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michelles-garden-of-evil · 3 years ago

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Episode 46 Review: 2 Theories About Jean Paul, Erica, and the Locket

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{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

In this great house on Maljardin, evil lives, even amongst the dead, and the poison this evil spreads threatens Erica Desmond, who lies frozen in this cryocapsule until the day a scientific miracle returns her to the living and back into the arms of her husband Jean Paul Desmond, who has defied powers real and imagined to assure his wife’s return from beyond the veiled curtain of death. Strange happenings are forcing a decision that could doom Erica Desmond...forever.

Hello and welcome back to my Garden of Evil, where today we will examine Jean Paul’s reaction to Dr. Alison Carr’s new discovery about her sister’s bloodied locket and two possible explanations of what it may say about Erica’s death and Jean Paul’s state of mind. I could do an entire recap of this episode if I wanted to, but I'd rather narrow the focus of this entry to the theories that have been floating around my head for a while (one since before I started this blog, in fact).

A brief summary of the important stuff that happens in this episode: Alison learns that the blood on the locket is human blood, type AB-, which leads her to conclude that it must be Erica’s, because both she and Erica have that rare blood type[1]. She also tests the poison found in the glass of wine that Holly drank from two episodes ago and finds that it’s not the missing cyanide, but an unknown poison of vegetable origin. Elizabeth defends herself to Matt, telling him that she has no motive to kill Holly, not even her inheritance--and, surprisingly, he believes her. And then Raxl and Quito steal the rabbit from Jean Paul’s room and stumble upon that wonderfully sinister skull, which will co-star with Jacques in Episode 47.

Jean Paul receives irrefutable proof that the locket found around the rabbit’s neck belonged to Erica.

Outside of those plot points, this episode focuses primarily on Jean Paul’s confusion over how a bloodied locket even ended up in the cryonics capsule with his beloved Erica to begin with. When Alison shows Jean Paul the blood sample under the microscope, he's skeptical at first and tries to convince her that she either bled on it or someone else somehow put her blood there to confuse him. I would say it boggles my mind how someone with an IQ of 187 like Jean Paul can conceive such a ridiculous theory, but, honestly, it doesn’t. The popularity of conspiracy theories and other misinformation in our time has convinced me that human beings of any intelligence level can trick themselves into believing anything, no matter how patently absurd, if they want to believe it enough.

Subtle Dark Shadows reference?

I can’t tell how much of the next part where Jean Paul continues speculating about the locket is actually in the script and how much is just a particularly bad line flub. Listening to his dialogue, it sounds like a combination of both, but it’s hard to tell given that the character is supposed to be very confused already. Here’s an exact transcription of what he says:

Jean Paul: "Well, maybe I-I-I put the necklace on her neck without realizing it. I perhaps didn't put it on her when I put it in the capsule. It could have happened that way very easily. You see, I had thought I had. You didn't see me do it, did you, Raxl?" Raxl: "No." Jean Paul: "Quito, did you?" Quito: *shakes head* Jean Paul: "Well, there you are. You see? She could have cut her finger a while before she died, and so the blood got on the locket, and maybe I put the locket in the, uh, dresser drawer, and it was left there, and in my grief I didn't know what I was doing and I gave her another piece of jewelry which I put around her neck. Don't you think that probably is what has happened?"

Vangie isn’t convinced of any of these theories, and neither is Raxl. The latter believes that the locket appeared because of evil, “slimy like a snake, ugly like a black rabbit.” (WTF? The rabbit is adorable!) Jean Paul accuses Vangie of suspecting him, but she insists she doesn’t. Of course, he doesn’t believe her and he takes out his anger by breaking Alison’s microscope in half, throwing it to the ground, and accusing Erica of mocking him.

In the next scene, he ruminates in his room over the likelihood that he killed Erica, intentionally or otherwise:

Could I have killed my Erica? Could I have slain my love? That's impossible! Oh, you would like it, Jacques Eloi des Mondes, my bloody murdering ancestor. If it was so, how you would rejoice! But then, if I didn't put the locket in the cryocapsule with Erica as I thought, what other things that I believe as facts--things which are part of my life and experience--may be no more than creeping, malicious, lying fancies? Perhaps I didn't love my Erica at all. Perhaps I hated her!

Jean Paul pondering whether he truly loved Erica.

Getting dramatic!

Later, while lying on his bed in shirtsleeves, he realizes that he genuinely loved her, but that his memory is still faulty:

Jean Paul: "I loved her. I remember how I loved her. There was no world but the world outside, and then there was another world and that was us. Oh, how I loved her, so good, so beautiful, but what happened at the end? I can't…was the necklace with Erica when she was sealed in the capsule? I can't remember."

But later on when he visits the Great Hall (inadvertently giving Raxl and Quito the opportunity to retrieve the Rabbit of Evil), Jacques torments him by implying that Jean Paul, like him, is a murderer. “Think there’s a chance you may have murdered your sweet Erica?” he asks. “That blood was very interesting, wasn’t it?”

Jacques hinting again that they’re the same man, or just that the apple doesn’t fall far from the proverbial tree? Or perhaps this is like that one line from Game of Thrones: “You can’t kill me, I’m a part of you now.”

Then we get this exchange which acts as a segue into the next scene:

Jacques: "So maybe you killed your little love before you put her in that tin coffin, hm? Maybe there is no pristine, pure body to revive. That's what's been on your mind all day, isn't it?" Jean Paul: "Even if it has been, I certainly wouldn't tell you." Jacques: "You can have no secrets from me, anyhow. You know, if you ever are thinking of murdering again…" Jean Paul: "I did not kill her!" Jacques: "All right!" *laughs* "But whether you did or not, you might want to kill someone else one of these days." Jean Paul: "Good night." Jacques: "All right, run away, but you might find an example of my skill nearer than you know and sooner than you think."

After he storms out of the Great Hall, Raxl and Quito return, the latter carrying the rabbit. Before they can sacrifice the rabbit in an effort to rid the house of its evil, it jumps from Quito’s arms. While trying to catch it, he bumps his head into a painting of mysterious ancestor Étienne des Mondes and knocks it off the wall, revealing a hidden cupboard with a skull swinging from a rope through its jaws.

We’ll discuss this skull in the review for next episode, where it becomes the focus. For the rest of this review, however, let us turn our attention to two possible interpretations of the Jean Paul and Jacques scenes in this episode. My theories are as follows:

Theory #1: Jean Paul killed Erica and is living in denial

Jean Paul’s reaction to learning that his deceased wife’s blood is on the locket and especially Jacques’ comments about it seem to imply that Dan Forrest’s theory about murder may not be a red herring after all as Ian Martin would have had us believe. Remember that, although Jacques is evil and Martin’s episodes portrayed him as the Father of Lies, he and Jean Paul may or may not be the same man. That could mean anything from Jean Paul having a split personality to Jacques having transported himself forward in time to live as Jean Paul Desmond before the events of Episode 1, but I’ll save those ideas for another essay. The point is that Jacques seems to know Jean Paul as well as he knows himself, and as such knows things about him that the other characters don’t.

