#^ and i say they but it's really only echols which makes a lot of sense to me personally

[alexcabotgf]

not to be true crime posting on main but i think i'm falling down the wm3 rabbit hole again

[elliebartlets]

veronica mars rewatch: clash of the tritons (1x12)

• veronica actually had a nice little interaction with a random student. there’s something you don’t see a lot

• switching the stapler with a camera in the guidance counselor’s office lol nice

• I do kinda feel bad for the counselor, she seems cool enough

• oh yeah I totally forgot Veronica made fake IDs with Lilly and would have made some anyway to do her usual poking around lol

• and it’s like she obviously didn’t do it and is being set up but I can see why the principal and lamb would think it was her

• the girl snapping a pic of veronica in handcuffs with her digital camera skdhshs

• I find it weird Keith wouldn’t already know about Veronica’s arrest considering she’s a minor. The school would’ve called him and told him what happened.

• oh no is this another cult-like episode?? But like a cult as in a group of people in the school who are trying to take down veronica or something?

• Logan is still an asshat but I still feel bad for him

• ok nevermind I was off about the “Veronica-hating-cult”

• weird that this Rick guy said his dad called him “a coward and a traitor” for what happened. Like how on earth was he a coward?? He took his friend to the hospital to prevent him from fucking dying from alcohol poisoning and blamed Veronica like he was instructed to. How is that betraying the Tritons? And what was he supposed to do let his friend die?

• of course Duncan is a triton pledge

• “Their case is fuzzy and circumstantial.”

“You know the odd thing? Those were also her very first words.”

• “These tabloids are tearing my family apart.” Uh no dude, your infidelity is tearing it apart.

• omg I forgot Logan had a sister

• do they not have security cameras in school?

• I know this is a tv show so I have to suspend belief, but how does Veronica have the time (and impeccable timing) to go to her car and always hear what people are saying about Lilly to the guidance counselor?

• “Veronica was my friend too.”

• “Now I’m not just falsely accused I’m genuinely offended.” Lmao

• I know Kristen Bell is a singer but I honestly couldn’t tell if that was her real voice when she sang karaoke.

• wait last time we saw Duncan he decided to take the antidepressants again after having hallucinations. But now he stopped again?

• oop this scene with Duncan in the counselor’s office sets up the whole “Duncan thinks he killed Lilly” twist that they want the audience to think. I love all the twists this show has with trying to make you figure out who is the killer

• oh man that kid Veronica was talking to in the office at the beginning was one of the tritons

• I feel like this episode was so focused on Veronica and the tritons, which was fine, but I wish we saw more of Keith and his storyline tracking down who was selling the stories of Lynn Echolls

• why do I feel like it was the daughter selling the stories of Lynn? But if I remember correctly she’s only Aaron’s daughter, not Lynn’s, so Logan’s half sister.

• and why do I feel like Rick is responsible for the fake ID business?

• ohhh Lynn sold the stories, ok then.

• very interesting how we really haven’t seen much of Logan’s parents and then it just spiraled and Lynn was like “I can’t do this anymore.” I’m wondering what their relationship was even like before the affair came to light, I’m guessing not well because Lynn said she knew about the other women.

• also I do remember her committing suicide and leaving her red car abandoned on the side of the highway

• ok so Rick was doing the fake ID business and then blamed Veronica because her dad tracked down his dad for…embezzlement?? But his dad never got a bonus for years and that’s why he had to embezzle? Ok Rick that’s not her problem!

• Jesus I didn’t know they ended the episode with Lynn’s car being abandoned on the highway tho

[scabopolis]

Oh, hey. So. What about a continuation of Come Rain or Shine? “You’re Carrie’s Logan?” “Lilly’s Veronica?” Ummmm ya we need more of that world.

Title: Happy Together, Unhappy Together (a continuation from this fic I wrote five years ago, holy moly what is time??!!) Rating: PG-13 for some swears and kinda some smut glitter Pairing: Logan Echolls/Veronica Mars (mentions of Lilly Kane/Carrie Bishop) Additional Tags: Logan and Veronica probably being schmoopier than acceptable, pillow talk and nonsense Word Count: 910   *** This one is dedicated both to @ayy-ohh​ and @jjmazzy because in a total brain meld they each requested it approximately 10-minutes apart from one another. It was very difficult to reacquaint myself w/ this little universe so I worry L/V are totally different people from the first fic, but *shrugs*. 

Also, there is a lot I left on the cutting room floor (approximately 2,000 words worth) because most of it was trash. I’ll post little snippets of the cuttings in my author room on the VM Fic Club discord if you’re interested.

Have I stalled enough?  *** Carrie and Lilly’s wedding ceremony begins at 5:00 PM. By 5:33 PM, vows are exchanged. The first platters of champagne make their rounds in the largest ballroom at the Neptune Grande at 6:30 PM. Right around 6:55 PM, Veronica Mars makes a terrible first impression (or, depending on who you ask, second impression) on Logan Echolls. And by 10:41 PM, her bra is off, her dress is hitched up around her waist, and Logan has her pressed up against the wall of his hotel suite. 

(Okay, so that leaves almost four hours unaccounted for. She realizes that. It’s just that Logan’s mouth is doing something pretty great at the juncture between her neck and shoulder and—holy shit did she just moan?—so she can’t really be expected to give an accurate accounting of every minute of the wedding reception. Can she?) 

She wakes up the following morning to the sight of Logan’s naked back, his limbs akimbo and cheek pressed into his pillow. It is painfully cute and Veronica has every intention of doing something about it but first, bathroom. She brushes her teeth, pulls her hair back into a messy top-knot, and helps herself to one of the bathrobes hanging on the door. Back in the suite, Logan hasn’t moved. She stands by her impulse from when she first woke up. The impulse that was something along the lines of again, now! 

It’s just—

She also wants breakfast. 

She’s perusing the room service breakfast menu when there’s a knock on the suite door. She ensures her robe is tied and by the time she makes it to the door, looks through the little peephole, there’s a breakfast cart waiting for her to collect. 

Well, she’s not going to say no to that. 

Logan wakes up as she pours herself coffee. 

“Morning,” he says. His voice is deliciously gruff and reminds her of the aforementioned again, now! thought. Then there’s the hair which sticks up ten different ways. He runs a hand through it, making it even more of a mess. 

(There was a moment last night, where he was propped up against the headboard, she was in his lap, fistfuls of his hair in her grip as he—)

She focuses on her coffee, stirring the cream and sugar until it’s the perfect color of brown. “When did you manage this?” she asks. 

“When you were in the shower last night.” 

“God, you’re good.” 

“I know.” 

“Conceited.” 

“Self-assured.” Logan gets out of bed and settles behind her. He rests one hand on her hip and uncovers the breakfast plates. “Sweet or savory?” 

“Sweet.” 

The hand on her hip bunches up her robe, and she feels Logan press his smile into the crook of her neck. God. This is going to be a problem. He is going to be a problem for her. 

Breakfast is a peculiar affair. Peculiar in that Veronica would never think to describe morning afters as easy. But this one is. 

She eats blueberry pancakes and bacon, all while she and Logan joke and jibe about the wedding the night before. They can’t joke about how happy both Lilly and Carrie looked, though. 

“They’re going to make it. Right?” 

Logan nods as he takes a sip of his coffee. “They’re going to make it.” 

“Speaking of couples—”

“—Oh, you already think of us as a couple?”

“Logan.” 

“Do I get a pin or a letterman’s jacket?” 

She pinches his nipple. 

“Ouch,” he says, batting her hand away. “You’re a pest.” 

She shrugs, not denying it. “Speaking of couples,” she tries again, “word is going to get back to Lilly and Carrie about what we told Duncan.” 

“Oh no, Sandy! Whatever will we do?” She goes to pinch him again and he smacks her hand away. “Be nice.” 

“You don’t think that is a problem? That our best-friends are going to hear we told my ex we were dating?” 

“We’ll explain it to them.” 

“Oh.” She runs a finger through the syrup on her plate. “Yeah, that’s logical.” 

“And you find logic to be disappointing?” 

She sighs. “I think I like you.” 

Logan moves the plate away from where it sits separating them and scoots closer. Their knees touch and he runs his hands over her bare thighs, up under her robe. “I would hope so.” He tucks a strand of hair that’s fallen from her top knot behind her ear. “Because if what you did to me last night is what you do to people you don’t like?” 

She pushes at his shoulder and he reaches up to keep her hand there. “Veronica.” She curls her fingers like a fist. Presses that fist into Logan’s skin. 

Her name on his lips is sotto voce. Like a secret. She leans forward and rests her forehead on his chest. “What?”

“Maybe let’s try?” 

“I live in San Francisco,” she tells his sternum.

“I know that.” 

“You live in San Diego.” 

“I also know that.” She looks up at him. “I also know that I am very rich.” 

“Why do I know so many rich people?” 

“It’s a 90 minute flight.” 

“Think of the greenhouse gas emissions.” 

“Veronica.” The way he says her name is part rebuke, part plea. It’s tempting to ignore it. Insist it’s a dumb idea to start a relationship with 500 miles between them. Only, she doesn’t want to. 

“Okay.” She kisses the space above his heart. “Maybe let’s try.”

[beatriceeagle]

What do you think of later Veronica Mars seasons? Any advice for Rob Thomas? And (I guess about all VM seasons) anything you would change? Thank you

This got extremely long. I didn’t get into things I would change, and I didn’t give any advice; nevertheless, I have a lot to say about Veronica Mars.

The long and the short of it is that a lot of people discuss Veronica Mars as though it is a noir TV show, but it’s not solely or even primarily a noir work. It’s certainly noir-inspired; many of its characters are drawn from noir archetypes; it’s cynical enough about the status quo to be noir; you might say that it’s in conversation with the noir genre. But although noir detective fiction has plenty of hardboiled detectives (Veronica), dirty cops (Lamb), and femme fatales (Logan), where in noir do we place Wallace? Where do we put Mac? Where does Keith go? What about Meg? What about Duncan? (Poor, poor Meg and Duncan.)

By the time it exited its first season, Veronica Mars was just full of too many bright, funny, fundamentally likeable characters—characters who you fundamentally could not suspect of murder—to be classifiable as fully noir. Moreover, the central mystery that it left dangling at the end of the first season wasn’t about murder, or corruption, or betrayal; it’s about romance. Who is at Veronica’s door?  By the season one finale, Veronica Mars is first and foremost what it perhaps inevitably was going to become, when it aired on network television: an ensemble character drama.

Can an ensemble character drama be noir? Well, sure. Veronica Mars is. But in a long-term ensemble character-based show, the needs of the characters have to be served before the needs of the noir. People watched season one of Veronica Mars because they enjoyed the mystery (and the quips, and the romance). They kept watching because they connected with the characters.

Season one balanced those two needs nearly perfectly; that’s why it’s often held up as an all-time great season of television. Season two remains pretty noir (it is, after all, the season of the acquittal of Aaron Echolls), but the construction of its mystery gets overly complicated, and the personal plot—the character drama—tends towards soapy. It still balances well enough to be enjoyable, but it’s undeniable that there are problems with season two of Veronica Mars, and I think they come from trying to figure out how to incorporate the characters into an ongoing noir storyline. Wallace is simply not a noir character, but he gets sucked into a dead-end story about his missing father and a hit-and-run on a homeless guy for half a season. Duncan, once you establish that he’s not going to kill anyone in a blackout rage, is basically a bland, quiet, nice guy, and not in any way a noir character. So he has to go on the run with Meg’s (also not a noir character, therefore killed off) coma baby halfway through the season.

The basic construction of season two of Veronica Mars is that the cast from season one, now cleared of all suspicion in Lilly Kane’s murder, encounter a new noir mystery, populated by new noir characters: Woody and Gia Goodman and Jackie and Terrence Cook on the one hand, and Felix Toombs and the Fitzpatricks on the other. The main cast are organically enmeshed in this new noir set-up to varying degrees. Logan (who is perhaps the most naturally noir character of the show’s early seasons, above even Veronica) is fully integrated in the murder of Felix Toombs; he’s an obvious suspect, and although we don’t believe he did it, it’s understandable why everyone else thinks he did. Logan’s drive to clear his name (or at least stay out of jail) takes him to believable, if unlikeable, noir depths—which the show engages with! If the murder of Felix Toombs were the main focus of season two, it would probably be a pretty great focal point. But it’s not. The main mystery only touches Logan’s storyline for about one episode, where it’s a red herring, and the rest of the time Logan and the Fitzpatricks mostly operate in a parallel track, at best distracting from and at worst confusing the real plot.

The rest of the cast are involved in the main mystery, but their involvement is a tricky thing. Most of them weren’t on the bus when it crashed, or before it crashed. Most of them aren’t directly connected to the Sharks, or to the mayor’s incorporation plan. (Wow, season 2 has a lot of plates in the air.) Their connections are, by and large, second-hand. Wallace is dating Jackie. Mac is kind of dating Cassidy. Keith and Veronica just really like solving mysteries. And also Keith is running for sheriff I guess?

The thing is, those second-hand connections work to keep the show in the realm of noir. We don’t need Wallace to get involved in a hit-and-run, okay? He can just have a tempestuous and heartfelt but ultimately doomed relationship with a girl with a mysterious past. Duncan probably didn’t need to go on the run with Meg’s coma baby; he could’ve just like, gone to boarding school in Connecticut.

Season two is very aware that some of its characters are noir and some of them are not, because it leverages that fact to make the mystery work. Cassidy is on the bus, and then leaves before it crashes; Cassidy alone of the main cast is heavily connected to the incorporation storyline; Cassidy basically has a big red arrow pointing at him for five episodes leading up to the finale saying, “Hey, SOMETHING’S GOING ON WITH THIS GUY.” But Veronica never seriously considers him as a suspect, and the only reason that the viewer doesn’t (if they don’t) is because... it’s Beaver! Beaver’s not a murderer! Beaver’s not that kind of character. It’s kind of like how season one shows you Aaron Echolls beating a guy half to death, but plays “That’s Amore” over it, and you don’t realize you’re looking at a clue—or how The Good Place hid its first season twist simply by being a sitcom. If you don’t know what genre you’re operating in, it’s hard to be genre savvy.

But there’s a risk that comes with that kind of writing: No one was invested in Aaron Echolls, but I can imagine that someone might’ve been invested in Cassidy. I wasn’t, but someone might’ve been. He was in the main credits. He was dating Mac. In order to make season two’s mystery noir, and meaningful, and keep it connected to the main characters, they had to burn a character with some real work invested in him, and do so in a way that potentially broke faith with viewers who really liked that character and his relationships. (And that’s not even getting into the really unfortunate implications of the specific motivation and backstory they gave to Cassidy.)

Season three is just kind of a mess, for a lot of reasons. It’s not particularly noir; they’ve lost the overarching mystery, as well as the show’s central setting; they lean heavily into the character drama, but although Veronica Mars is an ensemble character drama, it’s not just an ensemble character drama, and it can’t and shouldn’t function without a mystery to sustain it. But more importantly, everyone’s a little out of character, so even if character drama were enough, I wouldn’t be all that interested in watching almost!Veronica get in her fifth fight with almost!Logan. That said, I think that leaning into character drama is a safer way to jump the shark than leaning into noir; at worst, the show is going to get messy and boring, which is basically what happens. And the ending of season three is a pretty bang-on noir ending, and falls out naturally from the weird, messy character drama. It’s not a good season of television, but there’s a reason that it didn’t destroy fans’ love of the show.

This is ~*unconventional*~, I know, but I like the movie, both as a fan and, when I try to step back and approach it somewhat objectively, as a critic. It is extraordinarily fanservice-y; I don’t think that’s a bad thing. There are, perhaps, fanservice moments that I find a little over-the-top. (One of them, alas, is the repetition of the “lives ruined, bloodshed” speech; Logan was drunk the first time he gave that, he doesn’t remember it, and that’s half the point!) But on the whole, the movie gets it. Logan and Weevil (and Gia, may she rest in peace) are inherently noir characters who you can insert into a mystery or a story about corruption or cynicism, and although we don’t want them to have done the big bad thing, they will operate smoothly within the confines of the system. Wallace and Mac are visitors from another genre; the make connections, they comment, their lives are sometimes affected, but they are not noir, and their stories should not be noir. Veronica and Keith are the pivot, constantly drawn into Neptune’s seedy network of crime, trying to root it out.

It’s basically the Logan-and-Fitzpatricks storyline from season two, but updated so that a) Veronica and the rest of the cast is actually involved, and b) Logan is a much more likeable person. And it turns out that that’s a totally solid engine for a movie! And because it’s so fanservice-y, we spend time with all of the characters, even the ones who aren’t really entangled in the noir plots. Mac gets stuff to do. Wallace gets stuff to do. Piz... gets... poor Piz.

Season four leans heavily on the noir. So heavily, in fact, that the characters who aren’t natural noir characters are virtually nonexistent within the season. Wallace doesn’t have a storyline; Mac doesn’t appear because Tina Majorino refused to be in the season, since she wouldn’t have a storyline. Weevil, whose noir tendencies have put him on the outs with Veronica in between the movie and season four, has a story, but it’s not one that’s heavily tied to the main plot, and he’s not around much.

Structurally, season four is similar to season two, in that the main cast encounters a new mystery full of noir characters: Patton Oswalt, Matty the mini-Veronica, that politician and his family, those cartel hit men, Veronica’s bartender friend Nicole. The difference is that in season four, the main cast has functionally been pared down to three people: Veronica, Logan, and Keith. Oh, and Dick. Dick’s still hanging around, I guess.

Because of that, we spend virtually all of our time in season four with Veronica. Sometimes a little with Logan, sometimes with Keith, but mostly Veronica. We see her making friends with Nicole; we see her taking on Matty as a protege. We see her fight with Weevil; we see her fight with Logan. 

