Great, hilarious comments as always, my dear.

Forget Sabrina--I found it beyond belief that *Chris* didn't just do a flying tackle on Bruno.  Maybe he'd have gotten a bit slashed up from that knife, but Briscoe's build and body weight are such a huge advantage over Stroka's spindly physique that it was really hard to believe that Chris didn't just deal with him then and there.

Chris didn't want to marry Sabrina because he was secretly carrying a torch for Quentin. Don't you know the Collins family motto, "Incest is best"?  It cames right below "Hypocrisy before all" as Miss Carolyn Collins Stoddard so brilliantly expostulated a few weeks back.

btw I love the titles of William Hollingshead Loomis' novels.  Somebody had fun with those.  Sam, maybe?

Steve

Scream of the Wolf--was Barbara Rush in that?  I'm wondering whether it was this hysterical "ABC TV Movie of the Week" I enjoyed back in the historical 70s (aka the Late Bronze Age).

Sounds like fun!

Gothick

Well, thanks for sharing that comment from Ms. Parker, Midnite.  I must say I find this baffling.  I thought the Vampiress Angelique arc was one of Lara's favorites, and she had a LOT to do with Joel during that storyline.

I guess Katie and Lara don't spend much time reading the books that have been published with their names on them!

G.

Luciaphil darling, I'm so pleased you've started writing again.  You know I live for your fashion notes, and your deliciously witty comments about the characters, the writers, and everybody and everyTHING in between.

Hearing what you're saying about Jeb and Carolyn's marriage, I do wish you would offer a few apercus upon the thrashing, screeching, puling monstrosity that is the union of Quentin and Maggie Collins, but I fear your general distaste for the 1970 PT storyline may just leave you with your set switched off for the next few months.

I loved the catlike way in which Angelique informed Jeb she was repairing her nails, and how she waggled the scissors at him.  Her look was very Mediterranean in these shows, somehow.  Maybe she'd popped into the Milan fall collections shows on her way over to Collinwood?

Gothick

Eek, it's a nude Leviathan!

Quick, let's all play hunt-the-Naga.

I love Jeb's expression of terror at spotting the Shadow of a refugee from the Martha Graham Dance Studio in his honeymoon suite.

I happened to be watching when this footage was airing a few days ago, and I wondered whether you would remember me.  Thank you MB, you are an absolute honey!

Gothick

A little demon wants me to post "Philip was in plaid blue pj bottoms because it was his official Prison Bitch uniform."

Aren't you glad I have some powers of self control left?

MB, please stop snickering!  You too, Midnite.

Meanwhile, Dom sca-reams!

Gothick

Welcome back, Donna.  I offer you my condolences for all the losses you have had to endure in your life these past months and years.  I hope the happy memories you have of when they were with you helps ease the pain of your bereavement.

I hope somehow, somewhere, you can just kick back and enjoy a DS-a-thon one of these days.  It's one of the ways I cope with stress when the usual stuff doesn't work.

Take care,  Gothick

If you ever go to the Museum of Television, you can watch this tape of Lela Swift doing a two part interview about her career.  She does discuss Dark Shadows briefly, along with Ryan's Hope, but a lot of the time is devoted to her beginnings in the early 1950s as a floor director on Playhouse 90--or maybe it was Studio One--one of the classic 50s anthology series (and isn't it a contrast what they were doing for TV back then, and the SLOP we are stuck with today).

Anyhow, she mentions that she started having the cameras do those TIGHT close ups for what she considered psychological effect back in those Fifties days.  And she also mentioned that she'd have the camera on the person who was listening, as opposed to the person who was speaking, in a two or three character scene.  A lot of what she was saying about how she did those dramas seemed to have gotten carried over in her work on DS.

In the control room, the shots all 3 cameras were running were visible to the director and producer, and one of them--I think the director--pushed a button that switched the given shot into the feed.  There are photos of this happening in the KLS books (the best ones, I think, are in the original edition of the KLS Scrapbook Memories).

Sometimes, the director (or whoever it was) would switch just as the cameraman was moving into position, about to move, or had not quite finished moving, because of lack of rehearsal time (especially on Chromakey intensive days).   This is why you get those weird moments when it looks as if something has gone seriously wrong on set because the picture is all blurry or the camera is moving from a mole next to someone's nose over to their eyeball.

G.