It’s possible even that Jacques has observed and interacted with Jean Paul since long before Jean Paul freed him by removing the silver pin from the conjure doll’s temple. Think back to Jacques’ introductory scene in the pilot, where he responds to Jean Paul’s proclamation of “on this island, from this moment forward, I am God” with “bravo.” He could speak through the portrait and even give characters visions before Jean Paul freed him! Also think of all the things he’s referenced that a man from the 17th century wouldn’t be aware of: merry-go-rounds, bus time tables, the figurative expression “jack up by the bootstraps,” and whatnot. Assuming Jacques is a spirit like he claims, he’s been observing and learning things on Maljardin for a very long time! Sure, he looked confused about that fountain pen in Episode 4, but perhaps that was only because he hadn’t had a chance to practice using one before Jean Paul set him free. If Jean Paul killed Erica, Jacques would know about it and may even have encouraged it by communicating with him through the portrait. There’s no indication that the scene in the pilot is the first time he made contact with his descendant. It could be the second time, the fifth, the tenth, the thousandth, or more.

Also note that the exact cause of Erica’s death is never made clear. Jean Paul claims in Episode 5 that she died of eclampsia, but the Lost Episode summary for Episode 47 from the CBC program log indicates that Dr. Menkin’s missing notes would have eventually revealed her to have “died attempting to gain eternal youth.” The latter could have meant anything from plastic surgery complications to swallowing gold à la Diane de Poitiers. It’s not even clear if the attempt at eternal youth is truly the cause of her death, just what she was doing when she died. This leaves the possibility of homicide open.

But did Jean Paul (or Dr. Menkin) intentionally kill her, or could it have been an unpremeditated, spur-of-the-moment decision? I believe the latter is more likely. Jean Paul seems genuinely confused by her death, and even by whether he loved or hated her. It’s possible he already wasn’t in his right mind before her death and may even have blacked out during it (although probably not because of possession, as he had not yet freed Jacques). Perhaps the artificial intelligence hinted at by the reference to W. Grey Walter’s “Imitation of Life” factored into this: for example, the implant inside Erica’s brain may have malfunctioned, causing her to become violent and attack Jean Paul and/or Dr. Menkin.

SPOILER WARNING FOR THE PIT AND THE PENDULUM (1961)

Another thing to consider: Strange Paradise shares many plot points in common with the Roger Corman/Vincent Price movie The Pit and the Pendulum. In the film, we have (1) a husband whose wife recently died under mysterious circumstances, (2) whom he comes to suspect he accidentally murdered. (3) His doctor is living at the castle with him, when (4) a sibling of his deceased wife comes to investigate her death. Among the ghostly happenings in the house, (5) a portrait of the wife is slashed. Finally, (6) the husband goes mad and (7) is possessed by an evil lookalike ancestor, in this case his father. While I don’t think that we can accurately predict planned revelations in Strange Paradise using the events of a film written by someone unaffiliated with the show’s production, it is interesting to note that Vincent Price’s character accidentally buried his wife alive. This connects to the events of Episode 44, where Erica’s spirit possesses Holly and tells them to “let [her] out,” although in Erica’s case it’s more likely that she’s just been resurrected from death instead of being buried alive.

END SPOILERS

Theory #2: Jean Paul is imagining things

Another possibility is that he didn't kill Erica and is using the new (apparent) evidence to construct a false memory of killing her. Although most of us like to think of memory as infallible, numerous studies have proven that it's anything but. This can occur on a collective level, such as the famous Mandela effect where, prior to Nelson Mandela's actual death in 2013, many people misremembered him as having died in the 1980s. More often, however, individual people remember false versions of events from their own lives.

In the late 20th century, numerous psychological studies identified the way that even changing small details of a story--changing a stop sign to a yield sign, for example, or adding the detail of broken glass to the story of an accident--could alter a subject's memory of it, creating a "misinformation effect." During one such study, researchers used a fake advertisement showing Bugs Bunny in front of the Sleeping Beauty Castle at Disneyland to trick their subjects into believing that they could meet Bugs at the park (despite Bugs being a Warner Brothers character and Warner Brothers being affiliated instead with Six Flags). For 16 percent of the subjects, it worked, and they described further false memories of meeting Bugs at Disney, adding details like that they touched the ear of his costume[2].

Speaking of false memories of amusement parks, I swore for years that I remembered visiting a dinosaur theme park in the northern Ohio woods back in 1998 or 1999, when I was five or six. I never questioned whether the memory was real until one day when my family drove past a drive-through dinosaur exhibit and my dad said to my mom, "They didn't have anything like that when Michelle was a kid." Skeptical of his claim, I did some Googling and discovered that there was a dinosaur-themed park in the woods near Sandusky called the Prehistoric Forest that looked much like what I thought I remembered[3]. When I sent my parents the link to the article about the Prehistoric Forest, both of them denied ever taking me there or even having heard of the place. Nevertheless, I swear I've been there or somewhere very similar. I think the most likely explanation is that I dreamt about it, but that the memory of the dream was so vivid that I mistook it as one from my waking life.

Much as a researcher can convince their subjects to believe that Bugs Bunny appeared at Disney or I convinced myself that I had visited a place like the Prehistoric Forest, Jean Paul is capable of brainwashing himself into thinking that he murdered Erica. This isn't even the only time he speculates without clear evidence that he’s guilty of murder. We'll see something similar in Episode 137 regarding the murder of a different character, whom Jean Paul will successfully convince himself he killed despite hazy evidence at best.

Note that these two theories are not one hundred percent mutually exclusive. It’s entirely possible that Jean Paul killed Erica, but misremembered specific details about her death or how he felt about her. Also note that this show contains quite a few retcons, one of which we saw last episode. Just as the trajectory of this show has changed significantly from Ian Martin’s original plot, the truth about Erica Desmond’s fate is currently in flux within the show’s universe.

The contents of the secret compartment that Raxl and Quito discovered.

Coming up next: A delightfully chilling episode where Jacques uses the skull that Raxl and Quito found to further terrorize his guests.

{<-- Previous: Episode 45 || Next: Episode 47 -->}

Notes

[1] While rabbits can have type AB blood (or type ZY blood, using the system from this 1954 study) and they cannot tolerate injections of Rh-positive blood, they have different antibodies in their blood from those of humans.

