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Showing posts with label July 12. Show all posts
Showing posts with label July 12. Show all posts

Thursday, July 12, 2018

Dark Shadows Lives!


For a television show cancelled in 1971, there are a lot of people talking about DARK SHADOWS today. Here's a roundup:

Dark Shadows Before I Die visits July 11, 1968, the date of broadcast for episode 534 of DARK SHADOWS. Any episodes that features Barnabas, Julia, Adam and Victoria is going to be a little tense, but Carolyn aims to turn over the whole creepy apple cart. Here's a sample from DSBID assessment: "You're saying Adam is better than Joe or Buzz? Or are you referring to her sick relationship with her cousin Barnabas? Is Carolyn now having some kind of Frankenfantasy date with Adam? This girl is messed up!" You can read it HERE.

Speaking of July 11, 1968, the episode taped that day was #545. Here's what Patrick McCray had to say about that episode in THE DARK SHADOWS DAYBOOK installment from two years ago: "Nicholas Blair. No one else could pull Adam onto his side by seemingly quoting from TRIUMPH OF THE WILL. Meanwhile, Angelique’s plan to off the Promethean by using an ax, instead of black magic, seems hilariously misguided. So, yeah, Nicholas won’t suspect a thing if it’s just a simple ax in Adam’s head." You can read the day's summary HERE.

Here's the cutest Barnabas Collins you're gonna see all day, courtesy of Michael Pribbenow.

"Dark Shadows" was campy, kooky 60's madness at its best. Barnabas Collins peg person. Custom peg people available. DM for info. #pegpeople #darkshadows #barnabascollins #vampires #60s #jonathanfrid #johnnydepp #timburton #illustration #illustrator #crafts #scifi #60spopculture #pegart #tinyart #handmadetoys #artist #artistsoninstagram
A post shared by Michael J. Pribbenow (@mikeysimagination) on


Meanwhile, DARK SHADOWS was shut out of the Emmys again this year. Sigh.

Monday, June 25, 2018

The Dark Shadows Daybook: June 25



By PATRICK McCRAY

Taped on this date in 1967: Episode 273

Sheriff Patterson, resisting the urge to rip off his tear-a-way sheriff’s uniform and reveal the g-string beneath, joins Burke in the basement as they discover that the trunk allegedly carrying Paul Stoddard’s remains is empty. Eventually, after an agreement with Liz, Jason reveals that Paul was merely stunned by Liz’s blow many years ago. He escaped while Jason made it appear as if Paul’s body were buried in the basement. In exchange for the truth, Liz declines to press charges. Given a day to leave Collinwood, Jason scopes out the Old House.

It’s not too wild to state that one world ends and another world begins with episode 273. It has one very simple and very complex job: to forever close the door on the world of DARK SHADOWS as it began and graciously segue into the series it was meant to be. It casts aspersions on neither side of that narrative fence, but make no mistake, there are sides. Jason McGuire is the last “secular” villain of note on the series -- unconnected to the supernatural -- to be introduced before the arrival of Barnabas Collins, and he ably carries and resolves (despite himself) the primary mystery that has powered the show for an entire year. When first imagined, Jason had the luxury of being the sole villain at Collinwood and defining evil in its walls. Jason may have had Willie in tow, but this was never designed to be a sinister sister act. Nevertheless, with Barnabas shoehorned into the action, He and his threat had to ensure that viewers uncertain about this vampire business had a good, old fashioned bad guy to hiss. Had the Barnabas storyline sunk like a dockside victim, Jason had to be more than enough to keep the show afloat. And since the vampire storyline was, um, more than mildly successful, Jason and his arc had to be both charming and compelling enough to engage viewers when away from Barnabas. I mean, YOU compete with TV’s first continuing vampire anti-hero.

