Telly Talk Schemer
- Reaction score
- Plotville, Shenanigan
- Member Since
- April 2002
The last episodes I've watched (80 to 90) really feels like a "season 2" to me. A lot of the wooden narrative has been dropped and it's almost as if the actors have come to understand and feel their respective characters. Or maybe I simply have grown closer to the characters with each subsequent episode, or maybe it's a combination of both.I think I'll remember it as that moment when Dark Shadows finally "clicked" with me
Either way, it's resulted in something more organically soapy i.e. scenes about the characters rather than the latest repetitive "update".
For once, they're not talking about Bill Malloy - but they end up singing about Bill Malloy!
I don't know if it will ever be as nuanced as Peyton Place, but when it's good it's great. Sometimes I even forget I'm watching a daytime soap.
Another byproduct is that it looks more entertainingly vintage.
An important ingredient of soap opera is the booze.
Not necessarily an alcohol addiction, just something that allows the characters to interpret a situation in a different way. Not to mention the fact that it helps people to behave a little dirtier.
After Carolyn has left, Burke does a funny villainous soliloquy.
Oh, and the reason she ended up in his room is because Joe Haskell has come to his senses and realizes that his relationship with Carolyn isn't going anywhere.
He's having dinner with Maggie Evans who appears to be just a little too eager to please him.
When she says she knows a lot about boats it actually means that she knows everything about boats, almost has if she's done her homework to impress him.
There's something eerily disproportionate about this image the way she towers over Joe like an evil Sea Goddess looking at her prey.
Furthermore, now the case of Bill Malloy's death has been officially closed, the idea of a possible murderer becomes far more intriguing because several characters are moving on but it could still come back to bite them in the ass.
What if Maggie has read Sam's telltale letter, and understood what Bill Malloy was going to do. She'd be a fabulous surprise culprit, Julia Cumson style.
Thanks to psycho David, Miss Winters is trapped in the inside inside the Collinwood Manor, and they've done a good job capturing the urgency of the situation.
There's an impressive thunderstorm going on, the ghost of Bill Malloy appears but it's mostly about the idea of being buried alive.
I loved the appropriately frustrating sequence with the key that she almost managed to get by means of a resourceful action.
It's Roger Collins who discovers Vicky's mysterious whereabouts and for a moment I thought he wasn't going to free her, but then something far more unexpectedly happens.
In order to upset her even more, he starts to make noises like dropping an object and rattling the door with a poker of sorts. I found it all shockingly sadistic but a moment later I found myself howling with laughter as Roger starts to impersonate a ghost-with-a-message.
Victoria Winters...leave Collinwood...you are in danger....goooo hooome
The news that Vicky has encounted a ghost makes David change his tune regarding his much-hated tutor.
Vicky quotes his previous comments: I hate you / If you die I won't come to your funeral / I hope you stay in that locked room for the rest of your life.
Did I say that ? I didn't mean it, not all of it.
It's a tiny little twist but controversial enough to be noticeable.If you die, I would come to your funeral (.......) because I LIKE funerals!
If DYNASTY is the staircase soap than DARK SHADOWS is the doors soap, and Joan Bennett is the queen of opening and closing doors in a graceful but also plot-heavy manner.
Burke's vengeful business plot becomes an on-screen reality with soapy threats to and fro, and I'm loving all of it.