[2] Elizabeth F. Loftus, "Memories of Things Unseen," in Current Directions in Psychological Science 13:4 (2004), pp. 145-146. There are other examples from other studies, including one involving false memories of witnessing a demonic possession, but the Bugs one is my personal favorite. Also, this period of Strange Paradise puts me in a rabbity mood.

[3] Coincidentally, the Prehistoric Forest's entrance appeared in the 1995 film Tommy Boy, which also featured Colin Fox and Pat Moffat (Irene Hatter) in supporting roles. There was also an animatronic dinosaur attraction at Sea World Ohio called Carnivore Park that operated in the late 1990s. Despite having visited that Sea World many times as a kid, I couldn’t have gone to that exhibit because we couldn’t afford to go there in 1998 or 1999.

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tokupedia · 8 years ago

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Hey Marco, I had my own Ideas when I had the free time:

Cutie Honey GRX (Generation RemiX): An imaginary anime that if it were real would be on Sundays and advertised during Superhero Time. This takes elements of Cutie Honey’s long history and blends them into a new spin (including aspects of The Live).

Dr. Gou Kisaragi is experimenting with an unknown space isotope and nanotechnology that can make a system capable of making any form of matter materialize from surrounding air molecules. He is targeted for his research by Panther Claw and his pregnant wife Eiko is attacked by an assailant who works for them. Desperate to save his dying unborn child after his wife dies, Dr. Kisaragi uses the device to create an artificial womb and repair the cells and create nutrients to sustain the baby.

However, an unforeseen result happens as the baby begins self replicating its cells into fetal clones with the genetic quirk of differing hair colors and become fully grown infants in a matter of weeks. Dr. Kisaragi is then blessed with four healthy newborn daughters, Honey, Seira, Miki and Yuki.

19 years later Seira is getting married to a boy named Akira Hazuki, but their wedding is crashed by Panther Claw, who have finally found Dr. Kisaragi after going into hiding for so long. Akira is revealed to be a demon-like agent of Panther Claw and Gou tells his girls to change to fight Panther Claw off. The four becoming the shapeshifting superpowered Honey Warriors: Cutie, Misty, Hurricane and Flash. Together they fight Panther Claw led by the evil Panther Zora and try to solve the mystery of their mother’s killer!

Kamen Rider Pecos:

It is the future ...The Fire from the Stars has burned our world, In this age of fear.... a legend is told .... that the Waters of Strength and Wisdom shall cleanse the Water of Evil...and wash away the Fire from the Stars.

I envisioned a Wild-Western cyberpunk sci-fi “bad future” where the heroics of the Kamen Riders of the past get the attention of a race called the Pra’meths (Prah-Meeths, a play on Prometheus), who arrive in our galaxy long after the all the Riders have passed on or died in battle. The Pra’Meths are weapon makers and love war so much they consider it an actual religion, viewing slaughter and death as the divine work of God. Once they begin to invade, they are disappointed as no matter how many they hurt or kill, the Riders of legend will not come out.

Due to centuries of political corruption, apathy towards their citizens needs and living in spoiled luxury from corporate bribes, the leaders of the Earth surrender immediately after their weapons and defenses are destroyed and turn over our world to the Pra’meths in an act of cowardice. The aliens then use our planet as a weapons testing ground, scorching the Earth and leaving little water on it.

In the refugee city of Leone, The Pra’meths try to use their war devices in the hopes of bringing out humanity’s “war gods” the Kamen Riders. Only to find a ghostly figure and an actual Kamen Rider appearing before them!

The female whip wielding Rider named Nile is the city’s protector and the “ghost” says that she has been preparing for the arrival of the Pra’meths. The ghost also envisions that the Water of Wisdom shall soon meet the Water of Strength. During a tough fight, Nile sees a stranger walking into town and tells him to back away. He does not and dons a belt of his own, becoming a wind whipping, gun toting Kamen Rider known as Pecos!

The motif is modern style/cyberpunk western cowboys and cowgirls mixed with a desert animal from myths. Nile is based on a Raven and has a final form based on a Thunderbird. Pecos is obviously based on the legend of Pecos Bill (as it involves a wind theme of riding tornadoes) and is themed on a Rattlesnake. His final form is based on a Quetzalcoatl. I wanted him to have the classic “double scarf” like V3, but stylized in a way that gives it the illusion of a duster coat when it isn’t blowing in the wind. Nile has a dark blue scarf with a sun, moon and star on it, which references an old Native American myth about how Raven made the sky.

There is also a villain Rider the Pra’Meths “created” to try to deal with the threat after several failures, Khabur, an “Amazon gone wrong” idea of a wolf themed Rider who is mute and feral. An abducted human programmed to kill from childhood and has a psychotic animalistic nature. His final form is based on a Jackal. He is also sort of modeled in terms of personality when he isn’t all berserker on Jack Palance, the silent, black hat wearing evil cowboy seen in most old westerns. His belt can siphon the life force energy of people and animals to regenerate or simply weaken any resistance, based on data the Pra’Meths took from Kamen Rider J. (I thought of this before Genm was a thing)

The “water” thing is a metaphor, as the “ghost” (who is actually a “pure” good Pra’Meth from an alternate reality) thinks that the Riders will “wash away” the evil that burned the Earth and allow the planet to slowly heal itself. (Also, the Riders in the series are named after rivers) The “Soul Rounds” orbs they use are drawn from Earth’s remaining life force from a special spring or from ancient spirits of myth (In other words: Legend Rider toys!).

First and foremost, I want action. The gimmicks of the real shows proper are fine, but I decided that the Soul Rounds should be of a limited supply and expendable. This would allow more martial arts and gunplay to be incorporated and tense situations where it may seem the Riders may not win or have to retreat to plan out a strategy to defeat the enemy. I liked the old days when a Rider worked at it to gain victory. The Pra’Meths being weapons manufacturers and warmongers, would have various combat variants of footsoldier humanoid drones called Dorugs. (Infantry, Flying, stealth, human duplicates.)

Plasmids: The monsters of the week. I wanted to go back to basics by having remodeled humans who become monsters and are beyond saving. These people represent the worst in humanity: serial killers, thieves, some of the politically corrupt, racist extremists, scientists who abuse their gifts to harm others, a game hunter who hunts humans and at least one who is a child murderer. These are meant to be the Pra’meths evaluation of humans, just tools and worshippers of death. However, the Riders represent humanity’s compassion and desire for survival and preservation of life.

Each Plasmid is enhanced with powers that are unique and interesting, at least to me. A human female lieutenant of the bad guys who is a bat that can nullify light and sound in a surrounding area and fire sonic blasts. A lizardman who gets bigger and stronger whenever he is exposed to pain via an implanted gland that creates a steroid. A polar bear monster that has a “cryonic venom” that slowly freezes its victim secreted from the claws etc.

