“I am unaccustomed to explaining things, sir!”
Ben Stokes has an axe to grind. I mean, literally — he’s standing in the woods near the Old House, sharpening his axe with a grindstone.
“She’s a witch, that Angelique,” he thinks. “A man like me can’t fight a witch. But I’ve got to. Mr. Barnabas… he’s the only friend I got. She says she’s doin’ everything cause she loves him. If only I could figure out some way I could help him, without her knowin’ it.”
Ladies and gentlemen, there he stands, the unwilling henchman — forced to follow the deranged monster’s commands, but openly struggling the whole way. This is such a common theme on Dark Shadows that it must be coded deep down in the show’s DNA.
So far, everyone that we’ve seen under the vampire’s spell — Willie, Maggie, Julia and Carolyn — have all had the guts to stand up and question what he’s making them do. And not just once, but over and over, even at the risk of their lives and immortal souls. There are no sell-outs or collaborators on Dark Shadows — only underground resistance fighters who haven’t figured out which way is underground yet.
Now we’ve got Ben, the spell-charmed slave of a sinister soap vixen, and he’s desperate to spare his friend. But then a huge floating witch head appears, and starts giving him orders. Looks like recess is over.
But there really isn’t a moment to rest this week. In 1795, every day is Friday.
When we left Jeremiah yesterday, he was rubbing his weird monkey lips all over his nephew’s fiancee, a slave to Angelique’s treacherous sorcery. But he’s fighting back, too — he doesn’t understand what’s happening, but he knows that every minute he stays in the house, he may destroy Barnabas’ chance for happiness with Josette.
So he has to leave. He can’t explain it; everything he says sounds ridiculous. But it doesn’t matter. He’s got to go.
And it’s thrilling, that’s the only word for it. This quiet little cow-town puppet show has suddenly transformed itself into the craziest thing on five legs, and by the end of the day, we’re going to build to what is absolutely the 100% money-back-guaranteed goofiest thing that they have ever went and gone and done in the entire history of the show.
It really is. I checked.
They know that something special is happening here, that they’re suddenly making the kind of show that nobody ever thought they’d want to make. Everyone has stepped up their game — the writers, the actors, the special effects, the hats. They’re all pushing at the edges of what’s possible, just to see how far they can go before the whole thing falls over.
And, honestly, their biggest challenge is picking up the pace. You can mess up the Chromakey, and it’s fine, everybody will come back tomorrow and we can try again. But there’s supposed to be a speed limit for soap operas.
Daily soap operas have always been cursed with the knowledge that most people in the audience won’t be able to watch every episode. So — according to the self-defeating received wisdom of the ages — you have to take things slow, with lots of extra padding before, during and after every plot point.
Of course, the problem with that strategy is that you train the audience to expect that kind of pace. You start losing viewers, so you slow down even more, and you can figure out how that story ends.
Ten years ago, NBC had a show called Passions that I think may have been a secret government experiment to determine the absolute zero of soap opera pacing. By the time the last episode aired in September 2007, the few remaining survivors in the audience didn’t even realize it was over. They think the last six years have just been an unusually long commercial break.
But you can tell that Dark Shadows is currently running at the maximum allowable level of intensity, because there’s so much backacting.
If you’re joining us late, backacting is a technique where you have an entire conversation while staring at the back of someone’s head. It looks fantastic on screen, because you get to see everybody in the scene emoting their hearts out, and it’s only when you imagine actually doing it in real life that you realize how impossible it is.
This episode is like a seminar on backacting. They do it in almost every scene. In fact, the goofy cliffhanger depends on backacting, so it’s possible they’re doing it on purpose through the whole episode to trick you into thinking that it’s a normal way for people to converse.
The actual story today — and there is one, even if I’m talking all the way through it — is that Angelique is desperate to keep Jeremiah from leaving the house. She wants Barnabas to lose faith in Josette, so he’ll realize that he really loves Angelique after all. If Jeremiah gets away, then her plan falls to pieces.
So once again, we’re seeing people struggling against the limits of their power. Angelique has some respectable witchcraft skills, but she has a noticeably shaky grasp on her victims. They keep slipping in and out of the trance; I don’t think she can maintain power over someone for more than five minutes. So she’s trying to figure out how she can gently nudge people into a position where Jeremiah will agree to stick around.
In fact, there’s an amazing moment where Angelique opens a drawer, and picks up her headless voodoo action figure, which represents Josette in a spider-web wedding dress. She looks at the doll for a moment, and then says, “She’s still under the spell! Good.”
So here’s your challenge: Explain that scene. Does the doll have a display screen that shows the remaining battery life? What the hell was she just checking?
At the heart of today’s episode, Joshua hears Angelique and Ben talking in the drawing room, and gives both of them a furious scolding. All of a sudden, the trickster-witch is a humble ladies’ maid again, and Ben — who’s probably strong enough to snap Joshua’s spine without even trying — just stands there like a stammering child.
It’s actually the one moment today when everybody stops backacting, stands in a line and apologizes. It’s humiliating.
And that gives Angelique the breakthrough that she’s been looking for. The proud master, Joshua Collins, needs to learn that there are limits to his power, too.
