Deep, soothing breaths, everyone, or, 'how I learned to stop worrying and love Rob Thomas'.
Comment to the author of meta on the following link:
http://cadhla.livejournal.com/?skip=50&tag=veronica%20mars
Deep, soothing breaths, everyone, or, 'how I learned to stop worrying and love Rob Thomas'.
Mar. 14th, 2005 at 3:28 PM
All right: there's a lot of kerfuffle in 'Veronica Mars' fandom right now, over some spoilers that have managed to get leaked to the general public. There's always a chance that they're actually foilers*, but since that's difficult to count on, there's been an understandable amount of consternation. I will now weigh in. Because I am a very pushy blonde who does this sort of thing, especially when she can't put everyone involved into a hot bathtub with lots of lovely bubbles until they feel better.
(*For the fandom-impaired, 'spoilers' are leaked bits of information about the show -- things like 'Smurfette was actually created by Gargamel, gasp!' or 'Doctor Who regenerates in this episode!'. 'Foilers' are bits of false information leaked intentionally to confuse the issue; 'Buffy decides to kill everyone and stay in happy la la psychosis land' or 'Megan and Firefly finally get married in a simple, tasteful, trans-species ceremony'. Simple, universal terms.)
So here's the basic skinny: Logan turns out to have been involved in Veronica's rape, in that he a) supplied the drugs used on her (although they weren't intended for her, and nothing says he would have agreed had he known she was the target), and b) did body-shots off her while she was out cold, for which he winds up apologizing, and for which she apparently forgives him, as they appear to be dating, and are, in fact, caught making out at a surprise party for Logan. He winds up defending her in front of all his friends and family, and takes her back to his room. Veronica is waiting on the bed, alone, when she catches sight of a camera on the ceiling, and flees. The next shot is of her riding away with Weevil.
The actual spoilers are more detailed than this (as
will doubtless point out, when she sees this post), but that's the general gist of it. The item causing the most furor is, obviously, the camera. 'How DARE they?!' shriek the fans. 'How can Logan DO that to her?! How can Veronica run out without telling him?! How...' And then there is wailing and gnashing of teeth and rending of garments, and then comes the lamentation of the women, especially those women who like the Logan/Veronica pairing. There has been, unsurprisingly, a
of lamentation. Nothing laments like a 'shipper who fears their cruise has been cancelled.
But worry not, lamenters! Worry not, because there are a few facts we're tending to overlook in the general wail-gnash-rending. Most notably, these are:
1. Rob Thomas is not Joss Whedon. Say it with me, folks: Rob Thomas is
Joss Whedon. More importantly,
Rob Thomas is not Marti Noxon
. Look. Joss was a great guy; he created great characters and a great universe; he poured his heart and soul into making something we could care deeply and passionately about; then he went away and left it all with a half-crazed Romanian au pair who thought the original 'Dark Shadows' was the height of thematic subtlety. Rob? Rob has not done this thing to us. Rob has not said 'wow, I think I'll go play in another sandbox, here, Angst Queen, use your super angst powers to keep the viewers coming back while I enjoy myself elsewhere'. Rob is, in fact, right there, every day, working his butt off to make the show as good as it can possibly be. If he has a Romanian au pair, she's chained up in the closet, being used as a script-checker -- whenever she gets excited, they drop that plotline.
2. Logan is not Spike. Veronica is not Buffy. Logan and Veronica are not Buffy and Spike. Logan? Is not so sick and crazy with denied love that he's going to throw her down on the bathroom floor and try to claim his territory. Veronica? Is not so self-centered and neurotic that she's going to wind up him up with disgust and lust and need and loneliness, then dance a happy contra on the shattered wreckage of his heart. They are, in short, not making each other cuckoo for Cocoa Puffs. They annoy each other. They irritate each other. They brace each other up. But they don't cause raw insanity to come into the picture. For which I am very thankful. Also, Veronica, while she can be both careless and heartless, is not self-centered -- if anything, she's self-
. She's giving up what she wants in favour of what she thinks is right: she's throwing away her chances at going back to a happy obliviousness in favour of finding the answers about what happened to Lilly. If Veronica were the Chosen One, she wouldn't whine, she'd just go kick some undead ass.
3. Just because you get hurt once, that doesn't mean you're going to get hurt every single time. Joss Whedon comes up a lot in discussions of the current spoilers, and the basic theory seems to be 'Joss wouldn't have let them be happy, so Rob won't either'. Folks, it doesn't work that way. Seriously. One girl saying something mean about your hair doesn't mean all girls hate it; one show creator whose outlook on romance seems to make the relationships on 'Swan's Crossing' look stable doesn't mean all show creators are going to rip away the happiness of their characters just for fun. Let 'Veronica Mars' rise or fall on its own merits -- and so far, those merits lead me to trust in Rob.
