Calling all devotees of the Divine One:

Check out this exciting link!

http://www.collinsporthistoricalsociety.com/2012/06/grayson-hall-blog-thon-set-for-june-22.html

Grayson's son, author Matt Hall, as well as the author of the definitive Grayson Hall biography, R. J. Jamison, are set to participate, along with a bevy of other fan sites, including a podcast.

Best,

G.

I realize the repetition is wearisome, but I feel called upon to point out again that while 1968 boasts the dreary Adam storyline, it also features some of the series' best moments, such as the plotline MB mentioned, but also pretty much ALL of the Nicholas Blair scenes (I really think 1968 Blair was head and shoulders above all of HAA's divine characterizations), Cassandra Collins which is one of my personal favorite characters in the series, some great Prof. Stokes stuff (Stokes was one of the characters who first got me watching the show), and the original Chris Jennings werewolf storyline.  Some of Eve's scenes were really quite juicy as well, I thought--Marie played her with such understated venom--and then there was Danielle Roget, "the most evil woman of the 18th century."

The parts of it that frustrate me the most are the endless winding-down of Vicki's trial storyline in the final part of 1795, and every scene involving Peter/Jeff; nearly all of Adam's scenes, although before Adam learned to talk Robert Rodan brought great heart to the role; and the interminable storyline involving Liz's curse to live in fear of death and being buried alive, a terrible betrayal of what was once a great character.  The reduction of Vicki to a simpering idiot who just "doesn't understand" is a very, very disappointing end to another character who was the fascinating centerpoint of the entire story, originally.  And finally, the unimaginative, dull scenario by which Joe Haskell was written out of the show, although Joe's final episode boasts one of the series' most compellingly bizarre and creepy dream sequences.

G.

Amen to that, Cousin Barnabas.  ALL of it.

G.

Kelly Hu barely registered as Julia in my one viewing of the pilot because the character really had very little to do.  As it was, they crammed far too much story (IMO) into a 40 minute snippet--to me, one of the downfalls of the pilot.  That, and the ending, but I'll save the rant because I know there are some who I respect and am very fond of here who thought the ending was the bees' knees.

Julia is on hand for a couple of scenes and had, if I'm recalling correctly, maybe three or four lines?  Kelly really may not recall much about it.  Presumably she would have been told about the plans for Julia to become a major character and at least some of what was planned for Julia in this iteration.  It would be been interesting to see her take on the character.  But, alas...

G.

btw, the new series is to be called 1313 Mockingbird Lane (the Munsters' address in the old show).

I really wish they would leave these things alone...

G.

Hmm,well, I think 1972 is too early for "The Bitch is back ..." *rolls eyes*

You might have to wait till the home video release and then try listening with headphones to catch this.

G.

Ah! ? The scene from Jamison's dream of David's last birthday! One of my favorite moments in the series! ? If only Violet Welles had been with the show longer!

Hi Arashi, according to an interview with Violet Welles published in Dale Clark's zine, she did come back to write many scripts in the final couple of months of DS.  She started out ghostwriting scripts for Gordon Russell who must have been busy with other projects or perhaps just needed some time doing something other than writing DS, and then somehow got on the show's roster as a writer.  I'm guessing that if Violet was not mis-remembering her time on the show, her final relay of scripts must have been the same arrangement--Russell got the screen credit but she did the work.

The arrangement is apparently more common in television than the general public are widely aware.

G.

Well beyond the thoughts of the original series DS fanbase, there's this oddly assorted contingent of folks who have as one of their chief goals in life the desire to bury Tim Burton alive, career-wise.  Particularly any project Burton does with Johnny Depp.  So, it was pretty much on the cards that this project was going to attract some particularly vicious, vitriolic criticism from that quarter. 

I haven't looked at those reviews and I don't really have time, but I would bet you dollars to doughnuts that the "Tim Burton must be destroyed" league is at work again... just my thoughts.

G.