Category Archives: veronica mars

excellently Bgrade SF telly

I will watch any SF or supernatural television program at least once. Some stick, some don’t. I favour programs with female protagonists. I like queer stories or subtexts because they tend to fuck up the gender norms.

Besides the usual big names (Buffy, Dr Who), I am also into Bgrade stuff. Mostly because Bgrade stuff tends to be far more subversive, and that’s where you find the women protagonists. For all sorts of reasons. But apparently women don’t sell advertising, so we don’t see such great stuff from them in the Agrade programs. The ethnicity stuff is a bit of a fail (everyone is whitey mcwhite unless I’ve noted otherwise).

I tend not to remember the names of actors, but I like to read across programs, following a particular actor. I also tend to read all these programs as part of a broader metanarrative or general universe rather than as separate and distinct worlds. This is encouraged by the fact that many of these actors turn up in the other programs.

Lost Girl: 1 season, 2010. Canadian supernatural, female protagonist, sexual content (which of course is the predominant theme in many of these shows). Definitely B.
Story: woman hero (and female sidekick) work as ‘private detectives’ in the ‘fey’ world, which humans don’t know about. She’s trying to discover who her family is (she doesn’t really understand her super powers).
I don’t mind it because it looks quite good (in a ‘cinematic’ sense), has two female protagonists (one of whom turned up in Nikita once – I think she speaks Russian?) with a male werewolf love interest for the bisexual woman hero. That male love interest reads a little queer (though his character isn’t), or at least a little gender-flex (rather than solidly Super Straight Hegemonic Masculinity), which is nice. I’m still undecided about the gender politics in this one, though there are obviously some challenges in a sexualised succubus identity for the hero. I watch this one.

Blood Ties: 1 season, 2007. Canadian supernatural, female protagonist, sexy themes but not too sexy. Low production values.
Story: human private detective discovers supernatural world, begins to work with teh sexy vampire Henry Fitzroy solving supernatural crimes.
This one is important because it’s an adaptation of Tanya Huff’s Blood Books series, which is one of the best vampire series I’ve ever read, when Huff was really at her best (I think she’s a bit weaker these days). The female hero is excellent, and while the telly series doesn’t mention it, Huff’s characters are often bisexual or queer, which makes watching the telly series (within that context) a bit more interesting. The main actor has gone on to do other bits and pieces, mostly in crime shows like CSI.

Sanctuary: 3 seasons, including 8 webisodes. Canadian supernatural.
Story: ‘Sanctuaries’ are linked places where supernaturals are a) contained/held captive or b) educated (this bit is unclear and dodgy). These places are big ‘historic’ buildings, run by a team. There’s an international network of them. They solve ‘monsters of the week’ stories.
Female and male protagonists (three or four, depending on season), very decent gender politics. Season 2 introduces an Indian-American female character. A bit too much greenscreen special effects, and not really high-end stuff. A sort of swirly aesthetic that I find soothing when I’m ready for bed. The second season picked up the editing speed/tempo a bit. Less of the sexy stuff, more of the stronger female characters (the ‘boss’ is a centuries old woman scientist). Still Bgrade.

Moonlight: 1 season, 2007, American supernatural.
Vampires…. doing vampire stuff? I think the hero was… some sort of problem solver? Indolent rich? Who knows. This one is bad. I’ll stick with something really bad if the hero is female, but this hero (the actor is now the hero on Hawaii 5-O) is not good. Totally Bgrade, but with an Agrade aesthetic at times (in terms of special effects at least), and it was a struggle even for me to get through all the eps of this doomed program.

Vampire Diaries: You know this one. High production values, sometimes very, very poor scripting and acting.
Story: teenagers and vampires!
The second season started well with the way Caroline’s turning into a vampire was handled, but this hasn’t been sustained. There’s quite a bit of sex, which is a bit weird in a teenage character/high school setting, and the relationship between the brother vampires is ripe for a little slash fiction, even thought it’s a very straight show. Sometimes the show almost seems to be self-reflexive, and the ‘bad’ brother Damon assists this with his treatment. But it doesn’t quite get there. The best bit is having the ‘bad boy’ werewolf character from Wolf Lake as the ‘good’ brother Stephan. I think he’s actually a decent actor, though he struggles.