Despite going a bit apocalyptic, I wanted to show that humans are a resilient bunch and put a bit of optimism in it, showing the citizens of Leone building gardens, businesses and houses and using whatever they can find to make technology to cope with the hostile environment.

While there are moments where they feel despair or just pure hopelessness, the sight of the Kamen Riders never giving up on them give the people the drive to keep going, thus Leone thrives and grows as their spirits are raised and more and more of the Pra’meths are defeated.

What do you think sirs?

#fanfiction #kamen rider #tokusatsu

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michelles-garden-of-evil · 4 years ago

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Episode 43 Review: Curiouser and Curiouser

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{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

Maljardin, an isle of mystery. Much remains unknown on Jean Paul Desmond’s isolated island, including the locations of the conjure doll, silver pin, and the missing cyanide, the contents of the final week of Dr. Menkin’s missing notes, and the true cause of death of Jean Paul’s beloved wife Erica. Now that a mysterious black rabbit has appeared on the island which has known no wildlife for three hundred years, new mysteries arise, including one that literally surrounds that rabbit’s neck.

In Ian Martin’s original timeline, this would be the point where the Reverend Matt Dawson exorcised Raxl and Quito’s writing box (although whether that would have revealed the Conjure Man’s also mysterious original message is anyone’s guess), but executive meddling required him to negate that timeline and write about the Rabbit of Evil instead. Come, let’s follow the black rabbit into the increasingly bizarre rabbit hole that is mid-Maljardin-era Strange Paradise.

A minute and a half in, and Cosette Lee is already in top form. Chew that scenery, Cosy!

We open with a recap of the séance from a week and a half ago, courtesy of Raxl and Jean Paul. Raxl gives us the great line above comparing the falling chandelier to “a fist of the devil,” which she delivers beautifully. She connects the falling chandelier to the rabbit who just appeared--or, as she calls it, "this THING that mocks the problem!"

This is Jean Paul’s concerned face.

When she reminds him that the black rabbit appeared out of nowhere on the island which previously harbored no wild animals, he looks increasingly concerned. Whereas in yesterday's episode, he dismissed her claims as superstition and the rabbit as a harmless animal that probably came over on the boat, now he appears willing to think them over. At least that’s how it appears in this part of the scene, although it’s also possible that he’s just worried about Raxl’s sanity. Raxl may be melodramatic and she may sometimes go to extremes in her efforts to protect her home from THE DEVIL JACQUES ELOI DES MONDES, but she is arguably saner than you are, Jean Paul.

"Oh, master, believe me!" she begs. "This…thing, this…thing in the form of an animal is a manifestation of evil!"

“Evil, in your eyes, Raxl,” corrects Jean Paul, or so he thinks.

“Not only mine. Look at Quito. He has eyes, too. He knows. Oh, master, believe me! This black rabbit is an emissary of DEATH!”

Jean Paul continues his mansplaining.

Oh, Jean Paul! To think, I had so much hope for you! I guess that, even after repeated possessions, Dr. Menkin's mysterious death, a leaking capsule, a falling chandelier, and all the things that have happened to Holly, you still refuse to believe in "superstition." You know that, down in Hell, Jacques is kicking back in his peacock chair, gloating about this again:

Jacques: “Jean Paul, what was that again about your IQ of 187?” *evil laugh*

"Then how could it be on Maljardin?" she asks.

"The supply boat, perhaps," he repeats from last episode. "Holly Marshall had no trouble in hiding herself in order to get over here. Surely a small animal like this would be even less likely to be noticed." It sounds plausible, but it’s still doubtful that the rabbit would have lasted so long after the supply boat returned to Maljardin without eating some poisonous plant and dying. I doubt that Quito leaves fresh produce just lying around on the boat.

"If you want to, believe that," replies Raxl, "but I believe it is possessed by EVIL!"

"Raxl, it seems that you are the one who is possessed by fear.”

"It seems the Devil is possessing us all, quietly, cunningly, and each day just a little more," she says, before leaving for the crypt. Quito follows behind, carrying the rabbit, who is just as enthusiastic as it was last episode about being part of one of Canada's first domestically-produced soaps. The way it squirms trying to escape from Quito’s arms in the crypt scene is priceless:

ROFLMAO

Meanwhile, Jean Paul argues with Jacques about the rabbit. Jacques agrees with Raxl on the rabbit's supernatural origins, which further angers Jean Paul. He asks him why he wants to convince him of that, and Jacques gives this cryptic reply: "Big beings have little beings on their backs to spite them, and little beings have smaller beings, and so on, ad infinitum."

"Now, perhaps Raxl is right," Jean Paul muses. "Now just what is in your mind?"

"Perhaps you'll find out at the séance," Jacques teases. He goes on to suggest to him that perhaps Erica did not want to be frozen in the "ridiculous" cryonics capsule. Jean Paul gets all defensive in response and accuses him of trying to break their pact. "Isn't it about time that you delivered her back to me?" he demands.

"We'll find out at the next séance," says Jacques, and Jean Paul demands that he not attend. Jacques implies that there may not be another séance (but why not?), and Jean Paul flips out on him:

FEAR the finger of DOOM!

The acting from both Colin and Cosette in this episode is so over-the-top that it’s somewhere in outer space.

And then...

The Reverend Matt Dawson walks in on him arguing with Jacques and thinks that he was talking to himself.

How does Jean Paul respond? Why, by gaslighting him, of course! “It’s hard to imagine that a man of the cloth would lose control so easily,” he says as though Matt were the one with a screw loose. Now, isn’t that charming?

Matt warns Jean Paul that the people on Maljardin--himself included--are looking for an escape. "We are not children, and we are not completely powerless," he tells Jean Paul. "We will find a way to cut the knots that bind us here."

He also says that his faith, which was challenged when he arrived on the island, is returning. Jean Paul uses this as another opportunity to gaslight him: “You are not regaining your faith. You are merely losing your faculties.” One would think that was a Jacques line, but it’s not. There’s neither a shot of the portrait disappearing, nor any Jean Paul headache faces followed by Jacques’ beringed hand grabbing his face, nor is Fox-C grinning psychotically like Jacques would probably do while saying that. It’s Jean Paul at his most unpleasant.

“On Maljardin, only I speak,” he continues. “Others listen.” It’s like he’s determined to be as much of an asshole as possible in this episode. Bless his heart.

But all the despotic orders in the world won’t shut the Reverend up. “Now I know why I came to Maljardin,” he replies, and it’s not to stalk a twenty-year-old teenager. “It was my destiny to be a force of good among all the evil here.”

“A savior?” Jean Paul asks.