Yes, creating and sustaining a daytime drama featuring a pensive, undead, Standards and Practices-friendly, prostitute-slaying blood-cannibal could be seen as an artistic and commercial challenge. Sure. But Dan Curtis, the writers, Joan Bennett, and Dennis Patrick had a tougher one. A vampire kind of sells himself to viewers. It’s not a hard pitch. But the aforementioned team -- ably supported -- took a repetitive, glacially-developed, penny-ante blackmail potboiler and stole their episodes right out from Barnabas’ Inverness. No excess of praise can be enough for Patrick as he modulates from sincere lovability to Puckish gamesmanship to brutal, emotional sadism all within the space of a line. He’s a bizarre cross between Fagin and Harold Hill. He’ll make you love him and then hate yourself for doing so. As his counterpart, Bennett is marvelously sincere as a titanium strong woman with a weak spot only seen by one man. Is it guilt that motivates her? Not so much as the ghost of Jamison… himself living under the ghost of Edward. She’s willing to torment herself for eighteen years to protect the Collins name and the esteem with which Collinsport holds itself.

The emotional core of the early Barnabas episodes rests in sympathizing with a sad monster who has immense power that he tries (and usually fails) not to use. That, and the raw terror of hoping that Maggie, a victim of mistaken identity, can escape him. Alternately, this is a very mixed and melancholy journey with Barnabas and a simple, unambiguous survival story with Maggie. They can both be filed under “compelling downers.” In relief, the Jason McGuire story is like a flare on a moonless night. The two arcs are similar in that they both feature a dark-haired woman being trapped in a house they dislike by a courtly and violent man trying to bully and gaslight them into marriage motivated by events from the past.  They differ in tone. Barnabas has mystery. Liz and Jason have humor, warmth, an evenly-matched cattiness, and a sense of suspense lacking in the Barnabas story. Maggie is rarely on even or superior footing with Barnabas. Even Julia is one bad choice away from joining the undead. But Liz has the power we rally behind all blackmail and bullying victims to seize: the power to say no. Jason knows it. We know it. And yet we sympathize with her reticence just as we celebrate when she seizes sovereignty at last.

As part of the ritual, McGuire shows up at the Old House with his stolen time. To steal jewels? To nab Willie, and the two of them amscray? We don’t know, but we can guess that he won’t find as much lenience with the Master of the Old House as he did with Collinwood’s Mistress.

And it becomes another show.

Roll credits.

This episode hit the airwaves July 26, 1967.

Wednesday, July 12, 2017

The Dark Shadows Daybook: July 12




By PATRICK McCRAY

Taped on this date in 1969: Episode 801/802

1897. When Magda connects Victor to Julianka’s death, Quentin wrests off his artificial hand, and the truth is known; Victor is Count Petofi! His hand was sawed off a hundred years prior as payment to cure him of lycanthropy. He then explains that the saddest day of the Count’s life was when he woke to find that a wolf had killed his pet unicorn. But werewolves, Quentin points out, have no memory of what they do. This somehow proves that he is Count Petofi, and Petofi fesses up and gives them only a short time to bring him the hand. Evan is too frightened to assist. But he admits that Tim Shaw has the hand. Back at Collinwood, Petofi tells Jamison that he’s leaving Collinwood and kisses him on the cheek. Quentin and Magda enter, reporting that the hand is missing. Petofi orders them to get it. To vex them, Petofi chuckles that he’s left them a gift that he might undo if the return his hand. After Petofi exits, Jamison reappears, possessed by the count!

This episode was shuffled around for the moon landing (airing the day after Neil Armstrong set foot on the lunar surface), and nothing could be more ironic, given that it features a psychological duel between a werewolf and an ex-werewolf. With the proper introduction of Count Petofi, we finally get DARK SHADOWS most complex and unpredictable character. Don’t let literary snobbery lead you astray just because he’s of the comic book variety. Thayer David has what must have been the time of his life with this broad, pompous, humane, compassionate, ruthless, and lovingly amoral anti-hero. As much literary weight as I place on Barnabas and Angelique, the execution of Count Petofi may be the series’ boldest and most innovative move since Barnabas came out of the coffin. Buckle up!

On this day in 1969, ‘marching season’ rioting forces many families in Belfast to flee their homes.

