Episode 1163: Love in the Afternoon

“I hope she’s not touched by what’s happening now.”

The Collins family files out of the mausoleum, marking the close of another funeral. Today they lay to rest Daniel Collins, who died in the tower room of finding out something surprising.

“What a dreadful day this has been,” groans Flora Collins, and she ought to know; her family has been experiencing one dreadful day after another for more than forty years. If anyone can recognize what a dreadful day looks like, it’s a Collins.

Suddenly, Carrie Stokes gasps, and every part of her face widens in alarm. “Someone’s been watching us!” she cries, and points at the scenery. “There!” I’m not sure why she’s getting so uptight, I believe people are still allowed to stand around in the woods if they want to.

And then there’s a shot of a pair of mystery feet, standing ominously over a piece of blue marking tape. You can always count on mystery feet for a punchy commercial break; this is what they do now on Dark Shadows instead of suspense.

Now, Carrie Stokes is something of a mystery herself; the only connection that she has to the Collins family is that her grandfather worked for them, and he died two months ago, so why she’s still allowed to live in a mansion rent-free is anyone’s guess. The only thing we really know is that she’s supposed to lie down and die in the playroom with Tad Collins at some point in the hopefully near-future, and then spend a century quietly haunting a dollhouse. She doesn’t have a lot to do with the current storyline, but as long as she’s here she might as well get some exercise.

“I’ll send you to Collinwood in the carriage, Carrie,” Desmond says, but she demurs.

“Oh, please,” she simpers, “I do want to walk. It’s not dark yet, and you couldn’t find anyone in the bushes. I’ll be all right.” She’s apparently got some personal theory about bushes and safety. Desmond’s just happy to see her go.

Naturally, as soon as she’s outside, the mystery feet get busy again; turns out they were in a different bush the whole time.

“Who’s there?” she says, as the feet rustle through the make-believe leaves. “I know someone is!” She’s looking in precisely the wrong direction, of course. Carrie does not have a super tight grasp on total situational awareness.

But she whirls around at the last moment, and gasps again, finding herself face to face with a total stranger. His name is Jeremy.

So the interesting thing here, if there is one, is that they’re coding this moment as horror. This is Jeremy’s second commercial-break sting in a row, with a burst of trilling violins informing us that this is a chilling development. Even after the break, when it’s revealed that this harmless young man just wants a chat, they’re going to keep playing something’s-lurking-in-the-hallway music for a good forty-five seconds, before it fades away in embarrassment. That’s all they know how to do anymore.

“I asked you, who are you?” Carrie demands, staring into the face of someone who we’re about to learn lives down the road and goes to her church.

“Don’t be frightened, Carrie,” he says, and she cries, “How do you know my name?”

“Carrie Stokes,” he smiles. “Born, let’s see… eighteen-twenty-four.”

“Twenty-five!” she corrects, so it’s a good thing he’s not a Nigerian prince, fishing for her credit card and social security number.

“Father: Amos Stokes,” he continues. “Mother: Martha Bradbury. My father almost married her too, once.”

“W-wait a minute!” she sputters, utterly at a loss. “How do you know all about me? Who ARE you?” It hasn’t occurred to her yet that this is someone who lives nearby. She’s not very bright, is what I’m saying.

“Jeremy Grimes, at your service,” he says, giving her a playful bow, and suddenly she’s up to speed.

“Jeremy Grimes?” she cries. “Mordecai Grimes is your father!” So if she knows that, then why didn’t she — oh, never mind.

Now she’s upset about something else. Mordecai Grimes has been going around telling everyone that Quentin Collins is a cow-murdering sorceror, and she’s taking it personally.

“If you only knew the grief he and people are causing at Collinwood!” she sobs, and he heaves a sigh. This is what conversations with Carrie Stokes are like. Jeremy really should have done more background research; always do your homework before approaching the highly-strung.

“Well, what do you want me to do, educate him?” Jeremy whines, and she whirls on him, snapping, “Well, if you don’t agree with him, you should fight him!”

Another sigh. “Carrie,” he says, “I was the one passing through the woods today.”

