“I had forgotten how overwhelming this urge for blood could be, and how helpless I would be to resist it.”
Last year, Dark Shadows took a bold leap, spending four months in a detailed flashback to the 18th century. This risky endeavor turned out to be a huge win, a creative high point for the series.
When the time travel story ended in April, the question was: after an ambitious and successful storyline like that, what do you do for an encore? And then they spent the rest of the year not really coming up with a coherent answer to that question.
Instead, they stumbled their way into a set of tangled story threads involving a mad doctor, a Frankenstein monster, a time-traveling witch with dream powers, a demonic crime boss, an occult expert, a root cellar, two new vampires, multiple kidnappings, a brick wall, an anagram, the French Revolution, Elizabeth Barrett Browning, Jim Morrison and a View-Master reel.
It’s not easy to tie that all up and have it make sense, so they didn’t bother. They just threw a werewolf at us, which kept us entertained while they quietly directed the surplus characters to the exit.
But now the production team is doing a bit of soul-searching, trying to figure out where it all went wrong. And since there are clearly no rules about what qualifies as acceptable afternoon programming anymore, they might as well take us along on their annual review.
This week, they’re doing it all over again. Dark Shadows is going back to going back in time.
So here’s our hero, the occasionally reformed vampire Barnabas Collins, who’s magically returned to 1796, to take possession of his own body. This is a great idea, and I plan to try it the next time I get pulled over for a speeding ticket. “If you’ll just wait a moment, officer,” I will say, “I’m about to transcend the barrier of space and time.”
Barnabas is here to save girl governess Victoria Winters, who’s currently under sentence of death on trumped-up witchcraft charges. He tried to do this the first time around, too, but maybe this time he won’t screw it up by murdering key witnesses.
At the moment, he’s got his hands around the throat of Lieutenant Nathan Forbes, and they’re grappling next to a stage light with a green filter, which accentuates the heroism.
Here’s where Barnabas really knuckles down to the task of recklessly clearcutting his own history.
The first time around, he just murdered Nathan and moved on with his evening, but now he’s decided that everyone would be much happier if Nathan signed a confession clearing Vicki and her lawyer boyfriend. So he takes some paper and ink from a desk, moving aside the loaded crossbow. It’s been a weird evening.
Remarkably, Nathan thinks is a good time to open up negotiations, saying that he’ll write a full confession, as long as Barnabas does the same. “You won’t kill me, if you want Peter and Vicki to live,” he insists. “So you see, I have some weapons of my own.”
This is why Nathan was such a great character; I admire anyone who can transition seamlessly from gasping for breath to making a sales pitch. Then he walks over to a nearby mirror, and adjusts the apparel. God, I miss Nathan.
Barnabas smiles like the cat en route to eating the canary. “Apparently, you are unaware of the powers that I have,” he purrs. “You think the only choice open to me is to kill you. Well, you are a pathetic fool.” Then he makes with the dentistry.
And, you know, this is how far this character has drifted from his original remit — I’d totally forgotten he could do this. I guess fantasy rape-based mind control is back on the table as a strategy.
This needs to be the first item on the production team’s list of how to make the show great again: stop curing Barnabas. He is so much better as a vampire.
So do you remember how Dark Shadows fans think that the writers had this long-term “redemption of Barnabas Collins” character arc planned out, where they guide him to maturity and turn him into a hero? Yeah, about that. It didn’t work.
Cause here he is, back in town, and doing it all over again. According to the make-believe redemption narrative, Barnabas should have evolved by now into a civilized adult who has some basic grasp of the sanctity of human life.
This is the kindly uncle, who’s spent time with Julia, Vicki and Carolyn, and now understands that raping someone’s jugular is not an acceptable means of building consensus.
But there’s really not a lot of daylight between episode 663 Barnabas and episode 363 Barnabas. He’s still strangling his way to the top, and he still enjoys it; he just has a slightly different agenda. In the last year and a half, Barnabas Collins has learned nothing of consequence.
And, just to drive that point home, he drops Nathan off at the police station, and heads down to the docks for a snack.
A little later in the episode, Barnabas tells Ben, “I didn’t think what it would be like, being this way again.” He sighs. “I had forgotten how overwhelming this urge for blood could be, and how helpless I would be to resist it.”
I’m sure that the woman he’s about to murder would find that comforting; he should make sure to mention it during the assault. You can’t blame a guy for not thinking what it would be like.
So here we are: EXT: DOCKS – NIGHT. Enter doomed prostitute, in a red shirt.
Now, according to the boring old rules of story logic, this scene has nothing to do with the rest of the week-long time trip. Barnabas is trying to bust Vicki out of stir, and he’s just dropped the dazed Lieutenant and his confession off at the police station. Now he needs to make sure that Vicki is released, so it’s not a great time to wander off and meet new people.
