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This podcast is produced by fans of Veronica Mars, and is in no way affiliated with the UPN/CW network, Rob Thomas, or The Powers That Be, and does not reflect the views of any of the entities creating and producing the show. [Greeting of many greetings.] [OPENING THEME MUSIC: Vancefurd- Pirate Song] SANDY: Aargh! What’s up, Pirates, this is Sandy and we’re here again with yet another podcast. And finally returned from her somewhat deathbed, we have Scarlett. SCARLETT: Woohoo! SANDY: What’s up, Scarlett? SCARLETT: I am here. SANDY: Finally. Yay! SCARLETT: I got some nice sound effects there from other people. I like. BAILEY: Yeah I heard that. SANDY: They’re random sound effects? BAILEY: Our hardware is very excited to have you back. SCARLETT: It is. SANDY: Um. Well this week you can tell we have Bailey joining us because Theo is actually out of commission this week. He is on a little vacation- SCARLETT: A slacker who hates me. We’re avoiding each other. In case the podcast listeners did not know. SANDY: Yeah I think there’s like- SCARLETT: No that’s a lie. That’s a lie! SANDY: No you’re gonna start some rumors about some inter-podcast dynamic conflict. Those don’t really exist. We all love each other very much. BAILEY: We all hate each other. Really. That’s the way it goes. SANDY: That’s not true. I love you all. [Cameron, the transcriber, has had enough love and would like to move on, please. <3] SCARLETT: You just hate us all equally. It’s not the same thing, Sandy. SANDY: Oh. Well that’s fair enough. BAILEY: Yeah that’s true. SANDY: Well okay. Well, what we’ve got going on this week is just a regular episode discussion, a music segment- but we already have Bailey here so it’s gonna be um, you know, no special correspondents calling in. It’s just gonna be an extra little segment, which is exciting. I’m trying to think if there was anything big in the world of Veronica Mars news. Oh. Um. The show- as everybody knows the show has only been renewed for 13 episodes and we’ve been waiting, waiting, waiting on the back 9. Still no word on the back 9 yet, but what we have heard is that the network has ordered 3 more scripts. Um. Which, you know, is a good sign. It means that they’re still thinking about picking up the back 9, and the ratings so far have been fine. Veronica Mars has really been falling in the middle of the pack uh, with regard to the CW. And I think what the 3-episode script pickup indication is, is that they are waiting to see how the show does up against House once House is now returning. So hopefully um, the numbers will continue to be really good up around that 3 million mark, and we will continue to hold our own in the demos. That’s all we can ask for, right? SCARLETT: And seriously, that doesn’t seem like the kind of show that would really drag viewers away from us. You know, it’s not like exactly the same, like if we were up against Gilmore Girls. SANDY: Right. Right. BAILEY: Well, but I do have to say that while you’d think that I know a lot of people who are in both fandoms. Like, I’m a House fan myself but still I’ll record House and watch Veronica Mars, but I do know a lot of people. I think it’s because even though the shows aren’t very similar they have that same kind of witty, quirky thing that is what draws a lot of viewers to Veronica Mars. SANDY: Yeah. Yeah I think um, I think it’s just difficult anytime to be up against a show that pulls the kind of numbers that House does, so. Hopefully um, you know, it won’t take too much of the audience. I think one thing VM has going for it is that its audience it tiny but it’s very loyal. So hopefully that will continue to be the case. BAILEY: Exactly. SANDY: Um. And other than that I don’t think there’s been a whole lot going on in the world of Veronica Mars. Anything missing that you guys can think of? BAILEY: Not off the top of me head. I think that’s about it this week. SCARLETT: Yeah. SANDY: All right. Cool. BAILEY: No news is good news. SANDY: Um. Well when you’re waiting on, you know, ratings pins and needles it certainly is. It’s better than the awful “c” word that shall not be mentioned. [CAMERON: Until next Tuesday.] SCARLETT: Dun-dun-dun! BAILEY: Yes. SANDY: All right. On that note we’re gonna take a little break and we will come back with our discussion of this week’s episode. See you soon, Pirates. [Your Face Is Not Enough by 3 Blind Mice] SANDY: How’s it going, Pirates. We are back and it’s time to discuss this week’s episode: Charlie Don’t Surf, which actually I feel like had a lot of big moments in this episode. I know uh, you know, a lot of people felt different ways about this episode, but one thing that I consistently saw in responses, especially the positive responses to this episode is: my show is back. My show is back. It seemed like vintage Veronica. Did you guys get that sense that it seemed sort of like old-school season one Veronica? BAILEY: Yeah. I definitely got that sense. I was really, I don’t know. I got back to that feeling like where you watch the episode and suddenly it’s over. Like, it went by so fast, you were so invested in watching it that you felt