When David and Maddie meet the owner of a club who tells them about an unresolved murder. Maddie and David argue about who they think the real murderer is and, in their dreams, set about solving the ...
The battle between Sam and David continues and became serious when Sam proposed to Maddie. She is non-committal with her answer but it forces David to think about how he feels about Maddie. Sam and ...
The top model Maddie Hayes was betrayed by her investment adviser who flew with all her money to South-America and began the hard life of a Casino owner. All the unfaithful manager has left Maddie is her house, her unbelievable beauty and intelligence and the run-down detective-agency "City Angels" (renamed by Maddie into "Blue Moon"). Because of her lack of money, she wants to sell the agency, but the houses only detective David Addison tries to convince her to join the agency as the new boss. So Maddie Hayes becomes involved in the work of a real private detective, which means so hard work as to spy upon unfaithful husbands, find missing people or murderers, foil attempts on VIP's lives, stop killers, help lovers and by the way save the world's peace and existence. While doing this Maddie and David try to get used to each other and this way they recognize their complete difference in life-style, humour, amusement and of course in the way how to run a detective agency. Maybe this is ... Written by
Adrian Schuster & Oliver Philipp <email@example.com>
Bruce Willis made the film Die Hard (1988) while starring in this show. By the time the series ended, "Die Hard" was available on VHS. In one of the last "Moonlighting" episodes, Willis and a love interest walk past a video rental store while an employee tears a "Die Hard" poster down from the window. See more »
Moonlighting went on the air in January of 1985 as a mid season replacement,
beginning with a two hour TV movie pilot episode. The reviews were mixed -
and so was the pilot. Was this a detective drama? A romantic comedy? It
appeared it was trying to be both. Within a couple of episodes it became
clear that creator Glen Gordon Caron was planting the show firmly in the
field of romantic comedy - a good choice because it was in these moments
that the series would really shine.
By the third episode it was clear they were on to something original, or if
not completely original, at least written and executed better than anything
else on TV at the time. The Tracy-Hepburn like sparring between Shepherd
and unknown actor Bruce Willis, and the sophisticated writing by Caron and
the other writers just got better and better as they finished their first
half season of ten episodes.
The highlight of that first batch was the celebrated "black and white"
episode, "The Dream Sequence Always Rings Twice." In it Maddie and David
interview a client who owns a once famous LA nightclub (like the Coconut
Grove), which is about to be torn down. There they learn of a mysterious
murder that occurred there in the 40's, still unsolved, that revolved around
a trumpet player having an affair with the band's married girl singer. The
singer's husband was killed and both the trumpet player and the songstress
claim the other did the deed. Of course David assumes the woman framed the
musician. Maddie feels it was much more likely the sleazy guy did it. Each
of them daydream their version of events in 1940's black and white, with
Bruce playing the trumpeter and Cybill the singer. Each of their
mini-stories works as film noir homage, and the pairing of the two versions
come off even stronger. In addition it allowed us to see David and Maddie
in a romantic setting without having to put the characters directly into
that kind of plot killing situation. The episode won Emmy nominations for
everyone involved, including Cybill and Bruce. Bruce won.
Which brings up "the troubles." How many giant egos can one series sustain?
Tension began to mount between Shepherd, Willis, and Caron. Cybill was
the "star" - but she was essentially playing straight man to Willis. His
manic character and split second timing were the force driving the chemistry
forward. By the time they were filming the first full season - he was as
recognizable as she was. And after years of struggling and starving in New
York - he was enjoying every minute of his new found fame.
And then there was Glen Gordon Caron. He was very much a "hands on"
producer and had very definite ideas about where he wanted to take the
series. His perfectionism frustrated his cast and writers. Several times
the crew would begin filming an episode while the writers were still
writing. Caron had a commitment to the network for 22 episodes per season.
He never delivered more than 20. His shooting regularly went off schedule
and over budget. The quality was there on the screen ("Atomic Shakespeare"
a riff on the Taming of the Shrew was practically a movie in and of
itself), but the show began to tick off viewers who complained about all the
reruns while they waited for a new episode.
As the series moved into its second full season it hit a creative
· The aforementioned Taming of the Shrew
· Big Man on Mulberry Street - with a musical sequence by "Singing in the
Rain" director Stanley Donen
· The four Sam and David and Maddie episodes with Mark Harmon as the
straight up astronaut whose proposal forces Maddie and David to confront
Then it happened. A confluence of events that seemed to drain the show of
all its life:
· Maddie and David "did it" - killing off the eternal suspense.
· The writers, tired of all Caron's tirades and very much in demand with
all their Moonlighting awards, left the series. Caron had to bring in a
· Cybill Shepherd became pregnant with twins. The timing of the pregnancy
would prevent her from filming between September and at least December - a
prime production period.
· Glen wrote the pregnancy into the show - and had Maddie flee LA for home -
for months. This allowed him to film Shepherd's scenes alone during the
summer. Of course with 3000 miles between Maddie and David it's hard to get
much zippy chemistry going.
Coming from the creative high of the second season, the letdown in the third
year was all the more apparent. By the time they dumped the baby (a
miscarriage) at the beginning of the fourth season - the magic was clearly
gone. Shepherd and Willis were anxious to move on to more lucrative film
projects, and the final season was only a slight improvement over the
disappointing previous year.
But, as the nursery rhyme goes - when it was good, it was very very good.
In addition to the episodes mentioned above, try to catch some of these on
· "My Fair David" - Maddie bets David can't go through a week without
breaking out into some Motown ditty, or making crass sexist comments.
· "Devil in the Blue Dress" with Judd Nelson and Whoopie
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