But Vicki is obviously not the focus of this whole time travel sequence. If they thought we cared about Vicki, they would have pointed a camera in her direction.
Honestly, this scene is one of the most blatant examples of audience pandering you could hope for. The ratings are down slightly, so the production team responds in the only way they know how, namely: send the protagonist out to kill people with his teeth.
For commentary, let’s skip ahead a few chapters on the DVD, and hear what Jonathan Frid has to say.
On this disc’s bonus-feature interview, Frid describes his first bite scene with Maggie back in episode 225/226, when he put his fangs in upside down, and he had to just keep his mouth shut and go on with the scene.
“So it turned out to be the best bite I ever did, by the way, because I couldn’t open my mouth in this idiotic fashion that they always asked me to do, like (opens his mouth wide) into the camera, as if they want to show off the fact that they’d spent a hundred dollars on a pair of dentures. I mean, it was just silly. But I’d go (opens wide again) and then I’d go in, and, you know, they could’ve called the cops and saved the poor damsel, by the time I got to her neck.
“I mean, the long dentures — they looked funny to me, they don’t look horrible at all. But, if you could suggest it, the power of suggestion is what I’m into, my whole career.”
Frid is basically talking about this episode. It’s been nine months since we last saw the inside of the main character’s mouth, so they make sure we get a good look. Barnabas swoops in for a bite, then rears up for a second try.
Barnabas actually has his mouth open for twenty-six consecutive seconds in this scene. If this is what the housewives and teenagers want to see, then today they get the deluxe experience.
But that’s not the only treat for the audience today. We also get to see crazy, crazy Millicent, still following Nathan around and having not really that much of a clue about what’s going on.
I loved Millicent the first time around, but now I can see how important she was — a core family member making an exaggerated descent into madness.
And here’s Nathan, the clear and present danger to the fortunes and destinies of the Collins family — scoundrel, thief, bigamist, child-endangerer, recent life-essence rape victim — doing a comedy scene with his comedy wife.
He’s shaken off the effects of Barnabas’ hypnocontrol, and he’s trying to get Millicent to understand the first thing about what he needs her to do. Just look at his frustrated little face, it’s adorable. We haven’t had this particular brand of drawing-room farce since the 18th century.
This is another reminder of an approach that they discovered in 1795, and then misplaced. We need more of this kind of thing, and lucky us, this is the week when the writers figure that out.
In fact, I think this is the place where they start to say, “Maybe we could do another time travel story.” They’re kind of openly displaying that they long for this version of the show, and this week is a chance to review what went right a year ago:
A limited time travel story, where anything can happen. Exaggerated characters, who can offer a wider range of dramatic styles. Conflicts between family members, with the future of the Collins family at stake.
Make Barnabas a vampire again, but this time he’s saving innocents, making friends and fighting villains. Give him an active goal to fight for, so he’s not just sitting on the sidelines and reacting.
That’s pretty much the recipe for the 1897 storyline, which kicks off in March ’69. I was arguing a month ago that the writers were still making things up as they went along, and the Turn of the Screw storyline was not originally designed to be a lead-up to another time trip. I think this is the moment where they actually make that decision.
Ron Sproat, the lame duck of the writing team, is going to write the next five episodes, which are basically just a retread of old ideas. While he’s keeping the show going, Dan, Sam and Gordon can spend that time figuring out where they’re going next.
Today’s episode isn’t just a look back at the past. This is the roadmap to the future of Dark Shadows.
Tomorrow: Sproat’s Last Stand.
Dark Shadows bloopers to watch out for:
When Barnabas terrorizes Nathan in the teaser, three candles in a candelabrum blow out — except the middle one, which stays lit.
Barnabas tells Nathan, “I think you would rather be staying in a prison than dying in this room.”
Nathan says, “Come now, Barnabas. My sins look rather pale besides yours.” He means “beside yours.”
When Barnabas tells Ben that Nathan has signed the confession, a scene-closing music cue starts playing, and then cuts off. The scene continues.
When Crystal asks Barnabas, “Do you ever go to the Eagle?”, somebody in the studio coughs.
In the final moments, the camera holds tight on Barnabas’ face, so that he can sit down without revealing Crystal’s body is in the other chair. But as he sits, her face can be seen briefly anyway.
Tomorrow: Sproat’s Last Stand.
— Danny Horn
17 thoughts on “Episode 663: Being This Way Again”
This episode also starts the trend of Barnabas having a really high collateral damage rate when it comes to his missions. Vicki is saved, but the lady at the dock and a someone else will die before they did in the original timeline. Great work.