She takes it pretty big. “So it was YOU!” she goggles. I don’t know why this is such a bombshell for Carrie; I thought we’d made that connection before the commercial break.

“On my way back to the farm,” he explains. “And I saw you all standing there, and I remembered about how my father had railed about letting Daniel Collins be buried in Christian soil. And I thought — how can people be so wrong about each other?”

So that’s your tepid teen rebellion moment, right there. I assume the kids at home raised a fist in salute and said right on, brother. Dumb ol’ people.

And here, finally, they start up the slow woodwinds music cue that they used to throw at us during Vicki and Burke scenes. This is the dawning of another Burke.

So it’s adorable, really — not the scene, of course, which is dreadful, but the fact that they’re still pretending that they think this is a soap opera. This show has made it quite clear over the last several months that the only emotion they care about is a remorseless commitment to pointless vengeance, as exemplified by Gerard Stiles, who’s got the day off today. I guess that’s why they felt like they needed to drag Jeremy onto the set; when Gerard’s not around to smile and sneer and shove dreams into people’s heads, then the show is apt to wander off, and look for mystery feet.

Still, it keeps them afloat for another day, and that’s all that matters. Carrie looks off into the corner and sighs, “Jeremy Grimes!” It’s not a terribly romantic name, but she only has another month left on the show, so let’s not spoil her moment. Carrie on.

Tomorrow: Almost Helping.


Dark Shadows bloopers to watch out for:

In the teaser, Flora greets Desmond by calling him Quentin, then corrects herself.

When Leticia tells Desmond that Gerard can be dangerous, someone can be heard walking in the studio.

When Carrie tells Desmond that she’d like to walk home, there’s a little clatter from the studio.

Desmond talks to Flora about the magical head: “If they find out that I have it — or did have it — then I could be linked to witchcraft!”

Jeremy says, “I remembered how my father had railed about letting Daniel Collins be married — be buried in Christian soil!”

When Flora talks to Barnabas about Daniel’s funeral, there’s a lot of studio noise — footsteps, chairs moving around, and someone speaks.


Behind the Scenes:

Jeremy Grimes is played by Tom Happer, who appears in four episodes. This is his first screen role. After this, he appeared in a couple of Off-Broadway shows, and he played the villain in the 1972 CBS TV-movie Crawlspace, about a very stupid elderly couple who find a handsome, unstable teen living in the crawlspace of their house, so they invite him to live with them and ask him to chop wood. You can see a picture of him below. It doesn’t end well.

After that, Happer appeared on the 1977 NBC soap opera Lovers and Friends, which was taken off the air after five months and then came back under the title For Richer, for Poorer, and lasted for another nine months. Happer was part of the reboot, the second recast of a character who was originally called Rhett but renamed Bill when the show returned. That didn’t go that well either.

Finally, in 1984, Happer made a final acting appearance as an unnamed Gigolo in the movie Shackin’ Up, also known as New York Nights, if it’s known at all. That wrapped it up for Happer’s career; I don’t know what became of him after that. I hope he’s okay.

Tomorrow: Almost Helping.

Dark Shadows episode guide

— Danny Horn

63 thoughts on “Episode 1163: Love in the Afternoon

  1. So if a relative of Ben Stokes, a Thayer David character, falls in love with a relative of Mordecai Grimes, another Thayer David character, it may not be incest, but there must be some law of nature that’s being violated.

  2. Silly, this line isn’t a blooper: “I remembered how my father had railed about letting Daniel Collins be married — be buried in Christian soil!” It’s a Freudian slip in the presence of an eligible blonde! He’s subtle, is Sam Hall.

    But on to more important things. I think this is a great turning-point post. I see in a line like this–“Still, it keeps them afloat for another day, and that’s all that matters”–an endgame strategy for this precious blog. You were losing heart for a while, I think, as the show became irredeemable. But now it seems that you are emotionally and philosophically prepared to count the deck chairs on the Titanic. I look forward to going down with you, sir!

    1. “But now it seems that you are emotionally and philosophically prepared to count the deck chairs on the Titanic. I look forward to going down with you, sir!”

