Veronica Mars is all grown up and sassier than ever. Read the new season's review:
took the well-worn “who killed the pretty teenager?” whodunnit and hard-boiled it, following a traumatized girl desperately trying to harden herself to the world’s harsh realities as she tried to solve the case. As a heroine, Veronica is typically pretty and blonde, but also deeply cynical, furious, and stubborn to a fault.
The “Veronica Mars” characters navigating Neptune in their advancing age make for much more interesting stories over the course of’s eight episodes than the movie ever attempted. Bell and Colantoni are still aces as they both trade snappy comebacks at each other and struggle to accept Keith’s deteriorating health.
Personal friction aside, it wouldn’t be “Veronica Mars” without a tricky mystery or five to unravel — and this is where the revival stumbles. At first, it seems like the case of a serial bomber targeting businesses during Neptune’s infamously debaucherous spring break might be the perfect way for “Veronica Mars” to express some of its more prescient commentary about class inequality and the whims of the rich, but it spirals in too many different directions to be coherent. J.K.
Perhaps the most intriguing aspect of “Veronica Mars” 4.0 — or at least its most surprising, given the movie so aggressively courting fan favor — is its willingness to push the show in directions that risk alienating its devotees. This season highlights how selfish its heroine can be, why its love story isn’t aspirational, and the folly of believing that catching The Bad Guy means that the danger is gone. It doesn’t always work, but at the very least, it goes down swinging.
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