Oh boy, do we see her fight with Logan. Because there are so few subplots to distract from it, Logan and Veronica’s relationship is, in many ways, the story of season four. For a show trying so desperately hard to cling to noir and run from character drama, season four isn’t really about corruption; it isn’t about power; it isn’t about cynicism or brutality or the ways that Neptune has been and always will be bad. It’s about a relationship, and what happens to it when one person (Logan) is trying to move on to a healthier place, but the other person (Veronica) is still stuck in old, toxic patterns of behavior.

Nearly everything in season four is in some way about the Logan/Veronica dichotomy, or about their relationship with each other, or about the way that Veronica is pathologically stubborn and guarded and suspicious, and how that kills her relationships. It’s the thematic underpinning of the Matty storyline; it’s what the Nicole storyline turns on; it is, whether the show understands it or not, the devastating backdrop of the few scenes in which Weevil appears.

This is all fine and noir, but again: It comes to its fullest fruition, it finds its highest stakes, the season’s arc reaches its climax, in a romantic relationship. Which the season is, fundamentally, devoted to the psychological exploration of. And when Veronica decides that she can commit to marrying Logan, that is a key moment of character development, in a show that has historically been an ensemble character drama, in a season of television that has been, at least for Logan and Veronica, at least partially a psychological character drama.

And then Logan blows up.

And look, I am not opposed to killing characters. I’ve defended the death of Lexa on The 100 on this here very blog. But Logan’s death is 1) stupid, 2) at a stupid time, and 3) for a stupid reason. He dies moving the car across the street, just at the culmination of a major psychological arc about toxicity and moving on and opening yourself up to others... so that Veronica can stay toxic and guarded, I guess?

It renders any character development we’ve seen from Veronica in season 4 pointless. It cuts the character development we’ve seen from Logan for over a decade tragically and meaninglessly short. And it does it all in the name of taking a hard turn into “pure” noir, so that Veronica can go investigate mysteries in other towns, unencumbered by a troublesome cast that viewers are unwilling to suspect of murder.

The problem is that that cast is a lot of what’s good about the show. Maybe there are people who watched season four of Veronica Mars and came out of it thinking, “Ah, yes, what this show needs is even less of the ensemble cast,” but I was not one of them. The Veronica of season 4 is not a particularly likeable person. Veronica, on her own, was never all that likeable; what she was was funny, and understandable, and righteous, and decent. She had people around her to be likeable, to provide you with an entry point into her mind, to show interesting sides of her you might not otherwise see, to call her out when she crossed a line, and to give the show a lightness that made it fun. The bomb that blew up Logan may have made the loudest noise, and had the most final impact, but it wasn’t what killed season four; that happened when the writers sidelined Wallace.

It is, I’m sure, difficult to balance being an ensemble character drama with being a seasonal noir mystery. (Jane the Virgin ran into similar trouble, in the long run, balancing being an ensemble character drama with being a telenovela.) Nevertheless, Veronica Mars is both of these things, and blowing up the ensemble to service the noir is inevitably going to alienate viewers, because viewers have a reasonable expectation that the shows they’re watching will continue to be the same general kind of show. And because many viewers were drawn to Veronica Mars at least as much for the characters as for the mystery.

So my very, very longwinded opinion on the later seasons of Veronica Mars is that I think the show has an identity crisis, and I don’t think it’s going to resolve it any time soon. It may not be resolvable; honestly, television might not be the best medium for ongoing Veronica Mars stories at this point. But I have very little interest in watching any further seasons produced, so it doesn’t matter much, from my point of view.

[cinematicnomad]

1, 7, 25 for the fanfic end of year ask :)

001. favorite fic you wrote this year i have a soft spot for take my hand (take my everything) which was the first fic i wrote this year! and kind of the first step back into writing creatively on something new that wasn’t the 7 year monster sterek fic. also my first foray into 9-1-1 fic and was just a lot of fun! 

007. longest completed fic you wrote this year the longest fic i wrote was my second for the year! so show me (family) wound up being around 16k+ for 9-1-1 which kind of burst out of me over the course of one 48 hour window unlike take my hand which took a few weeks to crank out. 

025. a fic you read this year you would recommend everyone read SO MANY FICS DUDE!!! i’m gonna rec a couple, some that i re-read this year and some that i discovered for the first time, all from a variety of fandoms. BUT heads up, you didn’t specify a fandom so it’s gonna be a little scattered. also someone else sent me this same question but specified 9-1-1, so i’m gonna reserve those recs for that ask. GET READY!!

and this, your living kiss by opal_bullets (7/7 | 84k+ | M) destiel; AU: college/university; john winchester’s A+ parenting; angst with a happy ending

only a very few people in the world know that the celebrated and reclusive poet jack allen is just kansas mechanic dean winchester, a high school dropout with a few bucks to his name. not that it matters anymore; life has left him so wrung out he never wants to pick up another pen.

until, that is, a string of coincidences leads dean to auditing a poetry course with one dr. castiel novak. the professor is wildly intelligent, devastatingly handsome...and just so happens to be academia’s foremost expert on the poetry of jack allen.

note: i discovered this fic back in the pre-pandemic times of feb 2020 and i’ve read this fic TWICE since, leaving a lengthy comment each time. the poetry in the fic itself is stunningly gorgeous and i have a habit of reading it out loud to myself while reading bc it begs to be heard. this fic is seriously beautiful and makes me want to read all the poet!dean au’s out there in the world. unfortunately there aren’t that many so i just keep coming back to this well. i don’t think i can express enough how much i love this fic. 

lost time by ARCurren (105/105 | 350k+ | T)  bransonxsybil; AU: canon divergent; outsider POVs; original characters; slow burn

the story of a free spirit who was asked to give up the man she loved for a system she didn’t believe in and what happened next. AU after 3.04. 

note: did i think, when i stumbled across this fic years ago, that it would wind up being one of my all time favorites that i return to time and again to re-read? never. did i re-read it for like the dozenth time this year?? 110%. this fic is everything i want from fanfiction—it’s beautifully written, expands on canon, and shows me all the hidden moments the cameras never did (not to mention it’s historically accurate and delves deep into irish politics of the time). the first third or so of this fic is all about tom and sybil’s slow burn romance at downton, but the fic really bursts into its own when we follow the two to dublin and get introduced to all of the author’s deliciously detailed oc’s. heads up warning: this fic was never officially completed, though the final chapter is a beautifully written summary of the final arc of the fic. even so, it’s fucking worth it. 

misfire by mothlights & unpossible (6/6 | 28k+ | T) sterek; time travel; angst with a happy ending; alive hale family; magic; alternating POV

“the debt must be repaid,” she says, and it has the weight of a vow. the words resonate through him, ringing through his ribcage and the bones of his jaw, and stiles loses his breath and maybe his grip on reality because she draws herself upright and where there had once stood a supermodel-level MILK now there is galadriel’s much hotter older sister, a presence of unmistakable power in their ordinary, smells-vaguely-of-thai-takeout hallway. 

“oh shit,” stiles says. 

note: this fic is the first in the misfire ‘verse and i need you to understand that it literally broke me when i binge read these fics a month or so ago. i am a sucker for a solid time travel fic especially bc there are such few good ones in fandom. but this gets at the heart of it all by exploring the idea of stiles getting the chance to save derek’s family and taking it...after he and derek are romantically together in his true timeline and then actually dealing with the ramifications of how that alters everything and how stiles survives in this new present where he and derek are virtual strangers. everyone should definitely read this, but you should also know that i fucking sobbed while reading the sequel (which also has a happy ending, but really digs deep into the nitty gritty angst of the repercussions). 

map of the world by seperis (11/11 | 154k+ | M)  destiel; end!verse; alternate universe; canon divergent; original characters; slow burn

the world’s already over and they’re already dead. all they’re doing now is marking time until the end. 

note: look, if you don’t know about down to agincourt by @seperis, what are you doing with your life?? the series is over 1M+ words so far, the fic author is on book 4 out of a planned 8, and it’s fucking phenomenal. i know i’ve tagged a couple of these recs as slow burn but...this is the slowest slow burn to ever burn. canon!dean travels back into the end!verse timeline just as lucifer kills dean and somehow cas made it out alive and has to keep dean safe while he learns to become his end!verse counterpoint. the world building in this series is intense and i cannot recommend it enough. i’m still in the midst of my re-read bc it’s SUCH an endeavor but i highly recommend it to everybody. 

invictus by ellanasan (116/116 | 355+ | M) hayffie; au: alive abernathy family; pre-hunger games; canon prostitution; slow burn

“so then, before i can even think about doing something stupid like trying to stab him with his fucking golden paperknife, he gives me a choice, see?” haymitch continued, almost detached. “either i play nice like all the other victors or he’ll kill my family. i could either become his puppet—greatest punishment he could give me, according to him—or i could become the example.”

AU in which haymitch’s family lives.

note: hello, have you ever wondered what the hunger games series would be like if haymitch’s family were alive? i fucking hadn’t until 2 years ago when i stumbled across this fic and fell head over heels in love with this ship. @ellanainthetardis is my go to hunger games fic writer for anything exploring canon and i’m obsessed with anything she writes about the OG victors pre-canon (finnick, joanna, chaff, etc). this fic is just 300k+ exploring that world and all the intricate details of how cruel the games could really be. HIGHLY recommend. i definitely re-read it this fall when i needed a pick me up.

don’t know what i’m supposed to do (haunted by the ghost of you) by crazyassmurdererwall (1/1 | 30k+ | T) sterek; canon divergent; angst with a happy ending; ghosts; stiles POV

stiles sees dead people. yep. seriously.

(he’s got this. he’s totally got this. so what if one of them is derek’s mom?)

note: did you know that @crazyassmurdererwall is one of my all time favorite people? and that she’s wicked talented? and that in our spare time she’ll send me a billion fic ideas that are amazing and i get to hear all the intricate details of her plot bunnies? but i digress. this fic is one of my all time fave sterek fics i’ve re-read it sooo many times. there’s just something about the heartache and stiles’ insecurity and the way he tries to shoulder it all on his own. and then there’s alli’s brilliant writing, the way she weaves through a scene and paints a picture just so and manages to tug at your heart strings with her precise word choice. there’s some amazing world building in this fic as it explores this other facet of the supernatural that canon teen wolf never touched upon, and i’m so grateful for that bc alli is the only one who should be allowed to write about ghosts and teen wolf together. 

lagavulin and guinness by snarfle (10/10 | 163k+ | explicit) hartwin; slow burn; PTSD; suicidal thoughts; graphic depictions of violence; domestic abuse

plenty of people had looked down on eggsy throughout his life. he had gotten fairly used to it. didn’t mean it was fair, but he knew how these things worked. what really sucked was that the new arthur was worse than the old one.

“eggsy grimaced. he didn’t know how to explain to harry—who seemed like he hadn’t been discriminated against a day in his life—that the new arthur kept giving him what amounted to suicide missions, and that he was currently bleeding out in a warehouse because of the deliberately bad intel she had given him.”

also featuring: dean is harder to get rid of than eggsy thought, his mum is going off the deep end, there are way too many nefarious plots in play, and eggsy is really beginning to wish that harry would stop holding his hand and kiss him instead.

note: look, i know i recced this literally less than a week ago but i ALSO stayed up til 5AM re-reading this last night and it was a-m-a-z-i-n-g. i was on a bit of a kingsman kick earlier this year, so i’ve actually re-read this fic TWICE so far in 2020. i will give you a serious warning in that this fic delves deep into domestic abuse through the lens of a variety of different relationships. it also explores the potential for abuse in hartwin, bc this fic is one of the few that actually commits to the fact that they’re literal spies who murder people. actively. a lot. but seriously, this fic is one of my fave in the fandom and i STRONGLY recommend it. 

waste of breath by bryrosea (1/1 | 22k+ | M) loganxveronica; canon compliant; missing scenes; navy; past child abuse

logan echolls, the nine years, and the navy.

note: bryrosea has an obscene number of amazing logan and veronica fics (her canon divergent series stay with me is another i re-read this year), but i’ve found myself returning to this fic a lot over the years. i’m a sucker for canon compliant fics that explore the missing scenes in between canon and this fic hits all the right buttons by diving deep into how logan echolls went from being a trash fire at hearst college at the end of s3 to being a decorated navy pilot by the movie. it explores logan seeking out therapy and making a life for himself that he can be proud of, all while pining after the girl who got away. and bc this author is amazing, she followed it up with a sequel from veronica’s point of view in the series done by only me. 

the law of equivalent exchange by awed_frog (8/8 | 60k+ | M) destiel; POV castiel; pre-canon; post-canon; canon compliant; immortality; reincarnation

“and what’s the point of it?”

“of love? there isn’t one. loving is its own purpose.” 

note: i mean??? i don’t really know what to say except that this is one of the truly most beautiful fics i have ever read. it follows castiel through time as he meets different reincarnations of sam and dean across history and falls ever more deeply in love. it is achingly tender and so ecstatically written that i die just thinking about it. and that summary? i mean. holy fuck break my heart why don’t you? i don’t know how i missed out on this fic for so long since it was published in 2015 but i only learned about it for the first time back in july and it was. life changing?? when the fic finally reaches the canon timeline and he meets THIS dean it’s peak yearning. 10/10 will read again.

ahead in the count by elisela (17/17 | 50k+ | E) sterek; AU: sports; pitcher!stiles; teacher!derek; long distance relationship; getting together

“yankee fan,” derek says, laughing when stiles makes a disgusted face. “the bronx bombers, stiles, you can’t be a new yorker and—”

“stop talking right now,” stiles sighs, shaking his head. “i can’t believe i still want to kiss you after that,” he says, pulling derek in by his coat. “this is making me rethink everything.” 

“i’ll never watch them again,” derek promises, and stiles laughs against his mouth. 

or: stiles is a starting pitcher for the NY mets when he meets and falls in love with derek. derek doesn’t know. 

note: i read SO MANY of @elisela’s 911 fics this summer, which i loved, and then she got into teen wolf and started writing sterek and i just about died. this fic is amazing, one of my fave sterek AU’s that i’ve read in years. it’s just the right amount of drama and angst and fluff filled with all the joys of miscommunication and character relationships that makes reading sterek such a joy. reading this fic and finding out eli needed fic recs pushed me to dive back in to reading sterek fics for a bit this fall so i can say with the utmost authority that this is one of the best i’ve read in a long time. 

i used to think one day we’d tell the story of us by notequitegucci (2/2 | 32k+ | M) gendrya; alternate universe—modern setting; outsider POV; friends to lovers; friends to lovers

9 times a stark encounters gendry + 1 time he meets the starks.

note: again, this is the first in a 2 part series titled love me like you do that explores arya and gendry’s dynamics together through the point of view of her family. game of thrones ended last year with a whimper but i keep returning to the gendrya tag on ao3 to seek out new, amazing content and also to re-read some old favorites. i can’t remember if i came across this for the first time last year or this one, but i’ve read it and re-read it more times than i can count since and i love it more than i can describe. i’m a total sucker for outsider POV fics and my biggest pet peeve in canon is the fact that none of the stark’s ever found out that arya and gendry had a history together. this modern au fic almost makes up for it by giving me a gendry encounter with every family member and then the big reveal. it’s peak content. 

theeeeeeese recs got a little away from me. i wasn’t originally intending on adding lengthy notes to each entry but ... oh well!! these are all amazing so please enjoy. 

fanfic end of the year asks

[pseudophan]

can you tell us the summary of your love of your lives case? I don’t wanna watch the video I don’t have the patience to watch it

it's such a complicated case but in short(ish):

1993 in west memphis arkansas, three eight year old boys go missing and are later found murdered in the woods. the community is freaking the fuck out and because it's 1993 small town arkansas and satanic panic is sweeping the nation people go ITS SATANISM IT WAS A SATANIC RITUAL and the police keep interviewing this 18 year old named damien echols because he was into witchcraft and listened to metallica and wore all black (genuine points brought up in court like this is what the entire case is built on). im skipping some details here cause its all oh so convoluted but basically they eventually interrogate a 17 year old named jessie miskelley jr who confesses to the crime and implicates damien and damien's best friend jason baldwin (16, looks about 11). so then ofc they all get arrested

issue is: jessie is a minor with a reported iq of 72 and they interrogated him non stop for 12 hours with no parent or attorney present (his dad agreed to let them speak to him but they didnt tell him it was an interrogation) and less than an hour of it was recorded. jessie claims the cops coerced him into his confession and even on the 40 something minutes of interrogation we do have available to listen to you can hear the cops just continuously leading him on like theyll ask when this happened and he says a time and they go no the kids were in school then it was later wasnt it and he's like yeah it was [later time] and theyre like no it was around 8 wasnt it? and hes like yeah yeah it was then and it goes on like that foreverrrrr

ok im getting into too much detail here im sorry theres so much more anyway anyway TRIALS HAPPEN and its all a whole bunch of bullshit and hbo recorded it all for hit documentary paradise lost (watch it) and hhhooooooly shit!

theres way too much to talk about w the trial but besides everyone being fucking cracked and damien being a smartass and the judge looking bored out of his goddamn mind throughout the whole thing (FUCK that judge) one notable part that didnt come out until later is that during jury selection this one guy was hell bent on getting on the jury cause he wanted them convicted and not only was he let on the jury he became the jury foreman which goes against like every law cause juries are supposed to go into court with no preconceived notions of what happened. also jessie had a separate trial cause he wouldnt testify against jason and damien which means his "confession" wasnt admissible in their trial and the jury werent allowed to consider it, but the jury actively discussed the confession while making their decision (jury members have said they did + it was written on their goddamn whiteboard) which. h

ANYWAYYY so jessie and jason get life in prison without the possibility of parole and damien gets sentenced to death. damien is 19 at this point with a newborn baby. jason isnt even 18.