      So do I, and this is the forum for that discussion. You look at other Dark Shadows sites; they are populated by a large number of folks who think the show can do no wrong.

  3. Jeremy & Carrie; aren’t they ever so cute? Tom Happer gets the ‘Scene Study 101’ prize, but Kathy Cody gives him a run for it. (I hope next week, they’ll do a scene from “Romeo & Juliet”…or ‘Butterflies Are Free’.) To be charitable, they are both quite pretty. Any thoughts on why she’s only listed as ‘Carrie’ and not as ‘Carrie Stokes’ in the credits?
    So…the villagers chased Letitia ALL THE WAY from town, made with some irate rhubarb noise, and then just trooped back into Collinsport? Friggin’ townies. Guess it was poor planning – next time they’ll need to remember to bring their pitchforks and torches.
    And a seance, too, just in case we thought they wouldn’t have one this month!
    With a ChromaKey manifestation of Roxanne to boot. Glad to see the afterlife has cleared up her complexion, that pallor was so unattractive – but what’s with the 1970 hairstyle?

    1. Oh, what am I even saying; Roxanne has her 1840s ‘do, it just looks like she doesn’t have a comb or brush with her in the Great Beyond.

    2. Roxanne had the show’s loveliest peaches-and-cream complexion before she became undead, which is saying something since Maggie and Angelique had such nice ones. But lady vampires always get beautiful again in the afterlife. Carrie, on the other hand, has the same issues in 1840 that she had in 1971. But she was, after all, a teenager.

      1. Right! Gerard beats the heck out of all comers. Too bad Dan Curtis didn’t drop Carrie & Jeremy (among others)- and concentrate on Gerard and Gabriel. they were 2 of the best characters ever conjured up on Dark Shadows. too bad they didnt’ do more with them. Gerard is 100% more interesting than Bramwell. Or late series Quentin.

        1. Oh, I would have found this story far more entertaining if they’d let Gerard be his charming, dangerous self rather than to be swallowed whole by the dreary Judah. Quentin’s become a soporific; how could someone who was once so dynamic be….this?

          Gabriel could chew the scenery of the entire East Wing and I would be there for it. I would have found 1841 PT far more engaging if they’d given Pennock more screentime and swapped Bramwell with Gerard.

        2. Aaaaaand Gerard is so hot I don’t care how many times he flubs his lines. Do not care.

          1. ah geez … I just don’t see Gerard as attractive. When I see Gerard’s head, I can’t deny the feeling that he should be on Easter Island, facing the sea and buried in earth up to his shoulders.

            1. I may disagree with you, but that’s a beautiful image, Ratfeather. Who of the fair young men of Dark Shadows would you enshrine in a portrait rather than exiling him to sit stone-faced and solemn into stormy sea?

              1. Exile? Oh no, that wasn’t my thought regarding Gerard. I have a deep and abiding suspicion that i he leveraged himself up from the rocky soil of Easter Island and stumbled to the beach slowly turning from stone into something closer to flesh.

                When the consistency of his body became something resembling pumice, he cast himself into the waves and was eventually picked up by a sailed trading vessel with ties to a certain little town in Maine.

                However, now that you mention it, I suppose it would be best if he did return from whence he came that he might reside there ever more. ⛰

                1. You should have written his storyline. That’s far more entertaining than that stupid Judah head taking him over.

                  I was just curious if you found any of the other DS boys attractive!

                  1. Oh, I’m imprinted on Barnabas. It’s not that he’s conventionally handsome but my fondness for him makes him look just fine to me. <>

                    So now that I’m considerably …er ‘middle aged’, I like most of the pretty boys. Favorites would be Nathan Forbes/Jow Haskel and the Jennings “brothers”. Willie in the first months reminds me of David Bowie. Do I like Quentin? Not so much. I like David Selby’s current look more than I liked him as Quentin. Although, it’s probably the accent in conjunction with the face that makes him fun to watch.

                    I’m working my way through the series, far behind this current discussion point and I find myself liking Adam more and more. I’m also realizing that a Trask with eyeliner has a certain appeal if one is in the mood for crazy fanaticism kept at a safe distance.

