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Blog 3: Veronica Mars
In the pilot episode of the television show Veronica Mars, much of the plot is fueled but differences in social class among characters. Although there are many theoretical approaches the can be applied to the pilot of Veronica Mars, Marxism is the best fit. From the beginning of the episode “economic determinism, class relations and the exercise of power and control within social structures” rule the lives of the characters on the show (Burton 16). These principles are the backbone of Marxism.
The episode begins with a narrative from the main character, Veronica. During this short introduction, she sets the scene for the viewer to understand her world. Amongst other details, she is sure to mention that she lives in Neptune, California, a town with no middle class. Veronica also tells us that her school, Neptune High School, is just like the rest of the town. She mentions her ex-boyfriend Duncan Kane and his group of extremely rich friends. Duncan’s father made streaming video possible. When Veronica and Duncan were dating, she was part of the popular group (“Pilot”). The popular and rich people think they rule everyone else and they look down on the people that aren’t like them. This idea of social standing ruling society is just one example of Marxist principles appearing in this episode.
Shortly after this beginning narrative, Veronica comes to the defense of a helpless new kid named Wallace. He is duct taped in his underwear to the school’s flagpole. This seems to defy Marxism because Veronica, a female, comes to the rescue of Wallace, a male, but Veronica eventually reverses this herself as if she knows she has to in order to maintain societal roles. The ways programs show men treating women “is a way of exercising power over large section of society, by representing certain ways of thinking and behaving as “natural” and other as not” (Burton 17). This is yet another example of Marxism in Veronica Mars.
Once Wallace is removed from the flagpole, we learn who put him there and why. There is a flashback of Wallace working at a gas station’s convenience store. A group of bikers that also go the Neptune High walk in and put a bunch of beers inside their jackets. They go to the front counter and only pay for a pack of Juicy Fruit gum. Not knowing what else to do, Wallace triggers the silent alarm and the town sheriff shows up. Since Veronica is also outcast from most of the school’s population, she is determined to make the bikers leave Wallace alone. Veronica’s uses her connections in the town to get the video evidence form the police department so that when the video is played in court, a completely irrelevant video gets played instead and the bikers are freed (“Pilot”). Although Veronica does all the dirty work for Wallace, she also leaves him with the only evidence from the robbery. This leaves the bikers at his mercy and they must respect him from now on. Veronica knows that the bikers need to have a reason to leave Wallace alone, so giving him the video also gives him a lot of power. Veronica is a very strong female character but the standard role of men and women in society is eventually restored.
These examples just scratch the surface of Marxism in Veronica Mars. Throughout the episode, viewers can see “the idea of elite persons by showing some people and not others, and by showing them in certain ways” (Burton 17). Marxism and this idea of social roles can be seen throughout the series of Veronica Mars and in some aspects of today’s society.
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print. 20 Jan 2011.
“Pilot.” Veronica Mars. 22 Sept. 2004. Television. 20 Jan 2011.
Marxist Approach to Veronica Mars
Often times, television is viewed as merely a pastime in which no educational outlook is perceived. Too many times, the scholarly approaches and critical analyses are undermined and overlooked in reference to the various plots embodied on the screen. Upon analyzing the pilot episode of Veronica Mars using Marxist techniques of reviewing the “power and control within social structures” and “class relations” between characters, various instances of a struggle between opposing sexes and social classes can be seen (Burton 16).
The most prominent instances of displaying power and control within social structures occur in the relationships and encounters between men and women on the pilot episode of Veronica Mars. For instance, Veronica’s story of the loss of her virginity in a rape crime and a male police officer’s scoff at her traumatic experience places the male as an elite over the female.
Throughout the episode, the use of recurring symbols of male dominance appear in the fact that there are no women in the biker gang, women as seen as sex objects for the most part, and there are no police officers; however, a stark contrast can be seen in Veronica in her character, appearance, and demeanor. The scene comparisons between Veronica’s long blonde hair, soft angelic appearance, and all white dress and her new, short, streaky razor cut hair with darker make up and a androgynous fashion sense serve to portray her as the exclusion from the power and control exerted by male figures throughout the episode (“Pilot”).