Wednesday, July 13, 2016

The Dark Shadows Daybook: JULY 12


By PATRICK McCRAY

July 12, 1966
Taped on this date: Episode 22

Burke visits Maggie at her cottage looking for Sam. His business is private, but Maggie asks if it’s about the accident. She drops her cup when she hears him say they think it was attempted murder. At the Inn, Sam visits with Roger, much to Roger’s reluctance. He wants to know about Burke, and if he had to do with Roger’s accident. Roger explains about the wrench incident. Roger had planned to buy him out of Collinsport, but now he’s determined to send him to join him. Roger says that only he and Sam really know what happened ten years ago, and with one dead, the other needn’t worry. Sam returns to the cottage, and Burke asks if Sam still has a grudge. Sam berates Maggie for speaking about him, and Burke suggests that his life and Burke’s extremely connected. Burke says he has no interest in his private life. He just wants to commission a portrait. A $1000? Sam refuses, but Maggie persuades him otherwise. He wants it to go over the Collinwood mantle. At Collinwood, Joe calls for Carolyn. She’ll see him... after she sees Roger. Roger arrives, looking for the constable. He’ll be arriving soon. Carolyn is worried that he’ll have Burke arrested. Roger confirms that he wants to see Burke as far up the river as possible. Carolyn is ambivalent. Where’s the proof? Roger is incensed and goes to Vicki. Carolyn follows, pleading Burke’s case. Tempers flare, and Roger charms her into submission. It’s clear that it’s just an act, though.

Highlights include Burke’s masterfully ominous intentions behind the commissioning of his new portrait, followed by Louis Edmonds’ handling of his final scene with Carolyn. It’s a scene of terrific range. Edmond’s charm rests in his ability to lie his way from A to Z and have us go with it, even though we know he’s full of monkeyfeathers. Being lied to by Roger is the price of admission for basking in his wonky majesty. As the new waitress at the Inn, meet Colleen Kelly. Her other claim to fame is appearing in CORONET BLUE, a thriller television series created by Larry Cohen, auteur behind Q, THE STUFF, and IT’S ALIVE.

(Episode 12 aired on this day.)


July 12, 1967
Taped on this date: Episode 286

Barnabas starts the episode with just about the best night of his life as Vicki asks if he would mind if she stayed the night. As an orphan,kinship to Josette gives her identity. As they discuss Josette, she asks from whom she was running. Barnabas claims that she was running from Jeremiah Collins. Perhaps Josette never understood him or his love. This pulls Barnabas into a guilt-fueled memory. He once again gives Vicki the chance to go, but she insists on staying. She goes to sleep in Josette’s room, and downstairs, Willie reports finding a child’s ball in the basement. He again describes a child like Sarah having been seen around. Perhaps she left it. Barnabas goes to investigate. Sarah’s voice, singing ‘London Bridge,’ awakens Vicki, but no one is there. She wanders downstairs, and Willie is alarmed to find that she wants to stay there. Barnabas overhears him give yet another warning to a lady and puts the kibosh on his attempt to shuffle Vicki away. She reports to Barnabas about the voice and the singing.  He reassures her that things are fine and sends her upstairs. Later, Willie asks about the little girl, and Barnabas cannot deny the existence of the ball. Willie then admits that he was trying to warn Vicki about Barnabas. Willie pleads for him not to harm her, and it’s clear that Barnabas is wracked with conflict over how to treat her. Alone, Barnabas enters her room and leans over the bed.

DARK SHADOWS is many different shows. If you’re looking for a tight, melancholy study in change, guilt, desire, and self-discovery, then look no further. Great storytelling is about change, and Vicki, Barnabas, and Willie all show wonderful moments of it. She’s embracing Josette. Willie is taking ownership of how protective he’s become, no matter the consequences. And Barnabas is faced with his most unique crisis of conscience -- what do you do when Josette shows up and is willing? Set against candlelight and thunder, the haunting voice of Sarah Collins, and all that her memory conjures, perfects the episode. Again, when people wax nostalgic about the dark, early days of the show, this is the kind of episode they’re talking about.

(Episode 273 aired on this day.)