                    Women … Elizabeth/Naomi but not Flora. I like Julia when she has the pixie cut and maybe a little less “Eudora” make up. She must have been cute as heck as a girl. If Barnabas had met her ten or twenty years earlier she would have been his type. …he’s such an idiot not to see that.

                    So, can I have a tryptic? Barnabas, Julia, and then the Old House in the center panel.

                    Who would you want on the wall?

                    1. Trask with the eyeliner! You’re so right. I didn’t notice as a kid, but there’s a certain hotness there. One that should be kept at a distance, of course.

                      My triptych would include Maggie, Carolyn and Willie, a weird combination to be sure. The first episodes I watched were of Maggie’s abduction by Barnabas, and disturbingly, I imprinted on her. She was always my favorite character, and she’s so damned pretty.

                      There were more than a few good-looking men on the show, but I like Willie Loomis more and more.

                      Carolyn is the bee’s knees.

                    2. I totally get the attraction to Barnabas. He was such a kind, gentle man before Angelique’s curse. He was just adorable in 1795.
                      Adam is another unsung hottie. Too bad he didn’t get to smile more.
                      Quentin is beautiful but he doesn’t knock me out the way Gerard and Joe do. I also like the Rev but found him most attractive as Tony Peterson.
                      Willie would be a fun date – if he ever got out of the house, which he doesn’t

  4. “Dark Shadows Before I Die” is a very good site, and I wouldn’t call it uncritical. (Maybe compared to this site, but not altogether.)

  5. Jeremy seems pretty cheerful considering his sister Mildred Ward was murdered in the last episode. These little details bother me more than the major plot holes.

    1. Well, a guy like Jeremy just forgets everything else when he comes upon a girl like Carrie – or maybe the writers haven’t made Mildred his sister yet?
      Besides, everyone on the show was pretty chill about their kinfolk expiring. Except Carolyn.

      1. Carolyn and all her variants heft the emotional weight of the entire Collins family.

  6. Hooray, another Dark Shadows post! It already brightens my day. I laughed out loud at this one, starting with Carrie’s goopy gape in the first screen shot. I must have been stupified by the plot, but it never occurred to me that Carrie should have known who Jeremy was. Maybe he’s been away at school in Boston . . . And bloomed into the young lovely we see here

    1. Shame that Don Briscoe wasn’t around anymore, I bet he could have done more with Jeremy (erm, that didn’t come out quite the way I thought…but you know what I meant.)

      “I’m living right next door to an angel
      and I just found out today,
      I’m living right next door to an angel
      and she only lives a house away…”
      Neil Sedaka (1962)

  7. Well…isn’t that interesting? This episode must’ve been a turning point of sorts – Lela Swift is listed as the producer. I guess Dan Curtis can’t be stuffed anymore and has gone off to concentrate on other things. That has to be a major contribution to the show being cancelled, I believe. When they were threatened with cancellation, he wasn’t around to fight it, nor did he care. I did notice that there seemed to be a huge amount of offscreen yelling in the last episode, and then in the credits both Lela Swift and Henry Kaplan were listed as directors. I can only imagine there was a massive argument and Lela was replaced part way through the episode, then Dan quit in a huff. I heard a woman yelling in the first part of the episode, then it was only a man’s voice I could hear. I can’t make out what’s being said, but there’s a lot of it, and it’s heated. And now Lela’s the boss. Farewell, Dark Shadows.

    1. Lela took over as producer, that is to say line producer, as of episode 1115, when Peter Miner left, who had in turn taken over from original Dark Shadows producer Robert Costello. Dan Curtis was still the executive producer to the end.

      However, given Dan’s own admission that he was seldom seen in the last six months, this would mean that Lela’s wishes regarding plot direction and characterization would have less chance of being vetoed if Dan were absent more often than not.

      Lela from the start had always favored a more standard soap opera approach, and continually protested against Dan’s inclination early on to move Dark Shadows toward the supernatural. So if the last few months of Dark Shadows seem less of a thrill ride and more character driven in the traditional soap opera sense, then Dan’s increasing absence and indifference could be why.

