February 2023 – Dark Shadows Commentary

Episode 177: The glare of our scientific era

Maggie Evans, The Nicest Girl in Town, is at her job running the restaurant in the Collinsport Inn. Not that she’s working, exactly. There are no customers; the only other person there is her boyfriend, hardworking young fisherman Joe.

They’re hugging and kissing, and Joe is bringing up the idea of marriage. Maggie doesn’t think they can get married, since she has to look after her father, drunken artist Sam. Joe doesn’t think that is much of a problem. In previous episodes, we’ve seen that Joe likes Sam and doesn’t mind helping Maggie with him. He does say that he would rather Sam not come along on their honeymoon, and suggests that Sam might be ready to cut back on his drinking. Maggie isn’t getting her hopes up.

Flighty heiress Carolyn comes into the restaurant and asks to speak with Joe privately. Carolyn is Joe’s ex and Maggie is worried the two of them will get back together, but since she only wants to go to a table where they will be in Maggie’s line of sight she goes along with the idea. We do see Maggie looking vigilantly at them while they talk.

As it happens, Carolyn isn’t trying to win Joe back. She wants him to help Dr Peter Guthrie, visiting parapsychologist, in his efforts to determine whether her aunt, Laura Murdoch Collins, is the reincarnation of two women who died by fire in 1767 and 1867. Guthrie hasn’t told Carolyn what exactly he is planning to do, but he has said he needs the help of a strong young man and that what he is going to do is “not strictly legal.”

Carolyn leads off by telling Joe that she is going to ask him to do something to help her mother, reclusive matriarch Liz, who is in the hospital with a mysterious ailment. Joe immediately agrees to do anything that will help Liz. When she starts explaining that she wants him to work with Guthrie, and that Guthrie is a parapsychologist, Joe is incredulous. At length, he reluctantly agrees to go, and to keep what he will do secret from everyone, even Maggie.

When he tells Maggie that they have to cancel their date so that he can go to Carolyn’s house, she is dismayed. He assures her that he is not getting back together with Carolyn, but that Carolyn made him promise to keep it a secret just what he will be doing. Maggie vows to fight if Carolyn does try to take him back.

This scene is the current phase of Dark Shadows in a nutshell. It appears to be a more-or-less typical daytime soap opera of the sort you would see on American television in February of 1967, where good-looking young people in wholesome, everyday settings struggle about who will have a conspicuously chaste romance with whom. That’s what Maggie thinks she is watching when she keeps her eyes on Joe and Carolyn.

But in fact the series is heading towards becoming a full-time supernatural thriller, and stories like those are going to be tossed out and left by the roadside before long. That development doesn’t bode well for Joe and Maggie. Joe tells her today that their relationship is “the simplest thing in the world”- he loves her, she loves him, that’s all you need. Of course, a couple is only allowed to be on screen in a soap opera if they are participants in a conflict of some kind, and are only the main figures in a storyline if they are in conflict with each other. But the show Maggie thinks she’s on might supply them with conflicts that would make sense to the sensible, practical-minded people she and Joe are written to be.

When they start dealing with ghosts and fire witches and who knows what else, Maggie and Joe will have a limited amount of time to show us how level-headed real-world people might react to supernatural crises. Once they’ve exhausted that theme, they will have either to adapt to their new surroundings and become different sorts of people or to leave the show. The prospect of reconceiving the characters might be good news to the actors Kathryn Leigh Scott and Joel Crothers. But Maggie and Joe would be appalled to hear that they will have to discard their personalities and invent new ones, and Joe’s alarmed reaction when Carolyn starts talking about parapsychology is a foretaste of what the characters will be going through as this comes upon them.

As the show’s representatives of Collinsport’s working class, Joe and Maggie are the designated representatives of daylight sanity. From the first week of Dark Shadows, we’ve known that Carolyn and the other residents of the great house of Collinwood are in too close proximity to the supernatural back-world of ghosts and ghoulies for that kind of attitude to be possible.

That contrast is dramatized in three moments in today’s show. In the opening portion, Carolyn and Dr Guthrie spend approximately 500 hours* in the drawing room of the great house recapping all the uncanny elements of the current storyline. When Guthrie asks Carolyn if she has considered the idea of reincarnation, she says that she has considered it and dismissed it. When he starts in with an explanation of how the idea of reincarnation connects to their conflict with Laura, Carolyn is all in.

When Carolyn is in the restaurant telling Joe about Guthrie the parapsychologist, Joe says he is surprised she is taking this sort of thing seriously. “I always thought you were a level-headed girl.” Regular viewers may be startled by this comment. In the last few weeks, Carolyn has had to take over her mother’s duties as head of the household and of the family business, and has shown some maturity in discharging them. But the whole time Joe and Carolyn were a couple, she was fickle and irresponsible to the point of madness. In this context, where Joe is conscious of Maggie’s eyes on him and is trying to project a particular image of himself, he rewrites the history of his relationship with Carolyn. He isn’t the sort of fellow who would spend years chasing after a flighty heiress- he is a sensible man who would only ever be involved with an equally sensible woman. That self-image is going to take a beating as he participates in the kinds of stories we’re going to see from now on.

In the last scene, Joe is in the drawing room and Guthrie puts the same question to him that he had earlier put to Carolyn- has he thought about the idea of reincarnation? Joe says he’s never thought about it, and flatly refuses to entertain the notion. Finally he absorbs Guthrie’s request that he help open the graves of the previous Laura Murdochs, but he never says he believes in reincarnation, and he never shows the enthusiasm that Carolyn has for Guthrie’s theories. Carolyn can afford to be enthusiastic- she’s lived in the great house all her life, and so has never been more than one step away from the unearthly. But Joe is giving up a substantial part of his identity by even being in the same shot as Guthrie, and once he shows up with a shovel in a graveyard at night, the Joe we’ve known will be on his way out.

