Post by mackidockie on Oct 7, 2011 18:21:54 GMT -5
After many years I have just watched this episode again, and I give it a 10. It's one of my fave ones, mostly because this is the breaking point in David and Maddie's relationship. This is where everything begins. After this episode, there's no turning back.
"To Cybill: my first, funniest and most beautiful leading lady." - Bruce Willis. Taken from a picture hanging over Cybill's kitchen sink in 1985.
The episode that started the "change" of Moonlighting. Gone were the self-contained, episodic, starting from zero case-driven adventures. Whatever your feelings are about this shift you can't deny that this multiple episode arc gave us some of Moonlighting's most interesting and endlessly analyzed episodes.
It's surprising the show hadn't previously explored the "up all night" premise prior to this one since the show lends itself perfectly to it (especially if this is any indication). Then again the fact that Moonlighting never did an "up all night" before makes this one all the more special. This is Moonlighting at its best: fun, romantic, atmospheric, inventive, silly but with a sincere emotional drive. This drive being David's concern for Maddie going out and doing something she might regret... or might NOT regret. Until her recent funk predictable ole' Maddie was something that David could always depend on. Never before having to properly confront his deeper feelings for her, the mere threat that she will cut loose in a bar and sleep with the first man she meets sets off a fire under our hero, a fire he doesn't even understand till ridiculously gorgeous psychopath/inexplicable Dan Aykroyd spouse Donna "The Fox" Dixon beats him over the head with it. He loves her, he's in "care" with her. The delirious fun of watching David on the worst night of his life following Maddie is played just right. While a screwball episode for sure it never gets out of control becoming unbearably farcical. Directed by the most patient line producer of the 80s Jay Daniel from another terrific script by Kerry Ehrin This exhausting (in the best way) "After Hours"-esque ride concludes with perhaps the shows most poignant final scene. Blonde On Blonde really packs a wallop.