Connect with us

TV

Veronica Mars Explores Our Dark Obsession with True Crime

Veronica Mars’ fourth season explores America’s true crime obsession, both admiring and skewering the community in tandem.

Published

on

Veronica Mars

*Please note that this article contains spoilers for the 4th season of Veronica Mars*

After a five year hiatus, the long beloved mystery series Veronica Mars returned this summer with one of the only TV comebacks to be actually worth a damn (yes, we’re looking at you The X-Files.) While the Hulu revival has been widely acclaimed by both fans and critics alike, one of the key elements of the 4th season that hasn’t seen much coverage is its stellar exploration, and at times skewering, of true crime culture.

Even these modern marvels, Veronica Mars included, are only really scratching the surface of an obsession that has hid beneath the shiny veneer of modern Americana for hundreds of years.

Over the last decade, there has been a wild resurgence of true crime. While movies like Zodiac and TV shows like The People vs. O.J. Simpson have achieved great success in their respective mediums, it has been the true crime podcasts which have been most responsible for this boom. Wildly popular shows like Last Podcast on the LeftCriminal and My Favorite Murder have blown up to be some of the biggest podcasts in the world, and with so many people listening, fans don’t feel so ashamed or morbid talking about the gruesome details and awful circumstances behind some of humanity’s most horrendous crimes.

Of course, even these modern marvels, Veronica Mars included, are only really scratching the surface of an obsession that has hid beneath the shiny veneer of modern Americana for hundreds of years. If the murder ballad folk songs of the early 20th century or the detective novels of the late 19th century weren’t an indication of this fact, surely the hundreds (or thousands) who might gather to watch criminals being publicly executed in the middle ages (often stealing a possession or lock of hair after the execution) surely is.

However, there is an even darker side to true crime and the public’s obsession with it than a simple morbid souvenir or two. Killers like Ed Kemper (recently made famous by Netflix’s Mindhunter) or BTK have sometimes been known to ingratiate themselves into the investigative process, misleading those searching for them or gathering information on how much the police actually know.

This is the most interesting element that Veronica Mars taps into in its latest season. After a string of grisly bomb attacks rocks Neptune, there’s no shortage of suspects who might be responsible. There’s Big Dick, a real estate maven who stands to profit from the plummeting market values the attacks create, and his Chino cellmate Clyde, a former bank robber. There’s a violent bar matron with a vendetta against sex offenders (who make up some of the victims) and some squirrely frat brothers who definitely seem to be hiding something. Hell even the cartel and a scandalized senator avail themselves as possible perpetrators before long.

With that laundry list of usual suspects, though, comes a lowly pizza delivery man. Penn Epner seems to have little going on in his life, and while he comes across as charming and affable, his true crime leanings hide a much darker secret. As he consistently makes himself the center of the investigation, standing up to accuse people at town meetings, talking to any journalist who will listen, and constantly visiting the police and Mars Investigations, he attempts to direct the focus of the investigation toward his enemies and away from himself.

Meanwhile, Penn is responsible for nearly all of the criminal carnage being perpetrated around Neptune. Though the first bombing is indeed revealed to be part of a real estate scam, the remaining copycat crimes, committed by Epner, are a part of his sick manifesto: to punish the unruly spring breakers who rudely accost him and strike fear in the hearts of the political and financial elite he despises. A brilliant man who was kicked out of college for his part in a sick game that mutilated a classmate, Epner takes a sort of ironic outrage at being teased and berated by today’s students. He also feels unable to utilize his strong intellect for anything truly worthwhile, which causes him considerable frustration in his true crime group, a group which is filled with otherwise very successful people.

Of course, he is only revealed as the perpetrator of the bombings in the final episode of Veronica Mars’ fourth season. Up until that point, he’s the last person you would expect to be responsible for so much death and destruction. Portrayed by the amusing and likeable comedian, Patton Oswalt, Penn is usually the comic relief or the wacky side character to the proceedings, giving viewers little reason to suspect he might be the one behind the crimes he seems so intent on helping to solve.

There’s actually an interesting real-life correlation there as well. Oswalt’s wife, Michelle McNamara, was a very serious true crime enthusiast before she passed away in late 2016. She was instrumental in the final stages of the Golden State Killer investigation, and her book, I’ll Be Gone in the Dark, explores her rich, dark obsession with the vicious killer that she never lived to see unmasked as former police officer Joseph James DeAngelo in 2018. This additional kernel of knowledge leads one to wonder if his role in the 4th season of Veronica Mars is meant as a loving tribute to his late wife, as the background knowledge seems to close for coincidence.

In any case, Veronica Mars‘s exploration of true crime isn’t all doom and gloom. The rest of Epner’s true crime obsessive group, dubbed The Murderheads, are more or less well-adjusted and useful members of society. Ranging from a librarian to a political consultant, the other Murderheads seem to be intelligent and analytical thinkers who genuinely want to help law enforcement find the person responsible for the Neptune bombings. Like in real life, the majority of true crime aficionados in Veronica Mars are people who are just as fascinated by the dark underbelly of society as they are troubled by it.