*The counter on my computer says the scene between Carolyn and Guthrie in the drawing room lasts only 6 minutes and 44 seconds, but I’m sticking with my estimate of 500 hours.

Episode 176: Hearts of flame

In his 1957 novel David and the Phoenix, Edward Ormondroyd depicts a friendship between a benevolent Phoenix and a preteen boy named David. The Phoenix’ enemy is a bespectacled man known simply as The Scientist. At the end of Chapter 8 (“In Which David and the Phoenix Visit a Banshee, and a Surprise is Planted in the Enemy Camp,”) the two of them play a nasty trick on The Scientist which temporarily disarms him. In Chapter 9 (“In Which David and the Phoenix Call on a Faun, and a Lovely Afternoon Comes to a Strange End,“) the Phoenix warns David that he will be back:

He could not help laughing now and then over the Scientist’s defeat. But whenever this came up, the Phoenix would shake its head with a kind of sad wisdom.

“My boy, there are certain things, such as head colds and forgetting where you have left your keys, which are inevitable—and I am afraid that the Scientist is, too.”

“Oh, Phoenix, you don’t think he’ll come back, do you?”

“Yes, my boy, I do. I can see the whole train of events: He will recover from his fright. He will be curious about the Wail, and will return to investigate it. Once here, he will remember us, and we shall have to take him into account once more.”

“Oh. Do you think it’ll happen soon?”

“Oh, no, my boy, nothing to worry about for the time being. But we must remember that it will happen some day.”

“Yes, I guess you’re right. I think he’s hateful!”

“I cannot disagree with you there, my boy. Of course, I have no doubt that, in general, the advancement of science is all to the good. Knowledge is power. But on days like this I sometimes wonder…. Does it not seem to you that the highest aim in life at the moment is to enjoy the sunlight and allow others to do the same?”

“You’re right, Phoenix—but then, you always are. I was just thinking the same thing. It’s funny … I mean … well, you know. Why can’t people leave other people alone—and—and—well, just enjoy themselves and lie in the sun and listen to the wind?”

“That is the way of the world, my boy. Getting and spending, and all that sort of thing. But come! Why should we worry over the follies of the rest of the world? A day like this was made for living, not thinking. Begone, dull care!”

And they would forget the Scientist and watch a pair of butterflies chase each other instead.

Dark Shadows’ Phoenix is the none-too-benevolent Laura Murdoch Collins, and its David is her son. Laura has not told her David of her true nature. She desperately needs to persuade him to leave his home and to follow her into the flames of her next pyre. Evidently she has to be sparing about the details of what she has in store for him if she is to win him over. So in our story, David will not help the Phoenix do battle with The Scientist.

We open today with Laura staring hard into the flames of the hearth in her cottage on the great estate of Collinwood, casting a spell on her enemy. This enemy, like the one Ormondroyd’s Phoenix confronted, is a scientist, but he has a name. He is Dr Peter Guthrie of the psychology department at Dartmouth College, of all places.

Guthrie is in the drawing room of the great house, some distance away, stumbling about and gasping under the pressure of Laura’s spell. Well-meaning governess Vicki enters and urges Guthrie to “snap out of it!” He tells her that he can’t, and continues writhing about while Laura’s staring eyes are superimposed above his image.

All seems lost for Guthrie, when David strolls into Laura’s cottage and calls to her. She doesn’t react. David finally puts his hand on his mother’s shoulder and shakes her, breaking her concentration. At first she wants him to go away so that she can resume casting her spell on Guthrie, but when he becomes angry she asks him to stay. She has been saying that she has very little time to complete the task that brought her to Collinwood- evidently she is not sure she will have time to repair even one quarrel with David.

In the great house, Guthrie is recovering. Vicki tells him that his symptoms are those which reclusive matriarch Liz exhibited shortly before she lapsed into a catatonic state from which she has yet to recover. They are sure that Laura is responsible. David returns and they talk with him. They realize that he interrupted Laura while she was casting a spell. David goes off to have a dinner which will be followed with two desserts- cake and ice cream. Vicki and Dr Guthrie are starting to make a plan to oppose Laura when the front doors of the house fly open and reveal her standing there.

Laura’s appearance in the doorway is a very effective moment. It seems that Laura has come to the house to intimidate Vicki and Dr Guthrie, to show that while he may have escaped her spell and they may have learned something about her methods, she can move so much more quickly than they can that they are after all helpless against her. Once that point has been made, there isn’t much reason for the episode to go on.

Diana Millay and John Lasell do what they can with the scene between Laura and Guthrie in the drawing room, which is a lot- Millay was superb at blitheness, John Lasell at conscientiousness, and those are the notes their characters strike throughout the exchange. But the lines don’t make any sense. Guthrie asks Laura if she isn’t surprised to see him up and around- why would she be? He knows that she was interrupted before her spell could be completed. He tells her what he does and doesn’t know about her supernatural powers. Why would he tip his hand that way? He tells her that once he has figured her out, he plans to reveal his knowledge to the world. So he is letting her know that he hasn’t revealed anything yet, and won’t reveal anything or recruit any allies if she can stop him before he gets all the answers. Guthrie has been represented as a shrewd operator up to this point- apparently the spell Laura started casting on him has knocked his IQ down by three or four standard deviations.

