One of the very best episodes in the whole series, and a welcome rectifying of the soap—opera course taken by the two private investigators' idyll; there are several exciting moments—Hayes' 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 word—Viola's best scenes are not those with Agnes—but 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 case—a 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 full—fledged 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 edge—of—the—seat 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 screwball—for 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.
The two detectives (--three whether we count Viola--) have again a case—a 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 full—fledged 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 edge—of—the—seat 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 screwball—for 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.
