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*** This review may contain spoilers ***
One of the very best episodes in the whole series, and a welcome
rectifying of the soapopera course taken by the two private
investigators' idyll; there are several exciting momentsHayes'
discourse about the males in her life, Herbert's tirades, Addison's
references to some TV series of the '80s, the final chase. Maddie
sternly refuses to take her husband's name; she gives a wonderful
discourse to an astounded Dipesto. And she's upset by Addison's
imperturbable air. Take my wordViola's best scenes are not those with
Agnesbut those with his chief, Addison. Viola and DiPesto are as
interesting as Hayes' parents; but Viola and Addison are awesome.
Herbert Viola is very likable in this episode.
The two detectives (--three whether we count Viola--) have again a casea jealous wife willing to regain her unfaithful husband. The case is a typically MOONLIGHTING one; there are plenty of references to the TV shows' world. And Viola delivers some breathtaking tirades using his fullfledged rhetoric.
With this episode, EEK A SPOUSE, the TV series returns in full shape, with the screwball and the essentially ironic romance, the final extravagant chase, Viola's impetuousness and rhetorical brio.
The fact that most of the MOONLIGHTING scripts were, as crime dramas, slapdash (not in the sense that they were ironical or playful or funny and not edgeoftheseat mysteries, but that they didn't even exist as crime stories), is Polichinelle's secret; the 2nd part of the statement being that none really cared about this, the detective element being a mere pretext for the screwballfor the very substantial and highly differentiated screwball and interplay opposing the two charming actors. This wonderful TV series was so good because it has been so much crafted.
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