Another question that comes up when we see Laura confronting Vicki and Dr Guthrie in the foyer is why she doesn’t attack Vicki. It was Vicki, through her boyfriend Frank, who brought Guthrie to Collinwood. Flighty heiress Carolyn is temporarily in charge at Collinwood in the absence of her mother Liz, and Carolyn is dependent on Vicki for a hundred things. Carolyn is an opponent of Laura’s and would likely be immobilized if Vicki were out of action. Laura’s estranged husband, Roger, relies on Vicki to look after David, and would be even more eager than he already is to get rid of David if he had to take care of the boy himself. Laura’s sometime boyfriend, dashing action hero Burke Devlin, is the closest thing she has to an ally. Vicki has some influence over Burke, and has used it to bring him to question whether he ought to trust Laura. In every connection, Vicki is Laura’s chief adversary. Yet Laura has not attacked her directly, and the show has not explained why she hasn’t.

It isn’t like they don’t have time to develop a story point that would explain this. They have had as many as three episodes in a row (for example, #161, #162, and #163) which consisted entirely of conversations in which characters recapped conversations from previous episodes, conversations which themselves were nothing but recap of still earlier episodes. They could have dumped some of that recap and shown us some kind of event that would have explained why Vicki hasn’t yet been a target of Laura’s power.

Episode 175: A few simple facts

Parapsychologist Peter Guthrie calls on blonde fire witch Laura Murdoch Collins at the cottage where she is staying. He tells her that the charred remains of an unknown woman found in the burned ruins of her apartment in Phoenix, Arizona have inexplicably vanished from the morgue where they were being kept. Laura reacts to this news with shock. Guthrie asks her why the news means so much to her. She denies that it means anything to her, and demands he leave. She warns him that something will happen to him if he doesn’t leave her alone. He asks what she means by this warning, and she refuses to answer.

Guthrie was usually rather quiet and retiring from his second appearance, in #161, until yesterday. He first showed anger then. He’s agitated again at the beginning of today’s episode, and he holds his ground with Laura. Evidently he is ready for a confrontation.

Dashing action hero Burke Devlin charges into the cottage. He is rude to Guthrie, who makes a few pointed remarks and then leaves. Burke takes over asking Laura questions she won’t answer. When he too leaves, she looks exhausted. She hastens back to the hearth and sits by the fire, which seems to be the source of her energy.

Guthrie returns to the great house of Collinwood. He calls for well-meaning governess Vicki. Then Laura’s face is superimposed on the screen. Guthrie wobbles, takes his glasses off, and falls down.

Yesterday, we saw that Guthrie was considering the same three explanations of Laura’s relationship to the supernatural that the audience had in mind when we had the same information he has now. Perhaps a supernatural force has followed her to Collinwood and is doing things she knows nothing about. Perhaps a supernatural force is attached to her and acts on her unconscious impulses without her knowledge. Or perhaps she herself is the force, and is actively making the strange goings-on go on.

Today, Guthrie takes an interest in Laura’s reaction to the news of the vanishing corpse. A focus on this reaction makes us wonder just how Laura works. We have gathered that she is a humanoid Phoenix, who achieves a cyclical immortality by periodically incinerating herself at some point before reappearing as a living being. We also know that the charred remains of two other Laura Murdochs who died by fire were buried in the town of Collinsport in previous centuries- the body of Laura Murdoch Stockbridge in 1767 and of Laura Murdoch Radcliffe in 1867.

Now it is 1967. The corpse in Phoenix had been identified as Laura Murdoch Collins, and has disappeared. Perhaps we are to gather that when the humanoid Phoenix incinerates herself, she initiates a multi-stage process. The fire separates the woman into a dead body and a living Doppelgänger. The Doppelgänger is surrounded by magical occurrences, and as she gathers strength she is able to direct these magical occurrences to bring the process to its climax. Laura’s shocked reaction to the news that the body has disappeared, coupled with her signs of tiredness and her repeated assertions that she is running out of time, suggests that the disappearance of the body is an event outside her control. It marks the end of one stage of the process and the beginning of another. Evidently it means that Laura has even less time to complete her task than she had thought. If that is how it works, then we would expect that the charred remains deposited in the grave of Laura Murdoch Radcliffe and in the tomb of Laura Murdoch Stockbridge would also have vanished, and that the coffins in those places would also be empty.

Episode 174: I can’t say it hasn’t been weird

Parapsychologist Peter Guthrie has been doing a lot in the three weeks since he first appeared on Dark Shadows, but today is the first time we see him upset. He made an audio recording of the séance that he organized in the great house of Collinwood last week, and now blonde fire witch Laura Murdoch Collins has erased the tape and replaced it with the sound of fire crackling.

Dr Guthrie tells his friend, instantly forgettable young lawyer Frank Garner, that he isn’t sure exactly what it means to say that Laura erased the tape. Maybe there is some supernatural force that accompanies Laura but acts independently of her. Or maybe the force is one that grants her wishes, perhaps without her knowing it. Or maybe she herself is actively doing the strange things that everyone has been puzzling over lately.

When Laura first came on the show, the audience was invited to weigh these same three alternatives. She was mysterious in speech, vague in manner, and ethereal in appearance. She seemed to be in more than one place at a time, and to conduct herself very differently in each place. She ate nothing, drank nothing, had no material possessions, and spent most of her time sitting motionless, staring into the fire.

Recently, Laura has become a more substantial being. We’ve heard her make threats and seen her cast spells to carry them out. She has materialized in rooms, but then gone on to join conversations in other rooms. She has met with other characters and planned strategies. We still haven’t seen her eat or drink, and it is still hard to get her attention when she’s by the fire. But she gets so agitated when she talks about how little time she has to achieve what she must do that she seems to be quite corporeal. So we are leaning pretty heavily towards Option 3, but it is interesting to see that Dr Guthrie’s view of Laura today is what ours was a month ago. That does make sense- his knowledge of her now is about what ours was then.