Wolf Lake: American supernatural from 2007, 1 season. Bgrade.
Story: ex-cop (Lou Diamond Phillips!) comes to small mountain town looking for his missing wife. Town is run by werewolves. He doesn’t quite discover their existence by the end of the series.
Hispanic protagonist! Tries to bring in some Native American subtext, but fails a bit. This is a weird mix of Twin Peaks and… some strange show set in a small rural town. It’s not consistent with its kooky Twin Peaks vibe and humour. Some sexy bits, some violence, but mostly laughable. It stars Stephan from Vampire Diaries, though, Lou Diamond Phillips, and a few other characters who turn up all over the place, including Phillips’ missing (werewolf) wife, who’s also in Vampire Diaries (as the sooky Stephan-girlfriend’s vampire mother). Dodgy special effects. Just didn’t quite work.

Demons: British supernatural, 2009, 6 eps of 1 season.
Story: basically Buffy with a teenage boy hero who’s descended from van Helsing and kills supernatural things.
This one is hampered by its bad acting (esp the hero), and I’m not all that interested in a male hero. The ‘mentor’ figure is played by that guy from Life on Mars who’s in all those British cop shows. I think he was miscast. I couldn’t finish watching even the 6 episodes. I’d say B, but the people who made this also made Merlin and Hex, and they have really good special effects and a glossy look.

Hex: British 2007, 2 seasons, supernatural.
Story: Witches and ghosts and teenagers and stuff.
Sexy, bit queer, except the queer character reads a bit too much like a thrill for male viewers – I was totally unconvinced. The other female protagonist is a rubbish actor. I just couldn’t handle this one, though my mum loves it. Despite the female protagonists, it’s genderfail. Bgrade, but with Agrade production values.

Supernatural: 6 seasons? You know this one too.
Story: 2 brothers travel around rural American south (sort of American gothic, but actually filmed in Canada I think) fighting monsters. More horror than supernatural, really.
Mainstream American telly. I quite like it, even though it has just about no women in it all, fails the Bechdel test. I like to watch it as though Sam and Dean are actually lovers with a rubbish relationship. They cry and talk about their feelings all the time, but they never kiss. Well, I haven’t caught them at it yet. Jensen Ackles is interesting because he was in ‘Dark Angel’, ‘Smallville’ and ‘Dawson’s Creek’, which are big teen shows. I like the way Supernatural plays on its wider fan discourse, including the slash fiction stuff. Total gender politics fail if you read it straight. Excellently queeraliciously genderfuck if you don’t. Not Bgrade at all.

Dark Angel: 2 seasons 2000, American supernatural/SF/post-apocalyptic whatever. Stars Jessica Alba. I like this one.
Story: Female protagonist who’s a bike courier in some post-apocalypitc city (Seattle?). She’s a clone or something, reads as kind of ethnic-flexi, has cat DNA mixed in with hers. She and some other kids escaped some corporate facility as kids and she’s constantly in hiding, looking out for searchers, though she has a job and pays rent in a dodgy apartment. Decent gender politics, except for the sexing up of the hero via the cat DNA – she ‘comes into heat’. The female protagonist has a lesbian housemate who has partners and the queer stuff is negotiated. I think this is actually an ok show, though it’s Bgrade.

Haven: American/Canadian coproduction, 2010 1 season (renewed).
Story: woman FBI agent goes to mysterious town where people have random (and usually uncontrollable) supernatural skills to find her mother/follow some mystery or something.
I love this one. She has a male partner (a local cop) who is suitably deferent to her leadership, but also has spine. He has a supernatural power (doesn’t feel pain), is good looking but not too good looking, and they have some really great unspoken sexual tension that could just as easily be platonic love and mutual respect. Their relationship is what makes this show for me. That and the amazing location. It’s Bgrade, the stories are silly, but I like it. It uses the ‘kooky rural town’ trope. Also stars that guy Eric Balfour who is kind of the Kevin Bacon of teen telly.

Eastwick: American 1 season 2009 supernatural.
Story: set in the Eastwick of the great film Witches of Eastwick, with three similar protagonists (same talents, etc), but with slightly different backgrounds, etc.
Genderfail, and undoes all the good work of the film. Okish special effects, Bgrade in execution, but intended as something more. Reminds me of Gilmore Girls in terms of setting. One of the few with a non-anglo protagonist.