“Perhaps,” he replies. “Is there one here who needs saving from himself?”

Sometimes I wonder if Reverend Dawson was intended to be the real hero of SP.

Raxl and Quito enter the Not-So-Hidden Temple of the Serpent with the rabbit. She pleads and begs for the Serpent to give her answers about the Rabbit of Evil, calling the adorable animal a “monster.” This scene is classic Raxl and belongs on any list of Raxl’s best scenes. Here are my two favorite lines from it:

Raxl: "Speak to me, Great One, for the sake of my master and his beloved visitors and for all the spirits in this house who are roasting on the spit of the fire of evil. OPEN YOUR SPEECH TO MY UNDERSTANDING!"

"Quito, TAKE THIS EVIL THING! Its foulness has stilled temporarily the voice of the Great Serpent!"

But it doesn’t stilt the Serpent for long. The mysterious locket at the beginning of this review appears around its neck, where it wasn’t before. When Raxl touches it, it stains her hand with blood.

Meanwhile, in Jean Paul’s hidden monitor room...

Jean Paul: "Erica, my darling, I wonder how you will find me when at last we are together again? I fear the strain of all this has made me hard and cynical. The Reverend is good, twice the man he was when he first arrived. If only he could see the rightness of my cause, he would make such an ally for my purposes." [You’re deluding yourself, Jean Paul. You have zero chance of convincing Matt that your cryonics scheme is anything but blasphemy.]

"Some serve me, to their honor and reward. Some cross me--to their death!"

*reading Teleprompter* "No one understands. There is an inner circle, my love, and it is big enough for just the two of us."

Jean Paul: "My darling, the second séance is very close at hand. The Conjure Woman recovers and this time nothing will stop us!"

*more obvious Teleprompter reading* "You will come, you will speak, and at last for the first time, for just a little while, you and I will be together."

He’s so cute! <3

Like the previous episode, it’s obvious that they rushed this one even in comparison to the others, because of how often Fox-C reads the Teleprompter. I’ve noticed that he does so more often starting during this week of the show and increasingly until Cornelius Crane takes over writing the show--which won’t be for another two weeks--before slowly petering out until Desmond Hall. I see this as a measure of how hastily an episode was slapped together, although I could be making assumptions.

Anyway, Raxl asks Quito if he noticed the bloody locket before, and he shakes his head. “I am right!” exclaims Raxl about her belief that the rabbit was a demon. She follows this up by asking the Serpent, “Where did it come from?” and we cut to the camera panning over the cryonics capsule:

Obvious foreshadowing is obvious.

Quito leaves the temple to find Matt and Holly sneaking into the crypt, and chases them back up to the Great Hall. Holly demands to know where the rabbit is and Raxl (who enters just then) announces that it ran away!

“Discovered something, didn’t you?” Matt asks Raxl. He asks if she found the doll and pin or the week of missing notes, to which she answers no and no. “For Heaven’s sake, what? Another demon?”

Just as baffled as I am that a Christian minister like him doesn’t believe in demons, she accuses him of mocking her. He accuses her of turning irrational, which means that Jean Paul’s “everyone is irrational but me” delusion must be rubbing off on him. Holly accuses Raxl of having already killed the rabbit.

“Foolishness! Madness!” Raxl shouts. “I tell you that-”

Matt interrupts to point to the rabbit, who, despite its tall ears, is somehow able to sleep through this argument. Must have selective hearing.

Holly grabs the rabbit and Raxl starts screaming for her to hand it over. “IT IS EVIL! IT MUST BE KILLED!” she cries as Matt restrains her. “IT MUST BE DESTROYED BEFORE IT IS TOO LATE!” Fortunately for Holly (but unfortunately for Raxl), Jean Paul hears the commotion and comes downstairs to take the rabbit from them.

When he does, we hear the sound of a small object dropping. He leans over to pick it up and reveals the strangest detail so far in this mystery:

Jean Paul: "This locket…" Raxl: "Yes, master, I-" Jean Paul: *more pained* "This locket…was…Erica's!"

Everyone’s jaw drops--which we see in a series of close-ups of all five human actors in this episode--and the music swells. After commercial, Raxl tearfully reveals that Jean Paul gave Erica the locket on her birthday, and tells Jean Paul and the others that she knows that the locket was not around the rabbit’s neck until after she called upon the Serpent. Holly accuses her of being superstitious, and they get into a fight where Raxl tells Holly that she and her fellow Christians don’t understand the spirit world and Holly calls Raxl’s beliefs “mumbo-jumbo.” Matt also accuses Raxl of lying about how the locket appeared “so that we would believe in spirits and demons.” I know that not all Christian denominations believe in the literal existence of spirits and demons, but it’s still odd hearing the Reverend deny their existence.

Raxl calls him a fool, too, and says once again that the rabbit must be killed. She and Holly are about to go back to arguing when Jean Paul cries out, “YOU ARE ALL WRONG!” And then we have yet another shocking revelation: Erica was wearing the locket upon her death, and still when she was entombed in the cryonics capsule!

Somehow he’s able to get the rabbit to hold still for a few minutes, even with all the shouting in the final scene.

In case anyone’s wondering why this entry took so long, it’s because I’ve also been working on a couple posts reviewing Ian Martin’s entire period headwriting this show. That’s what I plan to do at the end of each arc or at the end of each writer’s stint on the show (with the exception of those writers who only wrote a few episodes, like James Elward, Joe Caldwell, and the team of Ron Chudley and George Salverson). You can expect my two-part review of Ian Martin’s SP shortly after my review of Episode 44, which may also be slightly delayed because of it.

Coming up next: Ian Martin’s final episode, the much-anticipated second séance and its shocking conclusion.

{<- Previous: Episode 42 || Next: Episode 44 ->}

#strange paradise #review #maljardin arc #ian martin #week 9 #episode 43 #the bloodied locket #jean paul's monitor room #foreshadowing #great serpent #lost episode summaries #the not so hidden temple #passive aggressive jean paul #rabbit of evil #scenery chewing #times infinity #sp and religion #tape recorder journal #teleprompteritis

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michelles-garden-of-evil · 4 years ago

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Ian Martin’s Strange Paradise, Part I: The Top 5 Best Things

SPOILERS FOR LATE MALJARDIN AND BOTH DESMOND HALL ARCS

Hello and welcome again to my Garden of Evil, where this week I’m doing something a little different. Episode 44 having marked the departure of co-creator and original headwriter Ian Martin, we have officially reached the end of an era of Strange Paradise history. No longer will discussions and speculation on Martin’s authorial intent be relevant to the happenings on this show (although I will continue to give my thoughts on the Lost Episode summaries), now that Bob Costello is running the show with a different authorial intent.