Epner, though, remains a vivid portrayal of the real-life criminals who return to their crime scenes, taunt law enforcement, or purposely direct the flow of an investigation. While they may not always be as nefarious or calculating as their fictional counterparts, these people do exist, and the latest season of Veronica Mars serves as a welcome reminder to keep our eyes open for them.

Mike Worby is a human who spends way too much of his free time playing, writing and podcasting about pop culture. Through some miracle he's still able to function in society as if he were a regular person, and if there's hope for him, there's hope for everyone.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

TV

The Boys Season 2 Episode 3 Review: “Over the Hill With the Swords of a Thousand Men”

The Boys’ marks an improvement and pays big dividends in an explosive, violently revealing hour.

Published

on

The Boys Over the Hill With the Swords of a Thousand Men

Half bottle episode and half coming out party, “Over the Hill With the Swords of a Thousand Men” is a sneaky little showcase for The Boys, and just how big its world’s suddenly gotten in season two. Though ostensibly an episode designed around two events – the boys getting stuck on the boat, and Stormfront revealing her inner racist sociopath – “Over the Hill” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion. With a nimble script and a game group of performers, The Boys‘ second season is turning out to be a distinct pleasure – albeit one heading down a gruesome, dark path I sure hope it’s capable of navigating.

“Over the Hill With the Swords of a Thousand Men” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion.

It does take a little while for “Over the Hill With the Swords of a Thousand Men” to get going; beginning three miles offshore with The Boys and the reunited super-siblings, the first quarter feels like it’s simply restating the stakes. It’s a nimble trick, though; led by Kimiko and Kenji, The Boys begins to feel like it is approaching a true moral quandary for the group. Which door descending into hell will they choose?

The Boys Over the Hill With the Swords of a Thousand Men

While The Boys often likes to posture its presenting characters with complex dilemmas, the show’s unnerving nihilism often upends any sort of nuance it looks for in its debates around “necessary” violence. Here, Kimiko’s presence throws a fascinating wrench into the proceedings; with most of the group’s members clinging to whatever mirage of family they have left (save for Hughie, who has… forgotten his dad exists?), even Butcher can’t deny having conflicting feelings about what to do with Kenji, and the deal that’s been offered to him if he turns him in.

Elsewhere, “Over the Hill” throws the brazen personalities of The Seven into their own little blenders, as Stormfront begins to sow discord through Vought, and abuse her powers to casually murder a lot of people – nearly all of them minorities, in a way that feels like an explosion of character, rather than an unpeeling of some complicated identity. Stormfront simply doesn’t give a fuck; and with her supernatural ability to manipulate feminist views (her speech to the reporters is magnificent, both in how it develops Stormfront’s character and nods to the simplistic ways in which the evilest people in society disguise themselves among the “good”).

While she’s kicking up tornadoes and electrocuting everyone that gets in her way, characters like The Deep and Homelander continue to benefit from the much-improved writing of season two. The show is still struggling to make Becca something more than the Ultimate Mother Protector trope, but Homelander’s warped sense of responsibility to his son is interesting, surely a bad sign for the upbringing of this world’s Superboy (will he also don a cool leather jacket and weird cyberpunk sunglasses? Who knows!). It’s clearly not going well; even he seems to recognize the danger in bringing his son’s powers to the surface, as its the first time in his life he’s facing a challenge as the world’s strongest hero (that is, until Stormfront doubles that total later in the episode, further frustrating Homelander’s attempts to hold domain over everything in his grasp).

The Boys Over the Hill With the Swords of a Thousand Men

It’s not going well for The Deep, either, as his slow descent into cult life is bringing his desperation for acceptance further to the surface. Like with Homelander’s stories, I wish The Deep’s story was a little tighter and more thoughtful (some of the body image stuff seems to be treated trivially, in a way that borders on insensitive and uninformed for the sake of easy jokes), but there’s no denying his character is infinitely more interesting this season, a test case for what a superhero trying to learn their own limits would struggle with. The Deep works best as a pathetic character, but not when it’s a pathetic character The Boys just kick around with bad punchlines; when he’s treated as a byproduct of a deeply flawed human being trying to find a path to good intentions, his fumbles and weak-minded rhetoric is much more amusing – and at times, the tiniest bit empathic (his sadness over Billy’s, well, butchering of his whale buddy was such an earnest, raw and twistedly funny moment).

