Relationships In "Veronica Mars" Quiz | 10 Questions
With the Veronica Mars movie just a few days away now, we absolutely can't wait to be reunited with our favorite onscreen detective. And more. Logan Echolls is Veronica's on-again, off-again boyfriend, and Duncan Kane's He was dating Duncan's sister and Veronica's best friend, Lilly Kane, on and off for able to escape the notoriety of his family and his own past legal problems. To be fair, they did have quite a few significant issues, for example the Their relationship was only a placeholder until Logan and Veronica.
However, Duncan explained why Veronica was in the hospital and what had driven her body to become so malnourished that she had passed out. Veronica nodded as he spoke, acknowledging how her lifestyle had pushed her towards her current situation. Once Duncan was finished explaining the doctor's diagnosis, a heavy load of air escaped Veronica's lungs and she looked down at her stomach absentmindedly.
She had prepared herself — mentally - she had said it over and over again … she was pregnant, she was pregnant … hearing that she wasn't pregnant was an unexpected relief. Veronica nor Logan had enough stability in their lives to deal with themselves, a baby would have been a whole different ball game. Her whole body was leaning forwards now, curious as to what Duncan was trying to say to her. She remembered seeing Duncan's face and hearing his voice before everything went dark; she remembered his arms winding around her body as she lost all control.
I can't take it back now and I think it could be good for you … and Logan. I mean we could make it work, right? Give Lily and Logan a taste of their own medicine-" Duncan was rambling frantically and Veronica placed her hand over his, willing him to slow down so she could make sense of his words. Duncan dissected her silence as positive and continued explaining himself and his actions.
And, as weird as this sounds coming from her baby brother, she should be allowed to be with who she wants whenever she wants; the same goes for Logan. He loves you and that's clear as day once you strip away his weird arrangement with Lily. I thought if he saw you and me together, it would force him to own up to his responsibility to his relationship with you-" "I'm sorry, Duncan but it wasn't really your place to do anything.
After the whirlwind of emotions that she had had to face by herself today, she wasn't sure how she could move past how Logan had abandoned her the way that he had, for Lily, nonetheless.
Veronica Mars was going to have to let Logan Echolls go. She knew it wouldn't work because nothing ever did. The one time Veronica had desperately needed Logan, he had run to Lily's side… leaving her to fend off her demons by herself. If a panicked trip to the hospital hadn't urged Logan to stay, in Veronica's eyes, nothing ever would.
With me in the picture, we're forcing you both onto the battlefield. Logan's going to need to come at me, with all that he has, in order to prove his worth to you. I just see this … fake relationship between us as a hurdle to a larger victory for you, Logan and my sister. In that moment, Duncan felt so sorry for the girl in front of him. He didn't know the exact details of her relationship with Logan but he could see the impact that it was having on her. Before he could talk himself out of the overly personal gesture, Duncan scooted onto Veronica's bed and wrapped his arms around her, letting her quiet sobs become non-existent and muffled against his shirt.
Veronica didn't even have the energy in her to push him away. There was something oddly comforting about Duncan and Veronica let him hold her until she was done feeling like a teenage girl suffering from her first broken heart. Outside Veronica's hospital room, Logan and the rest of his family were growing increasingly impatient. Duncan had left them at a cliff hanger when he had followed paramedics into Veronica's room, leaving them all with a thousand and one unanswered questions.
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The Echolls' and the Kane's were all puzzled by Duncan's secret affair with a girl that wasn't rich or famous. However, all of them seemed oblivious to Logan's inner turmoil. Logan didn't know what to think - was Veronica okay? How did she know Duncan? Why did Duncan claim that he was dating Veronica? No, Logan refused to believe what Duncan was selling. There was nothing in the world that would make Logan doubt Veronica's love for him.
She slapped her palms against her thighs hyperbolically and glanced towards the door that concealed her brother and his mysterious new girlfriend. Everybody else weakly muttered objections to Lily's actions but, truthfully, they all wanted to speak to Duncan and Veronica so they followed behind her closely. As Lily pushed the door open, everybody — including Logan — caught sight of Veronica in Duncan's arms.
