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Showing posts with label Mark Passmore. Show all posts
Showing posts with label Mark Passmore. Show all posts

Thursday, June 14, 2018

Now available: Maggie & Quentin - The Lovers' Refrain



A lot of new DARK SHADOWS dropped earlier this week, courtesy of the gang at Big Finish. The producers have fully embraced the new anthology format that has become the series standard since the release of "Echoes of the Past" in the summer of 2016. Rather that stagger individual tales throughout the year, the company is now giving us omnibus collections that feature multiple actors and creators.

Now available is "Maggie & Quentin - The Lovers' Refrain," a four-disc collection of stories starring, naturally, Kathryn Leigh Scott and David Selby. I'm still making my way through the collection (expect to read some reviews here next week) but so far it's been appropriately gothic.

You can listen to the trailer for "Maggie & Quentin - The Lovers' Refrain" below, or jump to the Big Finish podcast to listen to the first 15 minutes of it free HERE.

"Maggie & Quentin - The Lovers' Refrain" is available directly from Big Finish on compact disc or digital download HERE.



"The Girl Beneath the Water" by Lila Whelan

“If I don’t leave now something will try and stop me! Don’t you see what’s happening here? Something doesn’t want us to leave.”

As Maggie Collins welcomes her children home to Collinwood to celebrate her husband Quentin’s 65th birthday, she is blissfully unaware of the cruel magic at work underpinning the heartwarming scene. In a battle for reality, Maggie and Quentin must come together to protect their children against an ancient magical force that knows no mercy. But in doing so, they risk losing everything they love. For who can be trusted when you can’t trust yourself?

"The Sand That Speaks His Name" by Mark Thomas Passmore

"'Abandon all hope, ye who enter here…’ Just the standard disclaimer - nothing to worry about."

A mistake from Quentin’s past casts a dark shadow over his and Maggie’s weekend getaway in New York City. A Golem is loose, threatening innocents and only Quentin knows how to stop it. But first, he must learn how and why the creature has come back to life, a task which takes Maggie and Quentin on a quest through the hidden supernatural network of the Big Apple. Will Maggie’s foray into the perilous life Quentin used to live drive an irreparable wedge in their relationship? Will the rampaging Golem give them the chance to find out?

"The Hollow Winds That Beckon" by Cody Schell

“Ghosts. The seas are haunted. By the spirits of men - and women - who left land searching for something or other. A new land. Treasure. A new life. They keep searching.”

A sunny day of fishing is interrupted by dark clouds as Quentin and Maggie find themselves swept up in events beyond their understanding. They’ll do their best to escape a mysterious island, even if their failure means joining those who have failed before them - the ghosts on the waves.

"The Paper to the Flame" by Alan Flanagan

“Down by the salley gardens my love and I did meet / She passed the salley gardens with little snow-white feet...”

When a group of Windcliff patients start chanting a centuries-old song, Maggie and Quentin investigate - and find themselves drawn to an abandoned town with haunted streets and a fire burning deep below. There they must face an enemy far stronger, and far more unhinged, than they could ever have imagined - one with a grudge that stretches into both their pasts, and will have a profound effect on both their futures...

Wednesday, May 20, 2015

DARK SHADOWS audio dramas nominated for two Scribe awards


A pair of DARK SHADOWS audiodramas from Big Finish have been nominated in the "Best Audio" category in this year's Scribe Awards.

The Scribe Awards are presented by the International Association of Media Tie-In Writers to recognize licensed works that "tie in" with other media such as television, movies, gaming, or comic books. This year, the IAMTIW has nominated Mark Thomas Passmore's "The Devil Cat" and Nev Fountain's "The Darkest Shadow."

Also nominated were:
All five a Big Finish productions, for those of you keeping score.

The Scribe Award winners will be announced at ComicCon San Diego in July. Click HERE for a full list of nominees, a list that curiously features the no loner living Mickey Spillane.

Fountain previously won a Scribe for the 2012 DARK SHADOWS episode "The Eternal Actress." That episode starred Donna McKechnie, who also appears in "The Darkest Shadow."

Monday, April 7, 2014

DARK SHADOWS audiodramas nominated for SCRIBE award


Congratulations to Mark Thomas Passmore and Cody Quijano-Schell, who have been nominated by The International Association of Media Tie-In Writers for their work on Big Finish's DARK SHADOWS audiodramas in this year's SCRIBE AWARDS.

DARK SHADOWS: THE PHANTOM BRIDE and DARK SHADOWS: THE FLIP SIDE face off against a third Big Finish audiodrama, BLAKE'S 7: THE ARMAGEDDON STORM, by Cavan Scott and Mark Wright, in the "Best Audio" category.

Passmore and Quijano-Schell discussed DARK SHADOWS last year on the The Collinsport Historical Society Podcast. Passmore detailed the on-going adventures of Tony Peterson and Cassandra Blair HERE, while Quijano-Schell spoke about writing Carolyn Stoddard's last stand at The Blue Whale HERE.

The winners of this year's SCRIBE AWARDS are scheduled to be announced in July during Comic-Con International in San Diego, Calif.

Last year's winner in the audio category was also a DARK SHADOWS release: THE ETERNAL ACTRESS, written by Nev Fountain.