The idea of Laura is an interesting one, but her story is developed at the slowest possible pace. They’ve been filling time lately by harking back to story points from the early weeks of the show that didn’t lead anywhere when they were first introduced, and then giving us a scene or two in which they still don’t lead anywhere. Today, I was afraid this was about to happen again. Hardworking young fisherman Joe comes to the house to deliver some papers, and has a conversation with flighty heiress Carolyn. When Dark Shadows started, these two characters had been dating for a long time. They were bored with each other, and the audience was bored whenever the camera was pointed at them. They gradually broke up, and now Joe is seeing Maggie, The Nicest Girl in Town. For a couple of minutes, it looks like we are about to have another scene in which Carolyn tries to start their relationship back up, leading to an endless recap of what happened between them to end it.

But that isn’t what happens at all. Instead, we have a sequence in which Carolyn and Joe talk about what is going on in their lives now and how they feel about it. Their attitudes towards their past influence that, but the main point is that Carolyn is more mature than she has ever been and Joe is more independent than he has ever been. If you were to analyze it in terms of plot points, you’d have something like “Joe offers to be Carolyn’s friend. She considers this offer from several points of view. He tells her that don’t have to be friends if she doesn’t want to be. She seems to want to be.” Hardly the stuff of a stirring adventure tale, but as they play it, the exchange goes a long way towards explaining why we care about these people. Carolyn was often exasperatingly selfish and impulsive in the early months of Dark Shadows, and Joe was such a one-dimensional Mr Nice Guy that you couldn’t imagine him doing anything to surprise an audience. But the woman and man we see today have real feelings and real problems, and a story about them could be exciting.

In the first week of Dark Shadows, we had a couple of brief glimpses of the administrative offices of the Hammond Foundling Home, a fictional institution in New York City where well-meaning governess Vicki lived before she came to Collinwood. A few times since, there have been scenes set in the town of Bangor, Maine. Today, we leave the northeastern USA for the first and only time in the entire series. They take us to Phoenix, Arizona.

A street in Phoenix, Arizona, where each car is driven by an office worker carrying money she has embezzled from an obnoxious guy in a cowboy hat.

The Phoenix police got their sign from the same place as the Collinsport sheriff’s office

Two policemen are filling out papers in an office there. One we have seen before. He is Lieutenant Dan Riley of the Maine State Police, and he has been hanging around asking Laura what if anything she knows about a woman whose charred corpse was found in what was left of her apartment in that city after it burned to the ground. The other is Lieutenant Costa of the Phoenix police.

Lieutenant Costa had been convinced that the woman who died in the fire was Laura Murdoch Collins, and all the scientific evidence his department has been able to gather has confirmed that identification. But of course there is a woman living in Maine who can also be proved to be Laura Murdoch Collins, so the authorities have decided to bury the remains as a Jane Doe.

Regular viewers might be puzzled as to why Lieutenant Riley had to go all the way to Arizona. The Phoenix police had a body to identify, and Riley asked Laura some questions on their behalf. But he never had an investigation of his own to conduct. Seeing him here, we might jump to the conclusion that there was more to Riley’s task than we saw on screen, though we can’t really imagine what it might have been. The performance of John Harkins as Lieutenant Costa goes a long way towards selling this idea; Harkins’ guest spots would become a staple of prime time network television in the 1970s and 1980s, and it’s easy to see why. His embodiment of a weary cop having to give up on an important case he’s been working on for a long time lets us believe that the premise makes sense. His scene partner, Vince O’Brien, doesn’t undercut Harkins. Riley seems as weary as Costa, though he doesn’t do anything special to express his weariness

Riley and Costa go to the morgue. This is a large set, well realized visually and even more so acoustically. The actors’ voices echo musically while the camera zooms steadily in on them. They open the vault in which the unidentified body was deposited, and find that it is empty.

Episode 173: Don’t work me

We open in the cottage on the great estate of Collinwood. Blonde fire witch Laura Murdoch Collins is pleading with dashing action hero Burke Devlin to help her. Laura and her husband, high-born ne’er do-well Roger Collins, are divorcing. Laura wants to leave with their son, strange and troubled boy David. Since Roger is all for this plan, Burke is unsure why she needs his help. Laura’s lines aren’t much, but Diana Millay delivers them in such a perfectly sardonic tone that we laughed out loud. And not only us- here’s Mitch Ryan breaking character to laugh on screen a second before the opening title

David finds his governess, the well-meaning Vicki, arranging flowers in the drawing room of the great house on the estate. David is furious with Vicki and everyone else. Wildly indiscreet housekeeper Mrs Johnson has told him that there was a séance at the house last night, and that his buddy, the ghost of Josette Collins, spoke through Vicki. David feels that Josette belongs to him, and is outraged that he wasn’t invited to the séance. Vicki is shocked that Mrs Johnson told David about the séance.

David asks Vicki why the séance should be kept secret from him. She tells him that it isn’t a secret, it is just something he ought not to know about. This distinction doesn’t make any more sense to David than it would to anyone else. It seems that Vicki is being sincere, but she has a complicated thought to express and has not had time to work out a way to express it clearly. Seeing David’s frustration, Vicki tells him that she can’t explain the matter any further. Vicki reaches out to caress him, and he pulls away, asserting that they can’t make up. He announces that he is going outside to play. Entirely unruffled, Vicki asks to go with him. He refuses and stalks out of the house.

Through the first months of the show, David hated Vicki and she struggled to befriend him. This scene is a well-realized glimpse into the friendship that has developed since then. Even when David is very angry with Vicki and doesn’t think she is being fair or honest with him, he knows that she will be patient and affectionate. When he says they can’t make up now, we know that they’ve made up before and hope to see them make up again.