like you had only been sitting there for five minutes, and I hadn’t felt that in a long time. SCARLETT: Yeah. SANDY: What about you, Scarlett? SCARLETT: I don’t know. I don’t know if I felt like it was season one. I really enjoyed it. I really, really liked it but I don’t know. I don’t know if I got that feeling from it. But I’ve been feeling this season that my show is back, so maybe I was just early on the bandwagon. I jumped on that welcome wagon way back there. [Laughter] SANDY: Um. Well here’s my question for you, Scarlett. For people who don’t know and who just started listening to us, you’re sort of a film and TV student and a big film buff. One of the things I noticed is that this episode had sort of returned to a lot of the night shots. One of the complaints I think people have had this season is that it’s so bright and everything is very bright. SCARLETT: Yeah. SANDY: And this episode we definitely saw a lot more of the sort of standard P.I. Keith is out on a stakeout. You know. Some of the more noir aspects. Is that how you kind of perceive it, that there was a shift back towards the noir. SCARLETT: Yeah. Even if you look in the Neptune Grand in the scene where Veronica comes to tell Logan that he has a half-brother, if you notice, there are no lights on. It’s all candles. You know, that we get that more noir, we’ve got the neon, the candlelight, it’s all very kinda dark and moody again, but it’s not dull. You know, season two is very dull, I think. Whereas the colors are still bright, there’s still vibrancy, but I do think it’s getting that more moody noir. SANDY: Right. SCARLETT: I think the credits really helped that, you know. SANDY: Yeah. BAILEY: Yeah. SCARLETT: I know a lot of people don’t like them but I think that they do help kinda with the whole overall. I mean I’m still a big huge fan of Victor Hammer’s work on season one, but I think they’re trying more. Even with the shots I think- was it lost week when I wasn’t here and they had, during the art exhibition? SANDY: Right. SCARLETT: When they had like, the camera work there. Very fast. Kinda, you know, back-lashing. It’s not like they’re doing flashbacks anymore the way they used to, because obviously they can’t replicate that. But they’re definitely trying some things. They’re trying to get the same kind of vibe, just without trying to copycat themselves. BAILEY: Right. SANDY: Right. BAILEY: Well I think this season overall, like you said, it’s just gone back to that, kind of that darker imagery. Like not necessarily literally dark, but it’s like it’s matured. It’s matured in all aspects of the show and it’s, it’s a more noir feel than I think we’ve ever had with the show visually. SANDY: Yeah. I definitely um, I think that more than like subject matter or anything else is probably where the vintage Veronica um, idea comes from. I think this is- you know, the camera work is actually an excellent point from last week, and I didn’t necessarily think about that myself but this week I felt like we definitely got a lot more dark scenes. So let’s break down some of those scenes that we saw, starting with the long awaited reunion of Keith and Logan. ‘Cause the last time we saw those two in a scene together, um, Keith was shoving Logan up against a wall. Well actually we’ve seen them since then, but the last time we saw Keith, Logan, and Veronica together, Keith was shoving Veroni- I mean Logan up against the wall. BAILEY: Whoa. SANDY: Wow! I just am like one mistake after another! All right. Let’s try that again. SCARLETT: Do you watch the show, Sandy? [Laughter] SCARLETT: I really loved that scene though. I really did. Because somebody said to me, so I’m not gonna say this is my idea, but someone said when Logan smirks he reminds them of the Grinch. The way his entire face curls. And like, if you rewatch that scene you’ll see there’s such a resemblance. So that’s not, that’s not my observation. I’m not quite that clever. But if you go and watch the Grinch and then watch that scene you can see it’s his evil smirk. It’s exactly the same. BAILEY: Are we talking about the cartoon Grinch or the Jim Carrey Grinch? SCARLETT: Either or. If you watch them they’re almost exactly the same. It’s hilarious. I watched the Jim Carrey Grinch because I didn’t have the cartoon around, but yeah there’s a serious resemblance. SANDY: Awesome. That’s hilarious. I never thought about that and, you know, his tiny little heart did grow two sizes after he uh, encountered Veronica, so. SCARLETT: There you go! More parallels than we thought. [Laughter] SCARLETT: I wish I had thought of that idea. I just thought that that was great. SANDY: Yeah it’s really funny. BAILEY: It’s great. SANDY: Um. Well I thought it was a really great scene. I think, you know, Veronica was maybe a little overanxious but we’ve all kind of been there where you’re… I don’t know. BAILEY: Yeah. SANDY: I’ve definitely been there where I’ve been in the situation where like, I knew my parents were gonna be meeting a friend or something, and I would give them a rundown of things that they were not allowed to discuss in front of my parents for fear that they would out me as doing something that my