so then they go away and the documentary paradise lost comes out and everyone collectively loses their goddamn fucking minds cause how the fuck did this happen they didnt even have a single piece of actual evidence except a piece of hair that MAY match damien but also its the early 90s and they dont actually have a fucking clue

years go by, everythings happening so much, their appeals get shot down one by one cause its the same fucking judge and ofc hes not gonna admit any fault. the public suspect john mark byers (rest in peace he died like a month ago in a traffic accident, btw he also didnt do it but thats also a lot to go into. interesting guy, definitely inbred, violent tendencies but not a murderer) one of the kids' stepdads (technically adoptive dad cause he legally adopted the kid after he married his mum but hes generally referred to as his stepdad) of having done it cause hes fucking massive and is quite possibly the most colourful character ive seen in my life like that guy had no idea what was going on ever and he was hell bent on the teens having done it and wanted to kill them all UNTIL! until. 2007, they test the dna in the case and SHOCKINGLY turns out none of the west memphis 3's dna is anywhere to be found, the shit they had that could be damien's turns out to not even remotely match him in the slightest and suddenly theyre there like. well. now theres nothing. and yet theyre still in prison cause everyone who got them convicted is like NO THEY DID IT :) but the public outrage is so much by this point and finally they get to take it to the supreme court who take one look at it and are literally like ??? what the fuck happened here give them a new trial what the literal hell (theres a video of it their faces are literally so funny they all look like they absolutely cannot believe this required their help) so in 2011 they finally have the opportunity to retrial with a new judge but SUDDENLY the state of arkansas go um actually we are gonna offer you an alford plea which basically means they legally plead guilty to the charges while still saying they didnt do it and then they get let out but the state wont have to admit fault or reopen the case cause in their eyes these three are still guilty but theyre gonna let them out anyway cause that makes a whole lot of sense i guess. lol basically the state realised there was a real chance they could get exonerated in which case they were gonna get sued to hell and back and went FUCK give them a deal

now jason didnt want to take the deal he wanted to wait for the new trial and risk getting found guilty again cause he said this isnt justice for the kids cause the real killer or killers are still free and its not justice for us cause we have to plead guilty to save the asses of the system that failed us all BUT all three of them have to agree for it to be valid and damien's execution date, which he's already narrowly avoided on several occasions like its already been postponed multiple times, is once again coming up and if the new trial somehow goes wrong and hes sent back to death row he's gonna be killed so jason decided fuck all of that and agreed to the plea exclusively to save damien which ok ride or die king

i havent gone into who really did it cause once again there is SO much but the majority of people think it was terry hobbs (the stepdad of another one of the victims) including the kid's mother whos now his ex wife who he abused to no end. theres a Lot to this theory and while theres no concrete evidence cause they did a shittyass job with everything theres already more dna linking him to the scene than the teens. god i really wanna go into everything that points to terry being at least somehow involved but this has already gotten so out of hand

anyway follow damienechols on instagram all he does is post about witchcraft and cats. also watch the hbo paradise lost trilogy and west of memphis. and if u want even more details listen to the three true crime garage episodes on the case. also theres books. theres so much. i have so much more to say. someone stop me

[veronicamarsconfessions]

I was hugely excited by the announcement that a fourth season of teen noir show Veronica Mars was going to be made, nearly fifteen years after the show’s initial air date (and cancellation after three seasons), and five years after the crowdfunded movie came out. As soon as the show dropped on Hulu (or Stan, if you’re in Australia like me) – a week earlier than initially slated, I rushed to watch it. And I was so distraught by the ending that it genuinely took two days for my mood to return to something even vaguely resembling ‘okay’.

For those of you who haven’t seen it *SPOILERS FROM HERE ON*,

season four has Veronica (Kristen Bell) chasing down a serial bomber who seems to be trying to destroy the Spring Break business in Neptune. It turns out that the first bomb was set by property developer ‘Big’ Dick Casablancas, trying to destroy the Spring Break business in order to buy the waterfront properties cheaply, and the subsequent bombs were set by a pizza delivery man, Penn Epner (Patton Oswalt), who fancies himself a detective and is out to find glory after he is initially ridiculed for his public accusation of an incorrect suspect. The season itself had several issues (one of them being some seriously murky motivations behind Epner’s behaviour, like, if he really was that much of a genius, why was he a pizza delivery man?, and that the people ultimately behind the crimes are more or less ‘hidden in plain sight’ all along, which is a disappointing departure from the way the initial seasons cleverly hid the villain until quite late in proceedings). However, the issue for which there is not enough therapy in the world to appease me is the season’s last-minute killing off of reformed bad-boy and Veronica’s long-time boyfriend, Logan Echolls (Jason Dohring), right after they finally got married.

Series creator and showrunner, Rob Thomas, justified this decision by saying ‘I know this seems crazy or harsh but Veronica is at her best when she’s an underdog and I don’t know that there’s much to root for if she’s now got a perfect relationship. I need to keep her fighting and I need to keep her a little bit uncomfortable in order to have a show. There’s nothing funny or interesting about perfection.’

Except that’s a deeply flawed understanding of how relationships function, and a deeply messed up thing to push on to people.

It’s fair to acknowledge that once the ‘will-they-won’t-they’ is resolved, TV shows often decline in quality, or at the very least, significantly depart from the original formula which made them into such beloved hits at their beginning. But there are two significant issues with this: First, the assumption that TV shows must remain the same in order to be good. There are some interesting observations that the job of the sitcom episode (in particular) is to return all characters to more or less their original starting points. While that is broadly true, TV shows, like life, need to evolve in order to stay interesting, and as across seasons, audiences grow alongside the characters they watch evolve and mature.

Nevertheless, it was fair for Thomas to note that the characterisation of Veronica is someone who is embittered and cynical about people’s fidelity and inherent goodness  – after all, when we first meet her at the age of sixteen, her best friend has been brutally murdered, she’s been raped, her alcoholic mother has upped and left, and her adored father and moral compass has been socially ostracised for a) doing his job and b) being not super wealthy. It’s a lot. Veronica’s very understandable trust issues are compounded by the moonlighting she does as a P.I where, to she regularly sees people cheating on one another and generally behaving in unpleasant ways. So it’s reasonable to point out that for Veronica, the notion of the ‘happily ever after’ is a deeply uncomfortable one. But to keep her in the same mindset as she was at aged 16 is to deny her the capacity to grow as a character.

It’s fair that there was a desire to avoid repeating the pattern previously established (withdrawn/bitter etc), but – and here is my ultimate point – that could have been avoided.

Some of the most complex and interesting storylines come from couples who get together and have to navigate relationships; compromising to fit together, find a way to make it work. Think about the evolution of Niles and Daphne’s relationship in Frasier (and leave aside some of the aspects to his earlier infatuation with her that seem distinctly distasteful in a post-#metoo world). While much of the humour between them in earlier seasons was because of his unrealised ardour for her, after they became a couple, the hardships they navigated through being a couple, and the deepening richness of their relationship that was both romantic and based in friendship, produced some truly hilarious moments. Similarly, one of my (and our fabulous Chief Nerd, Elise’s) favourite TV shows, Chuck, *SPOILER* has the two leads get together in season 3. The show was no lesser for that fact because as Chuck and Sarah’s relationship deepened, they explored facets of themselves that they hadn’t previously shown – it provided more material for the writers, not less.

One of my favourite articles on the ending of Veronica Mars, season four, pointed out that Logan has the most interesting character development because he works to better himself – he has come a long way from the miscreant teenager who organised ‘bum fights’, and he had the potential to become an even more interesting character. How this interacted with Veronica’s cynicism could have provided significant fodder for more story.

But, giving full credit to Rob Thomas for a moment here, the show is called Veronica Mars, not Logan Echolls. So the decision to axe Logan was made to push Veronica’s character development forward, especially given the shows position as a gender-flipped noir which so often has the embittered, cynical detective dealing with the ongoing pain of a tragically killed love.

But the problem is that I can’t actually see how this is going to do anything but ossify Veronica’s primary characteristics: bitter, a hardnosed and reckless desire to catch the bad guy at any cost. Moreover, in most of the noir detective stories, this love has died before we meet the hard-bitten detective.

Thomas said to The Hollywood Reporter, “Moving forward, we’re going to really build around [the idea that] the case is the thing and less of the soap opera of Veronica’s life.” Except Veronica Mars is all about character. Her interactions with her father, Keith (Enrico Colantoni) and the genuine bond of affection between them evokes some of the show’s most poignant interactions. Her internal struggle when the pursuit of justice comes up against questions of morality is inherent grounded in her character. One of its most interest aspects across the years is that Veronica is often wrong. She falsely accuses people (including Logan himself), she behaves badly, she takes her friends for granted, and she can be reckless to the point where she endangers herself and someone has to come in and rescue her (case in point: wandering into the base of an Irish gang that had a particular grudge against her father). So to strip away the elements to the story that allow for depiction and consideration of those complexities would be to lose much of the show’s point.

There’s also a part of me that feels the way in which Logan was killed feels personal. Logan and Veronica were never initially meant to get together, but in the first episodes, the chemistry between the characters, and Kristen Bell and Jason Dohring was so profound that it was written in. I might be putting on my tin foil hat to say this, but it feels as though Thomas resented the manner in which LoVe became such a pivotal part of the Veronica Mars ‘brand’. What really underpins that for me is that the way the series sent off other characters was considered, and gave them a certain ‘exit’. The way in which Logan was killed off feels almost like an afterthought, made more so by some of the questions that arise from the manner. How did he know that she would be in it when it actually blew up? Moreover, the convenience of him leaving a voicemail for his therapist about why he wanted to marry Veronica (why exactly would he call his therapist to tell him about his epiphany? Who has that kind of relationship with their therapist?), and this woman’s decision to keep it from Veronica for a year seems weirdly contrived. Because it was.

However, to be fair, one could claim that the season mistreated some of its other characters, too. Tina Majorino who plays Cindy ‘Mac’ Mackenzie specifically noted that she did not want to return because she did not want her character to be sidelined. Similarly, the complexity to Eli ‘Weevil’ Navaro’s character was stripped away, as was the depth of his relationship with Veronica. What’s worse is that this could have been a really interesting storyline; why he decided to walk away from the court case which would have seen him awarded with compensation for what happened to him in the movie. While we are told that his wife left him along with his child, prompting him to return to his old gang-running ways, the depth of his grief and the reputable life he lost were never really portrayed. Honestly, I would have preferred that rather than the convoluted storyline that involved Mexican cartel hitmen.

But beyond my argument as a writer as to why Logan’s death was a totally unnecessary element to bring in, it also feels like a real slap in the face to fans. I’ve previously talked about the relationship this show has with its fans. Realistically, season 4…hell, the movie, only existed because of the love and support fans showed the show.

Any narrative material exists to interact with fans. Obviously, there is a fine line that can cross into blatant pandering, and there is also a trend that offers a ‘gritty’ or ‘sad’ end (ie the tragic death of the lover), but it’s a balance.

The Veronica Mars movie was very much fan service – it was, after all, fan funded. Much of the movie’s contents and storyline were determined by what Thomas was seeing from fan comments on social media, noting “I did have an idea of things people wanted to see, characters I wanted to get an appearance in, whether it felt extraneous or not.” He added, “there’s no way in the world we would have had a fan-funded movie and I would have killed Logan,” he added.

In the same interview, he said, “I fear that leaning into the high school soap that the show started out as is a losing proposition, that it will start feeling nostalgic rather than vital. If Kristen [Bell] and I want to make more of these Veronica Mars mysteries, I think it’s going to survive best as a true mystery show with a badass PI at the center of it, and I think that works better if the PI doesn’t have a boyfriend.”

Yet for a show whose who schtick was challenging the noir detective genre, it seems the prospect that someone fundamentally gritty and damaged can also have a relationship that the struggle to be healthy was simply a bridge too far.

And at the crux of it, what really frustrates me – as a fan, and as a writer – is that for Thomas, it simply felt too hard to give Logan and Veronica an enduring relationship, and it if wasn’t too difficult, then he perceived it destroyed some fundamental part of the show by making it emotionally sappy. If that’s the dichotomy in which Thomas thinks, then Veronica Mars is no longer the show which attracted its die-hard following of fans and may as well be a different show with a similar premise.

[takadasaiko]

Growth and Comfort Do Not Coexist (a Veronica Mars oneshot)

FFN II AO3

Summary: When Logan and his Navy buddy get volunteered for the Career Day fair at Neptune High on the same day that Veronica is hired by Principal Clemmons for a case,  Logan's two worlds cross with some soul-searching results.

Notes: When I started this series the plan was to keep it as a pretty strict extension of canon, but after going through S4 again I feel like it's more accurate to say that it's a very subtle AU with most of canon intact. Most of the time, you may not even be able to tell, while others I'm going to splinter off a bit more. This is one of those times. I haven't finished the novels yet, but I understand that Logan provides a bit of backstory on how he joined the Navy in the second one. At least in spirit it lined up pretty closely with the head canon I was already getting attached to, so I decided to keep the head canon for this series. I'll try to let you know in any future fics as well if it splits for information I know was provided.

Growth and Comfort Do Not Coexist

One of the countless ironies in his life was that it had been his father that had started him on his love of quoting others to find his own way. It made sense, even if he hated it. An actor regurgitating others' words in his own voice and making a mint of people for doing so, but Logan hadn't stopped with movies. He watched everything, read more than admitted to in his younger years, and stored every word, every syllable that he could away in the library of his mind to work into his own vocabulary. He'd honed a quick wit and sharpened his tongue to a razor's edge of protection over the years. It hadn't defended him at home, but it left him ready to take on anyone outside of those walls willing to come at him. Anger had fueled him and made him deadly to the point that he'd driven off nearly everyone that was willing to challenge him for whatever reason.

Almost everyone, and those rare few that had remained had been his saving grace. All these years later he could acknowledge that. Duncan Kane who had been willing to walk off when he'd crossed that line into total jackassery, Dick Casablancas who had done what he could - if he even knew he was doing it or not - by harassing him out of the deep funks he fell in, and that shining beacon of light named Veronica Mars that had reminded him of his own mortality while simultaneously easing the sting of the wounds inflicted by his life. It hadn't always been easy, especially with Veronica. Aaron may have led him to a love of words, but as Logan closed the door to his convertible - tucked in a line of clunkers and high-end cars that made up the Neptune High parking lot - he knew that he never would have made it this far on words alone. He had always craved support. Needed it. And even after Veronica had left, fleeing the black hole that Neptune felt like at times, he'd found it.

He just wondered what kind of quote he could rattle off that could somehow find peace between his then and his now as he stood looking onto the high school that he'd graduated from, the life that he'd left so far behind in so many ways, but he was drawing a blank. No, this was what it was, and really he couldn't even trace it back to a place where he could remember agreeing to this potential powder keg of a day. The order had come down and he'd said yes sir like a good soldier.

"The rest of the squad and I have a bet going on just how much trouble you got into back in the day."

Logan turned to look at Dave Riley, one of the very few people on the planet that he would be willing to die for. He straightened, showing himself to be a good three or four inches shorter than Logan and skinny as hell. His strawberry-blond hair and green eyes that were too big for his freckled face gave him an air of innocence that Logan knew he used to his advantage. That Midwest drawl did it too. People always underestimate him, but Riley had scored even higher than Logan had on the ASTB-E - Aviation Standard Test Battery - which was saying something. He wouldn't have had anyone else watch his back in the air. Thankfully the Navy had agreed when they assigned Riley as his Weapons System Officer.

"Yeah? You really think it's a fair bet for you to weigh in on?"

Riley shrugged and flashed a wide grin that would have put anyone else at ease. Logan knew better. The more innocent he looked, the more shit Riley was likely to pull. "I'm just here to be the honest voice to deliver back anything I learn."

Logan snorted. "Uh-huh."

"Trust issues. You've got them, my friend."

"I've just known you too long."

"Maybe, but you do trust me."

"Doesn't mean anybody else should."

"Maybe I just want to see pre-bottom-of-the-barrel Echolls. They all saw you after you enlisted, but me? I saw you before and it was not a pretty picture."

Logan snorted, the corners of his lips quirking up as he caught Riley out of the corner of his eye. "Weird. See, I thought you were into me, because I kept telling you to fuck off and you kept coming back."

"You wish," Riley chuckled and shrugged. "Seriously though, what was I supposed to do? No telling what you would have done if I'd just left you there by yourself."

"Flunk out and drink myself to death?"

"Yeah, probably."

Logan finally turned to meet those amused, green eyes and his smirk eased out a little. "Rather have you at my back than anyone else."

"Better believe it, brother," Riley answered and reached up, ready for Logan to tap the back of his hand off of his in an old ritual. "You ready to go talk up the Navy to a bunch of teenagers that remind you of yourself?"

"'Originals cost more than imitations.' Suzy Kassem.'"

Riley snorted. "Yeah, yeah, I know. You're one of a kind," he chuckled as they started towards the building.

Logan flashed him a broad grin as his gaze swept the parking lot that they were walking through, finally falling on a familiar blue Hyundai that didn't belong there. Or maybe it did. Maybe a student there just had the exact same make and model of car that his girlfriend had. Coincidences happened. Sometimes. In theory, at least.

"Remind me again how we got roped into this?" Riley asked, drawing his attention back around.

"Pretty sure Wallace - Veronica's friend - put in the specific request. He's a teacher here."

"And here I am. Dragged in because of you," Riley sighed dramatically and Logan popped his fist against his shoulder, receiving a shit-eating grin and response dripping with false cheer in return. "And I wouldn't want to be anywhere else!"

"Logan!"

"Speak of the Physics teacher and he appears. Like magic," the man in question muttered, receiving a muffled laugh from his cohort as Wallace Fennel broke into a light jog towards them. "I hear we have you to thank for this," Logan directed at Wallace.

"I just put your name into a hat. No clue what had to happen to get a couple of aviators in."

Logan opened his mouth to take advantage of the oh-too-easy joke that Wallace had left open for him when Riley cut him off. "Technically, he's the aviator. I'm the Wizzo." Okay. So maybe he brought some of his Midwest propriety with him. There was a first time for everything.

"The what?" Wallace asked, tilting his head a little to the side in question.

"Weapons System Officer," Riley clarified. "WSO. Wizzo."