July 12, 1968
Taped on this date: Episode 544

Stokes arrives, greeted by Nicholas Blair. It’s a polite standoff. Stokes has books that have aroused Blair’s curiosity. As Stokes mounts the stairs, Blair asks him about a man named Adam. He claims he was a humorless missionary. Carolyn enters, and Blair leaves. She says that Adam may have to leave. Harry Johnson slipped the latch and made Adam attempt to kill him. He may need to leave -- Adam is becoming attracted to Carolyn. Stokes visits Adam, and their exchange is articulate. Adam is thrilled with the books and writing pad. Stokes tells Adam to focus on studies, first, and Carolyn, second. She comes upstairs, telling Stokes that Julia is looking for him. He goes to see her while Carolyn visits with Adam, to ensure that his ardor has abated. The moment she goes to fetch him food, he returns to his romantic rhapsodies, very clearly writing her name. Downstairs, Julia tells Stokes that it’s crucial to find Adam. Stokes wants information in exchange. What of the last line of the riddle? And why would Barnabas ask to be buried illegally? And what of the strange connection between Barnabas and Adam. Julia does a lot of denying and looking indignant. Stokes drops the bomb that he knows that Adam is synthetic and that Barnabas is deeply connected. He then leaves. In the woods, Nicholas summons the spirits of those whose limbs were used to create Adam. In his room, Adam grows agitated. Carolyn delivers food and yet he is faint. In the woods, Nicholas’ summoning is successful. Two phantoms appear. One man headless and bleeding. One man armless. He commands them to lead him to Adam. They point to Collinwood.

Nicholas Blair Occult Fu A Go Go! In summoning a headless man with a bleeding torso, I can only hope that Dan Curtis also summoned some kind of elaborate bribe for standards and practices. I can’t see how this made it onto the air, otherwise. I used to think that mothers who kept their kids from watching the show were being worrywarts. Now? This is two steps away from Tobe Hooper, and all I can do is ask for more. Barnabas and Julia get away with so much on the show because no one is paying attention. When we see that Stokes actually is, our reaction is as stunned as Julia’s. Hero of the Beach: Eliot Stokes. And let’s not forget that one of our amputees was none other than David Groh, Rhoda’s husband on RHODA, as well as an actor with one of the richest guest-star resumes I’ve ever seen. Up to and through THE X FILES!

(Episode 535 aired on this day.)


July 12, 1969
Taped on this date: Episode 801/802

1897.Fenn-Gibbon apologises to Magda for Aristede’s petulance. As he serves Magda a drink, she sees in his cuff button the mark that was on Julianka’s forehead. Quentin wrests his artificial hand off, and the truth is known; he is Count Petofi! His hand was sawed off a hundred years prior as payment to cure him of lycanthropy. He then explains that the saddest day of the Count’s life was when he woke to find that a wolf had killed his pet unicorn. But werewolves, Quentin points out, have no memory of what they do. This somehow proves that he is Count Petofi, and Petofi fesses up. He even cuts himself to prove to Magda that he is no ghost, as she assumes. Petofi gives them only a short time to bring him the hand. Quentin holds him at knifepoint and demands to know how he was cured. Petofi simply slaps the knife from his hand, and explains that everything has a price. Quentin has much to learn. Petofi leaves, and Magda recalls that Evan has books on Petofi and the hand. Quentin must make amends with Evan to find out more. Alone in his home, Evan remains terrified of the hand. He eagerly greets Quentin, who leans on him for help, but Evan is too frightened to assist. But he admits that Tim Shaw has the hand. Quentin reports this to Magda, including that Tim has left town on the evening train. They are powerless now, it seems. Back at Collinwood, Petofi tells Jamison that he’s leaving Collinwood, but may return. Jamison is overcome with affection for Petofi, and kisses him on the cheek. Jamison departs as Quentin and Magda enter, reporting that the hand is missing. Petofi orders them to get it. To vex them, Petofi chuckles that he’s left them a gift. He may return when they have the hand, and at that point, he might undo his mischief. He’ll be watching. Jamison appears, seemingly possessed by Petofi! He even has his hands in gloves… a sure sign that Petofi is in the house!

This episode was shuffled around for the moon landing, and nothing could be more ironic, given that it features a psychological duel between a werewolf and an ex-werewolf. With the proper introduction of Count Petofi, we finally get DARK SHADOWS most complex and unpredictable character. Don’t let literary snobbery lead you astray just because he’s of the comic book variety. Thayer David has what must have been the time of his life with this broad, pompous, humane, compassionate, ruthless, and lovingly amoral anti-hero. As much literary weight as I place on Barnabas and Angelique, the execution of Count Petofi may be the series’ boldest and most innovative move. Buckle up!
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