06.03.08
Posted in Reviews at 11:53 pm by Administrator
This season, I’ll be summing up this unusual 2007-2008 season with a post-mortem on the majority of the shows I’ve reviewed during the year, ranking from the very worst to the very best. In some cases, the term “post-mortem” is all too applicable. This is Part 6 of this 11-step journey, focusing on the first season of “Moonlight”.
“Moonlight”, like the far less successful “Bionic Woman”, suffered tremendous internal obstacles over the course of its single season run. The original pilot presentation led to a massive recasting and reshaping for the series, leaving only the central figure of Alex O’Laughlin intact. All things being equal, the recasting was a good move, bringing the talents of Jason Dohring and Sophia Myles to the project.
Even so, an early shuffle of showrunners challenged the writers and the cast. Myles was saddled with an unnatural American accent, and it clearly took some time for her to adjust to her role. The full pilot episode was uninspired, laying some important groundwork in the most expedient manner possible. Early indications were grim, as critics panned the show mercilessly.
What they didn’t count on (and what CBS ultimately ignored) was the clear intent of the series. One of the most popular subgenres in romance fiction is currently “paranormal romance”. The series was practically designed to fall square in the center of that subgenre, with the difficult romance between Mick and Beth dominating almost every episode. Mick and Beth developed a compelling chemistry, and that worked beautifully in terms of selling the show to its intended audience.
That led to loyalty, and while the ratings for “Moonlight” were never atmospheric, they were amazingly steady for a genre show in a Friday night death slot. The fans were also deeply devoted to the series and were organizing to save the show from cancellation long before the effects of the writers’ strike could be felt.
For many shows, the writers’ strike represented a triple whammy. First, it killed any momentum that a season might develop. In the case of “Moonlight”, as a rookie show, the damage was lessened by the fact that they only had a limited order of episodes in the first place (as is normal for new shows). Still, the original arc ended just before the writers’ strike took hold, thus preventing the writers from segueing directly into a new storyline.
This led to the second problem. Because the story came to a relative close, there was far too much time for the networks to consider alternatives. There was also too much time for networks to interfere with the production of the series, which led to additional showrunning issues. By the time the network ordered four more episodes for later in the spring, the existing showrunner was gone and the writing staff was left to pick up the pieces and march forward.
The final problem was simply one of strike timing. Had the writers’ strike been resolved quickly, the rest of the season could have been ordered. Once the strike strayed into January, it was much more of a concern. By then the show was off the air for weeks, and pilot season was still viable. For existing shows on the bubble, the best case scenario was a longer, protracted strike that would kill off any immediate pilot competition. Instead, the strike was resolved early enough for the networks to consider replacing mid-level performers, and “Moonlight” was on that list.
Creatively, the show managed to maintain itself despite all the challenges, and it ended much better than it began with a Critical Myth average rating of 7.6. Contrast this to the other freshman series with production issues, “Bionic Woman”, and the end product is all the more impressive. Unfortunately, the end result for both shows was cancellation. For all its early struggles, “Moonlight” certainly didn’t deserve it.
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05.19.08
Posted in Reviews at 11:42 pm by Administrator
Written by Ethan Erwin and Kira Snyder
Directed by Fred Toye
Considering the fact that the producers, writers, and cast were all expecting (and practically promised) a renewal for a second season, it’s no surprise that this episode is not an all-encompassing series finale. And also considering the fact that the network wanted the additional first season episodes to be relatively self-contained, it’s no surprise that the episode doesn’t feel like a traditional season finale.
What is surprising is how well the writers managed to bring certain concepts together while focusing first and foremost on the relationship between Mick and Beth. Once the writers decided that the obstacles had to be removed from the board, it was always a matter of exploring how the relationship would be defined. There was never a question that it would actually happen.