Furthermore, when analyzing the class relations within the episode, an apparent difference between the “lack of middle class” in Neptune, California and Veronica and her father’s social and financial plight can be seen (“Pilot”). Veronica and her father find themselves struggling after her father’s social status drops with her mother leaving and her father losing his job and respect as the sheriff. This can be seen most clearly when Veronica’s father returns with a check and immediately uses it to cook steaks- a vast difference between the “powdered stuff,” referring to the usual macaroni and cheese dinners that the pair are used to.
Veronica’s car is also not as flashy as the other students that live in the suburbs where she has grown up, and she finds herself ostracized from the people who turn to parties and extravagance to gain social standing. Even at lunch, she finds herself sitting alone until a student that has recently been bullied comes and sits with her. From the very beginning of the episode, the divisions between socioeconomic classes are set and evidenced throughout the program.
The repeated instances of Marxism present in the pilot episode of Veronica Mars serve to ascribe the striations between classes in term of both society and economic status, as well as the manifestation of a power control of men over women. The character of Veronica Mars attempts to break these social controls, and the plot of the story revolves around her struggle to be the individual to which these terms and instances no longer apply to her.
Works Cited
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print.
“Pilot.” Veronica Mars. 22 Sept. 2004. Television.
Audience Study: Veronica Mars
Burton gives a list of the questions frequently asked when conducting an audience study. The list is as follows: “How many of what kind of audience are watching at a given time?, What attracts audiences to certain kinds of programs?, What do audiences object to in given types of programs?, How do audiences vary regionally or by gender in terms of what they prefer?, and Are factual programs regarded as being objective and impartial? We will answer a few of these question about the Veronica Mars show.
When dealing with the Veronica Mars show, there could be multiple audiences for numerous reasons. Adults may enjoy the show for the parenting aspect seen between Veronica and her father. Teenagers may enjoy it for the high school scene and the fact that they can relate to all of the characters in one way or another. For example, no matter where you go to school, there is always a new kid, a bully, the popular table, and the outcast. Also, young females may enjoy he show because of the independence that Veronica exudes. She stands up for herself and lots of women really respect that.
That brings us to another of Burton’s questions. What is it that attracts the audience to the programs that they grow to really enjoy. What is it that keeps the viewers there for half and hour and what keeps them coming back every week? It’s that one character, that one relationship, or that one experience that causes a connection and relation between the viewer and the show. If the show doesn’t have an emotional or some other form of attachment with the viewers, the channel is going to be turned. Have you ever wondered why there’s an innumerable amount of shows on television today? It’s because everyone is different. Different shows attract different viewers. I mean, come on. Most grown men out there are not going to tune into Desperate Housewives because it simply does not relate to them. We’d probably refer them to the History channel…maybe even SyFy.
So then, what is it about a program that offends people or causes them to turn up their noses? Maybe for some it’s the sexual content while others may not appreciate the story line. On the other hand, some viewers may not like the acting while others may not enjoy the investigation aspect of the plot. However, in today’s society, there will always be supporters and opponents to what is being said, viewed, written, etc. So as one can see, audience study is more in-depth than one might think. There is always more to a show than what meets the eye. There will never be a universal code for how a show should be written and directed because today’s audience is extremely diversified.
“Critical Approaches to Television Studies”-Burton, Graeme
Blog #3 – Veronica Mars
When the Veronica Mars show starts up Veronica introduces her school to the viewers. She states the Neptune High is a rich high where all of student’s parents are millionaires and middle class students doesn’t exist at that school. All the students who are at Neptune High have parents that make a lot of money or works for someone who does. The students who are less fortunate get jobs at convenient stores or other small businesses, everyone except Veronica where she lends a helping hand to her dad and the Mars Investigation even the she does a little more than her father will ever know.
Veronica Mars show is a typical teenage show but invites issues than just being a bully around school. Veronica Mars shows good illustrations of bringing a Marxist theory attitude to television. In Burton’s article “economic determinism, class relations and the exercise of power and control within social structures” (16) explains the Marxist outlooks of society and media.
This particular pilot episode we watched is based on the differences in social classes between the wealthy families and those who are lees fortunate. The wealthy families are basically in control and take what they got and make the most of, while those who are not as well off and have much less say so in the town. This displays that there was some type of segregation between the two classes. The less privileged families work and earn every dollar that is given to them while the well-off families sit on their butts and enjoy life at someone else’s expense.
