throughout the whole episode in their interaction: That something more. kdeweb had suggested that Logan's comment had more to do with that softening towards Veronica, his acknowledgement to himself that he was damn impressed with the girl and I'm not so sure that she's not entirely right.Quote:
THIS scene, all 13 seconds of it, was the culmination of the softening, the moments of understanding, the turn from viciousness to insult-by-rote.
In this first scene, we truly see the reality of that as their dialogue continued. Not only because of the fact that Logan had gone to Veronica for help and not only because Veronica hadn't turned him away, but in the tentativeness with which they spoke. For the first time ever in their present-day interaction, there were no insults, no sarcasm, no witticisms and there was awkward care in the way they stood, shifted, phrased words. You could see the both of them -- and this is part of where the brilliance of both Kristen Bell and Jason Dohring came into play -- carefully measuring each sentence, each word before they spoke. I doubt that this was completely unfamiliar territory for either one of them as, a long time ago, they used to be friends. However, after a year or so of living on equally self-appointed battlegrounds, to speak to each other like two human beings who have feelings was an almost forgotten experience. And both Bell and Dohring played that subtext beautifully.Quote:We've seen Veronica handle cases, upstarts, varying situations from silly to serious and she generally does it with a smart-ass comment and a blithe grin, not so here. The closest similarity would be her reaction to Justin Smith's parentage reveal in Meet John Smith, but even then, there was a distance. Yes, Veronica clearly personalized the case there, but not to the degree that she is personalizing Logan's case. And it didn't come across so much in this scene here that she was empathizing with Logan -- as it did in the earlier scene -- but rather, she is showing sympathy. Her pain, and it's clear that she is pained by this, is for Logan. There just wasn't the sense that she was thinking of her maternal loss, but only of Logan's loss. And she also felt his high. When she got that text message, when she ran out there yelling his name, breathless with the quick desire to reach him, again, we had Veronica wanting to be there for him, give him hope, relieve his pain.
Much is the same in the opening LoVe scene in Ruskie Business. Her tone is soft, sympathetic; her fingers anxiously clench and unclench, she sends glances his way of concern and the information that possibly provides hope she relays as such. There is a hint of not wanting to get his hopes too high, because again, she doesn't want to see him hurt. Logan, while pretty much all business, is also completely open and unguarded. There is no layer of ass, there is no snark, no smart comments, his thoughts, his concerns, his hopes are all out there laid open and bare to Veronica's gaze. And with the exception of those few moments in the counselor's office (in Clash of the Tritons) and possibly discussing his mother being alive with Duncan (in Lord of the Bling), we've never seen Logan this open before. Quote:... the first time that Logan saw Leo. It's not much and it may have actually been nothing, but when Veronica sees Leo and tells him "Hi" there is a quick look from Logan towards him. Again, it may have been nothing, or it may have been something thrown in there by Dohring (or the director) possibly knowing the upcoming growing relationship between Logan and Veronica.
There was a moment already established where Logan noticed him because Veronica noticed him. And she also then brushed Logan off to go and speak with Leo. So then we come to this scene and I think that Logan definitely was aware of the undercurrent between Veronica and Leo because of not only the repeated "who's this dude?" but the tone of the voice, the looks he sends his way. Remember, it's almost become second-nature to Logan to expect his girlfriend to be stepping out on him. Logan KNEW that Caitlin was cheating on him, he just wrongly suspected that it was Troy; and I think it's a safe bet to say that Logan was aware when Lilly was stepping out or even thinking of it. And the fact that that very same radar is in place with Veronica and Leo is pretty telling of Logan's state of mind in regards to one Veronica Mars.Quote:Past Veronica's first question [When are you going to tell people I'm psycho?] (and that's mostly where the just plain "off" part comes in -- why does he never answer her question and why doesn't she ask it again?) ...
Veronica brings up the shitty way he's treated her in the past or at least alludes to it and Logan completely ignores it. I dunno, maybe that was the point, but if it was, well, it was a stupid point. Because it SHOULD be acknowledged. I suppose that's neither here nor there since nothing comes of it and I'll just move on with the scene and jump to the rescue (how did Logan (a) get there so quickly and (b) know exactly which corner Ben and Veronica were going to come around?) and the motel room aftermath because that's where the LoVe kicks in again.Logan: You okay.
And that is it. And yet we know that Veronica is thinking after she gives him that small kiss: What the hell did I just do? She's confused, she's wondering at herself, at how she is feeling right now and then she just decides to blow it off as one of those arbitrary things that just happens and that you just ignore. And on Logan's end, we know that he is more than confused, he's shocked as hell. He's wondering: Does she like me? Am I not imagining this? Am I not alone in this? What the hell? And damn, I want this!
Veronica: Um-hm.
Ah, now I don't hardly know her
Poor Logan.
But I think I could love her
Crimson and clover
Yeah, my, my such a sweet thing
I wanna do everything
What a beautiful feelingQuote:The scene featuring Logan and Veronica's second kiss is, more or less, the beginning of them as a couple and we get a fairly large clue as to exactly how they will deal with any issues. They won't. They kiss, Veronica stops, asks what they are doing, he says he doesn't know and instead of stopping to at least attempt to figure out what is going on, they simply kiss again. ... Avoidance is (unfortunately) key in this relationship and in the onset, it's very clearly revealed as such.
And we are definitely seeing the proof of this. Clearly instead of talking to Logan or even confronting him about the GHB reveal, Veronica has left him hanging for three days now. (They were supposed to meet Friday morning and now they are at school again on a different day, so one can presume it's likely Monday.) Avoidance. Why does she do this? I have a theory. Wallace: Like that mind ever takes a break.
I just don't think that is the case with Logan. Her mind does take a break and her heart and hormones take over. It's as if because of the way he makes her feel, she stops thinking, stops mulling over actions and consequences and she just lives in the moment. While that has brought her happiness with him, it's also caused a crack in that barrier she's created over the last year and a half. And because of that crack, the fear of being hurt is starting to assert itself once more.