"Because we're in the Navy and we nickname everything," Logan popped off and tilted his head towards the man standing on his right. "Lt. Dave Riley. He literally watches my back."

"I shoot the assholes, Echolls makes sure we don't get shot by out-flying them," Riley added.

"So you're Goose?" Wallace asked.

"Yeah… just with less death."

"What do you need us to do, Wallace?" Logan asked, watching students filing in towards their first classes of the day.

"Are you going to hate me if I tell you that I didn't warn Clemmons it was you?"

"Pretty sure if you had he would have shut it down."

Riley straightened, interest piqued again. "And exactly why would this Clemmons fellow hate you?" It took less that two seconds for Riley to turn that inquisitive look on Wallace and, while Logan knew the man had to be able to keep up with Veronica in order to stay in her life as long as he had, it would have been nice to think that he didn't have to worry about fielding questions all day. There was a reason he didn't intentionally connection his life with the Navy to his life in Neptune with the exception of Veronica. Ah well. No turning back now. Good thing he was well versed in pretending things didn't phase him.

"I got some dirt," Wallace offered.

"And here I thought you came along to have my back," Logan grumbled, his glare sliding towards Riley.

"Always, man, but the rest of the squad is relying on me."

"Yeah, when'd you get promoted?"

"Even the squad leader has to own up," Riley teased, nudging Logan's shoulder as he strode forward. "Whatcha got for me. Wallace, was it?"

Logan did not like the look Wallace wore as he said, "How 'bout a trade? I'll tell you about the time Logan and one of the other guys from our class put the lit teacher's car on the flag pole -"

Riley's grin only broadened. "On?"

"On," Wallace confirmed, "if you tell us his call sign. Man will notshare. Can't be that bad, right?"

Logan snorted and started back towards the buildings, hearing a far-too-amused Riley agree to the terms and Wallace's story began. This was going to be a trip.

---------

Some days being a PI was exciting. An unexpected client dropped into the office with an interesting story, lots of holes in it that they didn't think you could possibly discover, and a whole puzzle to solve. And then other days it was your old high school principal who showed up with the Case of the Missing Lockbox. What was in the lockbox, she had no idea, just that it was connected to Career Day - she had zero recollection of having a career day at Neptune High. Wow. - and that it mustbe found.

And it was. Almost before Clemmons had finished rattling off his explanation of just how important it was. There was something in that someone needed and he needed…. Really, she'd lost track. Whatever the reason he wanted it, she found it hidden under a loose floorboard in the gym. The rest was history as soon as he'd signed and handed her the check. As soon as she found where Mac had gotten off to, she had no interest in sticking around.

At least until she spotted a very familiar figure standing at the Navy booth talking to an excitable teen about the F/A-18 Hornets that he flew.

Veronica felt her lips turn up at the corners without permission as she inched forward, waiting behind him until the kid was gone. "Take me to bed or risk losing me forever," she whispered just loud enough for him to hear.

Logan turned, cringing as he did. "I swear, if I never hear another Top Gun reference today…."

"You can live a long and happy life?" she offered.

"Exactly. What are you doing here? I thought I spotted your car."

Veronica leaned against the booth, never breaking eye contact. "Oh, you know, solving cases. Stopping crime. Paying the rent." She waved the check in her hand in front of him.

"One of the kids steal something from Clemmons?"

"You know they did, but I fixed it." He snorted a laugh and Veronica cracked a full grin. "Wallace rope you into this?"

"He did. I'm a good friend. Please feel free to remind him of that at any and every possible moment."

She felt her playful smile soften a little, but a voice broke in from the other end of the booth. "Hey, V!" Riley called, offering a wave when she looked over.

"Look at you standing on two legs," Veronica returned and motioned at the potential recruits. "Ask him how he broke his leg a few months ago. Go ahead. Ask him."

"You're not helping," her boyfriend grumbled with feigned irritation.

Veronica turned back to look at him. "So you and Wallace are friends now?" she asked, circling back around to their conversation. "I like the sound of that."

"I like Wallace. I may have even won him over with this one. It's Mac I'm hesitant about. What'd I do to her?"

Veronica cringed a little. "I think it was Parker."

"Seriously? She knows Parker broke up with me, right?"

"There was something about me involved, I don't know. She's around here somewhere bolstering the campus security. You'd have to ask her."

"I think I'll leave it as one of life's many mysteries."

She laughed, inching in. Hell, she did love him in those Navy whites. Her hand reached forward of its own accord, fingers touching the fabric there and ready to curl into it to pull him closer to her, but he caught it before she could. "I'm technically on duty."

"You're technically on duty when you get home from deployment and haul me off the deck to kiss me," she reminded him, her voice low and he'd have to be an idiot to miss her meaning. Logan Echolls was a lot of things, but an idiot wasn't one of them.

"They give me some leeway there. Not so much when I'm telling kids why they should enlist."

"You telling them to get shot at for a living?"

"Hey, now. Technically I have never gotten shot."

"And you've jinxed yourself."

"It's really not as likely if they're on the ship," he answered, his smirk more cocky than she would have liked. She knew all too well that they had come under fire.

"You're not funny."

"Seriously? I hear you find me hilarious."

Veronica held his gaze, those perfectly thin lips of his stretched out into a smile that made her want to drag him back to some secluded corner right then and there, but she knew she couldn't. He couldn't. Or wouldn't. For all of Logan's flippancy towards authority in their youth, he'd found something sacred in the Navy. She wasn't sure if it was the authority, per se, or something deeper that was just reflected there. He'd grown up alone in many ways, even before his parents had died, and certainly without the usual limitations that most children received. He had never told her the full story of how he'd tumbled into the Navy of all things, but her working theory was that it had something to do with the structure and direction that it provided.

Whatever the case, he loved it. His job, his squad, every inch of it. He didn't just love it, he respected it, and for that reason he would respect the fact that he was there to represent it. Oh, if only sixteen-year-old Logan could see himself now. What would he say?

"Get your mind out of the gutter, Mars," he teased, drawing her attention around.

"There was nothing to say that it was inthe gutter, Echolls," she countered, grinning up at him.

"You need a mirror? All the evidence you'll need for - what do you call it? - a money shot."

Her grin grew as her voice dipped. "Usually fewer clothes for that."

"Give me a couple hours," he promised.

Veronica loosed a laugh out on a breath and leaned against the booth, her gaze drifting out to the crowd of kids. They looked like them years before in so many ways. In others, nothing at all. For the first time in a long time she found herself desperate to see the ghost of Lilly Kane dancing through the throngs of students, laughing and teasing and alive. She'd missed so much.

"So, your buddy Wallace told me about the car on the flagpole incident," Riley's chipper voice pulled her out of her thoughts, "but even as spectacular as that is, it couldn't possibly warrant that look."

Veronica followed where he was pointing to see a very nervous looking Van Clemmons standing with Wallace, the principal's gaze fixed on Logan who was chatting with a student.

"Oh, you know, started a few fights, kept getting charged with murders he didn't commit."

"There was more than one?"

"Well, only one in high school," she answered with a shrug. "Looks like you boys may get let go early. Hiya, Mr C."

The principal looked over on his way to the booth, startled and he mumbled something about a dangerous pair. Veronica snorted a laugh and looked back at Riley. "So how do you like the old stomping grounds?"

"It's an experience. Never thought I'd see kids driving Teslas and Beamers nicer than Logan's to class."

She liked Riley, but she didn't often get time alone with him. She wasn't sure if Logan intentionally kept his Navy and his Neptune life a little bit separate, but she did know that as soon as Clemmons could pry his students away long enough from the Navy table he would politely thank the guys for their time and send them on their way. If she wanted to pick Riley's brain at all, now was a chance she hadn't expected. "You guys met sophomore year, right?"

"Yeah. After you left." His gaze slid over to her. "You fishing for intel, Veronica?"

"Just curious. Tell me you didn't sign on to get a few new stories on him."

"Where Echolls goes, I go," Riley answered with a shrug, but as Veronica waited a little of the mirth washed off. He turned to meet her gaze fully. "A few fun anecdotes are one thing, but this? It changed his life. That's his story to tell, V."

She nodded slowly, turning back to find a missing Logan and Mac having appeared at some point, now patiently waiting with Wallace. Wallace started forward. "Hey, Veronica. Didn't know you were going to be here today."

"Missing something or the other," she answered offhandedly. "Where'd Logan go?"

"Not sure. Fair's wrapping up so the kids can get back to class. Clemmons let you guys go early." Wallace extended a hand. "Lt Riley—"

"Just Riley's good, after the stories I got from you." He happily shook the offered hand, his grin returning. "So if Echolls wandered off, who's the lucky volunteer to drive me back to my car at his place? Unless you have extra keys to the Beamer, V. I'd be willing to slum it."

"But would you be willing to stake your life on it if you wrecked Logan's car?"

"Fair."

"We can take you," Mac offered. "If you're parked at their place it's not too far out of the way."

Veronica shot her a questioning look before filing she dug in her purse for her keys and tossed them at Mac. "You two kids be good. I'll grab a ride home with Logan."

She watched Riley turn a funny sort of smile on Mac who fell into step with him towards the parking lot. She would have to file that away in things to figure out later. For now, she had a Logan to track down.

----------------

Veronica had been busy chatting with Riley when Clemmons gave them the all clear to head out - not a huge surprise and probably the reason Wallace had tried to keep quiet who he'd managed to snag out of the aviation department to come in - and he just needed a couple of minutes to work through the thoughts that he'd shoved down below the surface since arriving on the campus. The students had been called back into their classes and had left the halls deserted, Logan standing alone on the school crest with one hand stuffed deeply into his trouser pockets, the other holding onto his uniform cap.

He hadn't been here since graduation, not that many people made an effort at returning to their high schools, but Logan had made even less so. Hell, he wouldn't have bothered with his ten year reunion if Sean Freidrich hadn't released those videos of Carrie to his instagram account. He didn't have a lot of positive memories associated with it. Sure, early on he'd been popular enough. Money tended to do that in Neptune, as did prestigious parents. Logan had had both. Funny, he'd still had to face most of the battles that had rolled in alone. Especially the ones that counted for anything.

"Hey handsome," a familiar voice chimed behind him and he felt Veronica's hands touch the small of his back lightly as she circled around, her smile flirty and light. "Deep in thought about all the scandalous things that happened here?"

"Yep. I'm pretty sure we made out in that corner. That one too. Oh, and there's the infamous women's bathroom that you kept dragging me into."

"You liked it."

"I did."

Veronica circled around him and he couldn't help but feel his smile turned a little more real. Well, one good thing had come out of it all. Her.

"What are you really thinking about?" she asked, her tone a little less teasing now and damn her. She did see right through him, didn't she?

Logan felt his smile even out, the weight of his thoughts settling back into place from their momentary relief. He let the feelings roll around in his mind for a long moment until they got enough traction to form something like words. Another moment or two and they even started to make at least a fraction of sense. "I've been trying to reconcile who I was with who I am," he said slowly, tasting each word as it left his tongue to make sure it was the right one that best coincided with the emotions that had bubbled up like a geisser ready to shoot towards the sky.

Veronica was uncharacteristically silent as she settled in next to him, both standing on the emblem in the middle of the hall and looking down the long stretch.

"I did a lot of things I'm not proud of. It's easy to say I was young and stupid, but I think…. It used to be easier to keep it all separated. Even living here, when I dated Carrie…. It was different. She had no interest in the Navy. The two worlds were completely separate. Riles only met her maybe… two or three times."

"Seriously?"

"Yeah. It was awkward and forced. In the end it was just easier to live two lives, but since you came back it's been… complicated."

He could feel her tense at his side and he risked a look. Well that wasn't a happy look. More of a hurt-desperately-shoved-under-irritation look. "Sorry I complicated things," she groused and Logan scrambled.

"That's not what I mean. I mean, it is, but not like that." He pulled in a breath, trying to find a way to express it in a way that she might be able to understand. "I mean I want Riles to know you. I want you to know him. I want to be friends with your friends and vice versa until they're ours. I just… don't know how to do that without opening myself up for a hell of a lot of shit toted out for everyone to see."

There was another moment of silence from her and Logan shifted from one foot to another, feeling exposed. Finally, he heard her draw in a breath. "'Growth and comfort do not coexist.'"

Logan blinked hard. "Ginny Rometty," he cited, surprise lacing the name.

"I guess? You had it as your voicemail one time. One of your inspirational quotes." Her careful smile flooded him with a sense of warmth. "Seemed to fit."

"Yeah," he breathed.

"I get it," Veronica murmured, looking back down the hall. "When I went to Stanford, I cut ties with everything. I didn't want the two worlds colliding. I never dated anyone for long enough for him to feel like he should meet my dad or anything. To come home. Even with Piz who knew so much of it. I just… kept it separate."

"Why?"

"Because I didn't think I wanted to be that person."

"I love that person."

A small smile tugged her lips out and she reached for the hand still stuffed in his pocket. "Can I ask you something?"

Funny, that question would have terrified him a decade ago, but he heard his response roll off his own tongue without reservation. "Anything."

"Why'd you choose the Navy? I'm glad you did. I've seen…. What it gave you. What it did for you. I just wanna know how you got there."

Logan pursed his lips and considered the question for a long moment. It wasn't the first time she'd asked and she wasn't the only one curious. Just earlier that day Wallace had tried to press Riley for it. Good man Riley. He'd run his mouth about a lot, but not when it counted, and this did.

And because it counted, he knew Veronica deserved to hear it from him.

"I was okay all summer," he started, feeling a little numb as he spoke. "I thought you'd come back. I thought we'd...do what we did back then. Fall apart, come back, try again."

"I transferred."

"Yeah."

"Without telling you."

"I got the hint," he murmured, trying not to sound too bitter. He tightened his hold on her hand in his. "I never really… learned how to process things, I don't think. Not things that mattered. Hell, my go-to when my mom threw herself off a bridge was to hire my best friend's ex girlfriend to prove she wasn't really dead." A mirthless chuckle left him and he felt her tighten her hold on his hand. "I fell apart. Hit bottom. I was on the edge of flunking out, drinking waytoo much, and then this asshole sat down at my table in the cafeteria and just started babbling on about the design of a jet. Honestly, I was so hungover I couldn't tell you what jet he was talking about. All I remember is telling him to fuck off and he thought it was hilarious."

"Riley," Veronica said softly and Logan nodded.

"Riley. He's a stubborn bastard. He kept on me until somehow we became… friends, I guess? Something close to it. Found out later we'd had a class freshman year. The one Wallace and I had where I lost the bet and went streaking through it?" Veronica snorted a laugh at that. She had rolled her eyes pretty hard at the time. "He saw something, through all the bullshit. I don't know why or how, but he had… faith. Ended up convincing me to join ROTC and it was the first time I think I really found structure in my life. I always thought it'd be exhausting but it was… nice, somehow. Not just some assholes that had no business telling me what to do getting off on it, but these people had my back. I eased off the drinking, got my grades up, and did what I had to to get my wings."

"That's… amazing."

"You hear me say Riley saved my life and sure. In the air, definitely, but before that. He got me in the air."

The bell rang. "I'm glad he did," Veronica said earnestly as the doors started opening all around them and she tipped up on her toes to press the briefest of kisses to his lips before the students started to flood out. "Let's go home."

He nodded, words escaping him in that moment as she took him by the hand and led him towards Neptune High's exit, the chatter following them out.

----------- 

It felt like a weight had been lifted off that Logan hadn't even known was there. He had always known what had drawn her into the life she lived, what had driven her to find an outlet for the questions that raged after Lilly's death, but that small, lying voice in his mind had told him that she'd be upset if he explained how he had gotten to where he was. She'd be hurt, thinking that he blamed her for finally scraping rock bottom. Or angry that he had. Whatever the case, it would be his fault and clearly it would drive a wedge between them.

But it didn't. Instead she'd taken it in stride, seeming to be more grateful that Riley had been stubborn enough to help him through it than upset that he'd crashed and burned after she had left. They had both done what they had needed, and they had needed it. As much as they'd loved each other they had been so young and so angry and hurt by the world around them. Jaded and pained in ways they couldn't work through together, not at that point. No, they had had to work on themselves, to find themselves, before they could come back together. And they had. Of course they had. Their story was epic.

Logan pulled the BMW around to park it on the street, brows drawing together at the sight of both Veronica's blue Hyundai and Riley's Mustang. "I thought he'd be halfway back to San Diego."

"Yeah, and I thought my car would be at the office…."

They slipped out of the convertible, finding the steps leading to the apartment empty of waiting guests. Logan heard Veronica's voice and glanced over to see her phone pressed to her ear. "Uh huh. Suuure," she answered with a wide grin. "See you in a sec." She ended the call and motioned towards the beach. "Riley forgot his keys in the apartment and Mac decided to wait with him."

Logan tilted his head and they started the short trek to find his Wizzo and one of Veronica's best friends sitting on a beach towel that must have been in her trunk, deep in conversation. Mac was the first to turn at their approach. "Hi there, Hollywood!" she greeted, her grin quick and mischievous.

And suddenly he knew what the conversation had been about. He locked eyes with Riley whose grin was a bit more sheepish. "Traitor," Logan muttered even as Veronica barked a laugh.

"You finally got it out of him. 'Bout damn time." She turned a clearly fake apologetic look at him. "It's not so bad. You've told me some of the other guys' call signs and they're a lot worse."

"It wouldn't have stuck if he hadn't been such a baby about it early on," Riley chuckled.

"Asshole," Logan huffed without any real spite in his voice.

"Yeah, you love me." Riley stood, brushing off his uniform. "I should head back. Good meeting you, Mac. Loved the story about the scavenger hunt. We should do it again sometime." He glanced back pointedly at Logan. "Cross the streams a little, huh?"

Logan rolled his eyes a little, but he knew the smile inching into place was going to give him away. It was nice to find some weird equilibrium between two pieces of his life. "C'mon. Let's grab your keys."

