I've also posted several times over the years about how fond I am of PT 1970. I thought this story worked much better than the attempt to do a PT 1841 story, presumably because the writers had a bit more time to set things up (despite how frantic things were preparing for the filmshoot).
I love so many things about PT 1970: what Sy did with the sets; a few new music cues to suggest a different universe; Hoffman, Hoffman, Hoffman!; Louis' superbly arch and bitchy twist to the new Roger (obviously meant to suggest Clifton Webb in Rebecca, but I really do think Edmonds made this character fully his own); the fabulous Angelique/Alexis dual role for Parker; Thayer's wonderful work late in the game as alcoholic, delightfully seedy mad scientist Tim Stokes; the fabulous (and much mourned) Paula Laurence as Aunt Hannah; Lacy's gig as a butler; great roles for Elizabeth Eis and John Harker; Bennett's initial characterization of PT Liz as a dowdy mouse; and who can forget Claude North, Chris Collins' secret gay lover? (OK, so I made that last bit up, but I can't think of anyone more deserving of Chris than our own Claude!--OK, Sandor, so you guys can work out a time share!!).
Deserving of her own paragraph is Barrett's work as Carolyn Stoddard Loomis. I happen to think that Barrett did some of her very finest, most nuanced work onscreen in this part. If daytime Emmies meant anything, she should have been nominated for this. Equally fine, of course, is Karlen as alcoholic, washed up hasbeen writer Will Loomis.
I could still mention things I love about the storyline, such as the seance sequence and the haunting of Damion Edwards story, and the fact that Collinsport finally gets an English Inspector (just off the boat from Scotland Yard??) to investigate the murder mystery. Just great stuff.
G.