Each person typically does make friends with someone or a group of folks who are similar to themselves; on the other hand I think television amplifies this view. Veronica’s High School is very segregated which is based on the student’s socioeconomic status. The class associations presented in the pilot episode of Veronica Mars aren’t very positive, but may not portray the real reality of the world. However there are many differences between each social class.
Veronica sits at a lunch table everyday by her lonesome but she used to be able to sit at the superior lunch table even though her family didn’t qualify financially at all for her to be sitting at the table. Most of the wealthy students at the table had parents who owned airlines or where owners of the million dollar businesses in town. Veronica’s father used to be the sheriff, which was a big deal, however she says the only reason she got the opportunity to sit at the table before was because she used to date Duncan Kane. Duncan’s father made billion’s off some software. And as soon she stopped dating Duncan and her father wasn’t a sheriff she really served no purpose at the table and wasn’t allowed to sit at the table anymore.
As said by Burton, numerous television shows reveal the people as being “driven by the interest of capital and economic forces” (16). The lunch scene in the pilot episode of Veronica Mars is one the best examples of the Marxist method because it shows diverse class relations between the wealthy class and the rest of the students.
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print.
“Pilot.” Veronica Mars. 22 Sept. 2004. Television.
Blog 3: Veronica Mars
According to Burton, the Marxist theoretical approach to television studies focuses on “economic determinism, class relations and the exercise of power and control within social structures” (16). The pilot episode of Veronica Mars demonstrates several examples of this approach.
Veronica Mars is about a high school girl who moonlights as a private investigator, helping her father catch cheating husbands to pay the bills. Veronica’s father (Keith Mars) used to be the sheriff of their town, and the reason that he works as a private investigator is because he accused a prominent and wealthy man in society (Jake Kane) of murdering his daughter Lily. Everyone in the town loved Jake Kane and the Kane family, and therefore the entire town turned against Keith Mars when he went after Jake Kane for the murder. They accused him of trying to tear the Kane family apart while they were already going through the tragedy of losing Lily; and on top of this, another man was arrested and convicted for the murder. Veronica’s father was removed from office, and now is a private investigator. He even lost his wife as a result of it—Veronica’s mother left him because she couldn’t deal with the sudden change in financial status and lifestyle. As you can see, one of the main premises behind the show is based on the fact that the wealthy (the Kanes and their friends and associates) hold the power in society, and were able to easily push the Mars family from their comfortable upper-middle-class status into the lower working class, and banish them from the social circles they were accustomed to.
There are several examples in the pilot episode of the Mars’ descent into the lower class. At school, Veronica is teased by the popular crowd, to which she used to belong. At lunch, she sits at a table by herself and laments about the days when she used to sit with the popular kids, who are the sons and daughters of the wealthiest people in town—she mentions one whose father owns an airline, and another who is an ambassador to Belgium (“Pilot”). She remembers that the only reason she was allowed to sit there was because she was dating Duncan Kane, whose father Jake Kane was a software billionaire. Logan Eckles, leader of the popular crowd, consistently teases Veronica—there is one scene in particular where he drives up to her in the school parking lot and bullies her mercilessly about her mother leaving, among other things.
There is another scene where Celeste Kane comes to Keith’s office to enlist him as a private investigator to stalk her husband for him and find out if he is cheating. While she is in the office, she speaks down to both Keith and Veronica. You can tell by the way she holds herself, stiff and with her nose in the air, that she thinks she is better than them. Her overall haughty manner makes it obvious that she is above their class and wants nothing to do with them.
After analyzing the lunch table scene, the parking lot scene, and the office scene, it is easy to see that class relations and the power of the upper class over the lower class is a prominent theme in the pilot episode of Veronica Mars as well as in the series as a whole.
Works Cited
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print.
“Pilot.” Veronica Mars. UPN. 22 September 2004. Television.
Blog 3: Marxism in Veronica Mars
Television has grown over the years since its first appearance in the early 1900’s and while television has the power to influence the person behind the screen, so does history have an influence over what we view on a day-to-day basis (Stephens). Marxism is just one of these influences. Marxism is “a theory in which class struggle is a central element in the analysis of social change in Western societies” (qtd. in “What is Marxism?”). It is, in fact, a very predominant and influential idea that has spanned several programs, including Veronica Mars (Burton 16). By its clever use of a setting plagued with elitists as well as great character dynamics that bring forth its own hierarchy, Veronica Mars exemplifies the power struggle that is embodied within the Marxist view of society.