Laura and Burke are still talking in the cottage. Burke very much wants to be with Laura, and agrees to help her persuade David to leave Collinwood and live with her. They talk about the mysterious illness that has overtaken reclusive matriarch Liz and led to her hospitalization. Burke is startled when Laura says “That was hard enough to arrange.” Seeing his expression, she hastens to explain that all she meant was that she had a hard time persuading the family to send Liz to a hospital where she could be cared for properly. Burke doesn’t seem to be quite convinced.

Following Laura’s suggestion, Burke finds David at the old fishing shack, a location that has never before been seen or mentioned. He tells David he would like to take him fishing, and encourages him to go live with Laura. David is excited about the proposed fishing trip, but confides in Burke that he still has mixed feelings about his mother. When she first came to Collinwood after several years when she was far away, David had been afraid of Laura. He likes her now, but the fear still complicates his feelings towards her. As David Collins, David Henesy does a superb job depicting these conflicting emotions.

Vicki shows up. She scolds David for going so far from the house without telling her where he would be. When Burke and David bring up the idea of a fishing trip, Vicki says it’s still winter and they should wait until it’s warmer. David had predicted Vicki would say no, and turns to Burke when he is proven right.

Over Vicki’s objections, David leaves for his mother’s cottage. Vicki stays with Burke, who asks her what she has against Laura. He tries to talk her out of her misgivings, but when Vicki carefully lays out the inexplicable events that have surrounded Laura’s return, he falls silent.

Burke and Vicki start their conversation

Burke has heard all of these facts before, but Vicki’s quiet candor connects with him. She looks up at him very steadily, keeping both eyes on him the whole time. Closeups concentrating on Vicki’s eyes do tend to make Alexandra Moltke Isles’ strabismus noticeable, but the extraordinary stillness of her body turns that to advantage. It’s as if she is concentrating so hard on telling the straight story that she can’t keep her eyes in place. She speaks in a quiet, level voice, and uses the simplest available words. Of all the attempts characters in today’s episode make to persuade each other of things, only this resolutely plain one has the desired effect.

In the cottage, Laura and David sit by the fire. He asks her what happened at the séance. She denies that anything at all happened, except that Vicki got upset. She tells David that Vicki is a high-strung and nervous person whom he ought not to trust. David’s two scenes with Vicki today are enough to show even a first-time viewer that he is unlikely to accept this description of her. He doesn’t protest, though. He seems anguished when Laura tells him that Vicki and her friend Dr Guthrie may lie to him even about her.

Burke comes in. He tells David it’s getting dark, and David grumbles that he’ll have to get back to the great house to stay out of trouble. Burke confronts Laura about the strange goings-on Vicki has enumerated. Laura points out that for Vicki’s suspicions of her to have any substance, she would have to be a superhuman being. She invites Burke to touch her. She asks him if she seems to be anything other than a woman pleading for help, if she seems to be any different than she was when he loved her before. He turns away. With a bleak look on his face, he says “Don’t work me, Laura.”

Episode 172: The sound of fire

Friday, Dark Shadows showed us its first séance. Yesterday, the people who attended that séance tried to figure out what it meant. Today, word of the séance starts to get out to people who weren’t there.

These three episodes also involve wrapping up a lot of loose ends that only people who watched the show from the beginning will remember. Friday’s episode harked back to the ghostly image we saw in #30. Yesterday’s episode drew a line under the alarmingly inappropriate crush flighty heiress Carolyn had on her Uncle Roger in the first few weeks of the show. Today, dashing action hero Burke Devlin shows that he is still laboring under a misunderstanding that led him to a dead end in #89 and #99.

In those episodes, Burke was trying to take his revenge on the ancient and esteemed Collins family by hiring the most valued employees away from their cannery. He was confident he would succeed in this plan because he had more money than the Collinses. In #89, he explained that confidence to his lawyer with a bunch of cliches rich guys use when they are villains in old movies: “Money talks. Money buys loyalty. Everyone has their price. Name it and you can buy them. Some just come a little higher than others, that’s all, but everyone is for sale.”

Those men all rebuffed Burke’s offer, as hardworking young fisherman Joe had refused Burke’s attempt to buy his loyalty in #3. Burke believes that the Collinses’ power comes from their money. His failures suggest that it is more nearly the other way around. The Collinses dominate the town of Collinsport because the population is so much in the habit of deferring to them that they can’t really imagine any other way of life. Simply by living in town, they have been indoctrinated into an ideology that puts the Collinses at the center of everything. Though from the perspective of the outside world Burke may have come back to town as a representative of high finance and large-scale capitalism, in the eyes of the locals he might as well be trying to start a communist revolution.

The one Collinsport resident who has agreed to take Burke’s money as payment for working against the Collinses is Mrs Johnson. For many years, Mrs Johnson had been the faithful housekeeper to cannery manager Bill Malloy. In her first appearances, Mrs Johnson talked of her unrequited love for Bill and her conviction that the Collinses were responsible for his death. Wanting revenge on them, she agreed to Burke’s plan to take a job as housekeeper at Collinwood and to give him whatever information she could gather. He has been paying her ever since.

Today, Mrs Johnson comes to Burke’s room and announces she has some information she would give him even if he weren’t paying her. This remark will strike regular viewers as absurd. Those who remember Mrs Johnson’s early appearances know that her motivation for joining with Burke was not his money, but her drive for vengeance. Those who have seen her since, including earlier in this episode, know that she always tells everyone she meets everything she knows. Her usual conversational gambit is to declare “I mind my own business, and expect others to do the same!” and then divulge the entire contents of her awareness, including everything she learned by her incessant eavesdropping on everyone in the house.