Monday, September 23, 2013

VIDEO VIVISECTION: The tragic end of Joe Haskell

(Note: THE DARK SHADOWS DIARY project has put an uncomfortable distance between me and the best moments of the series. I've spent so much time in 1966 that the color episodes have come to look a little strange. For someone running a DARK SHADOWS blog, this isn't an especially good place to be ... so, I thought I'd invite some friends to join me in a look at a single episode from later in the show. - WALLACE McBRIDE)

 
Episode 613, Oct. 23, 1968
“The hour of dawn lingers far out at sea beyond cliffs of Collinwood, as though reluctant to bring the light of day to the land around the ancient house, sensing perhaps that an endless dark is more suited to the evil deeds that could be done this day, when two men trapped by the same unearthly force become tangled in a plot that could mean the destruction of one or the other.”
WALLACE McBRIDE: For me, this episode has always felt like a turning point of sorts. Joe Haskell certainly isn’t the first character written out of DARK SHADOWS, but his exit is among the most brutal in the show’s 1,125-episode run. In a matter of weeks, Joe went from being one of the show’s few incorruptible points of light (Maggie being the other) to a tormented, violent maniac. Has any other character on the show ever been brought this low?

There’s a lot going on in this storyline, but we get only a small glimpse of it in this episode. Under the guidance of Angelique, Barnabas Collins kicks off the episode by trying to give poisoned medication to Joe, who has fallen under the thrall of the vampire/witch. At this point in the storyline almost everyone has become a pawn in someone else’s game: Barnabas and Joe are being manipulated by Angelique, who is the unwilling servant of warlock Nicholas Blair. Adam and Eve are running games of their own, as is Harry Johnson (and probably a few others I’m forgetting.)

Surprisingly, almost none of these characters play a direct role in this episode.  There are a few oblique references to them sprinkled throughout, but the story focuses intently on the ebbing credibility of Barnabas Collins and the madness of Joe Haskell. If this was your first episode of DARK SHADOWS, you probably had no idea why these people were trying to murder each other. To actor Jonathan Frid’s credit, though, it should be obvious to any viewer that his character is a liar.


MARK THOMAS PASSMORE: My first thought viewing this episode was that Barnabas is a terrible liar. His nose practically grew with each line he spoke. Julia must be blind as a bat!

It would be easy for me to dismiss this as part of the “larger than life theatrical acting” the series was sometimes known for. Except that Jonathan Frid showed a subtler performance underneath his deepening lies - that of Barnabas’ conflict, knowing right from wrong and having no choice but to obey Angelique’s order to kill Joe Haskell. To me, this was a classic moment for viewers to see what made Barnabas Collins a different kind of vampire and the idol of thousands in the 1960s and beyond - that “special angst.”

Then again - Jonathan may have just been terrified that day. Either way, the “mojo” of “Frid/Barnabas” works in this episode.

The other thing that struck me was the difference in acting styles between the seasoned stage performers such as Jonathan, Grayson Hall and Clarice Blackman and the younger Kathryn Leigh Scott and Joel Crothers. Both sides give competent performances, but KLS and Joel’s felt natural - as if there were no camera in the room while they exposed their inner most feelings. The other three, while not overacting, did make everything clear so the audience wouldn’t have to work hard to “get” their meaning. Heck, they were called soap operas for a reason, and in that era the average viewer of soaps were housewives usually busy doing other things. Try to watch a modern soap opera this way and you’d be lost. What a contrast of performances this series had between the vets and newbies! Maybe that was part of the magic and another key to the program’s success.

Kudos to KLS in this episode, who conveys so well that she still loves Joe and always will, despite all that has happened to their relationship. 


PATRICK McCRAY: There are moments when the writers and actors had to know that a scene would be -- with just a tweak -- total farce, and the opener, when Julia catches Barnabas, is a great example.  Yes, Barnabas is a wonderfully bad liar, and we're lucky that Julia is an equally poor judge of character.  If this strikes us now, it had to strike the actors and writers, too.  I still contend that they did their work seriously, but every now and then (but not as frequently as the show's critics might suggest), they allowed themselves to so explicitly have it both ways.  It only gets compounded by Julia then trusting Barnabas completely to care for Joe through the night.  Even if he's not murderous, he certainly has depicted himself as  incompetent, tired, and confused as to the time of day.  When she tells him not to fall asleep, all I could think of was, "Those tiki torches must remain lit, Gilligan."

It's interesting to compare the two acting styles.  The episode really puts that on parade.  It would be interesting to see the actors (adjusting for age) switch parts.  How would Frid have handled playing a character with all of Joe's given circumstances?  I think we can all predict it, but it would still be an interesting experiment. 

I love this sequence of the story because it gives Crothers another chance to show off his chops.  For me, he steals 1795, and I'm glad they took his character here because after Nathan Forbes, he's a total waste as a normative character.  But I wish he'd stuck around and become reincarnated into other characters.  As an actor, he is somewhere between David Selby and Christopher Pennock.  He's got their virility, as well as the strategic playfulness of Selby and the feral energy of Pennock.

Most Dark Shadows episodes aren't really self-contained, and the same is true for most soaps.  They kinda start and kinda stop rather than dramatically begin, peak, and end, if you know what I mean.  For me, this defies that structure a bit.  Look at the palindromic nature of the storytelling... both men, wrestling with curses and inner-demons, trying to murder the other in sleep.  I really liked that symmetry.

____________________________________________________________________________

* WALLACE McBRIDE is the editor of The Collinsport Historical Society.  

* MARK THOMAS PASSMORE is the writer behind a number of DARK SHADOWS audiodramas published by BIG FINISH. 

* PATRICK McCRAY is the mastermind behind THE COLLINS FOUNDATION.
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