Instead, it was a clever way to address the unlimited issues that come out of the vampire/human interaction. Humans are, in the end, foodstock to the average vampire, so the devil is in the details. In “Moonlight”, vampires have managed to carve out a community within the human masses, and the delicate balance is well maintained by a system of rules and laws. This seems obvious, especially in the post-Anne Rice paranormal romance fiction, but each incarnation manages to put their own spin on things.
I wouldn’t go so far as to say that it’s a perfectly rendered world, airtight in its own logic. One can see a hot, young, and sexually voracious vampire like Lisa surviving quite easily, given student turnover at the average large university. Josef would likely applaud her lifestyle and methodology. The Monaghans, on the other hand, seem a bit reckless. Wouldn’t it be just a little foolish to plaster so many marriage licenses all over the wall? Hardly discrete.
Yet it creates the impression, well exploited in this episode, that the Cleaners have been around long enough that the delicate balance has been well-attended. Vampires can maintain a lifestyle that keeps them relatively safe, and the problems are quickly removed. It becomes a question of complacency, when the danger of exposure is realized just a bit too late, too often, and the lifestyle becomes a liability.
Dealing with all of those issues gives Beth a chance to see some of what she had to know intellectually on some level. It also gave her a front-row seat regarding the consequences when someone becomes a threat. As I mentioned, Beth knew some of this on a certain level, since she set Josef after a threat to Mick in “Click”. Yet, for all that, it’s still shocking for her to face the realities of “freshies” and vampires living in plain sight.
I suspect that Beth would have been caught in the middle between the human and vampire worlds, had the series gone to a second season. This would have placed pressure on Mick, who was already standing in both worlds. But the season (and series) ends on a positive note, almost as if it’s the end of a novel where the author had been hoping to write a sequel. Mick and Beth reaffirm their love, and since that has been the through-line all season, it’s the only satisfying place they could have ended it.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
(Series Final Average: 7.6)
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05.13.08
Posted in Reviews at 10:47 pm by Administrator
Written by Jill Blotevogel
Directed by Chris Fisher
Shortly after this episode aired, the tide began to shift for ‘Moonlight”. Instead of an apparent lock on a second season, the series was suddenly facing cancellation or, at best, a 13 episode mid-season run. Sure enough, by the time this review was finally written, the show was cancelled and the reported cliffhanger ending to the season (now series) finale will never be resolved.
This episode continues to display the series’ strengths, exploring the many facets of the unusual relationship between Mick and Beth that has emerged after the disappearance of Coraline and the death of Josh. Beth was always on the edge of committing her life to Mick’s capable hands in every possible way, but now the decision has been straying towards a true love affair. Only the details of a vampire/human relationship, particularly sexuality, seem to be in the way.
Instead of focusing on what Mick and Beth might have, the story focuses on what they cannot have, specifically by exploring what Mick might have had. The kidnapping of a child just happens to involve a man who might be Mick’s biological son, based on his younger human exploits. This revelation is not easy for Mick to digest, because that would mean that he betrayed his best friend and fellow soldier back in the Second World War. To top that off, the kidnapped child would be his own biological grandson.
Even Josef understands the lure of such an improbable legacy. If there is any sure sign that Josef is beginning to get more comfortable with the idea of Mick and Beth circling each other so closely, it’s the conversation between Josef and Mick over children and what Mick can and cannot provide. Mick is forced by his circumstance to consider what the inability to father children might mean, while Beth’s reaction is caught between panic and bemusement.
As much as the episode focuses on Mick and his potential human family, there are stirrings in terms of the growing threat to the vampire world. Ben’s interest in Mick is based on the pictures he received at the end of the previous episode, and it’s not much of a stretch to consider that his job offer to Beth had an ulterior motive. It’s a foregone conclusion that this will factor in the series finale.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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05.06.08
Posted in Reviews at 11:24 pm by Administrator
Written by Erin Maher and Kathryn Reindl
Directed by Scott Lautanen
Rather than rest on their laurels and limp into a potential second season, the writers (who are now in nominal control of the series) have chosen to use these extra post-strike episodes as a bridge between the first season arc and the future. The main hook is the idea that Mick might be exposed in the wake of Josh and Maureen’s deaths. Mick has his own way to deal with such a threat, but surprisingly, so does Beth.