"Oh, wouldn't you know it?" Riley stuffed his hand deeply into his pocket and returned with his keys. "Oops. There the whole time. See ya next time."

Veronica snorted a laugh as Riley sauntered his way up the beach towards the road. "He's a sneaky little bastard."

"I warned you, " Logan chuckled. "He's been looking for high school stories all day."

"And freshman year of college," Mac offered as she stood, stooping back down to grab the oversized beach towel. "But he does pay well with stories from after you ghosted everyone. How did you stay in ROTC with some of the stuff you pulled?"

Logan flashed her a smug grin and Mac laughed, shaking her head.

"You wanna stay for dinner? We can order Thai," Veronica offered.

"I think we have chicken. I can cook," Logan countered.

"You cook?" Mac asked, the amusement still strong in her eyes. "This I have to see."

"I even know how to wash dishes," Logan countered.

Veronica nodded at the distant figure just reaching the street. "Bet we can grab Riley before he leaves. Swap a few more stories?"

"There's no stopping you now, is there?"

"Flood gates aren't open," she agreed.

"I'll go catch Dave," Mac offered and she was gone before either of them could get a word in.

Logan looked to Veronica, finding those clear and curious blue eyes on him too. "Did she just call him Dave?"

"Pretty sure she did."

"Huh."

They started up the beach towards their friends, Logan risking a glance at the woman he loved out of the corner of his eye and feeling a strange sense of peace washing over him despite what would likely turn into a one-up-manship of stories that evening. Growth and comfort didn't coexist, it was true. It had nearly killed him to find a way to survive everything life has dealt him, He couldn't go back and change the past, and he didn't think he wanted to. Without the struggles he faced, he never would have grown like he had, and that growth had brought him here. It had brought him back to her, and for that he would endure any pain.

-----

Notes:

Hat tip to @his-beautiful-girl_Beautiful_Girl for the Suzy Kassem quote and all of the fantastic folks in the VM Fic Club that were willing to help me find the best quote to use there 3

[vmheadquarters]

We’re still playing our game of written hot potato! Dozens of your favorite authors are taking turns to tell a Veronica Mars mystery story. Each writer crafts their chapter and then “tosses” the story to the next person to continue the tale. No one knows what will happen, so expect the unexpected!

Follow the “vmhq presents” and “murder we wrote” tags for all the installments, or read the story as it develops on AO3. --Chapter Twenty-Eight of MURDER, WE WROTE is written by @his-beautiful-girl​​​. And stayed tuned next week for Ch.29 from @louzeyre​ - tag, you’re it!

_____________________________________________________________

CHAPTER TWENTY-EIGHT by @his-beautiful-girl​

Logan’s brows furrowed, lips turning downward, “Just how the hell did Van of all people become a publisher? Just last year he was still principal of Neptune High.” 

It was Veronica’s turn to grab her phone and do some googling. “It says here that he formed the company ‘Trident Publishing’ three months ago. My guess is that Ruby’s book would have been his first, but with as explosive as it would have been…” 

“Van would have ended up a very rich man.” Logan finished for her. “I can’t speak to his personal life, but he wasn’t above taking bribes for school, Sugarpuss.” His mind drifted back to a conversation after he and Weevil had dismantled Mr. Daniel’s car and then re-assembled it around the flagpole. How a pair of Aaron’s boots had made sure that Weevil was unexpelled. 

She nodded. “I knew he did it for money for Neptune High but I never got the impression that he was trying to gain anything personal from it. Well, other than the time he set it up so I would discover that Moorehead was Trina’s biological father. But that was to oust Moorehead so he could become principal. Not really any financial gain there.” 

Logan rose from the couch, walked to Veronica and wrapped his arms around her, kissing the crown of her head. “Something is really bothering me, Vee. How does she know about Shelly’s party? Book you calls Duncan out for rape.” His voice turned tender, dropping low. “That’s not a detail that you could get from a source, baby.” 

“I don’t know.” Veronica’s voice came out fragile, and he tightened his arms around her protectively. Rested his cheek on top of her head and rocked them slightly. “I only told you and- I- I admitted it one time during the therapy we had to take in school at Stanford. The only other person who knows is Duncan himself, and he would never admit to it being what it is.” 

She turned in his arms and he cupped the back of her head with one hand while running the other up and down along her spine, letting her hide against him. Felt her drawing deep breaths in and out and centering herself again while he continued to offer her love and comfort. Logan smiled against her hair when she stood straighter and drew in a deep breath. It’s true that they differed from when they were in high school and in college. They had gotten their shit together and learned communication was the key. But some things remained the same, and he was glad for that. His girl was still strong and determined. He knew if anyone could solve this, it would be Veronica. He was there for the assist. 

Logan pressed another kiss on the crown of her head before she pulled back slightly, face tilted upward, allowing him to brush his lips across hers tenderly before she murmured. “After this is over, we should go on vacation. Someplace warm and sunny and with no murder, please.” 

He nodded in agreement. “That sounds perfect.” 

They stayed quiet, holding each other for a few long moments before the reality of the situation broke through their peace. 

“So I think the question we need to ask ourselves is whether the focus of this book is on exposing Neptune, or whether it’s a book on exposing the Kanes.” Logan finally allowed himself to break the silence. “I know there is a lot… okay, most of the focus is on us, but what if we’re just the players that are being moved around to tell the story? Especially given that we had such close ties to the Kanes or to the events meant to expose the Kanes.” 

Veronica’s eyes narrowed, and her teeth sank into her bottom lip. “You could be right. Maybe we’re the red herrings. It’s about exposing the Kanes without just writing a direct book about them. That still doesn’t explain so much of the information that this source and/or Ruby has though.” 

“Also, this ‘Jen’ person is still bothering me. I know we can’t find any clue she exists, and she wasn’t a roommate of Mac’s but I feel like she represents someone. This might be the one person Ruby used a pseudonym for.” Veronica stepped away from him and paced in front of the enormous windows in Dick’s living room, looking out into the ocean. “Logan, I want to get into Ruby’s apartment to see if I can find anything.” 

He nodded; this request not surprising in the least. “Van first? Then Ruby’s? Then how about we pick up dinner and eat at your dad’s tonight? I’m missing my other favorite girl and you could use some Pony snuggles of your own.” 

Logan’s heart jumped as her face lit up at the mention of their dog, and he knew it was the right call. Now they just had to get around town, unnoticed by the paparazzi. 

*** 

An hour later, Logan and Veronica stood on the front porch of a nice, but modest residence. He rapped on the door sharply three times and they waited. He always found it interesting the way they stood when working on a case together. At any other time, they would hold hands or his arm would be around her shoulder and hers around his waist; however, in situations like this they stood together with their sides barely touching, both drawn to their full height. Both aware of the other and yet wanting to radiate that they were each dangerous on their own to whoever they were about to crush. 

Logan was about to rap on the door again when sounds within indicated that the first knocks were being acknowledged. Locks clicked and then the door itself swung open, revealing a haggard-looking Van Clemmons. “Veronica Mars and Logan Echolls. I wondered when you would show up. Come in, please.” 

“Well, you said that life had gotten boring without me.” The words dropped wryly from her mouth and the corner of Logan’s mouth twitched in response. 

“Life without you is always boring, Bobcat.” He cast an adoring look at her before turning his attention back at the man waiting in the doorway. 

Mr. Clemmons stepped back and gestured with his hand for the couple to enter. Placing his hand on the small of her back lightly, Logan let Veronica go first and then followed. Not that he felt Clemmons was a threat, he just felt better having her back protected. 

The living room was to the right of the entryway, and Clemmons indicated they should go there. “Please, take a seat and make yourselves comfortable. Can I get either of you something to drink?” 

Both shook their heads, taking a seat on the couch, before Logan smirked. “Are you getting the sense of what it felt like to be on the other side of that desk of yours, Van?” 

“Mr. Echolls, I seem to remember you being on the other side of that desk more than a few times.” Van’s voice came out dry but heavy, tired beyond his years. 

Veronica snorted, very unladylike, which made Logan grin. “Yeah, and how often were there actual consequences for any of those incidents? Just how much money did you make for the school? More importantly, how much of that money made it to your pocket rather than the schools?” 

Clemmons held up his hands placatingly and sighed. “I know what you must think but the only time I ever did anything for my benefit was when I used you to expose Principal Moorehead. I admit to taking money in return for punishments not happening, but all of that money went to Neptune High in one way or another. I made sure the students had the best that I could give them in my years as principal.” 

“Why did you retire? Why suddenly go into publishing? Not your typical career move and you don’t have the background for it. It also begs the question of the money issue. Where is the money coming from to start the business?” Veronica fired off the questions one after the other, and Logan tried to tell himself that being turned on right now was not the appropriate response. 

Van dropped his head into his hands, scrubbing it hard, and muttered. “I have a silent partner who put up the money after they heard the pitch for the book.” 

Logan leaned forward. “What was the pitch for the book exactly? Because it isn’t about some murder mystery, even if that is what it’s trying to pass itself off as. So why don’t you just tell us the truth. Someone is already dead. I wasn’t her fan, but I never would have wished Ruby dead, and I don’t think you did either. But you both got yourself mixed up into something deep. You know, the only person who has a chance at figuring this out is Veronica, so let her, Clemmons.” 

The silence that took over the room felt heavy and oppressive. Minutes ticked on and on and he wondered if they would get the information they were after or not. After an interminable amount of time, the older man nodded in agreement, letting out a loud sigh. “Yes, maybe you are the only ones I can trust with this.” 

Logan started when Veronica’s hand slipped into his, but was more than happy to thread his fingers through hers. It felt like they might finally get somewhere with this. Finally, get some answers that could make things make sense. Nothing could have prepared him for what came next. 

“Della- I’m sorry, Ruby came to me with the idea she had for a book. Claimed she had been doing research for the past year and wanted to write a book about a powerful family that had their claws in everything. A family that rolled around in the dirt and was covered in mud, though nobody could see it. She also claimed that members of this family had hurt people badly, and she wanted to right some wrongs and give those that they had hurt justice. She was talking about the Kanes and I should have known better--” 

Clemmons scrubbed over his face again, and when he looked up, his gaze focused on Veronica. “But I knew she was right. I knew a lot more than I could ever tell. I listened to the stories during those years at Neptune High, and I even did some of my research. I may not know all the stories exactly, but I know that the Kanes are responsible for so many things behind the scenes in this town. When she told me of the way she wanted to write the book without coming right out and accusing them I thought it would be okay. I went to Casey Gant and floated a semblance of the idea around to see if I might get him interested, but he turned it down. Then I got a surprising phone call from someone willing to not only put up the money to publish the book, but wanted me to be the face of the publisher. I let greed take over my thinking.” 

Van’s head dropped into his hands again, and Logan couldn’t decide whether or not to feel sorry for him. Veronica vibrated next to him, like she would explode if they didn’t find out who this mysterious person is and within the next minute. 

“Who?” The question was more a demand and came out sharp on her tongue. “Who is it?” 

“Troy Vandegraff,” Clemmons muttered into his hands. 

“Well, fuck me sideways. I did not expect that.” Logan breathed out, wide-eyed while turning to stare at Veronica, who looked just as taken aback. 

“Who was Ruby’s source, Clemmons? You must know. She couldn’t keep a secret to save her life.” The words came sharp and to others may sound bitter, but Logan knew the truth. That hardness Veronica projected was covering the hurt that she felt over Ruby’s death. Solving this case was the only way she knew how to help find some closure in this. He squeezed her hand gently in support. 

“I was, or at least I was one of them.” A familiar voice jerked their heads up and their attention to the hallway where a pale, thin figure stepped out of the shadows. 

Logan felt his gut churning, blood getting hot. He pulled Veronica closer to him protectively. “Lianne Mars.” He spit out the name like a curse. 

[lodessa]

F H T U V for the fanfic asks please?

F: Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it.

Sort of cheating by posting an except from an unfinished fic:

“Sure thing.  Whatever you need,” he snaps,  “I live to serve. The Neptune Grand then?”  

He wants her to know he isn’t fooled, that he knows this is about her wanting to rush into Logan Echolls’ waiting arms. He knows he is an asshole for being angry while she is still upset, when she has just been attacked, but he can’t bring himself to care.

Veronica surprises him with a sigh, “Last thing in the world I want now… Well maybe not the last but it is NOT at the top of my list,” She backtracks, obviously realizing that she’s just been in a worse situation than whatever drama she is having with her jackass 09er boyfriend.

“Does that mean you want to talk about it?”

He isn’t sure how he wants her to respond to that, whether he even has it in him to rehash this all over again.  It isn’t like they don’t both know that her dating Logan annoys the hell out of him.

“Let’s just say, privileged assholes don’t magically wake up one day and stop being selfish and destructive.”

“Gee. I could have told you that.”

“Spare me the lecture. No one likes a smartass.”

“I’m not so sure about that, V.  I mean I kind of like you sometimes...”

That is the fucking understatement of the year.  He is pretty sure they both know it, or would if she bothered to think about it for half a second or he had the cajones to actually admit the truth.

“Which is it? The smarts or the ass?” she counters, just like old times.

It isn’t old times though, so he doesn’t tell her that she wishes.  Somehow he can’t dredge up that old bravado strongly enough to cover for that fact that it’s a lot more than either. For a moment though, things almost feel normal.  

Then her phone starts buzzing again only to be resolutely ignored.  

“If there is one thing I can say for that boy… He is persistent.  He will keep calling, you know.”

“I can’t talk to him right now. Please...”

Weevil picks it up, a small part of him relishing the chance to get a dig in at Logan.

“She doesn’t want to talk to you right now, Echolls.  You see when they ignore your phone calls... that’s usually what that means.”

I feel like I did a good job here with their dynamic, with the way they both on the surface act like they are being brutally fearlessly honest, but the truth is that’s a front that’s part of their massive walls, along with the sarcasm and innuendo.  The truth breaks through, just enough truth to keep them both hooked, not enough to actually clear anything up.  I can hear their voices when I read it.

H: How would you describe your style?

Full of a lot of inner monologuing and circular conversations that take forever to get where they are going... oh and ellipses. 

T: Any fandom tropes you can’t stand?

Too many to count, lol.  Mainly I just can’t stand dogmatic following of tropes in ways that don’t make sense for the characters/dynamic.  I like tropes much more with a little subversion most of the time.

U: Share three of your favorite fic writers and why you like them so much.

@talsi74656 Dreams big and really thinks through her plots and her ideas.  Most of us just skip to the “fun” parts or get dragged down in the tedium of transitions, but not Talsi.

@joyful-voyager She is just so good. It’s in all the little details, the description, the dialogue, the tone.  Whenever I read her writing I feel like I should be paying for it.

@sophia-helix and I haven’t been a fandom together in many moons/almost ever, but she’s such a wonderfully thoughtful writer, compelling and reflective in an implicit as opposed to expository way.   

V: If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose?

I can’t really think of anything. If I really like a fic, I want more written by that author, not by me.

[alexcabotgf]

don't you think if they really committed the murders they would've reoffended by now? i'm not disagreeing because i don't know much about this case, but it's hard to believe that someone capable of a gruesome crime can go on living without getting in trouble with the law again

i get what you're saying, i've thought about it before and my answer is no. let me just preface this by saying i don't think baldwin or misskelley jr would've ever gotten into anything of this magnitude on their own, the general consensus is that echols was the ring leader (which i agree with), so i mostly want to focus on him here (btw misskelley did actually get arrested for traffic violations a few years ago, but that's a petty crime, i wouldn't think anything of it)

the reason i say no is because a lot is at stake for him now. he comes from a tiny town in the middle of nowhere bible belt america. according to this 1990 census, out of the 28k population a little over 5k were high school graduates, and only 1.2k had bachelor's degrees (10.8% of the population had higher education), the median household income was around $22k with over 6.4k of the population living below poverty line (and 98% having a determined poverty status). what i'm getting at here is the future didn't look very bright for him or any of them for that matter. none of them were rich or even financially comfortable by any stretch of imagination and had the murders not happened, they would've most likely not gone to college, never gotten out of that town and continued living the same way everyone around them was living. however, the documentaries garnered a lot of media attention, love and support, especially for echols (and a lot of money which is a whole nother issue), from the regular people (as well as celebrities) who still vehemently believe in his innocence. so while he didn't have much to lose in '93, he has absolutely everything to lose now. imo most innocenters and guilters alike know that they can't with 100% certainty say who committed the murders and at this point we'll probably never know, but if anything ever comes out about him or the other two post-release that will make the innocenters doubt his innocence, they will turn on him in an instant and he knows it

[scabopolis]

Ummm because my brain could never come up with something as genius as yours, I will ask—nay, BEG—for more LoVe Vampire AU from Day 1 AU week.

Title: do not engage (part two of this little ficlet) Rating: PG-13 (some swears…because girl is still stressed) Pairing: Logan Echolls/Veronica Mars, Additional Tags: Secret identity, vaguely vampire hunter related things, filed under: relationship obstacles, sharing of bagels, vampire Logan is probably far too schmoopy, tried to write angst but whooops I think it's fluff? Word Count: 1,800

For you, dear, @ayy-ohh? Anything. This one really got me stuck because...like...world building? What is that? And would vampires eat bagels? And why DOES Logan have a cell in his basement? So many questions. Anyway! Here it is! *** That she can’t remember ever seeing Logan Echolls in the daylight should have been Veronica’s first clue.

It’s just, given the nocturnal demands of her profession and thus her morning grumpiness, it was easy to miss. Easy to be grateful for. Easy to be relieved that Logan wasn’t like her college boyfriend—the kind of guy who insisted they wake up at 6:00 AM to go running and felt a day spent inside with the shades drawn was a day wasted.

There were, of course, other clues she missed.

Weirdly cryptic statements and obfuscations. (Given she was also prone to said crypticism, she didn’t press for fear he’d do the same.) His reticence towards beach days. (It seemed logical! Who doesn’t hate dodging tourists?) The weird way he’d linger at doorways of unfamiliar houses. (Again, given her own antipathy to socializing, his hesitation was something she understood.)

