Wow. I know a lot of people were disappointed by this episode, but I thought it worked really well. I was totally and utterly gripped from start to finish, and I disagree with those who said that Aaron was just pulled out of nowhere as the murderer. I think that retrospectively, in one way it's almost obvious. Most of the suspects were people with no history of violence, to whom commiting a violent murder would be a complete change of personality. But who's the only person we've seen acting in a downright psychopathically violent fashion? Aaron. Someone who just beat his daughter's boyfriend to a bloody pulp might well easily do the same to his son's girlfriend - for whatever reason. I think there have been hints about this throughout, and although I was shocked, I wasn't surprised.
I also disgaree with people who said that Veronica turned into a stereotype slasher-film blonde. I don't think she did at all. She remained cool enough to belt up and smash the car, and if she freaked out a bit when trying to get into the house - and then when she was trapped in the fridge - well, who the fuck wouldn't? This is the first time that she's been in real, serious danger, and understandably she got kind of hysterical. I mean, if I was trapped in a metal coffin by a psychopath I'd go a bit crazy too.
Other thoughts: Logan! Is he alive or dead? Did Weevil kill him? Will his disappearance be the mystery next season?
Lianne: God, I know she's an addict and a piteous figure, but stealing your daughter's college fund? After just wasting all her savings? Selfish bitch.
Keith: I beamed from ear to ear when we found out that he was Veronica's dad. I didn't even realise I was so emotionally invested in that story arc, but it made me very happy.
Oh, and I think it was Wallace at the door.
In short, I thought it was fantastic, and I really, really can't wait for next season. Come on, September! And although her writing annoys the crap out of me, I liked Stephanie Zacharek's review of the finale in Salon, especially the Buffy stuff.
The heartbreak Buffy endured in Angel's bed is neither more nor less realistic than anything we've seen on "Veronica Mars." I think the fairest and most accurate way to compare the two is to accept that "Veronica Mars" is a continuation of a broad theme that "Buffy the Vampire Slayer" set in motion -- the idea that teenagers, as both Shakespeare and the Shangri-Las realized, are near-adults whose seemingly innocent disappointments and fears aren't really innocent at all: They're just nascent versions of our ongoing grown-up ones.