I’m not sure that it makes sense for Beth to be so naïve about the truth of her chosen genre. Perhaps Maureen kept Buzzwire more or less respectable, but anyone with passing familiarity with TMZ or Perez Hilton is aware of the utter lack of basic human decency displayed. Someone in that general field should know if they’re the exception to the rule.
But perhaps there was simple a line Beth wasn’t willing to cross, even if it meant getting very close to it. As we see in her wonderful conversation with Josef in the final act, she’s willing to consider and even advocate some disturbing actions. She simply won’t dirty her own hands in the process of seeing to her (and Mick’s) best interests. That, combined with her more confident acceptance of vampires as a whole, brought home the strengths of the character for me.
I also liked the exploration of Mick’s weaknesses. Josef tries to get Mick to understand that a public presence is more of a danger than he suspects, but Mick seems to think he has everything under control. It’s a touch of hubris that has always been there since the beginning of the series, and it’s come back to bite Mick before (the second episode comes to mind). What it could do in this instance is force Mick to decide between staying with Beth or leaving town to protect himself.
While I’m hopeful that this possible threat to the vampire underground will last longer than the next couple episodes, since it would logically get Josef more directly involved with the story, the pacing of the series thus far suggests otherwise. If there is one complaint I have about the series, it’s the tendency to rush through plot points that would be better served by depth. Hopefully, if the series survives to a second season (and the SAG strike is avoided), the writers can make these minor but rewarding adjustments.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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04.30.08
Posted in Reviews at 12:32 am by Administrator
Written by Gabrielle Stanton and Harry Werksman
Directed by David Barrett
Since the moment it hit the air, “Moonlight” has been the little show that wouldn’t die. Through endless showrunner shuffles and a thankless airing schedule (on Friday nights, no less), “Moonlight” has managed to grab a mid-sized core audience with its paranormal romance mystique. And it continues to have its back against the wall: the current batch of episodes had no showrunner, and the once-likely second season is a tenuous prospect.
So with all of those issues on the table, this episode was very important. It had to take the concepts from the earlier episodes of the first season and continue the story well. More than that, it had to start making the case for the second season. And all of that had to happen without the overly-serious tone that often comes when a show is fighting for its life.
This very long hiatus left Mick temporarily human and his relationship with Beth in an unusual place. Beth has been incredibly resilient and flexible since the beginning of the series (almost supernaturally so, to be honest), and she’s more than willing to roll with this particular punch. This is actually a dream come true for both of them, and the stage seems set for inevitable romance.
Yet, just as inevitably, Mick hesitates. His reasons are sound, but it’s the most predictable aspect of the episode. That hesitation makes it absolutely clear that Mick’s mortality will not last to the final act, that Mick and Beth will not have their sweaty dreams realized, and that the series will stick to those paranormal romance novel roots. The only question is how the events spool out to result in the expected outcome.
The key moment, in my opinion, is Mick’s turning by Josef. I’ve often mentioned that Jason Dohring was a remarkably strong casting choice, and this episode does nothing but confirm that opinion. It will probably be a very popular scene among the slash crowd, but artistically speaking, it’s very well done. This is an important character moment, after all, because for the first time, Mick willingly accepts the burden of vampirism, and he does it for the sake of the woman he loves.
So “Moonlight” has managed, once again, to overcome its challenges by taking the familiar (the overly predictable plot elements) and reshaping them to service the character development. And that, I think, is the key to the enduring popularity of the series: it has always come down to the characters. If the writers stay the course, “Moonlight” might very well survive to a second season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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01.23.08
Posted in Reviews at 2:05 am by Administrator
Written by Chip Johannessen
Directed by Eric Laneuville
“Moonlight” has been one of the truly pleasant surprises of this unpredictable season. Despite an endless array of negative reviews and portents of doom, the series managed to correct its early mistakes. Now the series is delivering strong content with every new episode, and it closes its first season with a strong finale (assuming the writers’ strike keeps production from resuming).