In retrospect, given that not pressing Logan on his vague answers landed her here—in a weird cell gnawing at the ropes her ex-boyfriend tied tightly around her wrists—she supposes she should have tried harder. She hears Logan’s footsteps on the stairs into the basement but doesn’t stop her attempt to undo the knots.

“I hope you have a good dental plan,” Logan says. She rolls her eyes and continues to work at the strands with her teeth. “Is there even a vampire hunter’s union? Might be something worth looking into. Though, given the general mistrust the position requires, electing a president might prove tricky.”

“God, staking you would have at least gotten you to shut up.”

“But then there’s the crushing guilt.”

“I would have managed.”

Do not engage. In the 36-ish hours she’s been in this cell, that’s been her motto. The secret to coping with the fact that your boyfriend is a vampire and that you and your dad are vampire hunters is to remain detached and cold.

Except it hasn’t been easy. Because her wrists hurt, she smells bad, and oh yeah, apparently she’s not as out of love with the bloodthirsty monster wearing the hell out of a henley and holding a bag of takeout as she thought.

“I got bagels,” he says.

As soon as he says it, the scent of cinnamon raisin wafts from the bag. He doesn’t wait for her to stand; simply slips the paper bag containing her bagel through the bars and slides it to her. Much like he’s done for their previous shared meals, he sits on the ground a safe distance from her and settles into eating his own.

She tears the paper bag and sees that not only has Logan brought her a bagel, he’s also brought her some sort of sandwich and a chocolate chip cookie. God. What an asshole.

What is his endgame here? If he wanted to kill her, he would have done it by now. It’s only a matter of time until her dad begins to question whatever story Logan texted him from her phone. Her dad will show up and he will have questions. What will Logan say then?

“What will I say to who?” Logan asks.

Shit. Detachment is also easier when inside thoughts remain inside thoughts. “No one.”

“If you’re talking about your dad, he’s out of town for the rest of the week.”

She concentrates on the pattern of the cinnamon swirl laced throughout her breakfast. “What do you mean?”

“According to the text he sent you last night, he had to go to Vegas. Vampire gambling ring of some sort?”

“You’re lying.”

“Takes a liar to know a liar.”

Veronica rolls her eyes and takes a large bite of her bagel, surveying the interior of her holding cell. And yes, fine, she technically has a policy of not engaging with the pointy fanged one, but she has questions.

“What is the point of having a cell in your basement? Is it for weird sex stuff? Or weird vampire stuff?”

“Who says those two things are mutually exclusive?”

She rolls her eyes. “Spare me, please. I’m eating.”

“I’ll tell you but you won’t believe me.”

“Try me.”

“My friend, Mac?” He extends his legs out in front of him. “Once a month, this is her guest suite.”

Veronica frowns. “For weird sex stuff?”

He raises an eyebrow in amusement which, fair, she should probably stop using the phrase weird sex stuff.

Wait. Is he saying—?

“Logan,” she says carefully, “is Mac a werewolf?” He nods, and Veronica’s bagel drops to the floor. “Could you be more of a vampiric cliche? Honestly! Does a zombie do your taxes? Does a ghoul trim your hedges?”

“I trim my own hedges, thank you very much.”

Maybe it’s the lack of sleep, or it might be the remaining vestiges of adrenaline leaving her body, but Veronica laughs. Just a little bit. At best it’s a chuckle. Still, it’s enough to make Logan smile in that way he sometimes does—like he can’t believe his luck that he even gets to be in the same room as Veronica. It makes something feel heavy and uncomfortable in the pit of her stomach. Do not engage.

“You really didn’t know?” she asks.

Logan’s answer with a slow nod. “I didn’t know.”

“Then how—?”

“It wasn’t an ambush, Veronica.” He pinches off a small piece of his bagel. (Sourdough, she guesses. Probably with jalapeno cream cheese because the man added jalapenos to everything.) She watches as Logan rolls the bread between his fingers. “The date was real but one of Dick’s friends recognized you somehow.”

“You were the one who threw me into a tree.”

“Yeah, and as far as they know, you’re dead. As far as they know, I was so enraged a vampire hunter tricked me that I took you home to finish you off.”

“Which means if you let me go—”

“They’ll know I lied.” He shrugs. “Either they kill me or your dad does. This way you’re safe.”

“Logan—”

“Sorry,” he says. “You called dibs on the killing?”

“Poor little vamp with a death wish.” She doesn’t mean for it to sound so fond. What is wrong with her?

The corner of his mouth twitches with a fleeting smile. There’s a ticking clock on their time together and now they both know it.

“I’ve never seen a vampire eat as much food as you,” she says.

He sets his bagel aside. “Dine with a lot of vampires?”

“Enough to know you eating that bagel is like me eating a bag of sour gummies.”

“Meaning?”

“You might like the taste of a lightly toasted sesame bagel, but an hour later you need to puncture the carotid artery of a single mother to really satisfy yourself.”

“You know sesame seeds get caught in my teeth. And single mothers come with too much guilt.”

“Hedge fund managers?”

“Now you’re talking.”

Veronica has questions, of course she does. More questions than she can properly express—wonders how old he is, who turned him, who gets him blood and how, why he’s friends with Dick Casablancas, if Logan is safe with Dick as a friend—but she doesn’t ask any of those. Because he asks the most important question first.

“What are we going to do, Veronica?”

She stands up, brushes cinnamon raisin crumbs off of her pants. (She catches a whiff of her unshowered self and cringes. So much for their farewell existing as a perfectly preserved memory in the mind of her undead ex-boyfriend.) “There’s no we, Logan. There can’t be.”

He can’t let her go, he can’t keep her locked up, and she can’t stay.

Logan pushes himself up off the ground and comes to meet her at the bars to the cell. “Yeah.”

“First, you’re going to let me out of here.” She wraps her hands around the bars. Logan does just like she’d hoped and does the same, his pinkies barely grazing her knuckles. “And then I never want to see you ever again.”

“That’s what you want?”

God. What a fucking idiot. Of course that isn’t what she wants. What she wants is to go back two days. To return to that night when Logan made pancakes for dinner, and they got drunk on rum and cokes, and then he kissed down her spine as they lay in bed.

She nods anyway. Presses her head against the bars.

“Fine.” Veronica squeezes her eyes shut. “If you ever need anything?” She nods again and she feels the gentle touch of Logan’s lips to her forehead. How is he always so warm? It never made sense.

“I won’t.”

And then, much to her surprise, he walks away. Without letting her out.

She opens her eyes. “What are you doing?”

“Oh,” he says, a portrait of portrait insouciance once more. “You didn’t expect me to let you go now did you? What if this show of emotion is a long con? I could wake up to find you standing over my body poised to pull back my black out shades.”

“You son of a bitch.”

“Nighty night, Veronica.”

Logan doesn’t return to the basement and eventually she falls into a fitful sleep, waking up sometime before the sun rises. She definitely needs to pee and she’s so sick of the ‘toilet’ in her cell. Logan should still be awake. Maybe if she yells really—

Finishing that thought proves to be unnecessary because as soon as Veronica’s eyes adjust to the dim light, she notices the door to her cell is ajar. She’s barely thinking as she jumps from the bed and races up the stairs.

“Logan!” she calls out.

Her first stop is the kitchen, where she maneuvers a knife in between the strands of the ropes around her wrists and works to free herself. Her cell phone is waiting for her on the wireless charger Logan keeps in the kitchen. No messages from her dad, but she sends one to check in. She rubs at the tender skin on her wrists as she searches each room of Logan’s house.

As far as she can tell, there isn’t much missing. Some of his toiletries are gone (her toothbrush is still beside the sink) and she thinks maybe some of his clothes too. His motorcycle is still in the garage but the BMW is gone.

So. That’s it? He’s just gone? What about his house? There’s a housing crisis in southern California and this asshole thinks it’s acceptable to simply abandon a perfectly good home? He didn’t even leave a note.

It’s really the irresponsibility that—

Her call rings through to his voicemail. Rolls her eyes at the Dylan Thomas quote that greets her. That’s new.

“If you think I’m watering your plants for you while you’re gone, you are completely delusional.”

He responds while she’s in the shower. (What? She’s really supposed to put up with shitty water pressure at her place when he has a rain shower and heated bathroom tiles?)

Miss me already?

She responds with a garlic emoji.

[amillioninprizes]

An entirely too long post on how to fix Veronica Mars

So, anyone who has followed this blog for any length of time knows: 1) What a massive Veronica Mars fan I was and 2) how distraught I’ve been over the most recent season that debuted on Hulu in July. I’ve been pretty angry about it since it dropped, but the first month after I was pretty occupied with real life stuff. Now that I’m more settled, I’ve found myself getting sadder and angrier over time with just how terrible S4 was and what an obvious fuck you to longtime fans it was. It feels dumb to be so upset over a tv show, but this show got me through a lot over the past 8 years, and I feel like it’s been taken away from me.

 It’s anyone’s guess as to whether there will be a new season. Ideally it would end here with maybe an alternate ending filmed to avoid alienating fans further. On the one hand, the botched release, overwhelmingly negative response, and silence from the creators after initial interviews don’t look good for renewal chances. On the other hand, Hulu doesn’t have a lot of streaming hits, it probably did relatively decent numbers, and there are rumors floating around that its pickup chances look good. On a personal level, I hate the idea that this is where the legacy of Veronica Mars ends, while at the same time being extremely wary of what the creators have planned. I think a big part of the disappointment with S4 was that the movie and books set up what could have been some really interesting storylines and situations, all of which RT and co. squandered for cheap drama and to apparently turn the show into an entirely new vehicle; additionally I had hope that S4 would be a chance to rectify some problems the show has long had, but again, S4 exacerbated them. At this point I don’t expect anyone higher up in the creative process or at Hulu to give a fuck about the fans or making the show better as long as they hit streaming targets, but here are some suggestions:

Fire Rob Thomas

 While he created the show, it’s become clear that not only has he lost touch with the audience and the original spirit of the character, he doesn’t seem too keen on putting much effort into writing the show (as I will discuss below). Then you have his clear misogyny: his views that women in relationships can’t be interesting, that what makes Veronica interesting as a character is her trauma and how much she can endure, and the fact that basically every female character in the history of the show has a history of sexual victimization. He thought that making the Mexican cartel hitmen “philosophical” was subverting expectations (which says a lot of what his expectations of Latinx characters are). Then this is the way he essentially exploited his long term fan base to earn a new season of the show, only to turn around and tell us that we don’t matter. From a business perspective alone keeping him doesn’t make sense; selling a streaming platform on your loyal fanbase and then proceeding to purposefully piss ~80% of them off would be pretty questionable to me as someone in charge. The sheer cruelty with which he treated not only the fans who have supported him for 15 years (I fucking used to liveblog iZombie y’all. iZombie!), as well as how he callously dismissed long time cast members in favor of celebrity guest stars should not be rewarded. He’s admitted in interviews that he would be ok with younger writers doing a reboot many years in the future; why not just let him have a producer credit and then hand the show over to someone who’s invested in making it good?

Put a woman in charge and diversify the writing staff

A big problem with a) Veronica’s characterization in S4 b) RT’s ideas about what makes female characters interesting c) the show’s long history of problematic treatment of sexual assault is that it comes from a man’s conception of the female experience. The Veronica showcased in S4 and that RT wants to write in the future is very much a male fantasy: hates marriage and children, traumatized, DTF, and is too cool for other women. RT stated in interviews that he wanted to show Veronica at a “crossroads” this season in a way he claimed had been shown for men but not women; many female viewers found this depiction to ring false (few women are spending their time fretting about how committing to marriage after five years in an established relationship will bar us from strange sex going forward). In addition to having RT at the helm, most of the show’s writing staff for the majority of its run has been white dudes, which doesn’t bode well for telling the story of a female PI in a diverse community in today’s political climate. Putting a woman in charge would hopefully help rectify these issues to make the character feel more true to life and put a damper on the misogynistic storytelling. The show has a natural candidate in RT’s second-in-command Diane Ruggiero-Wright (despite her problematic history, never forget #KeisterEggGate), who has admitted to not being able to watch the last episode. Jennifer Graham, who wrote both of the books, would also be a worthy addition to the writing staff; while the books had a mixed reception, most fans agree that she got Veronica’s character right. And with the show’s problematic historical treatment of minority characters, adding more POC writers going forward is also necessary.

Bring back Logan (alive)

You don’t have to be a LoVe shipper to recognize just how integral Logan has been since the inception of the show, not just as Veronica’s partner but as a character is his own right. Logan’s journey in many ways parallels Veronica’s, and shows a contrast in how different characters respond to similar trauma. The most critical plot line in the show’s history, the mystery of who killed Lilly Kane, simply doesn’t work without Logan’s importance to Veronica. RT and his defenders like to claim that Logan was holding her back from true growth, which is frankly bizarre as he is the only character to consistently challenge her, like when he tells her that she obviously isn’t happy this season. Additionally, Logan’s scenes this season were the lone highlight of what was otherwise a painful slog of a season. Of the people who have said they would watch a potential S5, a good portion are only interested because they believe that the ambiguity of the last 10 minutes of the season means he’s not really dead (despite what RT has said in interviews). Then there’s what Logan’s death does to Veronica’s character, effectively cutting off what would have been an interesting character arc and stagnating her forever. No matter how much they try to shove Leo the pedo creep and other milquetoast RT self-insert love interests on us, no one else can possible measure up to Logan’s level in terms of being able to match Veronica as a character, intellectually or as a result of shared history.

Plus, the fact that we haven’t had a Weevil/Logan interaction since S3 is a goddamn travesty and should be rectified immediately.

Bring back Veronica

As sad as I am about Logan’s death, for me the most upsetting aspect of S4 was the assassination of Veronica’s character. For many viewers (including myself), the character we saw Kristen Bell portray in S4 wasn’t Veronica Mars but a different character with the same name. Between her abusive behavior towards Logan, her general indifference to her father’s medical condition, her dismissal of Wallace, and her racism towards Latinx characters (using a kid’s lawyer to threaten deportation: not a good look!), she was lacking the marshmallow-y center that always balanced out the pricklier aspects of her character and made her compelling. This change in characterization was especially jarring given that she was not this way when we last saw her in the books, where she mused about having children and sent her half-brother Hunter to summer camp (side note, but does he even exist anymore?). Many of us who had grown up with Veronica were hoping to see her grow with us as a character; instead we got an extreme regression lower than we’ve ever seen her. It would be one thing if they were trying to depict a PTSD storyline, which would make sense given her background, but since her change in behavior is never addressed by the narrative, it just makes her look like a cruel asshole and makes it impossible to root for her. This is exacerbated by the fact that RT has made it clear he has no interest in portraying her inner life, as shown by his wanting to avoid showing her grief over Logan’s death because it would be a real downer compared to the entertaining but ultimately hollow banter and quips he wants to focus on. Veronica this season was also just plain dumb: you mean to tell me that the girl who nearly got killed by Aaron Echolls in her back seat wouldn’t think to check her backseat every time she gets in a car?  (And let’s not even start with RT’s bizarre assertion in an interview that she apparently votes Republican). Not helping matters was Kristen Bell’s performance, which felt very flat for me this season compared to S1-3 and the movie; I don’t know if this was due to personal limitations or a reflection of the bad writing. Writers of future installments and KB herself would be wise to revisit S1, the movie, and the books to figure out what makes sense for Veronica’s character, leading me to my next point:

Get reacquainted with canon, develop a show bible, and hire a continuity director

This show has long had a problem with dropped plots, timelines, and continuity issues. Shelly Pomroy’s party has two happened either in the summer, or the fall. Then we have the movie paradox: Veronica graduated high school in 2006, which means her 10 year reunion should have taken place in 2016. The movie was released in 2014 and the books seem to keep to 2014 dates. Then S4 states that Keith’s movie accident took place in 2013, and mysteriously ages Veronica up to 35 when she should be 32 in 2019. Logan mentions an Aunt Naomi in S4--why didn’t she take care of him after Aaron was arrested (and what happened to Trina)? How the hell is Leo working as an FBI agent when he presided over the disappearance of the Lilly/Aaron tapes? Veronica is shown to be tentatively forgiving of Weevil taking the settlement from the sheriff’s department in Mr. Kiss and Tell, but is then shown to be extremely angry towards him for it in S4. This is just a small selection of the inconsistencies within the show. Plus there is the problem of repeated plot lines: Veronica rejects Leo in favor of Logan in S1, then rejects Leo in favor of Logan in Mr. Kiss and Tell, only for her to...reject Leo in favor of Logan in S4 (and RT says he wants to leave the high school plots behind). This sloppiness doesn’t bode well for a series that is supposed to be about mysteries, which require tight plotting. It would behove TPTB going forward to once and for all determine a timeline of Veronica’s life, keep a detailed record of past plot and character points, and have at least one person on staff who thinks to remember this stuff (RT notoriously has only a “solid, not spectacular” memory of the show, no matter what Kareem Abdul-Jabbar says).

Make an effort (and do your fucking research) 

Moving on from continuity issues to more general problems with the laziness of RT’s writing. He has basically admitted that he doesn’t care much about facts or characterization when writing plots--he shoehorns details to fit the plot rather than have it evolve organically from the characters and prior canon. I know that when writing it’s often impossible to make every story detail 100% accurate, but the extent of RT’s sloppiness is alarming. This excellent Reddit thread details a lot of the problems with S4 in particular, but this has been a problem since S2. Did anyone ever understand exactly why the Fitzpatricks were invested in framing Logan for Felix’s death? In the movie, it makes no sense that if Cobb and co. wanted Carrie silenced, they would add the complication of framing Logan for her murder--given her history, it would have been a lot easier just to make it look like she had accidentally overdosed. Given his previous patterns of villain writing fans were able to guess the identity of the S4 bomber based on casting alone. The mysteries in both Mr. Kiss and Tell and S4 are both ripped from the headlines, which indicates that RT wants to turn VM into the next Law and Order. Meanwhile, he complained about how hard including Logan in the story in S4 was, while Logan arguably had the best lines and most interesting scenes this season--apparently when you put an effort into things, they work out! This laziness extends past storyline issues and into factual problems that detract from the quality of the plot. Longtime fandom pals are probably tired about hearing me go on and on about how there’s no way Aaron’s lawyers could have gotten Veronica’s medical records due to HIPAA laws. Logan’s career change from naval aviator to intelligence is highly unlikely (and unnecessary, given that they changed it only to fridge him at the end of the season). Meanwhile, I know fanfic writers who have spent hours on the phone with strangers in order to research what type of firearm would cause a specific type of bullet injury. It’s very puzzling to me that RT wants to take the show in the direction of being mystery-only when apart from that one time he is piss poor at writing mysteries and puts no effort into them. I shouldn’t have to tell television writers to, you know, do their job but this is what we’ve come to in 2019.