Ian Martin’s episodes contrast with the second half of Maljardin in many ways. The pace is slower, the structure and characterizations more like those of a standard soap, and the tone at times borders on comedy. He also appears to have put more thought into the characters’ backstories than any of the other writers, much of which he never got the chance to show on screen. Moreover, of all the show’s writers, he seems to have put the most of his own heart and soul into it, if the death of his first wife six years earlier and his reuse of elements from the series in his later works are any indication.

That brings me to my plans for this week in my Garden of Evil. Before moving on to review Episode 45, I will post my final thoughts on his episodes, first listing what I consider the top five best things about his period headwriting the show. Next, I will make another of the top five worst things about the first 8.8 weeks of Maljardin (because no creative work is perfect). So without further ado, here are (in my not-so-humble opinion) the top five best things about Ian Martin’s Strange Paradise:

5. Clever, memorable dialogue and (sometimes) clever wordplay

I say “sometimes,” because (as we all know) Jacques loves his puns and Devil jokes, which tend to be as cornball as they come. The (intentional) humor in Ian Martin’s dialogue tends to be hit or miss, but when it hits, it hits harder than the chandelier hit the séance table. Even when the jokes miss, it’s clear that he tried hard to make the show both funny and scary, and some of the worse ones still amuse me in a dad-joke sort of way.

Some jokes from SP that I find genuinely funny:

Jacques: “‘Prisoners’ is such a harsh word, Alison. Now, actually, I prefer the [terminology] ‘detained guests.’“ (Episode 14)

Alison: “I find you and everything you’ve done distasteful and revolting." Jacques: "Methinks the lady doth detest too much." (same)

"I wish my mother was on canvas instead of always on my back.” (Holly, Episode 18)

Dan: "Knowing how much you loved Erica, I can appreciate your display of courage." Jacques: "It was either that or letting myself go to the Devil!" (same)

Jacques: “Such a delightful bedside manner. Why not let her operate?” (Episode 21)

Jacques: “If your room is a prison cell and you are a prisoner, well, I invite you to your last hearty meal.” (same)

Holly: "Would you like to see my scars?" Jacques: "Well, lead us not into temptation...now, that isn't from Shakespeare, is it?" (Episode 25)

Elizabeth: “It seems to be your opportunity to entertain, Reverend. May I suggest Song of Solomon?” (Episode 40)

Also, some things that aren’t jokes per se, but still clever wordplay:

Matt’s name, a reference to the Tarot card The Fool, or Le Mat in French.

Jacques: "Well, Dan, are you going to join me in some kippers this morning, or haven't you finished fishing for the day?" Dan: "Just lowering the line, and I'm afraid you're going to get hooked." (Episode 26)

The whole kippers thing from the same episode.

The scene transition lines.

Two things that Curt pointed out to me a while back: the recurring “little bird” motif and the fact that Jacques, who was “shackled to the Temple” for three centuries was also shackled through the temples with the silver pin. (Thanks!)

Of the later writers, Cornelius Crane (who will write the last two weeks of Maljardin and most of Desmond Hall Arc I) will be the only other to consistently use humor in his SP scripts. His will be a different style of humor, lighter on wordplay and heavier on wit, satire, and snark between characters, in many ways reminiscent of my favorite Dark Shadows writer Violet Welles. While the style of humor in Crane’s episodes has generally aged better, I can’t deny the cleverness and charm in the lines quoted above.

4. A more complex story than later arcs

Compared to all other arcs of the show, early Maljardin has, by far, the most subplots. You have (1) the main plot that revolves around Jean Paul’s attempts to preserve and resurrect Erica, which leads to his desperate attempts to protect the cryonics capsule, Jacques’ freedom and repeated possessions, and Raxl and Quito’s search for the conjure doll and silver pin. Directly connected to this are (2) Jacques’ murder of Dr. Menkin, (3) Alison and Dan’s search for the true cause of Erica’s death and for Dr. Menkin’s missing notes, and (4) the love triangle/square between Dan, Alison, and Jean Paul/Jacques. Then you have the four interconnected plots directly involving Holly, including (5) her romantic pursuit by Matt, Tim, Jacques, and Quito; (6) her conflicts with Elizabeth including direct competition over Jean Paul/Jacques; (7) her torment by Erica’s spirit; and (8) Tim’s subplot about the damned Holly portrait. Then there are (9) the saga of the missing cyanide and (10) the guests’ resistance to Jean Paul’s imprisonment of them on the island. In addition to these, we have (11) the history of Jacques, which may have included innumerable subplots of its own had Ian Martin been allowed to explore it thoroughly. We know that Jacques’ pursuit of Alison and Elizabeth would have connected to this, given their previous incarnations as Rahua and Tarasca, and that Martin originally planned for Tarasca to have her own storyline. If we include the aborted arc about Elizabeth’s possession by Tarasca, that would have made a whopping twelve subplots(!), unless I’m forgetting about something.

For comparison, here are the major subplots from Desmond Hall, during the period when Cornelius Crane did most of the writing: (1) Jean Paul’s possession by the Mark of Death; (2) the coven’s schemes to undermine the Desmond family, which led to the disappearance of Philip Desmond; (3) the Evil Serpent plotline; (4) the Hamlet subplot involving Cort’s conflicts with his mother and dear stepfather; (5) the love triangle of Cort, Holly, and Philip’s ghost; (6) the second love triangle of Ada, Laslo, and Irene; (7) all of Jean Paul’s romantic entanglements; and (8) the attempted possession of his fiancée Helena by Erica. That’s still a lot of intersecting plots, but not quite as many as in early Maljardin.

I know I’ve complained in the past about the recap that makes up about half the dialogue in early Maljardin, but the sheer number of plots may have required it to ensure that returning viewers remembered everything and new viewers weren’t completely lost. I don’t have to like the constant recap, but I must admit that it was probably necessary even for the fans who managed to catch every episode during its original run.

3. Stronger characterizations than under the writers of late Maljardin

Like a traditional soap opera, the first half of the Maljardin arc is character-driven. Most important plot points occur on Mondays and Fridays, leaving the mid-week episodes for (mostly) minor plot points, subplots, and character development. We see Alison’s relationship with Jean Paul evolve from friendly in-laws to potential lovers, only for her to tire of his constant mood changes and withdraw from him. We see Reverend Matt Dawson’s crisis of faith, from his stalking Holly out of an allegedly spiritual love to his questioning his disbelief in demons while trapped on Maljardin. We see Dan lose all respect for Jean Paul as he becomes convinced that his employer murdered Erica and Dr. Menkin. We also see Jean Paul grow increasingly volatile even when Jacques isn’t possessing him, making his prisoners try harder to escape and creating a vicious cycle of repression and paranoia on the island.