parents would not approve of, you know? Tell ‘em how often I eat French fries or, you know. SCARLETT: To be fair to Veronica though, she hasn’t done a sit down dinner with the boyfriend since possibly when she dated Duncan. If they had one then. She hasn’t done one since. She’s never taken a boyfriend back to meet the parents. So, you know that’s probably pretty anxious. BAILEY: The scene, the scene had the perfect amount of awkwardness. I think they captured it really well. The awkwardness, the discomfort seeming to come mostly from Veronica. But I like, like you mentioned Logan’s smirk and I just think that his facial expressions- Jason’s expressions in that scene were perfect ‘cause he’s kind of like, I can picture him going through his head like: I’m gonna look at her this way and make her feel even more uncomfortable thinking I’m about to slip up, or what I’m gonna say when I’m about to say something, like an entendre or something. SANDY: Yeah. BAILEY: You know? SANDY: Yeah. BAILEY: Just kind of like, he was toying with her almost. That’s what I got from his face and I just thought it was great ‘cause she was so uncomfortable. SCARLETT: I know I loved her saying “don’t answer that.” It was just like, okay. SANDY: Apparently there’s some like, dirty sexual connotation with surfing that my sweet, innocent, clean little mind doesn’t get, but that accounts for her “don’t answer that” thing with the “what’s the attraction?” SCARLETT: Oh, Sandy. BAILEY: I didn’t get it either. SANDY: I know. Well if the listeners want to email us and tell us what surfing is… SCARLETT: I love how they get those little sneaky things through. SANDY: Yeah. They’re very good at that. Um. Okay. Well what about- I have to say one of my favorite moments of the episode was when Dick shows up at Veronica’s house. SCARLETT: Yes! It was amazing. SANDY: I mean… God, Ryan Hansen was so good. He’s so, so good. I LOVE HIM SO MUCH! Um. And they always say that it takes a nice guy or a nice girl to play a really mean guy or a really mean girl effectively, and I think that’s totally true ‘cause Ryan in real life is like the nicest person in the world. But boy like, the way he just kind of looks around the apartment and he’s like, is that the little kitchen area? That’s cute. You know. It’s just… you wanna deck him. ‘Cause he has to know how insulting he is, right? SCARLETT: No I love- actually the best part is when he ran away and then he’s like, “Thank you!” It was SO CUTE! I was just like, oh my God. You’re such an asshole but I love you. [Laughter] SANDY: Yeah. So funny. SCARLETT: Yes. BAILEY: Well I love the little comment about him leaving the flaming bag of dog pooh in front of the door. It was again, that’s what I think is a big part of why people are saying we’ve got our show back. It’s those little things that are said in an offhand way that are just slipped into the episode but you kind of need to pay attention to notice it. And it’s just made in such a way with a straight face or just offhandedly that’s just great. I love having those back. Like with Trina- SCARLETT: Oh yeah, where she shoots Nicole Richie with a BB gun. [They all talk. You know the drill.] [Laughter] SCARLETT: Lovely. I just love that mental image. It’s like, why? Why would you be in that situation where Trina Echolls has a BB gun and is around Nicole Richie? Okay. I love it. SANDY: Yeah. But awesome. SCARLETT: There’s a lot of callbacks to the first season though. Um. Like even if you noticed the part where Veronica is sitting in Mars Investigations at her desk, and Logan comes in and walks around and leans on the back of her chair, and it’s almost identical to a scene in um, M.A.D. And last week there was: “You free this weekend?” And there was him inviting her out. And it was almost identical line-wise to him asking her on their first date. And it’s not just them. I just happen to have a bias to who I watch out for, but there are a lot of visual and dialogue callbacks to the former scenes, parallels that are creeping in there. SANDY: Yeah. SCARLETT: I don’t know if that’s deliberate. BAILEY: I like to think of it as a personal thank you to the fans who have been there from day one. SANDY: It’s a little nod in our direction. Um. Well we had- speaking of sort of callbacks and blasts from the pasts, um, big, big cameos this week. And we’re gonna talk about Matt Czuchry in a second but let’s talk about Enrico Colantoni’s little blast from the past with Laura San Giacomo. BAILEY: Just Shoot Me! SANDY: I know! SCARLETT: Sorry, I was brought up on that show. I loved that show. I was like, Elliot! Elliot! SANDY: It was a great show. It was great. BAILEY: I love her. SANDY: A little Maya/Elliot reunion and I thought that was so great and so fun. SCARLETT: I kind of wanted them to get to together so it could go on forever. I was like, yes! Leave your husband. SANDY: I know. SCARLETT: I was like, no Keith, don’t listen to the audio. SANDY: And how interesting though that he sort of- I feel like that whole scene at the end with the way he sort of presented the information about her husband was kind of like him buying time to see… you know… if- you know I think he wanted