Know your audience

A majorly annoying thing about the promo for this season is how in every single interview Rob Thomas did he was always talking about how he wanted VM to be like other shows and movies: Fargo, True Detective, Game of Thrones, Chinatown (which is apparently the only noir movie he’s ever seen). The thing is, if I wanted to watch those shows, I would; I watched Veronica Mars specifically because I enjoyed its unique qualities, and I would say most fans agree. The general perception within the fandom is that with this season Rob Thomas seems to have been aiming to dump the old, majority female, CW fanbase in order to achieve what he perceives as a cooler prestigious male fanbase; the issue is, new people aren’t going to take up a show in its fourth season if they didn’t watch or didn’t like earlier seasons. Also, trying to write a prestigious show doesn’t make your show prestigious. Considering that based on anecdotal evidence most of the people who like S4 seem to be male, he may have succeeded in the first part of his aim. However, this majority female fanbase he was so willing to cast aside are the ones who have run fansites and rewatches during fallow times (i.e. between S3 and the movie and then between the books and S4), so drumming up interest among fans (and therefore streaming views) in the future may be a challenge. Plus, women are a better advertising demographic since they are more likely to be in charge of household purchasing decisions, so maintaining us as a fanbase makes business sense as well. He may have tricked enough people into watching S4 that S5 is given a go, but I wouldn’t be surprised if streams are weak beyond that. If the show is to succeed as a commercial endeavor, better to go with appealing to a known quantity than trying to make a generic show that very few people have expressed interest in watching.

Bring back the mystery of the week

This is a more minor thing I felt was missing from S4. I think after the criticism of S3 not having a season-long arc RT overcorrected in focusing on one mystery. However, the mystery of the week had the following benefits: 1) giving chances for the characters to interact and telling us more about them 2) helping to modulate the pace of the season-long arc. With better writing a season-long standalone mystery could maybe work, but in the case of S4 specifically the mystery was kind of dull and repetitive and could have stood to include a couple of diversions in the form of a smaller case here and there.

Re-evaluate the creators’ interpretation of the word “adult”

Much of the promo and reviews for this season noted the more “adult” content to be expected this season now that Veronica’s grown. Many fans hoped that meant seeing Veronica act like, you know, an adult with adult problems rather than a teenager less mature than the actual teenager she was. Unfortunately, the show’s interpretation of the word seems to be more in keeping with a television rating sense of the word--meaning sex, drugs, and gratuitous violence (But apparently not the word “fuck.”). Look, it was expected that as the show moved to a streaming service and given the overall dramatic scope that there would be an upgrade in some of this sort of content (and I’d be a liar if I said I wasn’t looking forward to steamier LoVe moments, which were sorely overpromised), but the way it was included this season felt like RT and co. included this stuff just because they could and not to serve the storyline. For me, personally, the biggest example of this was Veronica’s drug use, which I know didn’t necessarily bother everyone. Given her history as the daughter of an alcoholic as well as someone who had been the victim of two roofie attacks, not to mention the fact that her character never seemed to be into partying, I found it very out of character (and book writer Jennifer Graham agrees). It felt like RT included this just bc they thought it would be funny to see Veronica on drugs without considering whether it made sense for her character. Also, were the beheadings strictly necessary? Plus there’s RT’s little temper tantrum over not being able to use curse words this season--they weren’t present in the original show, no one was going to miss them now, and the “cuss” thing was just annoying and reminiscent of The Good Place. 

Dealing with a parent who maybe has dementia--that’s an adult storyline. Too bad RT ended it with a dumb excuse about “mixing meds” (another factual error! Pharmacy software would have caught it!) rather than actually exploring what it would mean for Veronica to see her father in decline and take over the family business (and give Rico Colantoni the exit he appears to want). This is the kind of adult content I would hope to see in future seasons.

Adult is not a synonym for “unrelentingly bleak” either. The original show, while dark, always had an element of hope that was completely removed from S4 (no matter what KB might claim). And would it have killed the writers to show Veronica wearing disguises and going undercover like she used to? There was nothing fun about this season (and no, I don’t count the multiple partying scenes as fun, more like sad).

Kill your darlings

It’s cliche, but it’s true. Another issue the show has long had is the writers keeping around characters or inserting jokes and references for their own personal amusement rather than for the story. The most notable example of this is the continued presence of Dick, a highly problematic character considering he pushed Beaver into the room with Veronica the night of Shelly Pomroy’s party, among a whole host of other racist, sexist, and generally obnoxious actions over the years. But because Ryan Hansen is so widely beloved among the cast and crew, so he stays. Then there’s the matter of the infamous Keister egg in 3x08, which the writers and KB have all expressed love for, despite the fact that said Keister egg is an example of sexual assault--which, even if the victim is a douchey fraternity president, is never funny. 

Also the constant Big Lebowski references are tiring. Watch a new movie.

Improve Neptune’s gender ratio

Veronica Mars, despite having a female lead, has always been a male-dominated show; other than Veronica herself, the only consistent female character over the original show was Mac (and she didn’t even come back this season). This is unacceptable in 2019, for any show. The books introduced promising female characters in the form of Marcia Langdon and Petra Landros, but Marcia’s character was was watered down for S4 and Petra was nowhere to be found. Additionally, Veronica and Mac have always been written as “cool girls” who looked down on other women for their femininity, which isn’t a great message. Almost every other female character, even the innocuous Parker, is portrayed as somehow bad or incompetent. I would love nothing more than a season centered on the women of Neptune and their interactions with each other. While we’re at it, stop giving every woman on this show a background of sexual victimization.

Treat VM as an ensemble show, not a Kristen Bell vanity project 

A major complaint from Burnt Marshmallows and S4 defenders alike was how little time was given over to the original core cast this season. While Veronica may be the protagonist, a large part of how the show became so beloved was her relationships with the other characters. Yet RT has decided that going forward VM will be a KB solo project, with her traveling town to town quipping and sleeping with strangers. This seems strange, given Kristen’s recent interviews talking about how difficult it is to shoot VM and how she never wants to be first on a call sheet ever again, not to mention how she asked for less screen time all the way back in S2, which resulted in the Weevil-Logan storyline, which was way more interesting than Veronica’s storylines during the first half of that season. (The traveling detective thing also seems weird considering that KB is pretty insistent on shooting in LA to be near her family.) Additionally, if this is truly the last season of VM with all the original characters, then no one got a proper sendoff. 

I’m not sure how willing much of the cast will be to return for future iterations, given how uncomfortable many of them seemed during promo as well RT and KB’s treatment of them (insensitive at best, deliberately mean at worst) this season (shout out to Tina Majorino for recognizing what a shit show this was going to be), but bringing back all the original characters into the fold and giving them significant storylines would go a long way to mending fences with fans, improving the show from a character arc perspective, and would also give KB the break she apparently wants. 

Recourt the fanbase

What has VM always been renowned for above all else? It’s incredibly loyal fandom which not only got it renewed twice during its original run but also put up their own money to get the movie made--I know many people who donated when they really couldn’t afford to. RT basically owes the last 6 years of his career to VM fans--the success of the Kickstarter arguably got him the iZombie show running gig, and the fourth season likely wouldn’t have even happened if not for it. Thus, the blatant cruelty and disregard with which RT and KB have treated fans during the promotion of S4 has been incredibly insulting and hurtful; I still can’t fathom what in the world possessed RT to think that throwing away this 15-year relationship was a good idea. It’s not a good sign when the 2 fansites most active during the post-movie period (VMHQ and VM Confessions) cease operations in the wake of S4, and when at least 3 out of 8 board members of the oldest running fan group, Neptune Rising (who were dormant during the post-movie period but played a critical role during earlier fan campaigns and in the S4 promo) resign. A fandom this loyal that was betrayed will not stand idly by if the S5 RT wants to make goes ahead; given the number of tweets the official Hulu VM account has had to delete in the wake of S4 due to the overwhelmingly negative response as well as the controversy over editing out Logan from S4 promos, I imagine that S5 will be a PR nightmare. Even if future seasons are amazing the trust can probably never be fully repaired, but it would be helpful for RT (or fingers crossed, a new show runner) and KB (as star and EP) to go overboard in reaching out to fans and at least admitting they made a misstep with the entirety of S4. Back in the day, the old Mars Investigation fansite was invited to set to conduct interviews; maybe do that again. Also someone should get KB some sort of VM fandom-fluent media trainer because I don’t think she has conducted a single interview during her entire stint on the show that didn’t anger fans (it might help if she actually bothered to watch the show).

Map out an endgame

Look, this can’t go on forever. As long as RT keeps leaving every installment open ended with the hopes of maybe getting renewed again five years down the line, the story is going to keep running into the issues the movie and S4 faced with having to shoehorn the characters into nonsensical plot lines to reconcile those endings and deal with actor availability issues. Either plot another 2-3 seasons to wrap the show up with a satisfying conclusion, or map out a greater timeline of Veronica’s life with spots where a mini series or movie here and there could fit in.

[eternalxblossom]

Another challenge I love to bits because I ship EVERYTHING.

OTP GAME - thank you for tagging me, @halfthealphabet​, you are doing God’s work.

1. Bea Smith/Allie Novak - (Wentworth) - I would seriously sell my kidney for them, number one OTP forever and ever, they’re even in the blog tag so... I am also forever salty about them.

2. Hailey Upton/Jay Halstead (Chicago PD) - the most chanel straights of all chanel straights - they’re in the blog tag too so that’s self-explanatory.

3. Lucas Scott/Peyton Sawyer (One Tree Hill) - listen this is the first ship that made me believe love is real

4. Amy Raudenfeld/Karma Ashcroft (Faking It) - I want to die when I think of that wasted potential

5. Emily Prentiss/Jennifer Jareau (Criminal Minds) - same as 4

6. Nathan Wuornos/Audrey Parker (Haven) - my parents. They are my parents!

7. Veronica Mars/Logan Echolls (Veronica Mars)

8. Stiles Stilinski/Lydia Martin (Teen Wolf)

9. Lincoln/Octavia Blake (The 100)

10. Erin Lindsay/Jay Halstead (Chicago PD)

--------------------------------------------------------------

1. Do you remember the episode/scene/chapter that you first started shipping 6?

First scene - 1x01. I was trash. I mean they literally pulled guns on each other and I was like “TRU LUV. They have two dogs!”

2. Have you ever read a fanfic about 2?

Just one? I read pretty much all Upstead there is. I even wrote some!

3. Has a picture of 4 ever been your screen saver/profile picture/tumblr screen saver?

Oh yes, I used to have Amy from Faking It as my icon here on Tumblr because she is my damaged sarcastic daughter.

4. If 7 were to suddenly break up today, what would your reaction be?

I would be very angry. But not as angry as what the showrunners did...Veronica Mars fans know, THAT was a shitstorm. I would have preferred the break-up.

5. Why is 1 so important?

Listen Bea and Allie are the greatest prison love story and love story of all time on television and I will fight anyone who ever dares to say otherwise. It has everything - unconditional love, tragedy (a bit too much but that’s just television), acceptance, hope, seeing the other the way no one else ever has, willingness to sacrifice, trust and patience...I think Tumblr has been sleeping on this amazing pair.

6. Is 9 a funny ship or a serious ship?

A very serious ship! I will always be angry at fucking Jason RoTTENBERG for what he did to Linctavia, fuck that prick.

7. Out of all the ships listed, which ship has the most chemistry?

BEA AND ALLIE I MEAN LOOK AT THEM JESUS.

....I WILL THROW MYSELF OFF A BRIDGE.

Point made? Point made.

8. Out of all your ships listed, which ship has the strongest bond?

Bea/Allie and Jay/Hailey (1 and 2). Absolutely no contest. Hence why they’re both in my blog tag.

Point made? Point made again. I only ship Chanel, Walmart can take a seat LOL.

9. How many times have you read/watched the 10’s fandom? 

Hmmm well I did read a bit of Linstead fanfiction back in the day but I can’t say I watched their scenes or episodes twice. I enjoyed the dynamic on screen a lot though.

10. Which ship has lasted the longest?

Canonically? I would say 3 - Lucas and Peyton from One Tree Hill. They’ve been on and off, though.

11. How many times, if ever, has 6 broken up?

Hmm they didn’t actually break up willingly, let’s just say interdimensional travel and a weird creepy barn and some amnesia split them up (Haven fans know haha)

12. If the world was suddenly thrust into a zombie apocalypse, which ship would make it out alive, 2 or 8?

Both, actually! 2 are a pair of cops and 8 - well, Stiles and Lydia have huge brains and wits, they could outsmart any dumbass zombies.

13. Did 7 ever have to hide their relationship for any reason?

I can’t remember exactly but I think Logan and Veronica did hide it at some point because Logan was her best friend’s ex and she died and V. felt guilty about moving on with him, of all people.

14. Is 4 still together?

They were never canon but they are together in my heart and away from that shitty ass showrunner Carter Trollington so that’s all that matters. Where’s my Faking It fandom at? Guys, I am still salty, for the record.

15. Is 10 canon?

They were for a while but one character got written off so no.

16. If all 10 ships were put into a couple’s Hunger Games, which couple would win?

I can’t decide. But I’d bet on Bea/Allie cuz they have prison training or Jay/Hailey, along with Emily/JJ cuz both pairs are cops.

17. Has anybody ever tried to sabotage 5’s ship?

YES THE FUCKING WRITERS who were cowards and didn’t want to make Emily Prentiss a lesbian even if the actress would have been fine with it. They just sabotaged the best chemistry they had.

Another point made I think. The gif speaks for itself.

18. Which ship would you defend to the death and beyond?

ALL OF THEM but especially 1 and 2. 

19. Do you spend hours a day going through 3’s tumblr page?

I used to, in the past. Not so much now because One Tree Hill ended forever ago. I still follow ship blogs and reblog their gifs whenever I see them because I’ll always have a soft spot for Leyton. 

20. If an evil witch descended from the sky and told you that you had to pick one of the ten ships to break up forever or else she’d break them all forever, which ship would you sink?

I hate to choose but...10. They already broke up in canon so...

P.S. I really don’t know who to tag this time so if y’all wanna do this, just say I tagged you!

[comradesummers]

I’m curious about 1. Top 5 TV shows, 11. Top 5 female characters and 20. Top 5 overrated characters

Hi, thanks for asking!

Top 5 TV shows

(This list is based on my current mood, and will probably change tomorrow)

1. Buffy the Vampire Slayer 

Yeah, I know, what a shocker. It may be flawed, and old, and a little corny, but well, there’s a reason I dedicated a blog to it. No show means more to me than Buffy, and no show probably ever will.

2. Legends of Tomorrow

You know what, more shows need to be as batshit fucking crazy as Legends of Tomorrow is. More shows need to save the day via our main characters joining together to create a giant stuffed animal that hugs the bad guy to death. More shows need to give us killer unicorns, and sentient nipples, and hot girls with weapons who make out with each other.

Fuck the golden age of television, fuck everyone taking everything so goddamn seriously. Give me a pure, unadulterated, chaotic, drug-addled (I can only assume), queer, joyful, wonderful mess, and I will love and treasure it forever.

3. Crazy Ex-Girlfriend

Look, it’s just really good. I don’t really have much to say, beyond just like, it’s great, and it has great songs, and great comedy, and great drama, and great acting, and great writing, etc. It’s not perfect, because nothing is, but I do genuinely believe that it’s one of the best uses of the medium of television that I’ve ever seen. If any show could make me buy into the golden age of television bullshit, it’s probably Crazy Ex-Girlfriend.

4. One Day at a Time

So there’s this interview with Gloria Calderón Kellett and Mike Royce, where they talk about how the basic structure of any episode of the show, is that there is a topic at hand, whatever it may be, and then we hear the conservative argument (Lydia), the progressive argument (Elena), and the mediator (Penelope). And like, yeah, that’s it, that’s the show. In that sense it’s super reminiscent of Norman Lear’s work in the 70′s - All in the Family was also basically just one big argument.

So, in addition to everything that’s obviously incredible about the show (funny, well written, loving, the representation, Rita Moreno’s very existence being a gift to us all, etc.), there’s just something so brilliant about the simplicity of the basic premise, the argument about traditionalism vs. progress, which is made far more poignant and interesting because the characters are Cuban American. Lydia isn’t Archie Bunker, because her desire to preserve her traditions isn’t rooted in bigotry, it’s rooted in the culture that she was forced to leave behind. And Elena, as admirable as her quest for progress is, often fails to see the importance of preserving that culture (illustrated most obviously by the fact that she doesn’t speak Spanish). And although Penelope represents the middle ground, she isn’t always right either.

Everyone has a point, and that’s what makes each new conflict so fun to watch.

5. Queer Eye

Queer Eye makes me happy. It really is as simple as that. It has perfected the formula of bringing joy to the world, and I think that is a truly impressive feat.

Top 5 female characters

(I’m going to keep it to one character per show, because otherwise I'd be here all day. Also, again, this list is based on my current mood. It could change tomorrow.)

1. Buffy Summers 

Again, what a shocker. I don’t think I need to explain this one.