After Robert Costello becomes producer, the arc shifts to a more plot-driven narrative. In a span of just four weeks, Erica will be resurrected and proceed to murder most of the characters. Character development will lose its importance in late Maljardin, and the characters of Elizabeth and Holly (and later Jean Paul) will become almost unrecognizable. Although Cornelius Crane was a competent writer who gave strong characterizations to the characters he created, he makes it clear that he didn’t care much for Martin’s creations through how quickly he kills off most of them and alters the personalities of two of the ones left.

2. Actual research

This one is most noticeable in two areas: the scientific subjects discussed and the way that Martin uses the Tarot. Before writing for SP, he worked on The Doctors and The Nurses, both early medical dramas with soap opera elements. Little survives from either The Nurses or the 1960s era of The Doctors[1], but one can imagine that he got into the habit of researching medical topics then--perhaps not including subjects as far-out as cryonics, but maybe some of the others discussed on SP like cellular reconstruction, organ transplants, and eclampsia. Here on SP, he’s referenced specific scientific studies, including Miroslava Pavlović’s study of brain transplants in quail embryos, Kenneth B. Wolfe’s “Effects of Hypothermia on Cerebral Damage Resulting from Cardiac Arrest,” and--most fascinating of all--W. Grey Walter’s robotics article “An Imitation of Life,” whose potential significance to Erica’s backstory I discussed in the final part of my Shadow Over Seventh Heaven review series.

His penchant for research becomes even more obvious when we explore his use of the Tarot and compare it to the way the cards were used on the show’s inspiration Dark Shadows. Despite also having done research on various occult matters--the most obscure being the use of I Ching wands for time travel[2]--DS’s writers were notably lazy in their use of Tarot symbolism, sticking mostly to the Major Arcana, often interpreting their names literally, and using the Tower of Destruction so often that one would think that copies of the Tower comprised half the deck. Not so on SP. Although he did have tarot reader Vangie Abbott use Death literally in Episode 7, and he does portray the Nine of Swords as “the card of death” when it typically means nightmares, suffering because of loss, and inner torment, his use of the Tarot typically shows careful research into the meanings of mostly cards from the Minor Arcana (the suits of wands, cups, swords, and pentacles). He uses it both as a means of giving character profiles and for foreshadowing, although the cards often foreshadow planned events that never took place because of script rewrites.

He did, however, take some artistic liberties with other subjects that he must have researched while writing the serial. I mean to write a detailed analysis someday comparing and contrasting the show’s portrayal of vodou with the reality, but I’m not satisfied with the scanty amount of research that I’ve done so far. I have already written about the Great Serpent and how Raxl appears to syncretize the loa Damballah with the Aztec feathered serpent Quetzalcoatl, but there are other related subjects I want to discuss someday in other posts. The short version: the “voodoo” portrayed on the show is a mixture of elements of genuine Afro-Caribbean religions (worship of a Serpent God, belief in zombies, use of drums in rituals, the titles “Conjure Man” and “Conjure Woman”) and traditional Mesoamerican religious practices (Quetzalcoatl, Aztec human sacrifice, Raxl’s mention of curanderos). The evidence suggests that he picked and chose elements from these traditions for Maljardin’s “Conjure Faith” in a way reminiscent of the real-life phenomenon of religious syncretism. While somewhat problematic, the obscurity of some of the things he picked and chose shows that he must have conducted some research even on these subjects.

1. The best Jacques

Jean Paul Desmond may be the protagonist, but, in the first seven weeks of the show, it’s his devilish ancestor Jacques who truly steals the show. From his evil laugh to his snarky commentary on the happenings on Maljardin to the hilarious and adorable expressions he makes as he plays with his detained guests, there’s no denying that Jacques is the star of Martin’s SP. When he’s absent, the whole show suffers from a lack of his mischief, not to mention that smile that stirs up desires in me that can never be righteously fulfilled. If there’s a Devil, I bet he resembles THE DEVIL JACQUES ELOI DES MONDES in looks, voice, and demeanor--the better to seduce you with (and by you, I mean me). Horns and a pointy tail, after all, don’t tempt half as well as a beautiful black cape and Bissits Face™.

The Jacques of late Maljardin will be a far flatter character, more outwardly evil but less charming and consequently less entertaining. In Desmond Hall, his role will be reduced significantly and he will have very little dialogue, mostly just the same clip of his laughter repeated. He will have a few fun scenes in the second Desmond Hall arc, but the post-Martin Jacques is no devil, just an ordinary man with a slightly different personality, led over to the dark side. This is understandable--the thought of the supernatural embodiment of evil remaining imprisoned for three centuries is quite far-fetched, and Desmond Hall Arc II writer Harding Lemay wasn’t fond of all-evil characters[3]--but I still find the original Jacquet the most fun by far.

That concludes this post on my favorite things about Ian Martin’s Strange Paradise. Stay tuned for my list of some things about his writing that needed improvement.

{ Next: The Top 5 Worst Things -> }

Notes

[1] The Thousand Oaks Library in Thousand Oaks, California has ten of Martin’s scripts from The Doctors from shortly after the series switched from its original experimental anthology format to a traditional continuing soap.

[2] The portrayal of the I Ching as a means of time travel on Dark Shadows almost certainly came from William Seabrook’s book Witchcraft: Its Power in the World Today, where he describes the 49th ko hexagram’s use in a form of past-life regression in New York magick circles in the early 20th century. See Seabrook, “Werewolf in Washington Square,” Witchcraft (New York: Ishi Press, 2015), pp. 164-175.

[3] Harding Lemay, Eight Years in Another World, chap. 3, Kindle edition. In this chapter, Lemay discusses his conflicts with Irna Phillips, the creator of Another World, over how to portray soap opera characters. According to him, Phillips believed that characters should be depicted as either “Saints” or “Sinners,” the only permitted nuance being that female Sinners had to love their children if they had any. Lemay disagreed with such black-and-white characterizations, finding them unrealistic, and made the serial’s characters more morally gray.

#strange paradise #ian martin #maljardin arc #review #analysis #arc review #list

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michelles-garden-of-evil · 4 years ago

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Episode 40 Review: In Which Matt Calls Out Jean Paul (Redux)

{ YouTube: 1 | 2 | 3 }

{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

Welcome back to my Garden of Evil, the blog where I review and affectionately snark on Canada’s own all-American TV series, Strange Paradise. To my shock, Danny Horn of Dark Shadows Every Day (who introduced me to this delightfully crazy soap with his far more critical reviews) is back to posting more frequently than I do, which isn’t really relevant to this post save that I would not have expected it a year ago. (But then, there are many, many things that happened over this past year that I did not expect.) I would have posted this one sooner, but some urgent matters came up last week and I had to postpone.