to go there with her. I think he did really like her. SCARLETT: It’s like, what would her reaction be? SANDY: Yeah. SCARLETT: And she was so calm and clinical about it. SANDY: She was disappointed. SCARLETT: It was such a shame because she was obviously just looking for a way out herself. SANDY: Yeah. SCARLETT: You know? She was the one that wanted the way out and she was using her husband as an excuse to leave him. So. SANDY: Yeah. And you could tell he genuinely- SCARLETT: I think they would have been great together though. They would have been awesome. SANDY: Yeah. BAILEY: Aw. SANDY: Aw, poor Keith. Destined to keep using these, you know, short-term… SCARLETT: He has a type though. Have we noticed there, visually? She looks a little bit like Miss James. SANDY: Oh yeah. She was. She looks like- there was a similarity there between the two of them. Yeah. They definitely sort of favor each other a little bit, and poor Keith. He has to find a good woman eventually. SCARLETT: It was kind of funny when Logan and Veronica walked in and just kinda stood there, watching. [Laughter] SANDY: To see the grown-ups, sort of, in that position. You know. Um. You know what I thought was interesting too now that we’re talking about Miss James and we were talking about the dinner scene earlier? We got to see- it’s interesting because we got to see Veronica sort of grill Keith’s love interest very early on in the show and it’s nice to kinda get to see Keith get to play back a little bit at that, you know? BAILEY: Right. SANDY: Because she was very disapproving of him dating her guidance counselor and she wasn’t very nice to her. You know. SCARLETT: And Keith was really nice to Logan. He was just so amused by the whole thing, really. SANDY: Yeah. Yeah. SCARLETT: It was almost like they were in cahoots against Veronica. You know? SANDY: Yeah. To how uncomfortable can we make her? Um. BAILEY: The best part about that scene though was the banter between Veronica and Keith, and I think that is an important element of that scene, Logan witnessing that and later commenting on it. SANDY: Yeah. SCARLETT: But also just the audience, because I think that there’s less chance for interaction now that she doesn’t work at Mars Investigations, really. You know she’s there for her own cases but you never really see her- she’s not doing reception. She doesn’t spend every night there anymore, so. SANDY: But it was still nice to kind of… you know I feel like this season a lot of the activity in the show between Keith and Veronica has been kept separate. We haven’t gotten to- people who are new to the show or people who are checking it out for the first time haven’t really gotten to witness that father/daughter relationship as much as, you know, some of us old fans might have liked. You know what I mean? We sort of have grown up with that relationship over the past two-and-a-half years, and there had been tiny, little scenes with them, nothing that had really sort of solidified just how close the two of them are. Yeah. And I think particularly because this was sort of conceived as a Gilmore Girl crossover episode in the sense that a very prominent Gilmore Girls actor was going to be guesting on this episode, it was good to sort of start it off and say, look, you know, we recognize that this show has this amazing family relationship and this dynamic between a father and a daughter that might appeal to some of those Gilmore fans. And I think that the show’s taken a lot of heat in terms of is it pandering too much to its audience? Is it trying to hard to get Gilmore fans? Is it dumbing itself down to get a wider range of the CW? SCARLETT: See but I think it’s doing that less than it was in season two. I think season two there was a lot of pandering to what the networks wanted and what they thought would get fans, you know? SANDY: Right. SCARLETT: I don’t think they were being very true to the actual format or content of the show, or even just stylistically, some of the choices they made. BAILEY: Exactly. SCARLETT: And I think they found their footing again with season three and just realized that there’s no reason to compromise the show. SANDY: Right. SCARLETT: I mean I think the show’s different, but it doesn’t feel compromised anymore. BAILEY: Well the thing is, there are things in the show that are just- they would be attractive to GG fans anyway. There’s no need to try- like Sandy was touching on the relationship between Keith and Veronica. I think that they’ll have a better time bringing more people in just by being Veronica Mars rather than trying to be something else. SCARLETT: Be true to yourself. [Laughter] BAILEY: Exactly. SANDY: Yeah. Yeah. And now that’s why I feel like that’s a smarter way to do it by just saying, you know, here’s our show, and picking up on the similarities that do exist instead of trying to make Veronica Mars more like a show that already exists. Just highlight those similarities that are there, which includes the strong family bonds. SCARLETT: I mean I fell in love with it because it was different. And it’s not quite as different anymore. Obviously they have had to make some sacrifices for ratings. But it’s still