This is also where the topic of tropes has to come in. Every creator, from the rawest writer of fanfic to the most well-established and famous producer, has tropes. Wes Craven loves him some unexpectedly evil boyfriend who was totally supportive right up until he tells you that he's the one who boiled your bunny. Stephen King adores putting beautiful girls with men who do some form of physical labour, and destroying writers with the products of their own imaginations. Michael Swanwick likes modern pageantry as a means of showing you the corruption that underpins society. Tropes are unavoidable. What does Rob Thomas believe in?
Well, if we go by his own work, he believes that opposites attract. He believes that love is fundamentally broken but just as fundamentally necessary, and that if you work for it, it will happen. He believes that the snarky guy gets the girl. He believes in true love, lasting love, love that is forever, love that redeems your sins, love that sees you home. He believes that the surface is only one layer, and that there's a lot more out there worth looking at.
Rob Thomas believes in happy endings. And Rob Thomas believes in redemption. Two things Joss never really showed us he had any faith in.
That message is there in his fiction -- most specifically in 'Rats Saw God', although most of the stories in 'Doing Time' are redemption stories, one way or the other -- and in his television work; I mean, 'Cupid' is one long story about redemption
isn't support for calling those his tropes, I don't know what
. He doesn't believe that these things come easy, but he does believe that they will come, given time and sufficient effort on the parts of the people involved.
That's another thing. Rob Thomas doesn't waste effort. Especially in a show as crammed with symbolism and meaning as 'Veronica Mars', there just isn't
to spend this much screen time and energy making the audience fall in love with Logan, a statement that becomes even more concrete when you consider the fact that he's extremely unlikely to have been Lilly's killer -- there won't be a zero-hour unmasking of the Luna Ghost in which we find out that it was Logan all along, and he calls Veronica a 'meddling kid'. Logan has had a
redemption arc this season, and there's simply no point to that if you're going to turn around and throw it all away doing something that most of your audience is guaranteed to hate. Can he be villified next season? Sure. But this season? The timing is off. If Rob wanted Logan to be a bad guy in season one, he'd have just left him that way. As it stands, he's used Logan to prove one of the essential concepts of noir. Namely:
Veronica starts out by lying to us: she tells us Logan is a psychotic jackass. She doesn't tell us until later how close they were, how good a friend he was to her and to Lilly, or that she used to enjoy his company. Just that he's a jerk. We get the details on Duncan right away, but on Logan, her glass is clearly clouded. Logan, meanwhile, targets her a lot, but never actually hurts her. Now, he does hurt her car -- which
has symbolically explained better than I could -- but he never lays a hand on her, never strikes her in anger, and isn't even seen being particularly active in spreading the nasty stories about her. There's old love there, and old love gone sour hurts more than almost anything else.
Logan is, oddly, a very honest person; he doesn't like to lie, he doesn't like to act, and when you push him far enough to make him hurt you, it's either calculated, distant and remote, or it's immediate and in your face. Planting a camera to catch Veronica, who he's publically called his girlfriend, having sex? Doesn't fit either of those categories. Also, frankly...okay, great. You now have a tape of yourself having sex with someone largely regarded as the town slut. How does this hurt her? Other than the betrayal -- and she's nearly numb to those -- what does this get you? You could hand the tape to her father, but he'd kill you. And as high school students on their age and social level, and little boyfriend-girlfriend sex? Sort of expected. It's not
. Doing that to Meg would be calculated and mean. Doing it to Veronica? Is pointless. It's not Logan's style.
Something is missing. The spoilers don't include dialogue; they don't include context; they don't include Veronica's voiceover. There is, in short, something very large missing from the scene -- we're panicking over a picture without words, and those can mean
. If you step back, and take a moment to trust in Rob's already-proven ability to be true to character, genre, situation and plot? We have to have it wrong, because right now, as stated, the scene makes no sense. Rob has always been very true to his characters. This? Is not true to his characters. And that means something we don't see yet will put it all into focus -- another major trait of noir.
Veronica is the detective; Logan, in a way, is thus the gangster's moll. And since Veronica's real enemy is the town of Neptune -- the 'gangster' Logan belongs to, whether he likes it or not -- her winning him away from it, bit by bit, stumble by stumble, is part of the long-term observance of the genre. In noir, in the end, the hero walks away. Sometimes with the dame, sometimes without, but always having made the choice. That dame may betray him, reject him, stab him in the back, but they always find each other again, until the sun is going down and the gumshoe rolls out of town. Veronica has a long way to go before she sees the city limits. That means, by genre, that she and Logan can't be finished yet.
Trust Rob. Just because Joss let Marti take us into a dark alley and beat us up until we handed over our lunch money, that doesn't mean Rob's going to. Trust the man who gave us Trevor and Claire. Trust the man who introduced us to Dub. He's a good guy. He's never handled me wrong, and that's saying something.