The Boys has needed to accelerate its internal stakes for a while; the introduction of “super terrorists” to the world by Homelander, and Compound V’s reveal to the public might make the show’s world feel a bit smaller than intended – I think a lot about the “big” fight scenes at the end of Arrow‘s third season, where the ‘entire city’ is fighting, but there’s never more than six people around – The Boys does that on a narrative level sometimes. But as the stories of the show dig a little deeper into its characters – Maeve’s disillusionment, Homelander’s failure to emulate paternal behavior, A-Train’s desperation, it’s beginning to feel like the writers have a deeper understanding of its characters and world, and how to wield its inherent sadistic cynicism to more interesting ends. “Over the Hill With the Swords of a Thousand Men” benefits massively from that, setting up a number of intriguing dominoes for the back half of season two to knock over (in bloody fashion).

Other thoughts/observations:

  • Look, I’m bummed how the Kenji character played out; he was such an interesting character, an examination of everything horrible about what power and war can do to a human being. It’s sad to see The Boys dispose of such an intriguing presence, especially as its a death of a minority character in service of mostly white-related stories – however, with such a hateful, nasty character like Stormfront waiting in the wings, it is easy to see how the writers found their way down that path. (like, she could’ve killed Black Noir and this show would’ve literally lost nothing… just sayin’).
  • Can A-Train just collapse or whatever, so we can get this storyline moving? We’ve been doing this since the second episode!
  • Why haven’t we seen any reaction to Becca seeing Butcher in person at the end of season one? She hasn’t mentioned it or even had a longing look off-screen to violin music.
  • Man, I’m so glad they cast Aya Cash as Stormfront.
Continue Reading

TV

The Best Golden Girl is Sophia Petrillo

Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won.

Published

on

By

Sophia Petrillo The Golden Girls

A seemingly harmless little old lady with curly white hair, oversized glasses, and an innate ability to tell a great story shows up on her daughter’s doorstep when the retirement home she was put in by said daughter burns down. With a simple, “Hi there,” the world meets Sophia Petrillo. For seven years on NBC’s The Golden Girlsa show about the senior set—Sophia lived with her intelligent and extremely sarcastic divorced daughter Dorothy Zbornak and her two roommates, sexy, eternally horny southern belle Blanche Devereaux and sweet but dim-witted Minnesotan Rose Nylund. Each is memorable in their own way, but it’s Sophia, “feisty, zesty, and full of old-world charm,” that stands out the most.

When TV was full of generic, sweet grandma types, Sophia was anything but. Sure, she looked the part with her bifocals, pearls, and now iconic straw and bamboo-beaded handbag, but Sophia was always trying to make a quick buck. She conned Rose into going into a sandwich-making business that pit them against the mob, faked being paralyzed to try and collect insurance, and constantly “borrowed” money from Dorothy’s purse. Instead of helping Dorothy, Blanche and Rose get out of jail when they are mistaken for hookers (don’t ask, just Youtube it). She stole their tickets to go to a party and meet Burt Reynolds. She also stole Rose’s car, worked at a fast-food restaurant, and won a marathon. Not bad for a woman in her eighties. Sophia had a sharp wit and an acerbic tongue, blaming her stroke for leaving her without the ability to self-censor. She was always ready with a zinger or a comeback, some of which she saved for her very own daughter.

Sophia Petrillo The Golden Girls

Sophia Petrillo is the Secret Star of The Golden Girls

That’s not to say she’s all schemes and insults. Beneath her tough exterior is a kind woman with a big heart who loves her family and friends. Viewers don’t often get to see her softer side, which makes the moments they do seem that much more special. One of the best Sophia episodes showed her reaction to the death of her son, Phil. She put up a wall of anger which Rose was finally able to break down in the final moments of the episode, revealing Sophia’s true feelings of guilt over Phil’s cross-dressing as she bursts into tears. Another favourite was when Dorothy expressed concern about her mother not doing enough with her days. We then get to see exactly what she gets up to sticking up for her friend and causing a scene at the grocery store while claiming to represent a fictional senior citizens union, volunteering at a sick kids hospital and later, conducting a senior citizens jazz band. Meanwhile, Dorothy, Rose, and Blanche do next to nothing except sit around and eat. When she’s asked what she did all day upon her return, she simply says she bought a nectarine, and Dorothy, Rose, and Blanche are none the wiser.

But if Sophia has one claim to fame, it is her colorful old-world tales about Sicily, which often as not, contain a pearl of wisdom or embellishment of some kind. We would have loved to have known her during her “picatta period (a wedge of lemon and a smart answer for everything),” when she was the most beautiful girl at a resort and all the men fought over her (so beautiful, in fact, that she had “a butt you could bounce a quarter off of”). She was also once painted by Picasso and was best friends with Mama Celeste. But I digress. Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won. Her hunches were never wrong, and rarely, if ever did she meet her match. Sophia was, in short, a one-woman show. And thanks to re-runs and fan appreciation, that show will never be gone.

  • Dasilva

Editor’s Note: This article was originally published under our old brand, Sound On Sight.

Continue Reading

TV

30 Years Later: The Fresh Prince of Bel-Air

Published

on

By

30 Years Later: The Fresh Prince of Bel-Air
Continue Reading

We update daily. Support our site by simply following us on Twitter and Facebook

Facebook

Trending