Polter-Cow (spectralbovine) wrote,

  • Mood:
  • Music:

See How Much You're Sneezing When You Have Gonorrhea

I think I have to listen to a lot of Massive Attack now.

That. Was. Fucked. Up.

Like, I need someone to cuddle up with right now. And I don't want to turn all the lights on because I'm afraid of what I might see. That was some seriously creepy shit. Really, really bizarre, too. Like I expected some of it to turn out not to be real. Is this really the Neptune that was lurking beneath the surface the entirety of season one? I can't believe I thought this season was too sunny.

Continuity-licious: Mr. Pope, the Fullers, Jane Kuhne, Madison Sinclair, Lilly's vent trick.

Earlier this week, I was wondering when they were going to pick up the Meg's laptop plotline. I know they can't focus on everything in every episode; there are just too many plates spinning at the moment. But look at that, Duncan finally broke down and did some snooping. And he actually cared about something!

I'm a little disappointed (I still think you're awesome, Diane! Your dialogue crackles!) that the babysitting escapades didn't lead to anything more. The focus on the divorced teacher who gets a date with Sacks suggests it's a setup for a future plotline, but my mouth still tastes like red herring. What was the purpose of the bizarre Mr. Fuller proposition and the headless drawing? And the drawing of the Woodman family as a reverse Echolls (the mother abuses, the father allows it) has to come into play later on, right? I might be happier with all this once we get the payoffs to these setups.

I don't know what to make of Gia. I like her in that she's kind of weird and goofy, but she's...I don't get her.

Woody is very, very intent on putting Keith in some sort of position of legal authority. He must have some ulterior motive. This incorporation business is going to be big trouble, I think. But I think this was a good episode for showing that for all that Neptune needs cleaning superficially, it could use a really good scrub-down underneath.

Oh, Casablancases! Biological mother! An almost complete ripoff of the scene where Logan is notified of the money left to him by Lynn and Trina gets zip, nothing, nada ("We have Nada III.")! Poor Beaver. He likes Europe. And Dick is hitting on his stepmom. But even she won't stoop that low. Also, Duncan didn't sleep with Kendall. YET.

One thing that really came across in this episode was that Duncan was much more attentive to Meg than he's being to Veronica currently. He knew many more details of her life. He passed on the vent trick (Logan -> Lilly -> Duncan -> Meg). I think they were a good couple. (But dude, what was in that envelope he pocketed?!)

So. The Big Reveal. What does it all mean? Clearly, we now know that Lizzie was not exaggerating about her parents pulling the plug. But the question is, how the fuck did Meg turn out so goddamn normal? Did they not do this to her? Did they do it to Lizzie? We know that last year, her dad had a fit when she was writing sexy letters to a foreign correspondent, comparing her unfavorably to her wild child sister. Who ended up in Catholic school. How long has it been going on? Maybe Meg and Duncan did have sex, and her parents found out. Having lost Lizzie, they've now lost Meg, and they are not going to lose their little Grace. INTO THE CLOSET WITH HER! Meg needs to wake up and tell me how in the hell she managed to turn out okay. And then make out with me. As my icon attests, you know she wants to.

Finally, Lamb. The Big Line of Backstory. Which does not necessarily mean he was abused. All it means is that at one point in his life, the police came to investigate into some of his father's doings. We don't know what those doings were. But I think we have a clue as to what drove Lamb into law enforcement.

A lot to think about with this episode. And oh God, I didn't even talk about the Felix murder stuff. Jesus Christ, this episode was packed. The scene with Dr. Griffiths was totally ripped out of Campus Confidential. Ren did that very same thing!

I don't understand how in the motherfucking hell the writing staff is able to do all this. If you examine the first seven episodes of this season, structurally, looking at the number of interweaving plotlines and the attention paid to each...it blows the first season out of the fucking water. The first season was very much, "Here's a Mystery of the Week. Also, we will advance a couple plotlines." This season has been integrating the MOTW with the continuing plotlines (and honestly, I didn't think they could do it so much without it getting very contrived, but they've managed well so far (I kind of miss the random students asking for help, though)) so that everything is important. Every episode advances like seven plotlines. I love the hell out of it, but I'm really afraid it's making it more off-putting to newbies. I mean, I will take a stellar second season over no second season at all, but...I also want a stellar third season. And that means we need more new viewers. Who should listen to Joanne Ostrow and visit this "snarkily obsessive, obsessively snarky" site I keep hearing about.
Tags: diane ruggiero, mi.net, tv, veronica mars
  • Post a new comment


    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

    Your IP address will be recorded