In Mrs Johnson’s case, Burke is overlooking not only the power of ideology, but also the persistence of personal habits. Mrs Johnson not only does not need to be paid to give information; no amount of money could keep her from giving information. She can’t be incentivized out of telling too much, because she doesn’t know that she is doing it. She is perfectly sincere when she says “I mind my business!” or “I’m not a gossip!” or makes any of her other usual protestations.

One thing Burke and Mrs Johnson have in common is a tender regard for well-meaning governess Vicki. The séance was very hard on Vicki, because her body was the scene of a battle between the ghost of Josette Collins and blonde fire witch Laura. Josette had possessed Vicki in order to warn the company about Laura, but Laura used her own powers to drive Josette from Vicki before she could say her name. Now Vicki is spending the day sick in bed. After talking with Burke, Mrs Johnson goes back to Collinwood and takes it upon herself to keep anyone from bothering Vicki.

The first person to try to see Vicki is visiting parapsychologist Dr Guthrie. Mrs Johnson stands on the stairs and forbids him to go up. He tries to persuade her that, as a doctor, he might be able to help. She responds that the only way he will get to Vicki’s room is by knocking her down and walking over her. At that, he gives up and goes to the drawing room.

Laura then comes to the house and tries to see Vicki. Mrs Johnson takes exactly the same line with her. Laura is more aggressive than Guthrie had been, and tries to walk past Mrs Johnson. Mrs Johnson puts her arm in the way to physically block her. Laura too gives up and goes to the drawing room.

There, she finds Dr Guthrie listening to the audiotape he made of the séance and taking notes. We hear Vicki’s voice desperately muttering about “le tombeau vide” before he sees Laura and shuts the player off. He explains that he does not want anyone who was at the séance to hear the recording, as he does not want it to color their recollections.

Laura and Guthrie talk about the tape recorder and about his use of electronic devices in his work as a scientist. Not even actors as capable as Diana Millay and John Lasell can make this dialogue seem to have much point. But a few weeks ago, friend of the blog Courtley Manor called my attention to a 1957 novel for children, David and the Phoenix, by Edward Ormondroyd. I think there is a reference to that book in this scene.

Ormondroyd’s David is a preteen boy who climbs a mountain and finds himself in a magical realm where he comes face to face with the Phoenix. The Phoenix is initially guarded with David, but relaxes when David says that he doesn’t know any scientists. Evidently the Phoenix’ great goal is to be left alone, and scientists were to learn that there really was such a bird as the Phoenix that goal would forever pass out of reach.

Some of the similarities between Dark Shadows’ “Phoenix” storyline and David and the Phoenix may be the result of common source material. In #140, Laura tells David that her real home is a magical world that sounds quite a bit like the place Ormondroyd’s David stumbles upon. But from the 1930s through the 1960s, the legends of the Holy Grail were a staple of university English departments in the USA, and many of those associate the Phoenix with just such places. So it could be that both Edward Ormondroyd and Malcolm Marmorstein had read Wolfram of Eschenbach or someone like him. And “David” was an extremely common name for boys born in the USA in the 1940s and 1950s, so that could be a coincidence.

But when The Scientist appears in Ormondroyd’s book and emerges as the great enemy of the Phoenix, Ormondroyd presents The Scientist in terms of his equipment. He must wait for his equipment to arrive before he can act against the Phoenix, he puts a great deal of effort into transporting his equipment and setting it up, and he suffers his climactic defeat when the Phoenix sabotages his equipment. So readers of Ormondroyd’s book would have to see a nod to it in this conversation between Guthrie the Scientist and Laura the Phoenix.

After Laura has left, Guthrie calls urgently to Mrs Johnson. He asks her if she touched the tape recorder. She tells him she wouldn’t touch the machine with a ten-foot pole. He plays the tape back, and shows that the sounds of the séance have been replaced with the sounds of a crackling fire. Ormondroyd’s readers will remember that The Scientist did not give up after the Phoenix destroyed his equipment, and will expect Guthrie to try to find new ways to fight Laura.

When we heard the crackling on the tape, Mrs Acilius jokingly asked me when the show was made. “This was before Watergate, right?” Yes, indeed; Dark Shadows was not making a reference to the 18 1/2 minute gap in the Nixon tapes. While the consensus among scholars today is that that gap was caused accidentally, it is amusing to imagine that someone in the White House in those days was a Dark Shadows fan and took a page from Laura’s book. I guess the president’s daughter Tricia was into the show for a while, but even if the erasure were deliberate she wouldn’t have been a very likely suspect.

Episode 171: Making a suggestion

Yesterday, we saw the first séance on Dark Shadows. Today, the characters who participated in that séance try to make up their minds about what it meant.

At opposite poles stand flighty heiress Carolyn and her uncle, high-born ne’er-do-well Roger. Roger declares that he has made up his mind to forget all about the séance, and demands that its organizer, visiting parapsychologist Dr Guthrie, be expelled from the great estate of Collinwood. Carolyn regards the séance as a success, and tells Roger that Guthrie will be continuing his work. They quarrel about this difference. There are weighty threats veiled in the dialogue. Their voices are sometimes quite sharp, but their facial expressions and body language are anything but. Watch the scene without sound, and Carolyn looks like she is pleading with Roger, while he just looks sad. They are losing something that neither of them wants to let go.