This episode is packed with a lot of information, but it never gets bogged down in Exposition Hell. Instead the revelations feel like the logical conclusion to the story that began in the pilot. Mick has wanted to restore his mortality, and thanks to Coraline and her “family history”, he has hope for a true cure. In turn, that complicates his relationship with Beth, as one would expect.
Setting that relationship aside for a moment, I must commend the writers for keeping the “cure” in play. It would have been easier to expose the cure as a fraud, thus maintaining the status quo while reaping all or most of the short-term dramatic benefits. Instead, they chose to make the “cure” an important part of Coraline’s personal history with a clever side trip into the French Revolution. It explains a lot about Coraline and adds depth to the vampire mythos of the series.
That family connection puts Mick in serious danger in this episode, but more than that, it sets the stage for future confrontations. Coraline’s family doesn’t want the “cure” to be available to anyone else, it seems, and Mick’s intentions will face that obstacle. It could also make for some interesting conflicts with Josef. Mick could be in a position where development of a “cure”, however temporary, could leave him unable to defend against future attacks to destroy it.
For now, Coraline made the decision to leave Mick for his own sake, granting him a taste of mortality in the process. That gives him a unique opportunity to connect with Beth, but things were left unsettled between them after Josh’s death. Beth’s subplot seemed to be about acceptance, forcing her to admit her feelings for Mick and the resulting troubles with Josh. Josh was going to propose, but he never had the chance. His death relieves Beth of the burden of making the choice between Josh and Mick, and that realization helps her come to terms with Mick’s actions.
The result is a meeting at Josh’s funeral that serves as the beginning of a new chapter for Mick and Beth. If this series has felt like the television equivalent of a paranormal romance novel, then this would be the end of the first volume. Mick has hope for a permanent cure, however slim that hope might be, and Beth must decide what that means for their future. Will Mick’s possible restoration be enough for Beth, or will she continue to be tempted by the vampire world? Hopefully the show will be given a second season so we can all find out.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
(Season 1 Final Average: 7.5)
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01.14.08
Posted in Reviews at 11:51 pm by Administrator
Written by Josh Pate
Directed by Paul Holahan
It feels like forever since the last new episode of “Moonlight”, and it did not disappoint. Under better circumstances, this would have been the midpoint of the season; instead, it’s a prelude to the apparent season finale. Whatever the case, there are major changes to the status quo, and some unexpected consequences emerge for Mick and Beth.
The plot details surrounding Josh in this episode are largely inconsequential. It only matters that Josh has invited several attempts on his life, directly or indirectly, and Mick is caught in the middle. At first, the threat is leveled at Beth, and Mick manages to save her life, at the cost of Coraline’s blood sample (which wasn’t giving him the answers he wanted anyway). This is something that continues to draw Mick and Beth closer, even if her main concern is still Josh and his safety.
Before long, however, the episode moves to a completely different level when Josh is kidnapped. Beth’s frantic chase to find and save Josh, with Mick helping in every way possible, is disturbing in all the right ways. But it’s simply a prelude; the core of the episode itself is the long and brutal attempt to save Josh’s life.
Most shows would have let him die quickly, but the writers make the perfect move by lingering over every single opportunity to keep him alive. It’s important to show Mick scrambling for every option, because it forces the audience to come to the inevitable conclusion long before Beth is ready to make her request. And of course, one realizes that if Mick was going to turn Josh, he would have done it before all those other measures were taken. It’s abundantly, painfully clear that Mick will not turn Josh under any circumstance, even with so much blood tempting him.