2. Elena Alvarez 

I really had to struggle to choose between Lydia, Penelope, and Elena, because I love all three of them so so much. But I went with Elena because she’s the person I aspire to be. She’s awkward, and weird, and struggles socially, and she’s not always right, but she also fights for what she believes in, actively. It’s not just about arguing with her grandmother, it’s about taking action, even if that action can be a little awkward and Elena-y. And well, seeing a character like her, who isn’t just the regular armchair activist young person that’s so common on TV, is really important and inspiring and I love her.

3. Rebecca Bunch 

She’s just kind of one of those characters that was iconic right out of the gate. I don’t think I’ve ever seen a character like Rebecca before, ever. And I haven’t seen any since honestly. It’s small stuff, like the fact that a character with Rachel Bloom’s body type is allowed to be aggressively sexual without being seen as disgusting or villainous for it. And it’s big stuff, like the portrayal of her mental illness, the fact that she was never written to be “likable” or whatever the fuck that means, but we loved her so much anyway. The show may have occasionally faltered, but Rebecca Bunch was always its center and its greatest achievement, and I will forever be grateful for her.

4. Regina Mills and Santana Lopez 

Yeah, I’m cheating, this one’s a tie. My justification for the cheating is that these two are in the same category for me, in terms of characters that I love, but I’m kind of ashamed of choosing because of their garbage source material. So yeah, it would probably be more accurate to say that I’ve chosen the fanfiction versions of both of these characters, but in my defense, the fics are a lot better than the shows they’re based on. Also, kudos to both of these actresses for somehow making these characters interesting in spite of the writing they had to work with.

5. Petra Solano 

Look, if it wasn’t already evident that I like type A control freaks, bonus points if they’re super fucked up, and extra bonus points if they’re into women, well it should be clear now. Petra in particular manages to walk the fine line of being easily the most tragic character of the show, and also easily one of the funniest, while also having one of the best redemption arcs I’ve ever seen. Idk how Grobglas and the writers managed to do all that, but it was really incredible to behold.

(I would like to extend my sincerest apologies to Veronica Mars, Amy Santiago, Rosa Diaz, Sara Lance, Zari Tomaz, and a bunch of other characters who have probably slipped my mind, all of whom would have made the list if I was in a different mood, or was currently obsessed with them. I love them all.)

Top 5 overrated characters

1. Wesley Wyndam Pryce

So, full disclosure, I’m just really not a fan of broody men who’s character development involves them being violent towards women and then brooding about it.

Wesley in particular, I get why people like him, he is a very well written and well acted example of this kind of character. But I’ve seen multiple people suggest that he’s the best character in the Buffyverse, and that drives me a little crazy. Like, no. Wesley becoming a broody asshole doesn’t make him a better character than Buffy or Willow or Cordelia or Gunn or Faith or anyone else, and I am so sick of that kind of broody man story being prioritized over every other kind of story.

2. Logan Echolls (please don’t kill me)

I actually like Logan, I think he’s a good character. I just wish the show, and subsequently the fandom, hadn’t prioritized his character over pretty much everyone else not named Veronica. But I do like him, to be clear.

3. Illyria (I’m so sorry)

Like really, I wish I liked her more. I guess it’s just because I was pissed they had to kill off Fred for Illyria, and she spent all of her time with Wesley, which didn’t do much to endear me to her. I guess maybe if she’d spent time with anyone else, I’d get why people like her, beyond Amy Acker being really good at her job. But she didn’t, and I just don’t get it.

I couldn’t think of a fourth and fifth one. As it turns out, I’m not a fan of the concept of something being overrated. All of the characters I named just aren’t necessarily my cup of tea, but that doesn’t mean I think they’re bad, they’re just not for me. And I don’t really like saying that people are wrong to like things. Plus, I just really couldn’t come up with anybody, and I really tried, I’m sorry.

[thejollyduckling]

VM Revival- Spoilers, ahoy!

Apologies in advanced for a supremely unedited jumble of thoughts. I meant for it to be more cohesive (and shorter- this got long, y’all). Alas, I am not one with words, especially.

Disclaimer: all feelings about characters and directions of the show are valid and I do not find fault with anyone for feeling differently than I do about the current situation.

I’m upset. I’m very upset. I love Logan Echolls. And I’m exhausted from crying and being emotionally distraught over what happened to him on the revival. Not only did my character die, ship die, and investment in a show die, but I then get to feel worthless in my feelings because people can’t handle that others don’t feel the same way as they do- and that those people are willing to voice those differences.

Several central arguments seem to evolve from those who think upset fans should not be upset:

1)      It’s noir. What did you expect?

2)      You already got your fanservice movie. Shut up! -OR- You’re being an entitled fangirl!

3)      Obviously, you don’t care about Veronica, since you’re willing to stop watching HER show over a character that isn’t her

 It’s noir. What did you expect?

I’m not the best person to speak on noir, since I’d only call myself a moderately-informed fan. I certainly have seen most of the classic movies that are classified as such and have definitely spent my time watching tv shows that identified as neo-noir, noir-esque, or other such variants inclusive of noir features. All that being said, from my humble perspective, some of the common themes from noir are present, but most of those were established in the original series and not new to the revival. Aside from some of those themes, stylistically, it didn’t feel very noir. There is a wide range of narrative events that can happen to be inclusive of this ‘noir’ label. Noir is not simply “death, despair, and no happiness!” Killing a character could fall under the category of noir. Killing a beloved, important character could certainly fall under the category of noir. But simply stating that killing that character IS noir is a gross simplification of what exactly makes that death noir. Sliced berries go in a fruit salad. But slicing a berry doesn’t automatically make it a fruit salad. While there are arguments to killing Logan for noir effect that can be made (which I am not currently capable of having right now), telling me I should get over it/deal with it/ “expect it because it’s noir, guys” is dismissive of my opinion on what makes something good noir. No, I don’t have to accept his death as a necessity of the genre. There are plenty of other characters who did or could have died to make that happen. Hell, even Logan could have been that character, but they didn’t do it justice. Again, I don’t want to argue about how Logan could have been that character still (because damnit, I don’t EVER want it to be him), but if it HAD to be him (I don’t think it did), fuuuuuck, he could have gotten MORE than he did. It didn’t have to happen 2 minutes after the wedding. It didn’t have to be an off-screen explosion from a leftover bomb from an already-apprehended criminal that I hated throughout the entire revival, they didn’t have to do a time-jump in which I didn’t get to watch ANYONE grieve his SIGNIFICANT loss, not have a funeral that we saw to grieve with the characters, and to only get a single tear from Veronica as she listens to a voicemail of Logan praising her for being strong. Let me be clear: I do not fault the writers for having Logan’s character believe in her strength. I do not fault fans for finding Veronica strong for enduring all the trauma she has endured. I DO find fault with people who tell me that I’m supposed to accept his death because it allows her to experience (ANOTHER) trauma to allow us to be TOLD she is strong. We didn’t see her be strong. We didn’t see her pick herself back up. We didn’t see her mend her heart and persevere through the devastating loss of her husband (and one of two people she told us she’d die without). We got a flash-forward where I was “told” she did this work, or was doing this work. I was told she was going to persevere. I do not have to accept or reinforce the idea that women (especially survivors of multiple traumas) are strong solely for continuing to have trauma thrown at them. If V needs to recover from trauma-after-trauma, I actually want to see her doing that. Instead, I got a season of her deflecting help (which I think is in-character) and pushing down her trauma. While I respect her character still has room to grow, I’m frustrated that I already SAW that growth with her childhood trauma. I spent 3 seasons, a movie, and two books, showing how she fought that trauma and had to learn to trust. And that growth was regressed in the revival. Recovery is a long process, and V will deal with that trauma for the rest of her life… but it didn’t feel like she had made ANY progress in the revival, even after she’d already canonically made some. That’s frustrating. So then, the cherry on top of that frustration, is to see her get dealt another terrible trauma… and not have it addressed or explored. “Wait until the next season,” you might say. No, thank you. I don’t want to watch my female characters constantly be beaten down by trauma and not able to grow from it, praised for being strong for “enduring” it, and then told to accept that one of the traumatic events that happens to them is the death of my favorite character. I don’t want to watch that.

 You already got your fanservice movie. Shut up! -OR- You’re being an entitled fangirl!

Diminishing fans who care about characters or romances as “fangirls” sounds pretty misogynistic to me. In my many years of fandom experiences, I’ve never understood why so many people are so strongly anti-romance. I understand people not liking particular ships, or particular stories. I understand people being tired of romance being so central to a particular story if you would like it to be more secondary. But to shame people who don’t feel the same way? To diminish their fan engagement as being stupid, silly, or fangirly is reductive. And, if you use the term fangirl in your diminishment, sexist. If you don’t like romance in your stories, that’s fine. But I do. And I’m not ridiculous for liking it. If I wasn’t meant to like it, I can’t understand why so many shows, movies, and books would devote so much time to it. Specifically, in the revival of VM, they spent much of the season exploring Logan’s and Veronica’s relationship. The writers (who aren’t “pandering” to me) wrote it themselves. They didn’t have to address it. They could have had it be a quaternary storyline. They didn’t, though. They made it a pretty significant one, since it’s a significant part of V’s character. She gets to have familial relationships explored, and fans can like that. She gets to have friend relationships explored, and fans can like that. But a romantic relationship? Fans can’t like that- or shouldn’t like it too much because it overshadows… what? What does it overshadow? I don’t ONLY want V to have a love story. But forgive me for enjoying my girl having a little happiness and love in her life. Especially if that relationship encourages her to be more trusting, open, forgiving, and helps her grow. That’s what relationships of all kinds are supposed to do. If you only care about the mystery aspect of the show, good for you. That’s totally fine. I came and STAYED because of the character development. I came for the relationships. In a noir setting, our hero needs people that keep her grounded, that keep her feeling happiness in spite of the turmoil around her, and that remind her to keep fighting. By reducing my love of a character that I believe offered this to Veronica on a supreme level to only being a silly fangirl is a misunderstanding of my love for Logan, and for my love of Veronica. If my love of this aspect of V’s and L’s characters is annoying and just fangirl pandering, then why did they spend much of the season exploring it? And then why am I not allowed to be upset at the outcome of said “pandering?” Also, in general, I don’t really understand why people refer to specific writing choices/ directions as fanservice or pandering. Or, more so, I don’t enjoy the large amount of people who seem to describe everything they do not like as pandering or fanservice. Why was the VM movie fanservice? Because fans liked it? Because they made it with fans in mind? What is inherently wrong with that? The idea that I’m supposed to give up wanting things for characters, ships, and stories simply because a movie didn’t completely sink my ship is strange to me. I’m not supposed to be invested in the further stories of Veronica and Co. because I already got everything I wanted? Did I? Do you know everything I wanted? LoVe being together at the end of the movie was certainly something I wanted. But was that EVERYTHING I wanted? No. Every fan of the franchise got SOMETHING from the movie, I’d argue. It might have been a cameo by a long-forgotten character. It might have been your couple reuniting. It might have been seeing your favorite father/daughter pair finally back together on-screen. Whatever it is, we all got something from that movie. So why is LoVe being together the ONLY thing the movie is remembered for doing? It accomplished a lot more than that, for me. I did not “already get my fanservice movie and now I need to shut up.” I care about these characters, this world, and I will never stop voicing what I want for them. If I’m doing it in a respectful way, that does no harm to anyone. If I express disappointment and hurt over the direction of the revival, that does no harm. I am not entitled to have Veronica Mars go the way I want, but I am hurt that it didn’t- and get to express that. It is not entitled to express my feelings on the direction of a show. Creators can choose to take those thoughts and do what they will. Rob certainly will do what he wants.  

Obviously, you don’t care about Veronica, since you’re willing to stop watching HER show over a character that isn’t her

I don’t even fully know how to begin unpacking this argument. This belief seems to stem from the idea that anything that happens on VM is what is best for her and I shouldn’t want anything different. I do not believe killing Logan was what was best for her story or the show. I do not believe it was the only way to achieve what I believe the writers wanted to achieve. Therefore, I’m upset that they chose to kill my favorite character to do that. I am so upset for Logan’s character (which Rob wrote and included in the show for me to consume and, presumably, enjoy). I wanted different for him. I believe his character suffered enough and wanted to see him get to reap the benefits of the hard-fought life he had carved out for himself. I didn’t expect a sunshine, butterflies, and rainbows sap-fest. I expected bumps and conflicts. I expected his character to continue to have flaws and grow. But now I don’t get any more of that. His character is done. He cannot continue to challenge, support, and love Veronica. He cannot continue to challenge himself to grow from his past. He cannot continue to be the hero he worked so hard to be. Because he’s dead. Why am I not allowed to be so devastated by that that I don’t want to see anymore of this world that he was a part of without him in it? If Keith had died, fans would have been equally upset and quit the show. I can’t imagine what would have happened if V had died. I don’t love Logan more than Veronica (though, if I did that would certainly not be a problem). You are not a better fan for loving Veronica more than Logan or Keith or Weevil or Mac or Wallace or any other character.  In the HP fandom, no one’s going to kick you out of the fandom for not liking Harry the most because it’s “his story.” Honestly, a lot of people don’t like Harry at all. Many do, many don’t. The point is, liking other characters that are included in the story above the main character is not inherently a problem. If you’re advocating for Logan to get all the screentime and all the story, well of course that’s not really how the show is going to work. It is V’s show. It is centered around her. But that includes the relationships she has with other characters. If V died, I’d be devastated. I’d stop watching the show… because there’d be no more show. Rob & Writers made Logan important. You don’t have to like that. But I do. I like that he’s important, because I like his character. And I’m upset at what happened to him, and his death (while not the ONLY thing of importance in the story) was big enough FOR ME, that I cannot continue to watch or enjoy the show. It changed everything for me. I wish it hadn’t. But I refuse to feel ashamed that I’m devastated that a MAIN CHARACTER, who was crucially important to our star, is dead and I cannot enjoy the show without him. My love for Logan’s character, my love for him in this world, is separate for my love for Veronica. I don’t HAVE to love Logan less and want less for him to love and want more for V. If Logan wasn’t important to V, then his death wouldn’t be so impactful for me. Obviously, I love his character, but it was his closeness and unyielding love for Veronica that made his death unbearable. Rob did not make Logan crucial and important for fanservice. And if he did, that was his own doing, and no one should be blamed for responding emotionally to what was created for us to respond to.

 On top of those three arguments that I see circulating over and over, I’m upset at the revival in general.

I am upset that a character that I love, who is flawed (and who should be allowed to be so), was not given the growth that I wanted for her. I felt like Veronica’s growth from past canon was regressed.

I am upset that we did not get to see more interaction between other characters that I wanted to see more from.

I am upset at the continued problematic portrayals of women and characters of color in Rob’s writing. I’m upset at the white feminism that I see in many moments of the show.

I am upset that the show tries to tackle deep issues like classism, sexism, racism, and abuse of all kinds, but only manages to scratch the surface- and often deals with them in problematic ways.

I am upset that the mysteries, which continues to be the least interesting aspect of the show for me (while still a draw), is the only thing that I believe Rob wants to continue to explore. It’s V’s job, it’s part of the genre and her character, so I get it. But I have always been drawn to the characters and their growth from the original series. I knew with the revival, Rob told us there’d be more focus on the mystery. And there was, and I didn’t mind it. I expect angst. I am no stranger to our characters going through ups and downs. But I still don’t like what happened. And I don’t think it was necessary or “good” storytelling.

I am upset that caring about Logan/LoVe is considered being a “fangirl” or fanservice. Wrong. I care deeply about ALL of Veronica’s relationships. In the revival, I found her relationship with Wallace lacking. I found her relationship with Weevil lacking (is this just due to screentime? Not entirely, but that’s another debate). I found her relationship with Keith lacking, though better than her relationship with some other characters. I am interested in Veronica as a character- with relationships (romantic AND platonic) who happens to be a PI. I was warned that the revival would be more focus on the PI side, so I was prepared for that. I wasn’t prepared for the character regression/lack of attention so completely- and then made to feel bad that I was upset about it.

I am upset that Logan Echolls is dead. That it is being deemed by some as necessary or acceptable, and if I disagree I’m silly, pathetic, wanting the show to pander to me, etc. If caring about his character so ardently is wrong, then Rob shouldn’t have written him such a kick-ass redemption. And I don’t want to be right.

I am upset because loyal, passionate fans have been crucial to this revival and to the marketing campaign. What happened to Logan feels like a slap in the face to fans that have devoted years, time, creative energy, and LITERALLY millions of dollars to see their beloved show and characters continue on. It may not have been what Rob intended, but the slap is felt regardless.

The thing is… at the end of the day? I am frustrated about a lot of things from the revival. But, if there’s another season ALL of those things could be addressed, expanded upon, or fixed…. Except 1: Logan’s life. That story is over, and I’m not okay about it. It was literally the ONLY thing I did not want to happen in the revival. I am a geek, who made a list. I had a whole long list of things I wanted- including things that had NOTHING to do with Logan or LoVe. Most of them revolved around V. Don’t tell me I don’t care about Veronica, just because I can’t watch/promote a show anymore because of another character. His character death is devastating to me on multiple levels- INCLUDING ITS IMPACT ON VERONICA!

I am allowed to be upset at the specific ways in which my character was handled. Can I do anything in the long run? Probably not. Is it artists’ choice? Of course. I am not entitled to tell a showrunner or writer that they must do things my way. But I am allowed to voice my disappointment and tell him that he no longer has my viewership and support, and I believe I am allowed to tell him what those reasons are. He can choose to ignore or engage with me.

In closing, I can only say deeply how sorry I am to fans that have spent 15 years invested in these characters so much that they’ve poured their hearts and money into seeing it continue through the years. Two years of devotion and ending up here has soured me greatly. I cannot even begin to imagine how others must feel. You are entitled to your hurt and your expression of that hurt (Just keep it classy, like JDoh did).  Love to you all!

Sincerely,

A Burnt Marshmallow