Logan's heart sank in his chest at the overly intimate sight. She had stopped crying, thankfully, and she looked down at her comforter awkwardly, unable to look Logan in the eye.
She could feel his gaze on her, heavy and pushy, but she refused to look at him … she couldn't. Duncan was right, seeing him and Veronica together angered Logan … it was going to make him realise what he was missing. Lily Kane was painfully beautiful. She was the type of girl that every man wanted to be with and the one that every other girl envied. Her hair fell into perfectly sculpted waves behind her back and her skin seemed to glow, even under the hospital's white, yellow and pink fluorescent lighting.
Her piercing green eyes swam with hues of grey and blue that oddly seemed to match the mischievousness that was clearly evident in her personality.
To top all of that off, she was exceptionally curvaceous. Lily had the body of a model, making Veronica cower into herself. She even began to ask herself toxic questions, why wasn't Logan trying to pursue Lily? She was absolutely gorgeous.
So gorgeous, Veronica knew she couldn't compete. It made Veronica want to forfeit fighting for Logan even more. In Veronica's mind, there was no way that she held a candle light to the shining beauty that was Lily Kane. Lily obviously wanted to know about … "Veronica.
This motel tryst, it is what it is. Her glance to the car clock as she corrects the timetable for her exam grounds the voiceover within the present-tense thoughts of the character, ruling out a retrospective commentary on the action. The mention of the calculus exam identifies her as a student, although she could be either advanced high school or college, and strengthens the link between the textbook and character.
Most importantly, we realize that Veronica leads a double life—private eye by night, student by day—setting up the tension between the dual worlds that will dominate the series. At this point in the teaser, our first question has been answered in a cursory manner—who is this voice lecturing us about marriage?
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Any further pondering is interrupted by the off-camera sounds of revving engines and a musical shift into a more driving and faster synth groove. Veronica looks up and we get an eyeline match of a band of motorcycles driving down the deserted road.
The editing pace quickens to match the music, with 11 cuts in 15 seconds reversing between Veronica watching the bike gang and the bikers turning around to park in front of the hotel. The next sequence begins with a shot tilting down the length of the vertical Camelot Motel sign, ending on street level as the lead biker rolls to a stop in the center of the frame. In just under 1: We have established the title character as a savvy and brave young woman, juggling life as a student and paid private investigator.
The neo-noir style serves to set a cynical and world-weary tone, with clever narration encouraging a more sophisticated take on conventional crime stories. The frank sexual content signals a level of maturity unexpected in a program that will later be shown to be based around a high school.Veronica Mars - LoVe - Season Three
And the cliffhanger ending suggests that suspense and action will be a prime ingredient of the dramatic action. These two openings highlight a core challenge of any pilot: The UPN opening starts with the familiar and slowly complicates it with intrigue and genre mixture, while the DVD version puts us in the midst of something unconventional for television, a young female-centered film noir, and then links it to the more conventional facets of teen drama.
To further analyze the Veronica Mars pilot, we could continue such a slow-motion replay of the episode, highlighting how each shot, sound, line, and sequence adds to our understanding of the storyworld and sets the stage for the series. Instead, we can zoom back a bit and look at some broader trends and strategies that play out across the entire episode, and consider how they work to teach viewers how to view the series as a whole.
Such an account builds on a model of narrative comprehension explored by David Bordwell for film, exploring how a text draws upon both external norms like genre and stylistic conventions and intrinsic norms unique to the film itself to cue viewers how to construct the story in their minds and posit answers to ongoing narrative questions. One aspect that quickly becomes apparent is that Veronica Mars will tell its story using complex narrative techniques.
One major trend in television storytelling over the last decade has been toward narrative complexity, using self-conscious devices that call attention to themselves and make the process of decoding a narrative more challenging to encourage active participation from viewers.
The frequent flashbacks and jumps in timeframe are similar to other narratively complex programs like Lost, West Wing, and Alias. Most centrally, the pilot establishes long-term mysteries and story arcs that will traverse the entire season and beyond, comparable to innovative serialized programs like The X-Files and Buffy the Vampire Slayer.