And then we just keep barreling along. Jeremiah only decided to leave at the beginning of today’s episode, but here he is, ready to go.
I know I keep saying this, but the change in pace is just breathtaking. This is a show that spent an entire week on Elizabeth deciding not to commit suicide. They could easily have stretched this plot point out for three days, but we’re going to finish it off in less than twenty-two minutes.
So here’s what I think is happening, behind the scenes.
The writers and producers would have story meetings every two weeks, to figure out where the show is going. Once the scripts were written, they’d tape the episodes about a week ahead of broadcast. That’s an absolutely impossible schedule for a daily television show, even if you don’t have time travel and Chromakey effects.
My theory is that the producers’ practical time horizon for the show was a maximum of three weeks; they never had any idea what was going to happen more than three weeks away.
Why would you even try to think that far ahead? Maybe people will get tired of vampires. Maybe somebody at ABC will turn on the TV at 3:30 some afternoon, and discover the nonsense that they’re broadcasting. Maybe the world will end. Why are we even talking about this? We have a show to make.
So we’re currently heading towards the end of the third week of this bizarre, experimental time-travel story. The insanely ambitious idea is that they’re going to stay here in the 18th century for a while, so they can explain who bit Barnabas, why Josette jumped, and how they trapped the vampire inside the mystery box.
But they don’t really know whether this is going to fly or crash. The vampire is a hit, and the ratings are going up, so they have some capital to spend right now — but somebody’s got to be wondering what they’ll do if the audience just doesn’t get it.
If that happens, then they’ll have to course-correct, and head back to 1967. With a three-week time horizon, that means we could be hitting the midpoint of this whole storyline by Friday. We have story to burn.
So, what the hell. If we’re going to fail, then let’s fail big and loud and crazy. Let’s push this concept as far as we can. Let’s dance on the edge of the cliff in the pouring rain, shaking our fists at the storm, defying the lightning and drawing down the moon.
Let’s do it. Let’s turn Joshua into a cat.
No, seriously. I know how that sounds. We’re doing it anyway.
Let’s turn Joshua Collins into a cat.
Tomorrow: Nine Lives to Live.
Dark Shadows bloopers to watch out for:
In the first act, when Jeremiah leaves Barnabas to go upstairs to pack, the camera goes out of focus as it tries to zoom in on his anguished face.
Joshua tries to tell Angelique to avoid any familiarity with Ben, but the word he says is “famililarity”.
As she’s casting the spell on Joshua, she molds a cat figure out of tan clay. When the clay figure is finished, it’s turned black.
This isn’t really a blooper, just a quirk of this episode — there’s a rare film splice in the last scene, right before the cat appears on the table. They almost never made an edit in the finished tape, but in this case, they must have had a problem getting the cat in the right spot on cue.
Tomorrow: Nine Lives to Live.
— Danny Horn
22 thoughts on “Episode 378: Resistance Is Useful”
You’re so right, this was an insane cliffhanger – I believe I let out a startled “WHAT THE F-???” when it happened. I also enjoy how there’s a loud screeching noise coming from the cat but when the camera pans to him he’s all nice and calm.
PS. Your theory makes a lot of sense.
PPS. I’m guessing the spider web needs to be on the doll for the spell to work and that’s what Angelique is doublechecking?
I wonder if they paid the cat as an ‘extra’ or gave him Louis Edmond’s salary while he was filling in for Joshua.
On the other hand, it is a very nice pussycat…
Also, in those days you could not have a farm and not have a cat. That was the only pest control you had to protect your harvest.
Even if she can control him only for 5 minutes, why didn’t Angelique just voodoo Barnabas? It would only have to last long enough for him to marry her publicly & then he’d be stuck and if she’s right, realize he loved her anyway. It’s not that she’s been whining about him coming to her willingly, like Barnabas did with Vicki. And forcing his hand by sullying his fiance is just as much force anyway.
This is where DS jumped the cat. At least it wasn’t a shark. This was just a little too stupid for me to take in stride.
Best part: Ben was a willing participant in Angelique’s schemes this time. She may have missed out on a great pairing with Ben Stokes.
Wow. I thought for a minute there, the urn behind Barnabas and Josette was the lottery urn with a lid on it. But it isn’t.
Loving the “big monkey lips” reference. 🤣🤣🤣🤣🤣
Improper casting, of the cat as Joshua I think the cat has more presence and is better looking .
Time traveling back from 2018 via Amazon Prime streaming …
It is really bugging me that this episode is supposed to take place near Christmas time (yes?) and yet the plants outside are still green and Angelique can get up to all sorts of trouble picking living vegetation that should be dried and brown by late fall. So I guess the Collinsport hell mouth warms the ground up.
There is mention of the climate being colder than Martinique. They are also talking about winter affecting their lives but I wonder how far outside of Collinsport they have to travel to see anything wintery.
Heck, they could have put down some fake asbestos snow and replaced the green sacking with white Christmas tree blankets …although it’s actually a good thing they didn’t get a visit from the asbestos set dressing fairy.