According to Burton, Marxism can be displayed through class relations, whether implicitly or explicitly (16). In the first episode of Veronica Mars, Veronica introduces the town of Neptune, California, where people are either millionaires or they work for one, stating exactly who has the leverage and the power. Thus, within just a few minutes, the setting of Veronica Mars is already defined by its classes; in fact, Veronica even says in her narration that there is no middle class. However, this is just how the main character explicitly tells the audience that there exists a division of classes within Neptune. The show, on the other hand, does something a little more. It cleverly uses the camera as an implicit technique to show the audience that the main focus is indeed the elite class. For example, when Veronica is sitting and eating her food outside on the table, the camera rotates about Veronica, keeping her in focus while blurring out the background, that is, until the rich students were in focus and then remaining there (“Pilot”). With this technique, one can see the difference between Veronica’s current middle-to-low class state and the elite class, depicting the Marxist idea of class struggles in society (Burton 16; “Pilot”).
Furthermore, power relations are also shown in the way in which characters behave and treat one another (Burton 17). In Veronica Mars, the male elites, especially, are the ones in control and they exert such power over Veronica by raping her; they accomplish this successfully, in fact, that, she has no recollection whatsoever about the events that have occurred or who might have been the culprit behind the act. Even more, when she tries to report her case to the current sheriff, she was only laughed at and mocked in her already confused and dejected state of mind (“Pilot”). Therefore, in this way, the male character explicitly show their power over women; this is a “man’s world” and they are the ones in charge not only physically but emotionally as well.
Marxism is just one of the many ideas that exist in the realm of television but it is also one of the most predominant ideas. In Veronica Mars, the Marxist idea of power struggles and class relations are much more apparent than people think (Burton 16). Through character dynamics and a unique setting, the show is most definitely successful in displaying these struggles even with just its first episode, thus, making it out to be a show to watch for its audience.
Burton, Graeme. “Critical Approaches to Television Studies”. Talking Television: An Introduction to the Study of Television. London: Arnold, 2000. 13-40. Print.
“Pilot”. Veronica Mars. Warner Bros. Pictures, 2004. Web. 19 Jan 2011. <http://www.mefeedia.com/tv/20409891>
Stephens, Mitchell. “History of Television”. Grolier Encyclopedia. 2006. Web. 19 Jan 2011. <http://www.nyu.edu/classes/stephens/History%20of%20Television%20page.htm>
“What is Marxism”. All About Philosophy. 2011. Web. 19 Jan 2011. <http://www.allaboutphilosophy.org/what-is-marxism-faq.htm>
Veronica Mars Blog 3
For shows such as Veronica Mars, structural cohesiveness is what makes this show is so intriguing. Veronica Mars uses a lot of flashbacks in the show to emphasize Veronica’s true personality, and also uses the element of personal narration. Burton explained some of these elements in his article “Critical Approaches to Television Studies”
A point that Burton makes is that there is a necessity of oppositions for a structural cohesiveness of a series. (31) I think that this is very interesting because we, as the audience, don’t realize that the characters are making us pick sides until the end when we get angry over the “villain” winning. The audience can get overtaken by emotions for the characters and how things turn out. If there were no opposing forces in a show, many emotions that make us addicted to shows are caused by the “good” and the “bad” of the characters. Because Veronica is narrating, the audience gets her point of view, so we almost sympathize with her. We see her as a good character who is trying to make it in this crazy world. She fits the stereotype of the one who is misunderstood and lower class but she fights for justice. Even veronicas dad contributes to this thought by saying that they get to eat in tonight because they got paid. Instead of going out to celebrate like normal upper class would do, they celebrate by doing something that is still seen as lower class by many.(TV.com) She is a tough girl who no one messes with but we love her and see her as the protagonist. She is a sort of hero in this series. On the other hand, Veronicas ex and his friends, are the antagonists. Coincidentally, they are the antagonists in Veronica’s world, therefore, because we love Veronica ad want her to come out on top, we make them the villains in our head. Duncan and Logan specifically are always creating trouble and seem to have the easy life because of their riches and social status.
