Veronica Mars
Driver Ed

Episode Report Card
admin: B- | 3 USERS: A-
Clerk. We Only Need One...

Sac-N-Pac. Some bald, slightly overweight guy chats up Wallace, saying he used to work nights when he was Wallace's age. Having attempted to establish a bond straight out of Conversational Gambits For Dummies, he segues into asking if Wallace goes to Neptune, and it doesn't take Wallace long to cotton on that he's looking for a story. The guy takes out a reporter's pad, which Wallace grabs and tears a sheet out of, saying he's never seen a notebook like that. Oh, Wallace, it's so cute the way you're trying to convince us you weren't a Lois and Clark addict. Anyway, Wallace blows the guy off.

Veronica goes to see Yola and tells her the phone call from Driver Ed lasted four minutes, which is pretty long for a wrong number. Yola tries to come up with an excuse, but just ends up emulating a small-mouthed bass. Veronica says she thinks Driver Ed wasn't planning to kill himself, but to leave his wife for Yola. In that case, I'm surprised the note didn't have a postscript suggesting that his wife give Jeff Cotter a call in a week or two. By the way, I think the detective work in the A-plot was nicely handled. I mean, the connection between the St. Christopher's medallion and the change looked blindingly easy on the surface, but the point is that the sheriff's department approached it already believing the suicide story, based on the lack of skid marks and the driver's medical history. Thus, they missed an attractive alternative explanation. Same with the "suicide" note. Veronica, on the other hand, approached it neutrally enough to see the truth, and that approach is why she and Keith are better detectives than local law will ever be. Add in that it drives home the theme of nothing being what it seems in Neptune, and you've got Veronica doing some solid, if not overly riveting, work here. Yola starts to cry as she invites Veronica in. The Format's "On Your Porch" kicks up...

...and plays throughout the next scene. Nice musical choice here. Veronica leads Jessie to a table in the Hut at which Yola is sitting. Yola, trying hard to keep it together, tells Jessie that her dad talked about Jessie all the time. Jessie, starting to well up too, points out that she can't say the same. Yola flat-out says that she and Jessie's dad were in love, and that he said in his phone call that he'd see her later, so there's no way he intended to drive off that cliff. Also, he didn't want to leave Jessie and her brother with their mother, so I guess he changed his mind about that part after writing the note. Jessie takes a minute to consider all of this, but sits down wordlessly at Yola's table. Yola tells Jessie that she never really got to be with the man she loved. I think she's pushing the limits of Jessie's understanding here. She's only gotten this far because Jessie's mom makes even Charisma look like a doting mother figure (no, not in that way, ew). But without that seemingly irrelevant sentiment, we wouldn't get this NVMVO: "You know the charge that goes up your spine at the moment of epiphany? It just hit me. I'm not going to let the list of things I want to do before I die turn into a list of regrets." Thanks, Seemingly Irrelevant Sentiment! NN: Was that sarcasm? I've heard about that. Seriously, I got that message from Kristen Bell's facial expressions, that's what acting's all about, good GOD!

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Veronica Mars




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