In the first weeks of the series, Carolyn spoke rather alarmingly of her crush on her uncle. Her flirtation with Roger’s enemy, dashing action hero Burke Devlin, somewhat reduced the intensity of that crush, dialing it down from frankly incestuous to merely disquieting. After the Carolyn/ Burke flirtation ended, we had some scenes where we were reminded of Roger and Carolyn’s odd intimacy. This scene marks the end of all that. Roger might still address Carolyn as “kitten” from time to time, but the red flags are furled for good and all. Dark Shadows won’t be developing any kind of storyline about unsavory goings-on between Carolyn and Roger, or using hints of such to emphasize any point they might want to make about the weirdness of the Collins family.

Well-meaning governess Vicki had a rough time at the séance. The ghost of Josette Collins used her as a mouthpiece, and blonde fire witch Laura used her powers to keep herself from being named as the source of the recent troubles and as a danger to her son, strange and troubled boy David. Caught in the crossfire between these supernatural beings, Vicki was exhausted and disoriented. At 2:15 AM, Laura materializes in Vicki’s bedroom, waking her. Vicki is bewildered by Laura’s presence. Like a dream in ancient Greek literature, Laura stands at the foot of Vicki’s bed and makes a speech. Unlike those Greek dreamers, Vicki talks back, engaging Laura in conversation. Laura’s point is that Vicki ought to quit the service of the Collinses and leave Collinwood immediately. She tells Vicki that she will be taking David away soon in any case, removing the need for a governess. Vicki looks away from Laura for a moment while gathering her thoughts. When she looks back, Laura has vanished.

Laura has appeared and disappeared in this manner before. This time, it would seem that she is trying to raise a question about Vicki’s sanity. Vicki might think she was dreaming, or might wonder if she is suffering some kind of hallucination. She might also tell others in the house all about the incident, leading them to wonder the same things about her. If Laura can undercut Vicki’s confidence in herself, she might reduce her overall effectiveness as an adversary. If others start to wonder whether Vicki might be given to psychotic breaks, the events of the séance might seem less significant.

Episode 170: Member of the family

Visiting parapsychologist Dr Guthrie and well-meaning governess Vicki have persuaded flighty heiress Carolyn and high-born ne’er-do-well Roger to join them in the drawing room of the great house on the estate of Collinwood for a séance. Their goal is to contact the ghost of Josette Collins. The table is photographed by a camera pointing straight down, a first for Dark Shadows.

Gathering for the first attempt at a séance

As Vicki starts moaning, the doors to the room fly open and a shrouded figure appears. After a commercial break, the figure is revealed to be Roger’s estranged wife, blonde fire witch Laura. Laura says that she has changed her mind, and decided to accept Guthrie’s earlier invitation to join the séance.

The five gather, and after a moment Vicki resumes moaning. She utters a series of words in French, most of them disconnected. Laura glares at Vicki, and it seems to be a great struggle for Vicki.

Carolyn says that Vicki doesn’t speak French. Since Josette was originally French, they conclude she is the one speaking to them. Regular viewers know that Laura and Josette are enemies, and that Laura forced Josette to retreat the other day. So when we see Laura making this odd face at Vicki, we know that Laura is using black magic to frustrate Josette’s attempt to speak through Vicki. Through Vicki, Josette manages to force out the French for the words reclusive matriarch Liz repeated after she fell ill a few weeks ago- bird, fire, stone. She says that a stranger is present, that a small boy is in extreme danger, that the stranger is both dead and not dead, mentions an empty tomb, and describes flames rising to the sky. She twice struggles to say “The name of this person is” before Vicki screams and collapses face first onto the table.

Alexandra Moltke Isles strains every muscle to depict the intensity of Josette’s battle with Laura. She is convincing enough that her final scream and collapse don’t seem at all exaggerated. Unlike Vicki, Mrs Isles is a fluent French speaker, and her superb accent enables her to craft a distinct character for Josette in these few gasping words.

Laura’s arrival will raise a question for those who have been keeping track of the show from its beginning. The first time we saw the drawing room doors fly open was in #30. That was also the first time we saw the room lit by candlelight during a thunderstorm, as we again see it today. On that occasion, Vicki saw a silhouetted figure there.

It is never made clear who this figure is. The only living person in the house with Vicki is Roger, and unless he was wearing a wig it can’t have been him.

Compare that silhouette with what we see when the doors fly open this time:

Are those of us who have been watching from the beginning supposed to make the connection and wonder if the figure Vicki saw in #30 was Laura? That was an episode at the climax of the story that began when Laura and Roger’s son, strange and troubled boy David, tried to murder his father. When he made that attempt in #15, we saw David saying “He’s going to die, mother, he’s going to die!” There was a suggestion then that David was in psychic contact with his mother, and since then we have learned that Laura is able to materialize across distances. Perhaps she already had this ability last summer.

Vicki saw the ghost of Josette in #126. At that time, the ghost spoke to her in English, in a clear, calm voice, and used complete sentences. They’ve spent a lot of time in recent weeks explaining that it is difficult for Josette to appear to more than one living person at a time, but I think we are to assume that her struggles communicating today are less a consequence of that limitation than they are the result of Laura’s interference.

Two actresses share the part of Josette in this episode. Mrs Isles is her voice at the séance. We also cut away from the séance to the long-abandoned Old House on the grounds of the estate. There, we see footage that originally appeared in #70, where Josette (played by Kathryn Leigh Scott) takes shape in front of her portrait above the mantelpiece and walks down to the floor. This effect introduces a more intense phase in the séance. One of the major themes of supernaturalism is that there is a geography of mysterious connections among particular places, and seeing an instantaneous reaction in the drawing room of the great house to an apparition in the parlor of the Old House directs our attention to arcane geography.

One of the moments that does not work so well comes in between the two attempts at séance. Before the first, Roger had been harshly skeptical, deriding Guthrie as a quack and taking every opportunity to show his exasperation with Vicki and Carolyn for playing along with him. When Guthrie invites Laura to join their second attempt, Roger says, with evident sincerity, that he is no longer skeptical. What has changed his mind?