The first element that is displayed by Burton he calls “coherent collection of signs…which form a definite unit…and represent ways of organizing output” (31). Veronica Mars starts in the present and then begins to start with flashbacks, as the story unfolds about Veronica’s life; relationships between the characters start to unfold immensely. Veronica flashes back to when her mom left and as the present unfolds her relationship with her father, you start to see how, despite Veronicas tough exterior, she is hurt over her mother. (TV.com)Not only did her mother leave, but she also lost her best friend and went from one of the cool kids to a outcast because of the abandonment from most all of her friends. The whole episode and way that Veronica Mars was laid out is comparable to a puzzle. As different pieces are found, the audience finds themselves deeper and deeper into the plot. It’s almost as if we feel like Veronica is our friend and we are on her side. If people could just see her side and understand what she has been through, maybe they would be nicer and Veronica could be happier. Burton also states how these flashbacks from her life “organize our engagement to and understandings of the text” (31).
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print.
“Veronica Mars.” TV.com. N.p., n.d. Web. 21 Jan 2011. <http://www.tv.com/veronica-mars/show/24272/summary.html>.
Blog 3: Veronica Mars
Every television show begins its journey with a purpose, a message, a reason for its existence; in whichever method that it may be portrayed by its producer and writer. These messages are essentially embedded in the show’s filming and its plot, and can be uncovered through several theoretical approaches, as addressed by Burton. Television and the viewing of television both involve the representation of ideas and philosophies that are considered “normal” versus those that are not, and these normal ideas are those that influence the identification of the message within television shows. As Burton states, “we construct these meanings under the influence of the very ideologies which we are attempting to define” (15). Using the cultural studies theoretical approach, such ideologies and preconceived notions about the definition of “normalness” in our society can be illustrated throughout the pilot episode of Veronica Mars.
When viewing Veronica Mars, the cultural aspects of the show, such as gender structure, social status, and social lifestyle, such as habits and behaviors, are addressed in great detail in the pilot episode. The first point that Burton defines cultural studies with is the differences between social groups, which parallels the opening scene of the show, where Veronica describes Neptune, California, “a town without a middle class” (“Pilot”). As she further elaborates, the town remains occupied by the richest of richest people, the scenery illustrating mansions in the backgrounds and high end car and states “If you go here [Neptune High], your parents are either millionaires or your parents work for millionaires” (“Pilot”). Everything in the pilot illustrates the fact that the rich control the town, ranging from controlling the deepest secrets of the town to the sheriffs. Social structure is also quite apparent in the fact that Veronica’s mother leaves town after experiencing the effects of her husband’s loss of financial and social status, as Veronica bitterly reveals. Veronica’s status in Neptune can be identified through her perspective of the town, which according to her is run by the millionaires, indicating that her social status is nowhere near to those of her peers. Furthermore, Veronica’s social status is also illustrated in the school setting, through her noticeable presentation as a social outcast as she sits alone at the lunch table and through her nostalgic flashback of when she used to be “one of them” in regards to the popular crowd, which included Duncan, her ex, and Logan.
Burton brings up the word, hegemony, which is defined as the “the social, cultural, ideological, or economic influence exerted by a dominant group” (“Merriam-Webster”). Television uses this hegemony as a technique to address issues that are in society, that usually are not addressed because they are so engraved in the basis of society. This is particularly evident in the cultural context of gender, which in Veronica Mars, is refuted, as there is an independent female protagonist living in a rich, male dominated town. The male population of the town fills the jobs as sheriffs and only the fathers of Veronica’s peers are addressed to as the millionaires. Additionally, the use of language, a sector of cultural studies, can also be viewed in the show, especially through Veronica’s cynical narrations, such as “I’m never getting married. You want an absolute? Well there it is”, “Life’s a bitch, until you die”, and “The people you love let you down” (“Pilot”). These statements illustrate Veronica’s perspective on life in general, illustrating the show’s ability to construct representations of society.
Essentially, through cultural studies, an analysis of Veronica Mars reveals the social, gender, and cultural aspects that are surfaced throughout the show.
Burton, Graeme. Talking television: an introduction to the study of television. 2000. 15. Print.
Merriam-Webster. N.p., n.d. Web. 21 Jan 2011. <http://www.merriam-webster.com/dictionary/hegmony>.
“Pilot.” Veronica Mars. Television. 21 Jan 2011.