      Cancellation of the series was inevitable. A comparison from issues of TV Guide between 1966 and 1970 paints a telling picture. In 1966, the ABC network was intent on building drama into its daytime schedule, and a large chunk of this was devoted to serial drama.

      On Monday, September 12, 1966, you had Ben Casey from 1 to 2 pm; at 2 was the Newlywed Game. Then comes a 2-hour block of serial drama: A Time for Us (aka A Flame in the Wind) at 2:30; General Hospital at 3; One Life to Live at 3:30; and Dark Shadows at 4.

      At 4:30 was the Dick Clark music program Where the Action Is — a crucial and overlooked reason why Dark Shadows was ever able to attract a young audience to begin with. While just getting in after school, kids that year would have tuned in to the last few minutes of Dark Shadows while waiting for WTAI to begin, and then would be hooked in by seeing such things as the ghost of Josette walking right out of a painting in the Old House parlor.

      Also significant was the fact that Dark Shadows itself was the replacement for the teen serial drama Never Too Young, which had starred Tony Dow of Leave It to Beaver fame during the 1965-66 season.

      In 1966, the fledgling ABC network was interested in attracting a young audience, perhaps with the intent of cultivating a more long-term interest as the network and its younger viewers might come of age together. .

      Then a few years go by, ABC becomes an established resident on the network TV block, and what happens?

      In consulting an issue of TV Guide for the first Monday in 1970, the daytime lineup for ABC has the following: Despite the debut at 1 pm of All My Children, the next 90 minutes consists of game shows, with Let’s Make a Deal at 1:30, Newlywed Game at 2, and Dating Game at 2:30. From 3 to 4:30, you still had General Hospital, One Life to Live, and Dark Shadows in their respective time slots, only now Dark Shadows is the lead-in for reruns of the Mothers-in-Law at 4:30, a situation comedy starring Eve Arden and Kaye Ballard which ran on NBC from 1967 to 1969, followed at 5 pm by What’s My Line, another game show.

      Where’s the emphasis on youth-oriented daytime shows in that lineup?

      Already by the start of 1970, Dark Shadows is starting to look like the odd one out.

      1. Thanks Prisoner, that’s interesting. I didn’t realise Lela had taken over as producer that long ago. I guess I don’t pay enough attention in the credits. Thanks for the background information about scheduling. I struggle to understand these matters since the majority of the shows are unfamiliar to me, never having screened in Australia. It’s good to get more information.

      2. It sill does make me curious though, as to what all the offscreen drama was about yesterday and why there were 2 directors listed, as well as an associate director.

        1. I’m curious as well. Very often this behind the scenes discussion/arguing (most likely leaking into the broadcast audio from the control room) speaks volumes as to why things on Dark Shadows turned out the way they did.

          Using my current special system of files conversion, I’ve created a separate, larger audio-only file for episode 1162.

          Once I’ve had a chance to examine the audio at length, I’ll report back here with a summary. Thanks for the heads-up on this! 🙂

          1. I hope they stopped all their bickering in the control room about Frid being gay. That was so depressing to think about. Can’t wait to read your transcript.

    2. Here are my findings on the background voices heard in 1162.

      In recent episodes, Lela has felt threatened in believing that her position(s) on Dark Shadows may be in jeopardy; Dan has been hinting at a demotion to “associate producer and associate director” for bad behavior.

      Whenever Dan has a problem keeping Lela in line, it usually involves something she has said through the control room microphone, often repeatedly, for everyone in the studio to hear, cast and crew alike. So I went back to examine the audio of episodes from preceding weeks, to determine the reason why she has fallen out of favor with her executive producer.

      Below are some of the highlights from November 1970.

      1153:
      [waves, opening theme]
      Lela: Dan, Virginia Vestoff is the sexiest woman I’ve ever seen! I don’t think I can control myself.
      Dan: Oh, Lela, for Christ sake! Why do you always have to ogle women actors through the microphone?…

      1154/55:
      [waves, opening theme]
      Lela: Dan, why did you have to hire Virginia Vestoff? She’s too sexy to be on a soap opera.
      Dan: Lela, I hired her because she’s a great actress. Now why don’t you just control yourself?