“Dark Shadows” never takes place in the dead of winter, but Maine is cold ten months of the year, snow or not, in reality.
I know it doesn’t explain anything, but I did notice that Joshua off-handedly asked Ben if the cat had his tongue. That is the only reason why Joshua should be turned into a cat. And it isn’t much of one and makes no sense. I liked Ben’s idea of making him a jackass that Ben could make to pull up stones from the field.
This is simply one of the best 1795 episodes thus far, based heavily on the incredible chemistry between Angelique and Ben and the fact that you have two actors who are not only heavily invested in their roles but KNOW THEIR LINES and deliver them with a rapid-fire cadence that is riveting to watch/witch. Add to that the awesome script that Sam Hall puts in from first line to last and you have a show that has long since left recaps and small talk on the sidelines and has become Something Else Entirely.
Danny is, as usual, spot on with his assessment of the pacing. It is never bettter.
And I love the identifying of good characters struggling against evil, trying their level best not to succumb to the “evil thing,” whatever it is. Again, as Danny states, the show’s DNA seems to consistently reflect these struggles.
The Chromakey of Ben in the forest and Angelique calling to him (as her head gets progressively bigger and bigger) shows that they are really getting their hands around the whole special effects thing (even with so limited a budget).
Everyone is in top form here. The early exchange between Barnabas and Jeremiah is solid; the Josette/Barnabas scene is especially top notch for these two.
Love the spinning wheel in Angelique’s room as it adds a even more antiquated and witch-like quality to the proceedings.
Roger’s arrival on the scene really drives the plot action suddenly and he is really coming on strong with his curmudgeonly mean-spirited patriarch demeanor. He does have a rather obvious teleprompter moment in the scene with Angelique and Ben but that is easily forgiven for the rest of the scene.
Truly unbelievable that Ben Stokes and Angelique are getting so much air time these days. But exciting to watch and really making the viewer anticipatory for the next episode, which is the best possible thing that any soap opera (or drama) can do.
The Jeremiah/Ben scene is fantastic. The writing just crackles. Anthony George is never better than he is during this whole episode. I think when he took his Brazil exit a few weeks ago that I thought that the actor had exited stage right as well but he’s really putting in some good work here in 1795. He should wear tight period costumes with frilly lace more often.
Finally, the cat. Well, I think it’s the wildly weird completely over-the-top scream that makes the whole thing so ridiculous. And the cat looks like it’s phoning it in. If they were going to go all the way with it, they should have at least found a solid black cat in the casting call.
Barry: I agree. The cat looks distinctly unimpressed by everything.
Miles: that is a great notice of the “does the cat have your tongue” line by Joshua and really foreshadows beautifully. I, too, loved Thayer David’s delight at the thought of turning Joshua into a jackass. Great fun to watch because he is so into it.
Barry, Miles: I caught, too, the irony of Joshuah’s “cat got your tongue?” question. That shriek just before we saw the cat was very effective. I can just imagine what the daytime viewing audience felt!
Barry, Miles: I caught, too, the irony of Joshuah’s “cat got your tongue?” question. That shriek just before we saw the cat was very effective. I can just imagine what the daytime viewing audience felt.
I feel safe in saying that probably no other soap opera at that time had a vampire, time travel, and a witch who turned a man into a cat.
All I can say is that I hope poor Josuah can find the litter box.
“Let’s do it. Let’s turn Joshua into a cat.”
OMG, I love love LOVE your recaps!! That was brilliant, I can’t stop laughing!
A witch turning someone into a cat is exactly the kind of thing that would happen on “Bewitched,” which ran from 1964-72. (Except on “Bewitched,” it’s SUPPOSED to be cute and funny.)
I’m wondering if the DS writers turned Joshua into a cat because in 1968 everything little kids knew about witchcraft we learned from “Bewitched.” The transmogrification of annoying humans into adorable pets was what the audience expected from beautiful blond TV witches.
Another observation: Louis Edmonds as Joshua is turned into a cat in 1795, and when the show gets back to 1968, Angelique/Cassandra turns Roger Collins (also Louis Edmonds) into her lap dog.
Yes, metaphorically! Great observation on this irony, Leah!
Angelique doesn’t REALLY need Jeremiah, Nathan’s there too. Which would have the added benefit of making Josette look even worse, as she’s grabbing every available man in reach. Angelique could even go down to the docks, find some rough swabbie and slip him some potion. In fact, there could be a whole boatload waiting down at the gazebo for Josette tomorrow night! She’d never live it down. (What a shame the budget wouldn’t permit that many extras.)
I don’t think a cat has made a sound like that since the creation of the world. In fact, I don’t think any living creature has made a sound like that since the creation of the world. Would love to know how it was “produced.” Would also love to know the story behind how that cute-as-the-dickens kitty cat ended up on DS.
Back again. I love 1795, but the cat nearly ruins it for me. I just have to put it in a box, put the box in a corner and forget about it.
Because if she has the power to turn people into animals, why is Angelique even messing with all these other spells and such? Her random, ever-shifting powers got annoying.
I think I hate The Cat and the Dream Curse the most. The Cat is dumber but doesn’t last long at least.