You’re trying to stew me in some hot water. [Laughs] Obviously, it was very sad. I love Jason Dohring. I love Veronica and Logan. But from the writers’ perspective, I understood why [they] needed to open up a love line. There’s only so much you can squeeze out of a relationship. If it’s turbulence before, the audience will become fatigued as to why they haven’t either worked the problems out or separated.
And I think at the time, it also felt like a worthy cliffhanger. You have to make sure it’s worthy if you’re on a whodunit show, because you’ve raised the stakes quite a bit. So ultimately, I was a little sad, but I understood if we wanted the show to ever continue, we needed to have Veronica be open to [relationships]. People want to see her fall in love. And at that point, Logan had gotten all his shit together, you know?
NOW: What was your reaction to reading the final moment in The Woman in the House?
I thought it was absolutely absurd and completely perfect. The great thing about this series is that it’s confusing in the beginning. You should be confused, you should be uncomfortable. What am I watching? Are they being serious? Why is the dialogue so on the nose? Why is she saying she’s such a great painter? I’m looking at the paintings, and they’re entirely average. [Laughs] As the show progresses, so does the suspense, but so does the absurdity. I just thought [the ending] was the icing on the cake.
THEN: What’s your favorite Veronica line?
Oh my god. I mean, it’s hard to stray from, “You know what they say about Veronica Mars, she’s a marshmallow.” I [also] have fond memories of, “Buy me a pony?”