Other programs that I watch, and which inform my reading of the above programs:
FRINGE!!!
Murdoch Mysteries (19thC police crime)
Hellcats (female athletes)
Veronica Mars (female teenage private detective teen)
Outcasts
Being Human (UK and US)
Misfits
Caprica and BSG
Sarah Connor Chronicles
Smallville (early series only)
Stargate Universe
True Blood
Dead Like Me
Pushing Daisies
Eureka
Warehouse 13
Heroes
Dr Who, Torchwood and Sarah Jane Adventures
Ultraviolet (British vampire/crime show)
Walking Dead
Buffy and Angel and Firefly
The Cape
V
Dollhouse (totally fucking gender FAIL and I hated it so much I had to stop watching. This show convinced me that Joss Whedon is actually fucked up RE gender stuff and that Buffy was a fluke we should attribute to Jane Espenson and other people NOT Whedon).
Nikita (a woman spy = supernatural in my book)

adventures with badass sistahs in outer space: olivia dunham

I love SF telly. I love it. I watch every SF program, just in case. I also like supernatural, fantasy and general make believe stuff.
But I tend to have less patience with programs that do not have good female characters. I make exceptions for programs like Supernatural which explore male characters and masculinity in new ways.
I love all trashy vampire telly. I can’t help it. It’s a sickness.
I did my honours thesis on female violence in action film, and I’m still interested in the way women and violence and, more importantly, women’s violence are depicted in mainstream film and television. While I was doing this honours project I came across an article which basically argued that straight-to-video releases (ie B films) were often more transgressive in terms of representations of gender than mainstream or A films. I am really interested in this idea. This is partly how I justify my passion for B telly. Partly. But I also think it’s true. Telly that doesn’t gain broadcast telly release, doesn’t make it to prime time, or even make it to Australian television tends to be where I find the most interesting gender stuff. It’s as though being B gives you a little freedom to explore different types of characters.
I gain access to these programs through the internet, and through video shops. Video shops are actually very important. DVD releases of even the most B programs has given me access to some of the most wonderfully un-top-shelf television. Accessing these programs this way (rather than via broadcast telly) means that I tend to watch them in a block, rather than one episode-per-week. I binge view. This changes the way that I read these programs. It makes me more likely to read the meta-arc, the larger story. I tend to regard individual episode stories as pieces of a whole, rather than as discrete texts. Even when the program is very ‘monster of the week’ (as most SF is, particularly in its first season).
I find out about these programs via websites like io9. I use wikipedia extensively to clear up plot points I haven’t understood or to follow up characters and add-on texts like comics. I also use imdb for details about directors, actors and so on. I like to talk about these programs with other people, but I don’t particularly want to sit down and dissect them for hours. This was something I used to do with Buffy when I was at school. These days I quite like to share programs and to mention them, or to share add-on texts, but I’m really only interested in watching them. I do talk about them with my partner when we’re watching. But only the programs he’s also interested in.
My PhD dissertation involved a lot of research into fan studies and methodologies and theories involved in researching fan cultures. I am self-reflexive about most of my talk about these SF telly shows. I am interested in issues of gender and class and sexuality and race and ethnicity…. and all that good identity stuff. But I am also interested in questions about technology and machinery, wider questions about humanity. But, really, gender is where it’s at; all that other shit is inflected by this. And, as somebody clever said once, I’ll be a post-feminist when we live in a post-patriarchy. Gender issues are so central to SF culture and texts, it’s ridiculously self-deceiving to try to ignore them.
This is just one post about one character (mostly) that I like. I’ll try to write other posts about other characters. And perhaps about this program in more detail. But don’t count on it; I’m slack.
Because I tend to watch a number of programs at one time, and am also reading SF all the time, I tend to read intertextually. Well, of course I do. We all do. But this is one of my particular pleasures; I like to imagine characters from different programs meeting. I like exploring the industrial connections between programs – how could the director of Veronica Mars move to Moonlight and what happens when Mark Mothersbaugh does the music for Big Love. Oh – I also read and watch across genres. I’m reading lots of dodgy supernatural romances most of the time, and always reading Tanya Huff; I’m watching programs like Vampire Diaries and, of course, Blood Ties.
So when I’m watching these programs I’m not only reading the text in front of me, I’m also thinking intertextually, I’m thinking about modes and industries of production, and I’m paying attention to audiences and modes of reception. And the communities which tie them all together.
And I re-watch and re-read on a massive scale.
I also do some sessional teaching at various universities. I exploit this role by pushing the television I love on young, vulnerable middle class kiddies. I do, unapologetically and with great verve, present these programs in a feminist light. I have no – as in zero – tolerance for anti-feminist arguments from my classes. I will listen to them and then dismiss them as they deserve. I aim to indoctrinate a generation of students. They will be feminist and they will value SF.
They can just suck it up or fail.
So here’s some stuff about Olivia Dunham. Main character of Fringe. All-round badass sistah. Mos def.
First, watch this:

That’s a Fringe promo. The blonde is Olivia Dunham.
I’m really liking the character Olivia Dunham in Fringe. I especially liked her in the first season of the program. Why?
She’s a crack shot. She is really, really good with a gun.
She’s a good fighter. She wins most fights, and when she doesn’t win, it’s only because her opponent is, I dunno – a car or something.
She’s super clever and figures things out. There are lots of things to figure out in Fringe.
She’s a good explainer. Because she’s a good figure-er-outer, she often has to explain things to other characters. Usually her male partner Charlie, but also quite often her boss.
She listens and thinks and listens again. She’s not always flapping her lips, yapping. She’s listening.
She’s a good runner and jumper.
She’s very gentle and patient with Walter, who’s not only a habitual drug user (and abuser) but a mentally unwell older man who’s been quite seriously damaged by his time in an institution. She listens to him and pays attention to him; she doesn’t patronise him. She protects him when he needs it (and when he asks), but she is also willing to let him take care of himself.
She used to be a prosecutor in the military. She investigated and then prosecuted a middle aged white man who later became her boss. He was charged with sexually assaulting a number of women. When he became her boss, he sought revenge on her through systematic harassment. She didn’t take that crap; she kept on being a badass agent. She didn’t martyr herself; she called him on his bullshit. Her usual boss was this bad boss’s friend. At first he didn’t want to like Olivia because of this. Eventually he figured out Olivia was a gun, and that his friend was crap. Then he became a better boss. Olivia kept on being a gun, regardless.
She’s willing to tell bosses off if they need it. She’s also prepared to listen and to admit she was wrong.
She really likes her sister and her little niece.
She had good, solid, platonic relationships with her male coworkers. There is never even the intimation of sexual tension between her and (the awesome) Charlie. They are partners in the truest sense. He has a wife he loves and Olivia is busy being… Olivia.
She operates in an all-male world – the FBI (or is it CIA? Whatevs – some institution) – but she is aware of gender issues and articulates them. Most especially in her dealings with the bad boss. But she also makes comments about men in positions of power who can’t handle assertive women. She has one great line in the first season about how the men around her (especially her male boss) aren’t listening to her because she’s ‘getting emotional, just like a woman’. And then she says something, very sternly, about how she is getting emotional, because this is emotional stuff, and that this emotion is making her a better agent. Olivia is not only calling the men around her on their mysogynist bullshit, she’s also reworking the role of ‘great agent’ to incorporate a range of characteristics not traditionally located in the male arse.
And she is a fully sick agent.

