The Moonlight Blog

Written by Josh Pate
Directed by Chris Fisher

With every new episode of “Moonlight”, I’m more and more impressed by the success of the writing staff. They have managed to take a series that was all but dead on arrival and made it not only viable but one of the better new shows of the season. The first few episodes were shaky, but the writers and cast have certainly hit their early stride.

This is the point in the typical season arc where the introductory elements give way to complication. As previously predicted on several occasions, this is exactly when one would expect Coraline to return and add strain to the relationship between Mick and Beth. At this point, Mick and Beth are circling each other, clearly on the road to romance, but Coraline’s clever machinations have thrown a wrench into that process.

I like the fact that Coraline comes back in the guise of a simple photographer, pushing all of Mick’s buttons and leading him into actions that make him look reckless and out of control. When Mick and Josef both confronted Coraline about her true nature, and they couldn’t break her façade, it was one of the best moments in the series. In fact, Josef was played to near-perfection; it was like watching a cat recognize a threat in its midst.

The writers also made things more complicated by bringing her back as a human being. This may still be some kind of ruse on Coraline’s part, but both Mick and Josef were sure that Coraline was human, and in the end, that led them to believe that Coraline was actually a very mortal and confused Morgan. If Coraline has managed to find a way to restore her humanity, then this could create a major rift between Mick and Josef. In fact, Mick could be lured back to Coraline, if she could promise him restoration.

Two minor concerns kept this from being an above average episode. First, while the rest of the cast has overcome initial shortcomings, Shannyn Sossamon’s performance is visibly less impressive. She’s not convincing as the femme fatale, and she seems wooden compared to the rest of the cast. Perhaps the chemistry will develop over time, when the character is more familiar, but right now it’s not quite working as well as it could.

The second concern is the familiar nature of Coraline’s return. While it is used well in the episode, and should make for an interesting twist to explore in the future, it bears a remarkable resemblance to a plot arc used in the second season of “Angel”. So far, there are some key differences, but the writers will need to be careful to keep the distinctions in the forefront.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Erin Maher and Kathryn Reindl
Directed by Paul Holahan

Each new episode of “Moonlight” adds a new layer to the storytelling and the core relationship, and this is certainly true for this installment. The writers are not taking their time getting to the point, and the series is all the better for it. Once it might have seemed logical for Beth to be ignorant of Mick’s true nature; now, it’s impossible to comprehend how the story could have worked had that been the case.

This episode introduces Black Crystal, a substance derived from silver-laden vampire blood. It gives humans the ability to experience the power of a vampire with the additional benefit of full human sense and reaction. This is an interesting conception because it pushes Beth over a very distinct line. Before taking Black Crystal, Beth was attracted to Mick because he was different and unknowable.

That has changed, and in a fundamental way. Black Crystal is a trap, a ruse for humans anxious for supernatural experience. The users believe that they are experiencing the world of the vampire, but as Mick notes, none of the negatives are present. The humans feel so powerful and sensual that they want to feel that way forever, incapable of seeing the negatives. With just a taste or two, Beth was begging Mick to take her and turn her. If it hadn’t been Mick, a creature of much restraint, she would have found her wish granted (or worse, she would have been a late-night snack.)

Beth’s decision to keep the Black Crystal represents her ongoing temptation. She’s stepped into the supernatural world in a big way, and a part of her could never give it up and return to a “normal” life. She’s likely to hide it from Mick, and that could be dangerous. For one thing, she could slide into the underground under its influence, endangering her life on several fronts. For another, she could become addicted and risk overdose. That Black Crystal is essentially a plot bomb waiting to explode.

Considering how much of the story was dependent on Beth and her character turn, the success of the episode was dependent on Sophia Myles. Myles has always been attractive, but she pours on the sensuality in this episode. The chemistry between Mick and Beth was already evident; this twist takes it to the next level. That attraction is building to a crossroads, and it should be interesting to see how it evolves.

This is yet another strong episode, and the show continues to result in strong demographic numbers. Word of mouth is strong, but the advent of the writers’ strike is cause for concern. This series needs to be on the air, gathering momentum, if it wants to have any chance to succeed, and the writers’ strike makes that difficult (if not impossible). I fear that this show might have overcome its early struggles only to find itself a victim of circumstance.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Chip Johannessen
Directed by Michael Fields

Most new shows lose viewers after initial interest. “Moonlight”, on the other hand, has slowly but surely gained a significant following, and the ratings are creeping up, inch by inch. After so many poor reviews from the critics, particularly for the pilot, word-of-mouth appears to be working wonders. If CBS can be patient, this could be a strong performer (or at the very least, a consistent one).

This particular episode is still devoted to fleshing out the world of “Moonlight”, cementing many of the rules and pushing the Mick/Beth romance just a little further. The writers are letting the two of them fall into a slow spiral together, still apart but bound together more and more tightly with each new situation. This fits the general “paranormal romance” novel, as one would expect, and underscores their mutual importance to one another.

