“I just wanted to make sure that you weren’t dead.”
Dawn has not yet come to Collinwood. You can tell, because they’ve got the establishing shot up, and it’s dark blue. They’re playing the sub-theme music cue, and somewhere in the studio, fading film star Joan Bennett is standing in front of a microphone.
“Dawn has not yet come to Collinwood,” Joan says, in a world-weary tone which indicates that she’s one sentence into a three-sentence introduction, and it’s not going to get a lot better from here. “The earth hovers between night and day, as though terrified to bring into being the days and nights that lie ahead.”
And it’s amazing, watching it now, to think that there was a time when it was okay to open a television show like this. They don’t take practice swings like this anymore. When your show starts, you start the show.
“But time is indifferent to terror,” says Joan, and you have to admit she has a point. “And the earth obeys the primal command creating nights and days, creating the moment when fear no longer stalks… but stops to strike.”
In other words: it’s October 1967, and you don’t have a remote control. If the earth obeying primal commands isn’t a stop-the-presses level event for you, then you’re going to have to get up, walk across the room and do something about it.
Dark Shadows Every Day 