Blog version of Veronica Mars article in the Hatchet.
I’m not afraid of Jack Bauer. His gritty voice and itchy torture finger may
strike fear into the (apparently) thousands of L.A. terrorists (and provide millions of
right-wingers with masturbatory glee), but it doesn’t inspire any fear in this
reviewer. Dr. Gregory House’s insults
are easy for me to brush aside. Vic
Mackey may keep LA’s drug dealers huddled in fear, but he can’t frighten me at
all. These small-screen titans do
nothing to intimidate me, because for the last three years I’ve watched the true
face of ruthlessness on television, and it belongs to a 5’3” blond California teenager
named Veronica Mars.
I’d sooner drive past the precinct
featured in Law & Order: Criminal
Intent with my middle finger extended than fuck with Veronica Mars. I’d rather walk into a house and be greeted
by Dateline’s Chris Hansen than know
that Ms. Mars was looking for me. It
would be easier for me to stand tall against an onslaught of Battlestar Galactica’s Cylons than to
think I could get away with crossing the petite sleuth.
This is what TV in a post-Sopranos world is supposed to be
like. It was Dark, gritty, intelligent,
and rewarding to watch. The first show
in years that I would rush home to make sure I saw. Everyone involved in its production, from
writers to directors to cinematographers to actors, was at the peak of their
game, and it showed. In an era where so
many female characters on television shows are relegated to be mere objects of
affection or damsels in distress, here we have a strong female protagonist not
the least bit lacking in femininity or humanity.
In addition to a multifaceted lead
character, Mars offers long and
compelling dramatic story arcs. Princeton University economics professor and
liberal stalwart Paul Krugman writes of what he calls ‘The disappearing middle”
in his essay “For Richer” (a highly recommended read at http://www.pkarchive.org/economy/ForRicher.html)
. In this treatise, using copious amount
of economic data, Krugman show what we’ve all known for years: the rich are getting richer, the poor are
getting poorer, and the middle class is converging into a thin line smeared
between the two. While Krugman warns of
the dawn of a new gilded age in America,
Veronica Mars shows us how the divide
plays out in the fictional seaside town of Neptune. There are several recurring themes in the show, but I have always found
this to be the most compelling. It’s a
question to be asked of any high-dollar real estate area: where do the fast food workers live? The local sheriff/ private investigator and
his daughter? The help and the children
of the help? What is life like for them
in the playground of the obnoxiously wealthy and disgustingly
unscrupulous?
How fitting
then, that the show debuted in 2004, a little over a month before the
‘re’-election of the man who’s doing more to maintain this divide than anyone
else. While the quality of the show is
apparent (and I predict it will seem so even when we look back on it years
later, much like other shows canceled too early) it makes more sense for it to
take place in these times than it would in any other. During the Clinton 90’s, when wealth
increased across the economic spectrum, the story of the privileged class turning
a town into their personal playground would have been less poignant, would have
rang less true. No, it is only now, when
a chorus of voices on the right would have us believe that the inheritance tax
is a greater sin than the rampant poverty in many of our nations’ cities that
the message of this show rings clearest. Now, when our political dialogue labels any who question the fast
tracking of wealth to the wealthy as ‘class warriors’ is when a show such as Veronica Mars has the most meaning.
It is this
that I will miss the most about the show. In the first and third seasons, the effects of the class divide were
implied in various facts about Neptune. The discrepancy between the Camelot Inn and
the Neptune grand is a fine example. The seedy Inn, where the series begins, is
used by the poor and criminal elements of Neptune. This is laid out in stark contrast to the opulence
of the Neptune Grand, the hotel where Neptune’s
powerful live and play. Also the very
fact that Veronica and her best friend were forced to work jobs and apply for
scholarships, while the 09ers spent all of their free time on the beach while
corrupt doctors were bought wrote fake diagnoses of exhaustion paid for by
their rich parents.
During the
second season, however, the class divide in Neptune was ambitiously brought to the front. It
was an ambitious, season-long story arc which highlighted the machinations of
the powerful few in Neptune and their
disregard for the well-being of the majority of its residents. I won’t ruin it for you DVD watchers, but it
was a beautifully executed realization of the implicit message of the
show.