“YOU WILL SIGN THAT CONFESSION!” is one of my favorite Barnabas scenes. He’s a vampire crooked cop.
“a vampire crooked cop”. That’s very funny. He is Batman, sort of.
For some reason, I’m reminded of both, Charles Bronson in DEATHWISH, and of Kramer as Joe Friday, searching for that statue, while keeping Ray up against the wall, on Seinfeld.
Now, drop the collateral damage, and you now have Marilyn Ross’ Barnabas Collins…
Any time you have Nancy Barrett on the screen, it’s gold, but Millicent is fantastic. Just watch her eyes in any shot.
Some scenes are sublime. I don’t know the ep number, but there’s this one moment in the old 1795 where she’s looking out of the window of the drawing room and she’s half crazy at this point…..
I think it was Nathan saying, “Did you hear me?”,
And she gives this tiny little nod of acknowledgement that still makes me laugh out loud.
But there’s plenty more laughs to come, in 1897.
After Charity turns into Pansy.
I had often thought that 1795 was the Golden Age…
But, no. It was 1897.
When Sam and Gordon wrote the best DS comedy (finally), and the execution was top notch, between Selby, Grayson, and Barrett.
exactly, Chris, exactly. the three best characters, eclipsing the lights.
I watched this tonight, and the first thought that popped into my head was, “Is this a dry run for 1897?”
And apart from the pleasure of seeing Barnabas as a vampire again, this little jaunt back in time works better than 1968 because the plot is so much more focused. You don’t need a whole Universal Studio full of monsters to make things interesting – you just need an interesting protagonist with a goal and enough problems to make it hard for him to achieve it.
Pity they couldn’t find a way to shoehorn Don Briscoe into the plot, perhaps in military uniform carousing with ‘Lt. Forbes’ and some comely wenches…just a thought. Besides, this day trip to “1790-whatever” was probably pushing on the budget pretty hard.
Why didn’t Barnabas come back to 1796 a day or two earlier and save his mother while he was at it? He could have dispatched Nathan before he told Naomi about Barnabas.
That’s the first thing I thought of. Saving his own mother isn’t the most important thing on his mind? Bad son! But he didn’t think of going back far enough to avoid being bitten by Angelique’s bat, so at least he’s not entirely selfish.
Hmmm, I thought “Crystal” resembled Joan Bennett. Rather Freudian implications there.
Loved the scene where Jonathan Frid yanked Joel Crothers out of his chair and flung him around. Since I doubt Frid could have budged Crothers irl, kudos for some nice physical acting on Joel’s part!
JRM, Crystal does resemble Joan Bennett. It didn’t cause Barnabas a second of pause, did it? Crystal is a strange name for a woman in the 1700s. It’s a bit jarring.
Well, she’s a prostitute. It’s a fake name. Crystal makes total sense.
That closing sequence is fantastic. Frid’s silent stalking around the room, all angst and remorse, is pretty powerful – he really is a great actor when he’s not struggling for lines. I have no doubt the brief glimpse of Crystal’s face is a good, but I think it adds something – that kind of “did I just see…?” feeling usually reserved for horror movies.
Balance that against the hilarious Millicent and Nathan scenes and this episode is practically perfect. I was convinced I’d seen the last of Joel Crothers after Joe’s exit, I’ve never been so happy to be proved wrong – even if he has picked up a strange Angela Lansbury voice from somewhere…
Yes! this is the Barnabas we all long to see. Action Barnabas! Not the Barnabas who spends all his time moping around his drawing room, delegating responsibilities to others… that perpetually worried but persistently ineffectual Barnabas my sister and I affectionately nicknamed “stupid boring Barnabas” always wringing his hands as he anxiously awaits updates from the actual action stars we almost never get to see in action, only getting to hear of their exploits after the fact, when they finally fill him in.
Man this alternate timeline to the Forbes storyline was chilling! Barnabas becoming invisible is an awesome addition to his arsenal!
And I’m all here for vampire Barnabas! And Millicent! I’m so glad she’s back!!
I was surprised that they just rushed through Peter’s release from jail but I’m glad they did.
I didn’t get Barnabas lurching for Crystal and then doing it again. Was he having second thoughts? I also thought Crystal looked a great deal like Joan Bennett. It was shocking that she appeared in the study at the end.
It was a shame that the first (only?) DS male/male vampire/victim bite was offscreen.
Not sure if this is really a blooper but one of Millicent”s ringlets is stuck and doesn’t bobble around like all the others. It’s so good to have her back even with a rogue ringlet! I cheered at the screen when she appeared.
The music at the very beginning sounds to me like it’s being played off a scratchy record.