      During the middle of Act II, as the scene in the woods between Randall Drew and Mordecai Grimes transitions to Rose Cottage, Thayer David can be heard from the soundstage expressing his distaste over Lela’s recent behavior:

      Thayer [in a hushed voice]: Jesus Christ, I’m sick and tired of that Lela Swift! The way she constantly ogles Virginia through the control room microphone.
      Gene Lindsay: Yeah, I know, I can’t stand her either.
      Thayer: I’d just love to get my hands on that woman. I’d shut her up once and for all.
      Gene: I’d love to help you out with that.
      Thayer: Sometimes, I think about really smacking her good. Right across the face!… We’d better keep our voices down. She might be listening…

      [end credits, closing theme]
      Lela: Dan, did you hear Thayer David talking about me on the soundstage with Gene Lindsay? How can you keep Thayer David on after something like that?
      Dan: Thayer has every right to express his feelings about your behavior, Lela. If you can’t control yourself, then that’s what you get.
      Lela: Dan, I want you to fire Thayer David! He talked about smacking me in the face!
      Dan: I’m not going to fire Thayer David. He’s important…

      1156:
      Opening scene:

      Christopher Pennock [from the soundstage]: …Thayer really stuck up for you yesterday.
      Virginia Vestoff: I can’t believe someone actually said that about Lela. Thayer is my hero!

      [waves, opening theme]
      Lela: Dan, did you hear Virginia Vestoff talking from the soundstage with Christopher Pennock? She said Thayer is her hero, for talking about smacking me in the face!
      Dan: I told you, Lela…

      1. There is so much wrong about all that. What am I supposed to think? Oh, that’s just the entertainment industry? Or oh that’s just the early 70’s?

        Bleh, too much reality. Although, maybe you should compile a behind the scenes collection of the conversations going on throughout the run of Dark Shadows. Then it could become some sort of a fictionalized drama about the making of a gothic soap, aka “inspired by on a true story” …. or a YouTube documentary

      2. Oh, Lordy Loo!
        Lela’s STILL at this, four years later?!
        Unbelievable that this nonsense is still going on.
        And the worst part is, she’s still going on about the negative things other people say about her behavior; she can say whatever she likes, but nobody else is allowed to?

        1. Sounds like Lela finally got over her crush on Alexandra Moltke. It’s a miracle Lela wasn’t smacked in the face long before this.

  8. Well Carrie and Jeremy aren’t the most interesting characters in the show, nor are they played by the most talented actors, but I did find this subplot rather sweet (and age appropriate for Carrie). With a bit more care and character development they could have built it into a nice “star crossed lovers” story. Hell, DS ripped off so many classics, so why not add Romeo and Juliet to the list?

    I find it interesting that as Dark Shadows enters its dying days I find the monster plots less and less compelling, and the soap opera elements more worth my attention.

    1. We had seen all these monster plots before — possession, witches, warlocks (though not decapitated ones, but the head has been MIA for a while now), vampires, ghosts and seances; seemed like the writers were just stirring the same pot and had neglected the soap opera ingredients for too long. And who doesn’t want a love story with pretty young things to look at? A nice change (even though we knew all along they were doomed (Doomed! DOOMED!).)

      1. I respect the idea if not the execution. Desmond and Leticia fill the niche rather well, if only their relationship had been given room to breathe. And they ended up not being….DOOMED.

        1. Yeah, I had totally forgotten the Carrie/Jeremy relationship, but Desmond/Leticia is one of my top pairings. Frankly all the pairing with Nancy Barrett and John Karlen were great.

          1. Oh, yes, I love those two together. They have chemistry, whereas Carrie and Jeremy are two spools of white thread.

            1. “Spools of white thread” is probably one of the best descriptions I’ve heard in quite some time. I can’t wait to use it in everyday life!