Throughout season one she is the main character. She is the centre of stories, and as the agent in charge, she is also boss of the cases they work. She’s the one to call the lab and tell them to get their gear and come investigate something gross. This changes a little in season two, and she is set up as something of a victim (recovering from a ‘car accident’), but this is changing. We are at about episode four, and she’s already back on her feet and kicking arse. Peter has taken on a more managerial role in the group, and the ‘Fringe division’ has officially been disbanded. Charlie has [SPOILER] died [/SPOILER], which sucks arse, but I’m dealing. So Olivia’s status has shifted. But this is ok, as Peter’s character has only slowly been working away from ‘carer’ for Walter and ‘general slacker’ towards some sort of three dimensional personhood. He’s also finally realising his abilities as an investigator type person. In other words, his character is gradually being fleshed out. I worry that he’ll become Olivia’s partner (in the sense of FBI ness and in the romantic sense), but I don’t see this happening any time soon.
I really like Olivia because I don’t worry about her. She’s kind of superhuman, but only in the way we expect our SF protagonists to be. She gets scraped and banged and shot occasionally, but it doesn’t stop her winning. Sure, she’s kind of a paragon of all things awesome, but this is as it should be in SF. She is, however, flawed. And [SPOILER] probably partly psychic and awesome because she was experimented on as a kid. But she has begun dealing with this history and is assimilating and coming to terms with its effects in a phenomenally healthy way. Which in itself is a bit worrying.
Olivia is an impossible woman. An impossible character. But this is as it should be in SF. This is how SF protagonists are: they are strong and brave and clever. Cleverness is important. She is conventionally attractive, but she doesn’t wear booby shirts or stupid shoes. She can run like a badass mofo and she likes suits. Just like the male agents around her. She wears her hair tied back in a piggy tail, or she wears a sensible black beanie. She doesn’t wear much make up. She is conventionally attractive. But so are most protagonists.
I <3 Olivia.
frin.jpg
Olivia isn’t the only woman character in Fringe worth loving. I also love Astrid, who’s the agent assigned to working with Walter in his lab.
Astrid is also awesome.
She has a degree in cryptography, another in computer stuff (or is that a double major) and she’s got some sort of medical training (well, she does now). She loves cryptography. As in, she’s a nerd for it. And she loves computers.
She’s also an agent.
She calls Walter on his bullshit, including his inability to remember her name (which we suspect is a ploy on Walter’s part). She won’t let him (or anyone else) forget that she is actually a badass agent as well.
She deals with Walter’s gross dissections and experiments very matter of factly.
Review---Fringe---2x02---Astrid-and-the-frog.jpg
She runs errands and also has some badass ninja agent skills.
She veers into ‘servant territory’ every now and then, which is particularly worrying as she’s African American. But these little deviations are usually addressed: Astrid will call bullshit on Walter’s behaviour and regularly refuses tasks she feels cross the boundary from professional assistance to nurse maiding.
She is super smart.
She and Olivia talk regularly about things other than men. They often figure out puzzles together.
agents.jpg
She is fond of Walter and also deals with his mental illness and fragile personality gently, yet without patronising him. She does not take on a carer role; she is, if nothing else, Walter’s lab assistant.
Nina Sharp is another important female character in Fringe. She’s the CEO of Massive Dynamic, a sort of super-corporation specialising in technology. A bit like Skynet Cyberdyne Systems, but awesomer. She admires Olivia greatly and has tried to recruit her to Massive Dynamic a number of times. She and Olivia have a refreshingly realistic relationship; they deal with each other as professionals. They do not have the sort of antagonistic rivalry alpha women are usually given in SF… in telly.They talk to each other about plenty of things besides men. They often talk about technology together. And science.
Nina Sharp is middle aged.
Nina Sharp has a bionic arm and a clear glass ipod thingy. She is way cool with technology generally. This is one middle aged woman who is not relegated to earth mother status; she is technology, economic and industrial power and smarts.
I love Olivia the most, though. I love the way she stops and thinks about things. I love the way she can fighty fight. I love it that though she might, one day be interested in Peter romantically, that day is waaaaaay off in the future, and for now she’s busy being a badass. He thinks she’s neat. He might think she’s neat in a romantic way, but for now he just thinks she’s a badass and he wants to be her partner, I think.
So I love Olivia Dunham. And this is why I can watch Fringe.
PS: I’ll try to add some more pics to this later, when I can figure out how to do it in this new version of MT without opening a new stupid window every time.
EDIT: I had to add this link to a drawing Jasika Nicole (the actor who plays Astrid) drew of herself.

things i have done regularly lately

Cooked a large piece of meat in milk for a long period of time. Pork, chicken, whatever. I’ll cook it, you can eat it.
While searching blindly in my backpack, felt something soft and hanky-like, pulled it out and discovered it was a single maxi-sized pad*. This has happened: at the bi-lo checkout with a middle aged woman cashier, trying to pay for bread with a cocky indie boy salesman, rummaging for cables at the DJ booth while sitting next to a very-christian tech-dood (this happened twice in one weekend with two different christians), looking for a hanky, desperately, while trying to obscure a post-sneeze-excitement nose. The one time I actually _needed_ a maxi (as in badASS absorbency) pad I couldn’t find the fucker.
Played more than one song from The Spoon Concert album while DJing for a bunch of spazzed out lindy hoppers. It’s like a sickness. Not the lindy hop – my playing stuff from this album. I just can’t help it. I need to get some sort of clue.
Wandered why mormons bother with plural marriage** where the arrangement is one man + many women. While I know that many women is a fully sick option when you’re looking at running a conference or a university degree or planning a lindy exchange, I’d have thought the ideal solution is one woman + many men within a marriage. Because I sure as fuck know The Squeeze is run a little ragged riding back and forth between the couch and DVD shop and could do with a sub some time soon.
Thought I might like to re-watch Aliens, mostly for Bill Paxton.***

I like imagining him ranting “Game over, man, game over!” when the Law discovers he’s a polygamist.
Wandered why I didn’t believe people when they told me Veronica Mars was good. I used to enjoy that bit in Deadwood when Kristen Bell was eaten by Woo’s pigs. Now I can’t believe I wasn’t into this shit.
Wished we had broadcast TV. But only when people are tweeting like motherfuckers about freakin’ Masterchef. Whatever _that_ is.
*as in PERIODS.
**this is what happens when you re-watch Big Love.
*** Big Love, again.

