Wonderful photos!  The one of Vicki with the director and the creature actor (which is scarier to stand next to for a young actress??) reminds me of a candid photo that surfaced during the MPI distro period of Julia and Barnabas with Alex in full werewolf makeup.  And, a little, of my friend Nicky's favorite photo of Vicki being menaced by all the ghouls and horrors of Collinwood... Barnabas, Nicholas, Adam, Cassandra.

G.

I don't know if this particular review was posted here with others back in 2012.  Nancy Kersey just posted the link on FB.  I thought it was an interesting take on Depp Shadows. The author also talks about the original series and the other incarnations:

http://www.counter-currents.com/2012/05/why-dark-shadows-sucks/

G.

Very cool photos, MB! And excellent descriptive work and dialogue transcription, as always.

G.

I'm glad your memories are so strong MB.  I can't recall this scene at all.  I might have been distracted by whoever I was sitting with, though.

Very cool touch having the garlic flowers interwoven with the chains...

G

I can't recall the lion/dove poem being a part of the original 1967 episodes depicting Barnabas' release.  What I remember is [spoiler]Willie was trying to get one of the three sealed sarcophagi in the Mausoleum open and had tied one end of a cable to the ring in the lion's mouth, thinking I guess to pull open the sealed lid with pressure from a crowbar and the other end of the rope which was somehow secured to the coffin in question.  Instead, what happened was the ring in the lion's mouth slowly came loose, activating the machinery that opened the secret panel.  Which, in and of itself, is an occult occurrence, given that thing had not budged since the 1830s (in the original storyline---later, of course, revised to the 1790s). [/spoiler]

I think the lion/dove poem was Sam Hall's contribution to the re-staging of these events in hoDS.  Correct?

G.

For a vintage television series roughly two years away from its fiftieth anniversary, I would say DS carries quite a bit of cachet, or "cred" or whatever you want to call it.  When you think about the other series that were big at the time, such as PEYTON PLACE and THE BIG VALLEY, and especially when you compare it with any other daytime TV artifact from 1967-71, DS occupies a unique position in what we'll call current cultural discourse.

Fact:  DS was, and to my knowledge remains, the ONLY soap opera ever to be issued IN ITS ENTIRETY to home video format.

Fact:  Not only did that happen in a period running from the late 1980s through the early 1990s, DS became the only daytime series ever to be rerun IN ITS ENTIRETY on a popular network--not just once, but TWICE... on the Sci Fi network.

Fact:  Not only has DS never, ever gone out of print on home video (and that's a truly incredible fact if you follow the vagaries of cult film releasing on various formats), it was even re-released on DVD in order to keep up with the times.  I had presumed that only a small group of really dedicated fans would buy it, again, on DVD, but in FACT, it became even more popular in that format, and subsequently, via streaming where this has been enabled.

Even more amazing fact:  thanks to the posts by Midnite and MB on this board, we're aware of just how often DS is referenced in the mass media.  REALLY often for a series that might be perceived by some as the misfit kids' answer to STAR TREK.  Most of the references are along the lines of this:  "in a scenario reminiscent of classic vampire soap opera and its brooding hero Barnabas Collins..."

Further fact: whatever one may think of Depp Shadows, it was made, distributed internationally, had a huge profile and made money for the studio... perhaps not enough to be declared a hit by the suits, but certainly a more-than-just-respectable performance.

With all those facts impressively lined up--and I could quote more, but why bother--if some brainless media twit who can't remember anything that happened more than two weeks ago passes a disparaging comment about this revolutionary series and cultural phenomenon, one that has stood the test of time and become acknowledged as a justly-acclaimed media classic... well, frankly Miss Scarlett, do I care?

G.

I guess I'm pretty jaded... the first one did nothing for me and the second one made me giggle... briefly.

G.

As I have posted many times, I am a big fan of PT 1970.  IMO all the DS storylines had their highs and lows.  I know most fans think of 1795 as the absolute high point of the series but, as I've often complained, the scenes of Vicki's trial and her romance with Peter just go on and on and I find it all... stupefying.  The trial sequences in 1840 were better handled, with better pacing and writing--I will give it that.

1968 is my personal favorite storyline but there are points where there is an awful lot of Adam whingeing away and threatening anyone present with extreme verbosity, and again, lots of Vicki and Jeff.  As far as I am concerned there are MANY strong points that redeem that storyline's occasional longueurs--among them the performances of Thayer David as Professor Stokes, Humbert Allen Astredo as Nicholas, Lara as Cassandra and the glamorous Marie Wallace as Eve, the most EEE-vil woman that ever lived.  Anytime Grayson is onscreen with one of the aforementioned, it all gets kicked up an extra notch of fabulosity.

I know a lot of people think the Petofi storyline went on too long in 1897, but I personally love every moment of it.

In PT 1970, some of it is rather contrived or poorly written.  My favorite guest players are Paula Laurence and the phenomenal John Harkins, with extra marks for Colin Hamilton as the Inspector.  Favorite performances:  Grayson as the ruthless, icy Hoffman; Louis as the twisted Roger; Lara as Angelexis; Karlen as Will Loomis, alcoholic writer; Thayer as Tim Stokes, occultist and mad scientist.  Nancy's work as Carolyn Loomis may have been the most sophisticated acting EVER seen on the series, bar none.  Her work along with Grayson and Thayer's are to me among the ne plus ultra high points of the entire run.

G.