Veronica Mars
Veronica Mars Social Theory:
Coming from a social responsibility theory there are many ways to analyze tv shows. The idea behind the social responsibility of tv programming is they must abide by social standards. More specifically the writers and producers have a responsibility to adhere to social norms and not break them by showing scenes in which the social norms are not shown. Specifically today, I would like to use this approach from the Critical Approaches to Television Studies to analyze the episode “Normal is the Watchword” from Veronica Mars. In the scene I will be analyzing, Veronica mars is talking to her x-boyfriend in the coffee place at which she works. Soon into the conversation, a coworker of Veronica’s interrupts her with news that her boyfriend has arrived. An awkward moment seems to follow as both Veronica and her x-boyfriend go quiet. Veronica looks over to her boyfriend and finds him staring at the ground. It is quite evident that he is doing so on purpose as he does not want to look at Veronica’s x-boyfriend. When Veronica looks back she finds her x-boyfriend also staring downward. The scene ends with Veronica’s voice proclaiming that they used to be close friends but they do not talk anymore because “I guess that’s what happens when your best friends dates your x.” (Veronica) Again, analyzing this scene from a social responsibility view it is clear why the scene progressed this way. Relationships always are followed by drama and complications, not just for the two people in the relationship but also for those surrounding the couple. As I stated before, it is not surprising that the scene played out how it did. In the American social norm if a best friend dates you x-girlfriend it will definitely create animosity between the friends. The following scene shows the end of a court case where Felix is not found guilty after a stabbing. The narrator describes the scene as another rich boy getting out of trouble. This is another big social conception of society. It seems that this happens in many cases, as many famous and or rich people do not get into trouble. Again, because the scene is a naturally occurring event it engages the viewers. By the scenes progressing the way it did, it abided by the social norms of society and thereby the viewer is understanding and not thrown off. The writers have been forced to write the scene as such based on what Burton has detailed. As Burton describes, they have a framework in which not necessarily the government has created, but one in which the people have established.
Works Cited:
Burton, Graeme. Talking Television. London: Amoid, 200
Thomas, Rob. “Normal Is the Watchword.” Veronica Mars. UPN. Television.
Blog 3: Veronica Mars
Veronica Mars has great examples of the Marxist theoretical approach to television, which was developed in the twentieth century. Burton’s article defines Marxist views of society and media as focusing on “economic determinism, class relations and the exercise of power and control within social structures” (16).
The entire episode—and most likely the entire series—is based on the differences in social classes between those wealthy families who take control of most situations, and those who are not as well off and have much less control.
In the opening scene of Veronica Mars, Veronica is introducing her school to the audience. She says that Neptune, California is the “town without a middle class.” And all the students who attend Neptune High either have parents who are millionaires or their parents work for millionaires. Those students in the second group, have to get jobs at fast food restaurants or convenience stores, except Veronica—she helps her dad at Mars Investigations (“Pilot”).
This shows the segregation between the two classes. The ones with wealthy parents have everything handed to them on a silver platter, while those in the working class have to provide for themselves and work for everything they want.
Neptune High School seems very segregated based on the students’ socioeconomic status. The class relations depicted in the pilot episode of Veronica Mars are very negative, but may not depict the real world truthfully. Though there are many differences between each social class, school does not seem that bad. Everybody usually does make friends with people who are similar to themselves, but I think television exaggerates this view.
According to Burton, many television programs portray society as being “driven by the interest of capital and economic forces” (16). The lunch scene in the pilot episode of Veronica Mars is another great example of the Marxist approach because it shows distinct class relations between the extremely wealthy class and the rest of the students.
Veronica says that she used to be allowed to sit at the special lunch table even though her family did not “meet the minimum net worth requirement.” Some of the wealthy students at the table had parents who were ambassadors to Belgium or owned their own airlines. Veronica’s dad used to be the sheriff, which was a big deal, but she says the real reason she was probably allowed at the table before was because she used to be Duncan Kane’s girlfriend. Duncan’s father was a software billionaire. Now that Veronica’s dad was not the sheriff and she was no longer dating Duncan, she was not allowed at the table (“Pilot”).
Works Cited:
Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print.
“Pilot.” Veronica Mars. 22 Sept. 2004. Television.
Writing About Television - Course Blog 