different. It’s still something fresh. SANDY: Yeah. SCARLETT: I actually converted some more people this week. BAILEY: Ooh! Good job! SANDY: Really? SCARLETT: Yeah. We were- I was talking to some- we’ve obviously already commented that I’m a film student. And we were talking about film noir and I was like, there’s this amazing show. You have to check it out. And uh, two people I know went and bought the DVDs and have been watching season one. BAILEY: Awesome. SANDY: That’s awesome. SCARLETT: They ordered them on Amazon. And this is obviously people in Scotland, so. Yeah. But I thought that was pretty cool because you know it’s difficult to convert people on TV, because I found out that in Britain they show it like, every day. It’s on a channel called Living TV but it’s shown like, an episode a night. Five days in a row. BAILEY: Wow. SANDY: Oh wow. SCARLETT: So it’s not like you can- well I don’t know. This is what I’ve been told. I don’t have that channel. I can’t check it out. But um, yeah apparently it’s more difficult to get into it because you don’t have like, a night a week that you can sit down and watch it. SANDY: Right. It’s much more of a commitment. SCARLETT: So I have to friend that bought the DVDs and have loved it so far. SANDY: That’s awesome. I have 3 sets of the first season and my 2 sets are constantly out, sort of on loan to people to try and convince them that, that this is a show that needs to be watched. And I think what’s really great too about the- going back to the ratings for a second. The ratings situation is, you know, we really have since this season started; we’ve really held steady, which I think is a sign that what most of us say is true. If you’re exposed to the show, if you have the opportunity to see it you stick with it. You know? BAILEY: Exactly. SCARLETT: Especially with these smaller mystery arcs. There are storylines that you can pick up on every week. SANDY: Yeah. SCARLETT: I mean season two was very, very, very complicated. Even season one had- although it had the overall arc, it was so expository that you could watch an episode and not need to know anything about it. And I think we’ve kind of got back to that a bit. SANDY: Yeah. SCARLETT: Things are being hammered in so much that it’s really good for new viewers. SANDY: Yeah I think it’s less about the number of episodes required to complete the arc and more about the simplicity of the arc, or the tangibility of the arc itself. BAILEY: Exactly. SCARLETT: TT. SANDY: The arc of the first season, despite being a 22-episode arc, was very tangible, very easy to understand. You walk in. Boom! Lilly Kane is dead. We don’t know who killed her. It led to Veronica being an outcast. Go! I would not know how to do a synopsis of season two that briefly. SCARLETT: No. BAILEY: No. SCARLETT: But season three is fine. Girls go to college. They’re getting raped. Go! You know? SANDY: Exactly. Exactly. SCARLETT: Veronica tries to find out who. Personal interest: she was raped. You know? Season two it’s like, what’s the personal interest? You know? SANDY: Yeah. SCARLETT: We find out in the last episode. That was where they made the mistake. BAILEY: Well this season it’s just that I feel like they’re gonna have a lot more freedom, because rather than say, okay we have this mystery and we have to extend it 22-episodes, they could say, we have this mystery and we’re gonna let it run as long as it needs to run in order to be completed in a way that is enjoyable and doesn’t, you know? They can do it in a time that fits that particular mystery. They’re not trying to stretch it out, which is what went wrong with season two I think. SANDY: Well let’s talk about what we’ve seen with the rape plotline this episode. You know Veronica was sort of in conflict with Parker to a large extent, and sort of having to reconcile the Lilith house and these victims desire for somebody to point a finger at, because I think that’s a very natural reaction if something horrible happens to you. You want to find that person who you can identify as the villain, the culprit. SCARLETT: See that’s a total callback as well to season one. It’s like she- Veronica and her dad weren’t willing to go on the Kane’s side and Logan’s side and say, yeah, fine. Let’s put Abel Koontz in jail. He killed Lilly Kane. She wanted the person responsible to pay. SANDY: Yeah. SCARLETT: And I think she’s just trying to get that through to Parker. You know Parker’s like, oh well someone has to pay. But Veronica’s back to, no, but it has to be the right person, and it’s not making her friends just the same as, you know, in season one it didn’t make her friends. But at least she’s gonna find the right person, you know? SANDY: That’s such an excellent point. I didn’t even think of it like that, but that’s such a smart point. You’re totally right with that. Both times there was sort of this press to jump to the easiest conclusion, and the person wasn’t particularly a good person so why not? Just let things go. And it’s very true to Veronica to say, no. I want the truth. I want to know the truth. And here, you know, again she is determined to find the truth even if finding the truth doesn’t make