ok ok

So I watched the end of the first season of Veronica Mars. Now I know. Not entirely happy.
Here’s my problem with it, and with Dollhouse:
Just tell me a freakin’ story where the sisters win. No one gets murdered or raped or enslaved. I just want the basic premise of the story to be ‘badass sister smites the patriarchy’ and then she just does it. With or without her team of trusty right-on male/female/trans buddies.
I just want a story where I can come out of each episode going YEAH! FREAKIN’ YEAH!!!
Also, HBO, I want to have a little talk to you about your ‘quality’ programs, each of which features an male ensemble cast and the odd chick who’s a sex worker/wife/slave. Sure, you gave us Sex and the City, but that was YEARS AGO and, also WHAT WAS ALL THAT SHIT ABOUT THE SHOES? I loved Big Love, but it still failed gender.
So come on, I dare you, Television: give me the sweet and lowdown. Give me a decent show with an arsekicking sister who doesn’t get raped/assaulted/fired/whatever. I want her to be the boss, to do the smiting, and, most importantly
I
WANT
KISSING.

domestic violence in Veronica Mars

I’m not sure about Veronica Mars. In the episode I’ve just watched, Logan’s movie star dad beats the shit out of his daughter’s boyfriend. The boyfriend had been beating up the daughter, quite badly. While the father beats up the boyfriend, the Dean Martin song ‘That’s Amore’ is playing and the father is telling the story of how his father beat his mother. Veronica and Logan arrive as the father beats the boyfriend with a belt. Veronica is shocked. The daughter/sister is crying, distraught, begging her father to stop.
The most disturbing part? In an earlier episode we see Logan’s father beating him with a belt.
And don’t forget – Veronica still isn’t sure who assaulted her at the party. It could have been Logan – who she’s beginning to have a bit of a thing for (I can see the appeal – he is a clever mouth; but he’s not the hawt deputy dawg boyfriend Veronica’s also been seeing).
It’s all a bit disturbing. And it’s kind of interesting to see how the program handles these issues – it’s not in your face, wrapped-up-in-an-episode melodrama. It’s sustained over the entire season (so far) and the morality isn’t cut and dried.

what happened to veronica?

So I’m watching Veronica Mars, right? I’m on about the third disc of the first season. I have some questions.
1. Where did the indy-kid Veronica go?
2. Where did the hardcore class commentary go?
3. What is the deal with her assault? This is the bit that worries me the most. In the first episode, some time is spent on the fact that she was assaulted at a party after her drink was spiked with some sort of drug. She makes it clear that she was raped, though I can’t remember the exact language. We don’t know who he was – it could have been any of the male characters at the party, including her ex-boyfriend, her boyfriends’s friends or her best friend’s boyfriend. This is an interesting narrative angle. Veronica is a clever, assertive, articulate, witty and sarcastic badass (though she’s mellowing as the season continues).
The implication is that she turned her back on vapid barbiedom after her best friend was killed, she was assaulted and the rest of the barbies demoted her from supercool to indy kid. Before the best friend (who was her boyfriend’s sister) was killed, Veronica was a renowned ‘virgin’. Her reputation is currently ‘bad’ – she is scored 14/100 for purity by her schoolmates.
She’s currently single and much is made of her celibacy. There are more and more comments about her being a virgin. Nothing has been said about her assault in quite a few episodes. Veronica didn’t tell anyone she was assaulted except the nasty sheriff, and he told her she was full of shit. I’m not sure if the current sheriff/deputy (I’m not sure who he is) – who replaced Veronica’s dad – is meant to be the same character who gave Veronica such a hard time. He’s mellowed quite a bit.
Here’s the general scene: the nasty characters have been mellowed. The badass, subversive characters have been mellowed. Veronica’s assault has disappeared.
What I want to know is: is all this talk about Veronica being a virgin a fairly progressive suggestion that her assault wasn’t sex, but was violence or an attack? I’m not sure this TV show is actually that progressive. I’m thinking they’ve simply made Veronica’s assault disappear. This worries me a bit. It’s dodgy to sweep past story elements under the rug. But it’s even more worrying to think that they’ve changed her character so abruptly.
WAIT! She’s just announced “Last time I crashed an 0-9’er party I got ridiculed, roofied and woke up missing my underwear.” But still… no talk about assault. Just implication.