In terms of the premise, it’s always fun to delve into the implications of vampirism in each new incarnation. By loosening the prohibition on sunlight while still setting limits, the show breaks out of the need to set the action exclusively at night. It also blurs the line between the worlds of human and vampire, allowing for more believable overlap and concealment. That is used to strong effect in this episode.

Now we have another example: the human desires and conditions of the body at the time of turning remain with the vampire, with the specific vampiric desires and demands layered on top of what was already there. The villain in this episode was a teenager struggling with severe acne and raging hormones. It’s no wonder that this would be a problem. Mick suggests very strongly that sexual behavior is possible, but it seldom ends well; the lust for blood must become overwhelming under such circumstances.

Mick St. John was a strong character from the start; the rest of the cast is quickly getting up to speed. Josef continues to be one of the best elements, and Sophia Myles is much better in this episode. She’s becoming more comfortable with the accent, and the chemistry between Mick and Beth is gaining ground. Even as a male viewer, this is the most compelling aspect of the series, which is a testimony to the success of the premise.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Jill Blotevogel
Directed by Fred Toye

This series continues to be another pleasant surprise for the 2007 Fall Season, especially given its consistent ratings and demographics. It’s hard not to focus on the numbers after so many critics panned the show from the very beginning. This may not be a runaway hit, and it hasn’t gotten the full season order quite yet, but it’s holding its own on a night known for its challenges. Steady numbers are a lot better than a slow but steady decline.

This particular episode sheds light (no pun intended) on the vulnerabilities of the vampires in this version of the myth. Mick mentioned that prolonged exposure to sunlight was a bad thing, but this helps to establish limits. Apparently they can endure quite a bit of sunlight, and as long as they feed well enough and quickly enough, they can recover in a very short period of time.

Getting to that point in the story required a bit of plot convenience, particularly once Mick was getting himself out into territory that he knew would be threatening. The cell phone coverage seemed to disappear whenever the story required it, for example. I’m also not sure that Mick would endanger himself to such a degree without getting word to Josef that he might need help. Perhaps that thought comes to mind because Josef is such an enjoyable presence on the show, and his absence was palpable.

Then again, the story was designed to get Mick and Beth into a particularly compromised situation, and it was worth some of the contrivance necessary to get there. Every episode seems to bring Beth closer and closer to Mick’s unusual existence, binding them together, and it works surprisingly well. This is creating a nice bit of tension between Beth and her boyfriend, who already seems expendable, existing only to ground Beth in the “real world”.

Beth also seems to be far more comfortable with Mick’s nature than he would like, and that will no doubt play a part when Coraline inevitably appears on the scene. I say inevitably because it would be the natural complication to introduce within the next few episodes, if the show is following the typical “paranormal romance” model.

The bottom line is that this series continues to be a solid hour of vampire entertainment, despite its first season flaws. The scripts can be a bit shaky, especially in terms of dialogue, and Sophia Myles is still getting the hang of her character and accent, but it’s still a lot of fun. I hope that the additional scripts give the writers a chance to tighten things up a bit.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Written by Gabrielle Stanton and Harry Werksman
Directed by Scott Lautanen

Many critics of “Moonlight” point out that the show is riddled with cliché, and that the characters present nothing new. To a certain extent, it’s hard to argue with that assessment. It’s just that the assessment doesn’t matter very much for this particular genre. Very few vampire tales offer anything new, after all. It comes down to execution and style. One may quibble over how well the series has distinguished itself from the rest of the pack, but it’s unfair to attack any entry in such a well-traveled subgenre.

In fact, I find myself reacting oddly to “Moonlight”. I can easily identify some of the tropes at play and the struggle to find an original voice, and I know that the series has yet to introduce anything truly new. Yet I find it very hard to hold that against the series, because frankly, I just like it. It may be cookie-cutter vampire adventure material, but it’s competent, and each new episode makes up for the weaknesses of the pilot.

The cast is settling in rather nicely now, especially Sophia Myles (either that, or her American accent is growing on me). I also appreciate the fact that the relationship between Mick and Beth is advancing much more quickly than one would otherwise expect. Considering the fact that the episodes are still covering introductory material, this bodes well for the future, when the complications set in and the stories grow into (hopefully) uncharted territory.

As far as this episode is concerned, it was about establishing more of the rules and delving into Mick’s past in more detail. It’s one thing for the writers to dump all of that information into an expository dream at the beginning of the pilot, and quite another to show how it works in practice. Hopefully, now that the production side has stabilized, the writers will continue to show us the rules instead of telling us about them.

Whatever the case, this episode may not win any awards, but it was a solid enough entry for the series and was comfortably entertaining. The character dynamics are growing by leaps and bounds, and there’s every reason to believe that the process will continue. With the ratings fairly stable (especially compared to more visible opposition), this series should be safe for the short-term, giving the writers time to progress with the improvements.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by David Greenwalt
Directed by Fred Toye

An interesting thing happened after the “Moonlight” series premiere. Despite the dozens of tepid reviews and poor word-of-mouth, a number of seasoned genre fans expressed pleasant surprise over the tone and potential of the series. And then a second shock to the system occurred: there was practically no drop in audience from the premiere to the second episode, and high retention from “Ghost Whisperer”. In other words, against all odds, “Moonlight” is showing some early signs of life.