her particularly popular. It’s very interesting. SCARLETT: Exactly. And it’s not specifically because it was her that was raped this time. But you know I think that does play a small part in that, you know, she does want this asshole caught. But maybe I think partly her guilt that she was in the room at the time. SANDY: Yeah. SCARLETT: I think she wants some justice for Parker. She wants to win her over and say look, you know, I did this. I’m not that evil person. BAILEY: Yeah. I think the guilt is playing a big part. She does have a personal stake in it because she’s been through a similar situation, and she knows what it’s like to not have the culprit, to wonder and how it weighs heavily on you. But I think the guilt is definitely playing a big role. SCARLETT: And also I think maybe she could connect herself to all those people at Shelley’s party who just left her. Just let her be taken away, you know? BAILEY: Right. SCARLETT: Nobody looked out for her and she must… you know, she is that person. She walked in. She didn’t stop to think anything could be wrong. She just ignored it. So she’s, you know, aligned herself sort of in her behavior with the people she hated in high school. And who treated her really badly. And I think she has to prove herself, to herself, to a certain extent but also to Parker. But mostly to herself that she’s not that person, that she can get some justice. SANDY: That’s a really good point to because, you know, a lot of people let- just assumed that she was a slut or a whore and they didn’t think twice about the fact that all of a sudden she’s making out with all these random guys who treated her like dirt for the past several months since Lilly has been killed, and all of a sudden she’s grinding up on Dick Casablancas so she’s totally out of character. But they did it because once the rumors sort of get circulated that Veronica Mars is a slut… SCARLETT: Well her true friend that would have known that she doesn’t behave like that, Lilly, was dead. Duncan was drugged. Logan hated her and was drunk. So the people who knew her didn’t stand up for her at that party. SANDY: Yeah. SCARLETT: And she made that assumption about Parker. SANDY: Yeah. SCARLETT: She made the assumption that she was just a slut. So I think she feels that oh my God, I’m as bad as those people I hate. SANDY: Yeah. Very interesting. SCARLETT: That’s why I like the mystery, this rape mystery, and a lot of people I know don’t like it. And don’t like the way that rape is handled on the show. But I like Veronica’s personal investment. SANDY: Yeah. SCARLETT: I think it’s been done well. SANDY: And I think that’s a good way to sort of, like you said, it kind of puts her in a position where she has to interact with all these different groups on campus and I think that is going to set up her position on campus much better for subsequent mysteries, you know? BAILEY: Exactly. SANDY: And I think they had to do something early on to sort of put her in a position of conflict with several groups because, you know, it’s not like she’s buddy-buddy with the fraternity group. She’s not buddy-buddy with the Lilith House group and both of these groups see her interact with the other, and they get very jumpy and concerned, and it kind of leaves her in this outcast position, which next mystery is going to make things a lot more interesting in terms of what she’s able to accomplish. SCARLETT: She has Logan but he has his own friends. You know. SANDY: Yeah. SCARLETT: I mean that was set up. He’s got his gambling buddies and he’s got his girls from weight lifting class, you know, he’s got his own kind of cycle there, and there’s Wallace but he seems to kind of have been away, you know, or absent a little bit. And I think that, I mean obviously I know that Percy Daggs isn’t, you know, contracted for every episode. So that plays a part in it but I think it’s working in terms of seeing her, you know, on her own in college or forced to interact with people she doesn’t particularly like. SANDY: Yeah. Yeah. SCARLETT: So it’s interesting. I’m liking it. SANDY: Definitely. SCARLETT: I’m not feeling like the A-plots are pointless either, you know. SANDY: Yeah I think that they sort of serve a point. Um. On that note I feel like we’ve- we didn’t hit everything in this episode, but I feel like we’ve probably taken up enough of our listeners’ time so we kind of have to take a break. But um, I definitely, you know maybe we can touch a little bit more on the actual Logan plot this week when we get to the music segment. I’m not sure if there’s a lot of crossover or not. We’ll see. Um. But on that note, are there any last minute comments you guys wanna make about the episode before we sign off? SCARLETT: Yeah. BAILEY: It was great. SCARLETT: I can’t believe that I spent an entire episode discussion not talking about Logan in a wetsuit. [Laughter] SCARLETT: How did this happen? That was my main point when I came here. You guys tricked me into actual insightful discussion. BAILEY: That’s the mark of a good episode of TV. SCARLETT: I feel betrayed. SANDY: It can’t just be all surfing, you know, goggling with the great Logan/Logan crossover surfing