During the first attempt, even before Vicki started to make sounds, Carolyn and Guthrie said that they felt a ghostly presence approaching. When the doors fly open and a figure is seen in silhouette, they react as if that figure might be a ghost. When they see that it is Laura, the audience suspects they may have been right, but they behave as if she were a living human being. Roger certainly does not regard Laura as anything other than the wife whom he is so eagerly trying to divorce. If Roger did feel an eerie presence, as Carolyn and Guthrie did, it must have been a remarkably strong feeling for his skepticism not to return when he sees that the figure was Laura.

This leaves Roger looking like a cardboard character with no real motivation of his own. That could easily have been avoided. The séance doesn’t begin until the episode is half over. Everything up to then is a total waste. Add a few moments to the séance, and you’d have plenty of time to show that Roger is experiencing something he won’t be able to shake. As it stands, we can assume that something of that sort happened, but we shouldn’t have to make that assumption. Something should have been shown to us that would explain the point and advance Roger’s characterization.

Considering that the only sign of the séance’s success we saw before Roger’s change of mind were the first few seconds of Vicki’s channeling Josette, we might imagine Laura going into disdainful ex-wife mode and making a salty wisecrack. Something to the effect that all a woman has to do is moan a couple of times and Roger thinks he’s done something great. It’s just as well she doesn’t say this, but it is too bad the episode sets itself up to be deflated so readily.

Episode 169: Living, but no longer alive

Visiting parapsychologist Dr Guthrie is organizing a séance. Well-meaning governess Vicki is strongly in favor of this. Flighty heiress Carolyn has mixed feelings about it. High-born ne’er-do-well Roger is contemptuous of the notion. Instantly forgettable young lawyer Frank shows up and says that he trusts Guthrie.

Nancy Barrett throws herself completely into whatever her character is supposed to be doing at any given moment. At one point, Carolyn throws a big fit because she is afraid her mother, reclusive matriarch Liz, might die before she can see her again. Mrs Acilius recently lost a close family member, and says that it was therapeutic to watch this scene.

Frank and Roger have a scene in Roger’s study. It’s the first time we’ve seen that set. That favorite prop of Dark Shadows’ hardcore fans, the “Ralston-Purina lamp,” is there.

Episode 168: The uninvited

We see more of the exterior of the cottage on the grounds of the estate of Collinwood than we have before when dashing action hero Burke Devlin bangs on the door and demands that its current resident, blonde fire witch Laura Murdoch Collins, let him in. Laura eventually gives in. Then, they sit around recapping previous episodes for about ten minutes.

Through the window, we see Laura by the fire

Not only is Laura reluctant to open the door to Burke, she also takes every opportunity to urge him to cool his enthusiasm for her. Most notably, when he tells her that he doesn’t like the way visiting psychologist Dr Guthrie is asking questions about her, Laura gives a plausible explanation for Guthrie’s behavior. Guthrie is trying to figure out why reclusive matriarch Liz fell into a catatonic state. He knows that the new thing in Liz’ life at the time of her attack was a conflict with Laura. Since Liz can’t talk, Laura says it’s reasonable that he’s asking other people about that conflict.

We saw Laura cast a spell that caused Liz’ condition, and we’ve seen her use her magical powers to influence others. But we’ve never seen her do any such thing concerning Burke. For all we know, his devotion to her might be entirely native to his psychology. Even if she is exercising control over him, that may be perfectly natural. Burke has strong feelings for Laura and she knows him well, so she may be able to manipulate him without resort to sorcery. So it is by no means clear what Laura wants Burke to do about Guthrie. Maybe she is tricking Burke into confronting Guthrie, or maybe she sincerely wants him to leave Guthrie alone.

As the next scene opens, Guthrie arrives at the local tavern, The Blue Whale. Guthrie sees drunken artist Sam Evans at the bar. He tells Sam that Burke called him and asked to meet him there. Burke isn’t there yet, but we hear the jukebox play a few measures of Les and Larry Elgart’s recording of “Brasil.” In #3, Burke sat in the tavern and told hardworking young fisherman Joe that he got rich because of something that happened in South America, and we heard several more references to Burke’s connections to that continent in the first couple of months of the show. So that bit of music might suggest to regular viewers that The Blue Whale is Burke’s territory, at least as far as Dr Guthrie is concerned.

Sam tells Guthrie the story of the fire in which he injured his hands. That’s odd- less than a week ago, in #164, Sam unburdened himself of all sorts of things in a conversation that began when Guthrie noticed evidence of that fire. It’s hard to believe he wouldn’t have told him what he tells him today, that he thinks Laura somehow started the fire and made him stick his hands in the flames even though she was far away.

Burke shows up and Guthrie follows him to a table. Burke puts on a menacing demeanor. Guthrie quickly turns the conversation into a therapy session, and Burke falls into the role of hostile patient. Guthrie does leave the tavern when Burke dismisses him, so it remains Burke’s territory, but Burke looks like a fool. He looks even sillier when he goes to Sam and starts giving orders, none of which Sam shows the slightest inclination to follow. If Laura did want Burke to stay off the front lines of her conflict with Guthrie and the rest, perhaps it is because she knew that his efforts would end up like this.

Guthrie goes to Laura’s cottage and invites her to participate in a séance he is organizing. She declines. He tells her he wants to contact the ghost of Josette Collins. We know that Laura and Josette are adversaries, so her reaction to this is interesting to watch. It is possible that Guthrie tells her about it because he wants to test her reaction. She is startled, becomes nervous, and turns away from him, while he watches her intently.