This is unusual, because other supposed “high-concept” shows are finding it hard to please the audience. “Journeyman” is still finding its voice and struggling in the ratings, particularly in retention of the “Heroes” audience, and “Bionic Woman” has found itself in something of a freefall, despite the hype. “Moonlight” may have mediocre ratings compared to the blockbuster hit shows, but so far, it’s a consistent performer.

The news is even better when the quality of the product is considered. The premiere offered few surprises, but set the stage for a televised version of the popular “paranormal romance” genre rather well. This episode tightens up the formula a bit more and pays off one source of tension much earlier than expected. Since I avoid spoilers as much as possible, I wasn’t expecting that twist, and it left me even more intrigued.

The “case” itself was somewhat conventional, with more than a few plot holes, but it served the purpose of exposing Mick St. John’s nature to Beth. Now the situation is less stable, which is a nice touch. Beth has a live-in boyfriend, yet she will inevitably be drawn to Mick, given their shared history. Exposure to the unseen world of vampires will factor into her output on Buzzwire, and that will get Josef’s attention. It’s a fair bet that Josef will push Mick to keep Beth under his thumb, and the boundaries are likely to be very tightly drawn.

The first few episodes have established Mick’s internal struggle. Flashbacks have shown him to be more indulgent in his vampiric ways in the past, but his current practices are more “human-friendly”. This would imply that he might be swayed back towards Josef’s lifestyle with the right influence. Coraline, the vampire that turned Mick in the first place, could return and haunt his existence again, further complicating his relationship with Beth. It’s all quite standard for the genre, but when it works, it holds its appeal.

This episode was written by David Greenwalt, which may explain why it represents a step up from the pilot. Greenwalt has since left the production team, so the question is whether or not the remaining writing staff will be able to continue the upward creative trend. Right now, the show is cultivating a tone similar to “Night Stalker”, a show that never got the chance it deserved, and that could be the right recipe for success.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Trevor Munson and Ron Koslow
Directed by Gerard Bocaccio and Rod Holcomb

It’s almost impossible to discuss this series without mentioning some of its genre forebears. Fans of “Forever Knight” and “Angel” have already blanketed the internet with accusations, refusing to watch the show on principle alone. I think that would be unfortunate, because this series has less to do with replicating a semi-successful cult legacy and more to do with the current fascination with the “paranormal romance” subgenre.

One might blame “Laurel K. Hamilton” and her Anita Blake series. In the past few years, the shelves of countless bookstores have been overflowing with a banquet of similar fare. Usually the protagonist is a hot woman experienced with hunting down hard-bodied male vampires, werewolves, and ghosts, but among the romance novelists, the situation is often reversed. Scanning the local Borders is an education in and of itself.

Taking that into account, it’s easy to see how “Moonlight” was developed. This is a paranormal romance novel adapted to the small screen. Mick St. John is the typical vampire protagonist, the repentant creature living on the fringes of human society, unwilling to hunt mortal prey in the expected manner. He’ll drink from criminals, perhaps, but he tries to avoid the casual bloodletting of vampire patriarch Josef.

Beth Turner is the female love interest. Her job as an internet tabloid journalist, of course, brings her into direct contact with the hidden supernatural world. To Mick, she’s deeply attractive and someone to protect, even from himself. To Josef, she’s a potential threat to his empire. This puts Mick in a difficult position, and therein lies the drama. Mick is pulled in several directions, between his humanity and his true nature. It’s about as simple a translation of the subgenre as it gets.

As the lead, Alex O’Loughlin is more than capable. Along with Jason Dohring, the deeply amusing and self-interested Josef, O’Loughlin delivers a strong performance that might help keep the series around long enough for the other issues to be addressed. Sophia Myles is quite attractive, but she struggles in this pilot. Her attempt at an American accent is spotty at best, and she still seems to be finding her footing as Beth. This could improve with a little time, since Myles is an experienced actress on her home turf.

The writing, as mentioned, is a bit too conventional. The challenge will be to retain the popular aspects of the paranormal romance genre while finding ways to branch out and generate enough originality for a weekly series. The director tried to make up for some of the shortcomings, but some of the techniques were transparent. It’s one thing to appear slick and edgy, and another to look like you’re trying to be slick and edgy. I can give the writing a pass because it was a pilot and those are hard to write effectively; the direction, on the other hand, needs to be less self-aware.

Of the three new series I’ve reviewed thus far, this is the one that needs the most work to evolve into a viable series. The potential is there, but this is also a derivative premise with, thus far, very little originality thrown into the familiar mix. I like this series premiere enough to give it a chance to grow.

Writing: 2/2
Acting: 2/2
Direction: 1/2
Style: 1/4

Final Rating: 6/10