The big problem with the Veronica Mars movie

(Image credit: Facebook/The Veronica Mars Movie)

This weekend, Veronica Mars fans were delighted by the release of the long-awaited film sequel, which was partially funded through a Kickstarter campaign to the tune of $5.7 million last year. But now that the excitement of a new Veronica Mars adventure has worn off, critics can start evaluating the content of the film — and NPR's Linda Holmes has a particularly thoughtful critique of the movie's troubling philosophy on relationships. (Spoilers for the Veronica Mars movie to follow.)

The Veronica Mars movie offers a textbook example of what Holmes dubs "The Bad Caterpillar Theory": The idea that a "mean, jealous, possessive, violent, angry, emotionally unavailable," guy will evolve into a noble, trustworthy, good-hearted man if the female protagonist simply waits long enough. In this case, Veronica's boyfriend of nearly a decade is pushed aside in favor of Logan Echolls, a bad boy with a heart of gold:

By the time the movie starts, Logan has emerged as the Butterfly to a degree that's almost comical. He no longer has any flaws whatsoever; he shows up in Navy whites that weirdly look like they're too big for him, but the message is clear: he's all grown up. There's effectively no edge left to the character at all, and although the movie co-opts the language of addiction and recovery to have Veronica talk about the relationship as an addiction, there's no indication that any of it is actually bad for her or that she's even legitimately conflicted about it. He's transparently innocent of the crime she's trying to get him off the hook for, he's in the Navy ... he's basically been transformed into a cartoon prince.

At last, her patience, her faith, her unwillingness to give up has paid off. The Butterfly has arrived.

So of course she has to dump her nice, generous, supportive, unexciting boyfriend. Of course she does. [NPR]

Read the rest of this thoughtful article at NPR.

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Scott Meslow is the entertainment editor for TheWeek.com. He has written about film and television at publications including The Atlantic, POLITICO Magazine, and Vulture.