And it is that choice that finally drives a wedge between Mick and Beth. This is ironic, because Josh was always the annoying barrier to the two of them getting together. Fans hated Josh. Yet his purpose is now obvious, and from a plotting perspective, this is a brilliant move. The writers couldn’t put anyone else in Beth’s life in similar jeopardy without weakening the point to be made. This is how Beth learns that Mick will not turn a human (even if I believe he was glossing over a complicated truth when he said he wouldn’t turn Beth).
Looking back at the previous few, this is just another in a long string of solid episodes for the freshman series. “Moonlight” has managed to carve out a devoted Friday night audience and plenty of momentum from a People’s Choice Award. In fact, if more people came to the show after it won that award, just to see what they were missing, this was the perfect episode for them to see. There’s no reason to think that the series won’t live on for another season, once the writers’ strike is over.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
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12.16.07
Posted in Reviews at 11:20 pm by Administrator
Written by Trevor Munson and Ron Koslow
Directed by John T. Kretchmer
Since the beginning of the series, one of the best characters has been Josef: the apparent poster boy for vampire high rollers, celebrating the thirst for blood even as Mick yearns for humanity. Mick and Josef have been the perfect pair, reminding each other of the virtues of each other’s position.
That dynamic is just one highlight of this episode. With Josef’s existence in the balance, his weaknesses emerge. Josef acts as if he cannot be touched, but his own impulses and desires betray him. Relatively safe in the confines of Mick’s apartment, Josef exposes himself to danger time and again. It’s quite the contrast to his usual behavior, dedicated to the protection of the vampires and their interests.
Mick tries to infuse some degree of common sense into Josef, who often appears befuddled at the thought that his seeming perfect life has come crashing down around him. Of course, it doesn’t work, because Mick struggles to understand Josef’s psychology. Approaching Josef as he would a human was completely ineffective. It’s quite possible that Mick’s inner rejection of his vampirism made an appeal on that level difficult or impossible.
The contrast between Mick and Josef soon gives way to an indirect commentary on Mick’s relationship with Beth. Josef had good enough reason to advise against it in the past; now his reasons possess a more complete context. Sarah’s fate is the perfect example of a cautionary tale. Beth may have no intention of asking Mick to turn her, but she still has the Black Crystal, and she’s been tempted. How long would it take before she wore down Mick’s resistance?
Coraline’s return is complication enough. Mick is torn between his past and the hope for restored humanity and his devotion to Beth and her welfare. Coraline’s “cure” would appear to solve the problem, but Mick would be forced to choose. But since the “cure” appears to be anything but a solution to Mick’s condition, it still comes down to negotiating the gap.
Sarah’s coma is an unexpected turn of events, and a nice touch to the standard vampire myth. It’s one thing if Mick could choose Beth and turn her with full confidence in the result. But now it’s clear that the turning doesn’t always work. More to the point, no reason is given, and it appears that Josef and Mick had no idea why the turning might have gone wrong. That realization certainly gave Beth something to consider, as the end of the episode indicates. (Certainly Josh wasn’t the real reason for her reluctance.)
The “sleeping beauty” motif focused on Sarah, but it was applicable to Coraline as well. Her subplot has no direct connection to Josef’s ordeal, serving the needs of the overall plot arc instead. In Mick’s absence, Coraline’s true nature appears to be revealed. The “cure” seems more an illusion than truth, masking the vampirism with a veneer of humanity. The question is whether or not Coraline was aware of that fact. It’s just one more mystery that continues to drive this series to more unexpected success.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.27.07
Posted in Reviews at 2:48 am by Administrator
Written by Gabrielle Stanton and Harry Werksman
Directed by James Whitmore Jr.
I watched this episode with someone generally unaware of the series and its premise. The only thing I said, going in, was that it was like a “paranormal romance” novel adapted to the small screen (because, after all, that’s been my tagline for the show since inception). It took about five minutes for her to agree wholeheartedly, and about five minutes longer to become hooked.