              1. You’ll find it far more useful than it at first appears, especially as we near the end of DS.

  9. Apropos of nothing, I went and rewatched the first 1966 week of the show. The sets had that new-car smell, all sharp edges and unscuffed surfaces. Almost no boom mikes, well-rested actors, cameras in focus. And the outside shots! An actual town full of living people.

    Freaked me out.

    1. I know, right? The Blue Whale’s hopping, there’s even diners at the Collinsport Inn’s cafe!
      Guess it was tourist season…

    2. That was before all the vampire/werewolf attacks scared people away at night. Of course, the truth is that Dan Curtis didn’t want to splurge for extras anymore.

      I really wish they’d continued with the outside shots/location footage instead of just using slides with dust all over them. I think some or not all of the location footage was shot in color with the thought being that they would continue using it when the show would eventually go to color. Early on in the color shows, they were still using color filmed establishing shots of Collinwood that were in color.

  10. I’m amazed that the directors of any soaps had time to be talking about anything but the shots they were about to “take” when a soap is being shot. Here’s the control room chatter from the live episode of Search for Tomorrow from August 14, 1983. They had to go live because the episode which had been previously recorded had the tape stolen. Or so they say. Others think it was a publicity stunt.

    Anyway, the action begins at 6:27.

    1. And special thanks to Michael Corbett for providing eye candy at the very beginning. I got to meet him twice and he was just as gorgeous in person. And nice.

  11. I’m not sure I ever thought of anyone as particularly attractive on Dark Shadows. I had a boy-crush on David Collins, and as I moved into puberty was awed buy Maggie, but otherwise was more attracted to whether they scared the bejebbers out of me or were mysterious.
    The dynamics between Barnabas and Angelic mostly caught my attention…and Quentin and Beth when they were ghosts.

    1. Isn’t it interesting that we can establish “relationships” with fictional people? I suppose we utilize the part of our brains that is normally used to maintain social connections even we are no longer in close proximity to our social group. … in other words, we lie to ourselves and some parts of our brain can’t tell the difference between what we are imagining and what we are experiencing in reality. The inner reality can override the outer one.

      When I was in my late teens and early 20’s I got totally fixated on Sherlock Holmes … written versions of him. I read any fiction with Sherlock that I could find at the library. Jeremy Brett’s portrayal (PBS) was great, but I didn’t need any external visual input. (I like the Cumberbatch version, but given my age, young Cumberbatch’s Sherlock is safe from me. lol)

      I can enjoy the story without really caring about the characters. A lot of times they could put paper bags over the actors, dress them all the same, and just give them a number and I’d be fine watching it to see the story of it all.

      In other situations, I want to retain the characters and dump most of the story. Dark Shadows and Star Trek have been my playground for a long, long time and I expect those characters will be with me until the last of my mind goes. Very few other shows, movies, or book characters are more than a mental blip or blur of plot. It’s not for lack of input. Not everyone appeals.

      I do like Fred Saberhagen’s Dracula and Chelsea Quinn Yarbro’s St. Germain. There is something about Joshua York in George R. R. Martin’s Fevre Dream that has lingered in my head for 30+ years; I hope Martin gets Joshua into video like he has said he wants to. I also like Nathanial Cade from Christopher Farnsworth’s the President’s Vampire series. Agent Pendergast (Douglas Preston and Lincoln Child) is great gothic style fun, although I sometimes think the authors are trying to see just how much nonsense the readers will put up with. I guess I’ll also throw in a few silly characters from the 70’s– Mr. Roarke from Fantasy Island and Quincy + Sam Fujiyama from Quincy ME. (I’ve worked in testing labs and because of that Sam Fujiyama is a personal (fictional) hero. However, the hero part doesn’t work unless Quincy is also there to take advantage of Sam. Quincy always talked Sam into working late on some challenging sample analysis, then Quincy would run off on a date. Sam is a terrific role model for downtrodden lab analysts.)

  12. ” … in other words, we lie to ourselves and some parts of our brain can’t tell the difference between what we are imagining and what we are experiencing in reality. The inner reality can override the outer one.”

    This is so appropriate that it’s worth repeating.

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