So why did such a great show meet such a horrible fate?
Glad you asked. While
show-creator Rob Thomas and company refused to insult our intelligence, the
same can’t be said of the CW (or of Mars’
previous home, UPN). The show was
plagued by low ratings since its inception on UPN, just like most of the other
shows on that poorly run network. The
combination of a constantly changing timeslot, running opposite of top-rated
shows on other networks, and poor lead-ins from other low-rated UPN offerings
made for constant ratings bottom-dwelling for Mars. The contraction of
half of UPN’s lineup when the network merged with WB to form the CW probably
had more to do with the renewal of Mars’ third season than the campaigns
launched by the series’ small, but enthusiastic fanbase.
Upon its arrival to the CW, the
poor vision in promoting the show was apparent. If I hadn’t known better, I would have thought it to be a spin-off of Dawson’s Creek. It’s shameful that a show which tackles so
many subjects and presents so much dramatic tension through its deeply involved
mysteries is represented by commercials which can essentially be described as
‘Will Veronica and Logan kiss?’ Did CW
executives even watch this show? While
the network made no secret of its desire to dominate the young female
demographic, it seems ironic that their strategy for doing so would be to
reduce television’s strongest female protagonist to a Sweet Valley High
caricature in its advertisements.
Unfortunately, as much as I’d like
to write pages and pages condemning the CW for taking the best show on network
television off the air, I can’t do so in good conscience. Television networks are amoral operators
whose main concern is maximizing profit. While Veronica Mars had an
absurdly low budget (It is rumored that the frequent absence of major
characters for weeks at a time was due to the producers’ inability to afford
said talent), it was still an unprofitable show. In its sole season on the CW, Mars was given the gift of Gilmore Girls’ huge lead-in, which it
did not take advantage of. The ladies
from Star’s Hollow had the most popular show on the network, but apparently
their viewers watched something else at 9pm.
It’s tempting to state that the
season-long serialized nature of the program made it difficult for new viewers
to enjoy the show en medius rae, but
one need only look to ABC’s Lost to
see that people will watch a serialized drama in droves, even if it appears to
be made up as it goes along.
I believe the most insight can be
obtained by looking at other dramatic mystery shows on television. What I love about Veronica Mars is the show’s utter refusal to shove your face in its
answers. I’ve found myself mentally
untangling the various plot twists of several episodes long after the credits
have rolled and Steve Daniels is informing me of the winning Powerball numbers
(hint: not mine). This is only partially
due to the fact that I’m borderline retarded; people with IQs in the triple
digits have reported similar phenomena. However, a quick viewing of, say, Numb3rs or any member of the CSI franchise will remind you that most
TV mysteries are written for Larry the Cable Guy fans. Veronica Mars was never going to appeal to
these people. Kudos to Rob Thomas and
the excellent writers for never compromising their vision, but it was clearly a
vision with little mass appeal.
Thomas did the correct thing with
this show, it was full with ambition. It
was this ambition which allowed it to reach the incredible heights that it did
in 3 seasons. However, it is this same
ambition which made it difficult for many viewers. I must admit that I did tire of some of the
subplots regarding Veronica’s various love interests. I imagine that other viewers who tuned in to
see those boys were bored with the treatise on the distribution of wealth in
modern America. I mean this not to admonish, as the show
never wasted a second of the limited screen time it had. Instead, I believe that any show with such
sweeping vision will instantly attract a fanatic contingent of loyalists, while
alienating the broader general public.
As I write this, the finality of
the show’s cancellation still hasn’t hit. (ed note: yes it has. )
It’s Tuesday, and I have a Tuesday routine of looking forward to
watching Veronica Mars. That’s over now,
like it was for Arrested Development, and Freaks and Geeks and so many other
shows canceled way too early. There is
talk of a movie, but there was also talk of a season 4. I think the best thing to do is use the
awesome power of IMDB to keep track of the writers wherever they go next, and
wait for the next brilliant show to captivate. Oh, and although I told myself I wouldn’t go here: Fuck you, CW. Seriously.