We must look more closely at how the show uses narrative complexity to establish particular intrinsic norms that will guide viewers throughout the series. After the opening credits, we are brought back into the storyworld not at the moment of cliffhanging suspense, but into the sunny parking lot of a high school. If you go here, your parents are either millionaires, or your parents work for millionaires. More interestingly, the narration frames the rewind as a question, explicitly asking how she got there and providing an answer through the narrative logic.
This opening rewind is not the only example of temporal complexity in the pilot. In large part, the use of flashbacks in the pilot are expository, providing backstory on the characters and situations that precede the present day timeline. Who killed Lilly Kane? Just as the opening rewind is explained clearly and redundantly, the flashbacks are all highly cued and demarcated as narratively distinct. He used to be my boyfriend. The new shot of kids in the high school hallway is tinted blue, with soft focus and streaky images to clearly distinguish it from the bright colors and sun drenched lighting of the courtyard.
The music shifts as well, to a breathy atmospheric vocal track from the previous subtle guitar rhythmic background in the courtyard scene.
We soon see Duncan and a longer-haired Veronica in the center of the frame, with a jump-cut forward to a close-up of them kissing, before the image oversaturates with white light, and shifts into slow-motion.
All of these stylistic techniques, from film stock to soundtrack, color scheme to editing style, serve to demarcate the flashback sequence from the norms established in the present-tense scenes. There is no ambiguity about this temporal shift, as the sequence is clearly framed as a subjective memory presented to us by Veronica, our narrator. The next flashback is similarly demarcated, but differs in terms of perspective.
Veronica is sitting at lunch with Wallace, as she asks him two related questions: She looks up at the radio, and then we hear a splash from the pool. The next flashback comes more than five minutes later, and includes the most narratively significant revelations. And, of course, everyone remembers reading about the bungling local sheriff, the one who went after the wrong man.
That bungling sheriff was my dad. While the narration is never explicitly identified as fitting a particular frame of reference, like an online journal or therapy session, the mode of address distinguishes it from a more objective narration like the police report tone of Dragnet. Subsequent flashbacks follow these parameters, presenting crucial backstory plot, relationships, and lingering mysteries. The flashbacks also cue some important parallels and repetitions that serve to draw characters together, deepen the storyworld, and cue narrative pleasures.
Since the show does not call attention to this parallel dialog, viewers who have been paying attention can get a brief frisson of pleasure upon recognizing the repetition. Such moments of recognition and connection are an important facet of watching serial television, as drawn out links that may span across episodes or even seasons offer dedicated viewers a sense of acknowledgement of their efforts and dedication.
Although this intra-episodic repetition requires no long-term commitment, the moment helps establish the broader norm that the series will expect viewers to pay attention, forge connections, and reward their dedication via pleasurable connections and revelations.
Another narrative pleasure is signaled by a subtle repetition. Toward the end of the episode, a parallel scene occurs as Keith finds Veronica in the Mars Investigation office at night, where she has discovered that Keith has been keeping information from her. As is typical of all pilots, the episode introduces and focuses our attention on a number of characters and relationships. Clearly Veronica is the central figure of the storyworld, and virtually every character exists in relationship to her.
While certainly the romantic link between Duncan and Veronica is a core dramatic element to the show, the pilot shows little of their connection and effectively confines Duncan to the margins over more colorful supporting players. Functionally the two characters both share a volatile bond with Veronica, serving both as allies and enemies at various times. These proportions also mirror a legalistic aspect of storytelling unique to the television medium—contracts often stipulate the number of episodes per season each actor will appear in.
Typically, Veronica Mars episodes feature a self-contained A plot concerning a case that is introduced and solved within an episode, and B and C plots more concerned with long-term arcs and relationships. The pilot is less rigidly structured, with six definable plotlines: As is typical for the show, the plotlines are not rigidly distinct, as they interweave both in terms of events and themes—the strip club plot ends up merging with the robbery case, and the theme of sexual indiscretion and mystery permeates many of the storylines.