expedition, boys in wetsuits. SCARLETT: Let’s just ignore that part and talk about other stuff. [Laughter] SCARLETT: Fine. SANDY: All right. Okay. Well we’ll take a break and we will be back after this. [BREAKDANCE!] CAMVO: It's fall. The leaves are changing color, it's getting colder and midterms and finals are hanging over your heads. That is exactly the reason Hearst College has a library and exactly the reason you need to stop by. Our friendly and ever-chipper staff is always ready at any of our conveniently placed help desks to answer any questions you may have. We do ask, however, that you turn all cell phones off, and keep your voices at low levels to be courteous of all patrons of the library. Finally, we realize that all young students want to enjoy their college years, but please remember that the library is a place of learning. Leave the PDA at the door, or we will get testy. Good luck on your papers and we look forward to seeing you next semester as a 7th year Senior. [UNBREAKDANCE!] SANDY: All right. We are back and it’s time for our final segment, which is our music segment. And normally we would be introducing Bailey here, but she’s been here the whole time. BAILEY: Yes. I’m already here. No introduction. Um. This week was actually kind of lacking in the music department. Um. We only had three songs that weren’t score, and only one of them has been identified as of yet. Um. The first two songs that haven’t been identified are the jazz song during the Logan, Veronica and Keith dinner, and the second is when Veronica’s questioning uh, Charlie. Sorry. Forgot his name there for a minute. I was about to call him Logan. [Laughter] BAILEY: So if you know those songs- SCARLETT: It’s so confusing. BAILEY: It is! It is! It’s very confusing. I can’t do this crossover thing. Um. If you know those songs, just drop me an email. And the final song is- of course, people are talking about it. It’s the song when Logan is calling the real Charlie at the end of the episode, and that’s Never Lonely Alone… by Space Needle. Sorry. Lost my train of thought there. And um, there’s a little bit of a debate. Some people liked it. Some people didn’t like it. Um. Scarlett didn’t like it. SCARLETT: We were having our own debate. SANDY: Yeah. SCARLETT: No. I like the song. I like the song. And I think… I don’t know. I didn’t like the exact literal usage of like, kind of the opposite lyrics. Like, you always answer the phone. It’s like, oh no, whoa, the guy’s not answering his phone. I mean I was imagining- I was like, he’s gonna go out into the balcony and we’re gonna pan down and his cell phone’s gonna be ringing on silent and he’ll never notice, and the real Charlie will call him back, and that will be the only time he calls. You know. It was leading me to think really cheesy things and I was like, no. BAILEY: Well I think I just, I don’t know, I appreciated that it was cheesy. And the contradictory nature of the song to the scene. I don’t know. I think it was done on purpose and I appreciated it. I don’t know. I really like the song and I just know- I was sitting during that scene and I know it’s not a scene that you were supposed to be laughing in, but I was laughing. I don’t know. I just appreciated it. SCARLETT: I don’t think I would’ve minded so much, but with Fidelity last week it’s sort of- one thing I appreciated with Veronica Mars was that the end scenes weren’t big, music montage scenes. If you look at Weapons of Class Destruction when there’s the big kiss scene and Momentary Thing, and it’s like this huge moment musically and plot-wise. BAILEY: Right. SCARLETT: It’s not the end of the episode; it’s like, in the middle. And it’s not- there’s not a big emphasis put on it, and I just felt like it’s getting a bit teen cheesy to have the big musical sad or good moments at the end. You know? BAILEY: Right. SCARLETT: Like, we used to have maybe score to take us out and now we seem to always have a song. It’s just a difference I have noticed. BAILEY: Yeah. I recognize that too, and I think that our episodes this season have been kind of like, jam-packed with different things and it’s kind of almost that I feel like those final scenes, yeah, they’ve had the big musical exit and everything, but the final scenes have been kind of mellow, and I think it’s kind of a breath of fresh air after the episode to have something like that. I don’t know. I don’t know. SCARLETT: That’s true. I really loved last week- we’re catching up obviously because I wasn’t here last week, ‘cause I’m a slacker who just keeps getting ill. But um, I need to live in a bubble. Keith needs to get me that hamster ball and keep the germs out. And any falling objects, which may or may not be near my work. Um. But moving on. I really liked Fidelity. I thought that was really cute use in the music, you know? SANDY: Yeah that’s a great song. SCARLETT: But even- what was it? I was having a discussion in my head today while I was at work because this is what I do now, because I haven’t spoken to you guys for so long. [Laughter] SCARLETT: I was just thinking, don’t you think the general tone of the music they’re using has changed? Like I was thinking of the music