Granted, it was a case of great timing, because this is quite possibly the best episode of “Moonlight” thus far. I continue to be amazed by the rapid escalation of quality on this show. Considering that the pilot was mediocre and I was watching the show as a reliable “guilty pleasure” during its first month, it’s hard to believe that it has been the one show to sustain a steady audience and consistently improve.
I mentioned in a previous review that the story has a tendency to move quickly on this show, and this episode proves my point. I think the triangle between Mick, Beth, and Morgan/Coraline could have used a little more time to develop, if only to give Shannyn Sossamon a little more time to settle into her role. That said, her scenes in this episode worked well enough to keep the intentions of the story intact.
I’m not sure that telling the audience that Beth was going to stake Coraline was the best of ideas, considering the shock value it would have produced, but I will give them credit for generating tension throughout the hour with that knowledge in hand. The writers did a brilliant job of framing the story so that Coraline’s apparent human status (established in “The Ringer”) was easily set aside until the final act. As a result, the audience knew the horrible mistake Beth would make, and how it would change everything.
The impact of Beth’s decision should be significant. Ever since learning about Mick and their shared past, Beth has been stepping more and more into his world, cutting off connections to her old life in the process. She’s clearly attracted to Mick, and there’s every reason for her to hate and fear Coraline, even without the romantic factor. Mick, on the other hand, is still drawn to Coraline and has always desired a “cure” for his vampirism. While Coraline was certainly trying to draw Mick away from Beth, Beth’s own actions will work against her.
Unfortunately, despite the initial 13-episode order (the usual for a freshman series), the writers’ strike will limit the number of episodes to no more than eleven. “Moonlight” has been a solid performer on Friday nights, but it’s hard to tell if the network will be patient. Previously, it would have been a disappointment to lose such a promising show; after this episode, it would be a tragedy.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.21.07
Posted in Reviews at 12:39 am by Administrator
Written by Jill Blotevogel
Directed by Dennis Smith
It has occurred to me, especially watching this most recent episode of “Moonlight”, that the format is very similar to “Supernatural” and Joss Whedon’s Buffyverse. Not necessarily in terms of the plot elements or the premise, but rather, in terms of structure. While every episode has a specific plot concept in mind (in this case, dealing with a turned cult murderer), there is an underlying set of character arcs, all evolving in a very serialized manner.
That serialized story is the developing relationship between Mick and Beth, and it takes a complicated direction in this episode. Despite his behavior with Morgan/Coraline in the previous episode, Beth still trusts Mick with everything important in her life. She connects on an emotional level with the girl who was abducted by cult leader Donovan, and when things start to get violent and dangerous, Mick is the first one on her speed dial.
Audrey is the latest person to point out that Beth seems more connected to Mick than her supposed boyfriend (including, I might add, said boyfriend), and it’s nice to see the writers move past that point. While Beth may still need to protest in the future, it’s clear that she’s turned a corner, recognizing that Mick has always been there for her. As Beth said, she’s always felt that a guardian angel has been watching over her, and now she knows it for certain.
I like the progression at play, because Coraline’s return to Mick’s life must be as disruptive as possible if that plot element is to have any value. Thus Beth’s growing involvement with Mick, and Mick’s inner conflict between desire and duty. Both need to escalate as Coraline draws ever closer to revealing herself to Mick and making it all fall apart. Given the pace of the plot thus far, it probably won’t be long before that happens.
While the central plot was interesting, its main purpose was to contrast the post-abduction psychology for Beth and Audrey. Audrey never had someone watching over her, and it left her feeling exposed. Beth had Mick, and she was able to get past her fear and succeed as a result. This is noteworthy because it gives the episodic plot elements meaning above and beyond the long-term contextual meaning.
The episode itself is bolstered, as one would hope, by the long-term character arcs. As with most shows utilizing this format, weak episodic content can be strengthened through ties to a greater context. I’m amazed at how well this “paranormal romance” concept has translated to a weekly series, and with the slow but steady growth in audience and strong demographics, this show could manage to survive the writers’ strike.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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