The CW has joined forces with Harlequin to bring modern romances to broadcast. But did they deliver in that endeavor?
If Montana Mavericks is an indication of what this partnership could deliver, then it’s evident we’re in great hands, and the network could find success with this move.
The romance genre is lacking on network television, and Montana Mavericks delivered a refreshing take on the genre that has me eager to see what else the slate has in store for us.
For starters, Katherine McNamara is warm, charming, and possesses an affable quality that endears her to audiences and translates incredibly well on screen.
She brings all of that to Heather, a New Yorker who is battling with a bout of writer’s block while also juggling the grief that still weighs on her after the death of her mother.
However, the film utilizes this to shape Heather, as we know her, and connect with her, without allowing too much heaviness to weigh down the film or make everything a buzzkill.
Instead, we have a compelling exploration of a woman at a crossroads in her life, following events like the loss of a loved one.
It prompts her to go on an unplanned path of self-discovery. But that’s organic. Most of us don’t actively wake up and choose to start picking apart and reexamining our lives; little and big moments that life throws at us can instigate this.
Montana Mavericks handles this well. The film captures that state of influx we constantly live in as humans, not knowing what’s next for us, confused about where we are in life, and continually trying to figure out what we want or if we’re on the path we desired.
By focusing on this aspect of Heather and putting it at the forefront, even more so than the romance, it results in a multi-dimensional lead with real depth and complexity as a character. Heather feels … real.
It’s not one of those cute but overtly simplistic romance films where the main lead has certain attributes, and the primary goal is to shape her through the plot for the sole purpose of fast-tracking her to her happy romantic ending and tying it with a nice little bow.
This may sound weird, given that this is supposed to be a romantic film, but part of Montana Mavericks’ success and its unique execution is that Heather’s romance with Cliff is important and an objective, but it’s not the primary one.
The romance simmers within the movie, but it’s actually not at the center of who Heather is as a character or the only dynamic of importance.
In Montana Mavericks, the romance is an extension of Heather’s story, not her entire story, and that’s the refreshing take on the film that the genre so often needs. We have a modern love story — and in it, Heather doesn’t disappear into her own narrative or her love life.
Sometimes, that does result in Cliff not feeling as well-rounded as the other characters. And perhaps for some viewers, that could dilute their love story somewhat.
For me, Cliff, while a character who needed more polishing, still worked incredibly well as Heather’s love interest, even if he doesn’t feel like he’s in the traditional role as a leading man.
He challenges Heather in the way that she needs, but he also doesn’t hold her back or push her to be anything that she isn’t — the two of them have a deep understanding of each other that blossoms as the film progresses.
Cliff is so instrumental in Heather’s journey of self-discovery and growth. He encourages and contributes to it, prompts things about her mother, prods at feelings she never examined, but he’s not an impediment to her growth or the reason she feels compelled to evolve.
He’s a partner to Heather along the way, not her handsome, cowboy-hat-wearing prize that dangles at the end of her journey as some form of consolation. Cliff doesn’t push her to become something else; he only encourages and inspires her to be a better version of herself, not even for his sake, but for hers.
Their romance has roots in friendship and respect, and so even when we conclude the film, and there’s not much we know about Cliff beyond his honorable devotion to his father, Montana, and his passion for an animal sanctuary.
But here’s still enough chemistry and charm to fill in those blanks in a satisfying way.
The film’s crux conflict for the two lies in Cliff’s fear of another abandonment while simultaneously never wanting to hinder Heather in any way. Merely overhearing her casually and unthinkingly saying that nothing is keeping her in Montana sends him on a sad spiral that makes you ache for him.
And yet, the film doesn’t take the contrived route with this conflict, instead giving it the layers and depth it deserves.
It takes Heather’s brief return to New York City for a meeting with her manager to adequately express the clarity she’s found in Montana. The safety of reconnecting with her mother’s home brings her closer to what she lost, but also to herself.
And that’s where the primary satisfaction in Heather’s journey comes in.
However, it’s also evident in her friendships with Emily and Jess. What I loved about Montana Mavericks was how well it maintained the core friendship dynamic, keeping it present and prominent throughout the film.
The sisterhood among these friends doesn’t fall to the sidelines or the periphery of this film. It’s as central to Heather’s story as her finding herself and love.
Montana Mavericks showcases how the supporting cast can also shine, with their relationships to the lead being just as meaningful and worth handling with vulnerability, sensitivity, care, and investment.
And they could also have their own arcs as well.
Emily and Jess may have gone to Montana in all their fabulous outfits and quips to support Heather as she navigated what to do with the house her mother left her, but they fell in love with it IN Montana as well.
They still walked away with their own well-developed character journeys as well. Emily had the clarity she needed about her career — the passion she had for law wasn’t aligned with the firm she was working at in New York, and fortunately, through the quirky Wade, she realized that too.
She was also a great character in that she called Heather out when Heather unwittingly neglected her friends or took them for granted. I loved every aspect of Emily reminding Heather that it wasn’t cool to treat her that way.
Heather dealing with her grief or falling in love didn’t mean Emily and Jess weren’t dealing with their own problems as well. I loved that at any point when it felt like Heather was too self-absorbed, despite it being her narrative, the film challenges that head-on.
It was gratifying to see Emily journey as well. Although I will say her romance with Wade felt the most shallow out of the bunch. Their interactions were cute, but they were more quirky and surface-level, often used for laughs. So I didn’t have any strong feelings for them as a romantic unit.
Whereas Jess and Olivia’s story had depth and interest. We were able to see Jess’ growth as she learned how to navigate actually showing up and being a partner to someone.
She learned to apply the same qualities she has as a friend to a relationship — exuding patience, vulnerability, and determination when it came to showing Olivia that what they could be was more than just a hookup.
As two different types of artists, their dynamic was fun, but the film also does a great job of casually incorporating this queer romance, a sapp one at that, with a straightforward, organic approach.
Unfortunately, many shows or movies will treat their queer pairings like a box they’re trying to tick, more performative than genuine in simply exploring another love story or dynamic.
Montana Mavericks doesn’t otherize them as a pairing, and while they eased into tired trope territory with Jess as a “love ’em and leave ’em” type who didn’t commit, they quickly built a fantastic story around dismantling that for her.
And even as Olivia heads to New York to pursue her passions, they don’t make her the stereotypical clingy partner who moves too fast, either. Jess and Olivia’s romance is the strongest of the non-main ones, as a result.
Overall, with its lead properly established, not neglecting or sidelining its supporting cast, a strong romance, and gorgeous shots of Calgary Montana, and an adorable pig, Montana Mavericks was a delight.
Let’s keep the conversation going — how did you feel about this film?
Say something in the comments, share if you’re moved to, and keep reading. Independent voices need readers like you.
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