we had in season one. We had, you know, obviously my favorite ever, Hi Lo from Under the Influence of Giants. You know we had kind of Korn and it just seemed a bit more angry. Like the music seems more mellow or sad now. BAILEY: It- yeah I see that too. But I also think that one of the best things about the show is that you’ll hear songs up here that you’d never think that you’d ever hear on Veronica Mars. I think that there’s a really nice melting pot of music on the show. But I think that the songs, like you’re talking about the overall tone of the season, I think that the songs are used in those more poignant scenes, like the important scenes like the relationship stuff or the stuff that’s having to do um, directly with the tone, the overall tone of like… I completely… I don’t know what I’m trying to say, but I understand what you’re saying and it’s like, those specific songs that are doing that with the tone seem to have to do with the scenes that are directly involving Veronica and where she is emotionally. SANDY: Yeah. Yeah I do. I think the music fits the tone of the show. I think that you’re right that the music is a little less edgy and a little less angry, but so is Veronica a little. You know what I mean? Like, I think the tone of the show probably has changed a lot over the past few seasons, which is reflected in the music. SCARLETT: That’s what I kind of meant. It’s like everything’s kind of mellowing out. You know? A little bit. SANDY: Yeah. Yeah. BAILEY: Right. SCARLETT: It almost feels like the calm before the storm. BAILEY: I was just about to say that. I’m a little worried. We’re having all these kinda… uh, yeah. I’m worried about that. SANDY: Something really bad is on the horizon. SCARLETT: Maybe the music’s trying to tell us something. Get worried. That’s Amore is coming soon. [Laughter] SANDY: And then it’s all over. BAILEY: I think that one of the best parts about the show is the show is Veronica Mars, and it’s centered on her, but this is one of the few shows where it really is centered on her. Like everything. The tone of the season, the music, everything. It’s directly… it’s in tune with her completely. And I think that’s a really cool thing. SCARLETT: It is. It is her world. BAILEY: You don’t see that in a lot of shows even if it is supposedly about one character. Yeah. Exactly. SCARLETT: Everybody else just lives in it. BAILEY: And everything follows suit. SCARLETT: It’s kind of nice. She has an excuse for being so self-centered and egocentric and thinking everything revolves around her, because it does. Sorry, honey. It actually does. BAILEY: Oh well. SANDY: I feel like that often in my own life. Just kidding. I don’t really. [Laughter] SCARLETT: That’s ‘cause I’ve been following you around with a boombox playing poignant music. Did you not notice, Sandy? SANDY: I already do that with my iPod. SCARLETT: I play appropriate music. SANDY: I walk around and I play music on my iPod, and I pretend like I’m in a movie or a music video… and now I’ve just revealed something really embarrassing. But I think that probably a lot of people do that, right? [Cameron does not. She should really upgrade from her CD player. It’s so 1993.] [Laughter] SCARLETT: I think everybody does that. You know it’s like if you have your iPod you’re like: I’m sitting on the subway. What’s good subway music? What would be background music for this moment in my life? SANDY: Exactly! I do that all the time. It’s like I’m feeling really det- Shut up, Bailey. You know you do it too. [But Bailey doesn’t do it with Glory of Love.] BAILEY: You guys are really weird. SANDY: Whatever. Our music guru doesn’t write her own musical soundtrack to her life? I don’t buy it. [Laughter] SANDY: All right. Um. Well on that note, we are gonna take our last break of this podcast. Um. It was fun having everybody back and I’m, you know, hopeful that Theo will be back with us next time. Yeah. SCARLETT: He’s a boy. He doesn’t count. SANDY: No. SCARLETT: All the girls again. SANDY: Yes. All right. SCARLETT: I’ll stop talking. [Laughter] SANDY: And now we’re done. All right. BAILEY: Theo’s really good for a nice one-liner. SANDY: Yeah. He always gives me a one-liner. All right. Well on that note we are gonna take another little break. [Awesome song. There She Goes by Brother Love] [Cameron is never lonely alone.] SCARLETT: Frat brother. Half-brothers. Sorority sisters of shame. This week’s episode was full of family connections. But next week’s episode falls on All Hallow’s Eve. Will there be tricks? Will there be treats? I guess we’ll have to wait and see. Until then, this is Scarlett with your inspirational message of the week. SCARLETT: The story of your brothers. You think you know it, but you don’t. –Jean Annuad. SCARLETT: Until next week, Pirates. [CLOSING THEME! Brent Pocker- Neptune’s Water] BAILEY: If you enjoyed the music featured in this week’s podcast, find out more at www.neptunepirateradio.com or email me at bailey[at]neptunepirateradio.com. Additionally, some of the music you heard here tonight was provided by the Podshow Podsafe music network. Check it out at: http://music.podshow.com. [END BROADCAST] [END TRANSCRIPT] |