Four episodes have passed since eccentric billionaire Jean Paul Desmond’s disastrous failed séance to contact his beloved late wife Erica. Medium and Conjure Woman Vangie Abbott has recovered from her injury, she and Raxl have tried (unsuccessfully) to decode the message in the sand writing box, and now Jean Paul insists on holding another séance! The other characters are trying to figure out how and why the ceremony was disrupted: most accuse Jean Paul of trying to murder them with the falling chandelier, while Vangie announces during the opening recap that she suspects the Reverend Matt Dawson of being a disruptive influence because of his disbelief in voodoo. Now sparks fly once again as another argument erupts between the Reverend and Jean Paul at an emergency meeting in the Great Hall.

Now, let’s begin.

We open with Jean Paul’s first tape recorder journal entry in a while, which is an exposition device that I had been missing mostly because I like mooning over Colin Fox while listening to his gorgeous voice:

Jean Paul: "Erica, my sweet wife, until the day comes when science can restore you to me, can release you from the cryonic suspension colder than ice, as cold as my empty life, I will continue trying to contact you through a séance. You must know the great effort I am making to protect you! But was the evil of Jacques Eloi des Mondes enough to prevent us from making contact at the séance that failed? Erica, believe me! I fought him with all my strength! I held him at bay, but he could not have got through unaided! These people in this house, Erica, I have been thinking about them: are they in consort with the Devil? Which one prevented me from hearing your sweet voice again, my Erica? Which one? If I knew-"

Caught him reading the Teleprompter! (That happens a lot in this episode, by the way.) Also, have I ever mentioned how much I love the lighting in his monitor room?

He stops recording when he sees Holly on the monitor, searching once again for that sweet secret passage in the crypt that she overheard the Reverend mention several episodes ago. Freaking out again over the possibility of danger to Erica’s cryonics capsule, he rushes down to the Great Hall and declares an emergency meeting:

Jean Paul shouting at his detained guests.

"Reverend Dawson, Mr. Stanton, I'm beginning to realize that you have not fully grasped my ruling!" Jean Paul shouts in his most pompous tone. "Now, to each and every one of you, this is most important, and how important it is you will all find out!"

Matt having a scared. I don’t usually find Dan MacDonald cute, but I think he is in this shot.

Quito guarding Holly as she hides in the crypt.

"EVERYBODY!” the Master of Maljardin shouts. “EVERYONE WITHIN THE SOUND OF MY VOICE!" [Line flub? His wording is odd.] "EVERYONE! COME TO THE GREAT HALL! DO YOU HEAR ME? EVERYONE IN THIS HOUSE! THIS IS JEAN PAUL DESMOND CALLING! COME TO THE GREAT HALL AT ONCE! YOU TOO, HOLLY MARSHALL! NOW, ONCE AND FOR ALL, YOU WILL ALL GET THE MESSAGE!"

Jean Paul’s crazy eyes in this scene indicate that he means business.

Everyone gathers in the Great Hall, save Holly and Quito (who are hiding in the basement), Dan Forrest (who is probably in the tub), and Raxl (who isn’t there because Cosette Lee had the day off). Dr. Alison Carr is particularly annoyed, because she could be spending this time researching how to resurrect Erica, but instead is stuck listening to her brother-in-law’s latest hissy fit. Oddly enough, even though Jean Paul acts like a complete ass in this episode, Fox-C looks even more stunning than usual. I can’t explain why, but to me he looks especially handsome during Weeks 8 through 11 of the show. That certain je ne sais quoi of his just comes out particularly strongly during this period.

Jean Paul is so angry that you can see his jaw tensing.

Of all the detained guests in the room, he chooses to pick a fight with Matt, because that worked out so well for him five episodes ago. Elizabeth finds this highly amusing and comments with one of her best lines:

Elizabeth: "It seems to be your opportunity to entertain, Reverend. May I suggest Song of Solomon?"

Jean Paul doesn’t laugh, despite it being arguably the funniest joke anyone other than Jacques has made so far. I, too, want to hear Matt read from the Song of Solomon. Perhaps he has recorded a sermon about it for his album:

Matt’s album, You Can’t Fake Fruit, featuring his sermon “Wherever God Builds a House of Prayer, the Devil Builds a Chapel There” and selections from the Song of Solomon.

I’m not going to recap or quote their entire fight blow by blow, because I just don’t feel like it--and besides, these kinds of overly dramatic yelling matches are more fun to watch for yourself. However, I will note some highlights:

Matt suspects Jean Paul of murdering Dr. Menkin because of how soon he died after Erica. “Who can say how he died?” he asks as a rhetorical question before proclaiming overconfidently, “There, your control over this island begins to disintegrate!”

He also continues to oppose the notion that the Devil caused any of the events on the island, including the chandelier falling: “The chandelier falls, and it’s blamed on the Devil. And you accept these...superstitious reactions of a few, which are driving all of us beyond the bounds of reason!”

There’s a lot of focus on Holly, as you might expect, given that she‘s been searching in the crypt and also given Matt’s obsession with her. I’m glad he’s trying to protect her from Jean Paul now, even though I will always ship him with his right hand.

Alison stands up to Jean Paul and leaves in the middle of the argument. Good for her! Of course, after she leaves, Jean Paul has to passive-aggressively announce to everyone else that she will regret it.

Vangie tells Jean Paul and Matt that “when a devil works through a man, what he does is not an accident,” referring to the time that Dan allegedly damaged the cryocapsule. Jean Paul latches onto this idea, which Matt objects to because he believes it’s a ploy to turn everyone on the island against each other. So Jean Paul accuses Matt next of evil, which is not a question that most people will answer honestly. Ask Jacques if he’s evil and he will openly admit to it; ask someone like Elizabeth, on the other hand, and she will deny it.

Matt being what the kids today would call “a mood.”

Vangie on Matt: “Because he is a man of the cloth--a religious man--he made the contact [with Erica], but because of his disbelief in the spirits, the chain was weakened, the contact breaks. I would say that whenever the Devil is loose, anything or anyone can be his tool.”

I would say that Jean Paul in this episode is a tool, albeit a very handsome one.

Even his anger can’t disguise his cuteness.

Jean Paul ends the argument by threatening to punish Holly for invading the crypt. “Now you will see what happens to those who intrude on Erica’s resting place,” he tells the others and Elizabeth responds with this interesting, cryptic line:

So she approves of Jean Paul’s anger at her “impossible” daughter, but she doesn’t want him to punish her? Also note that she is eerily calm when she delivers this line.

In the next scene, Jean Paul gives Holly some serious mixed messages along the lines of the time my grandfather (with whom I used to live) told me “don’t worry about it” when he noticed my cat scratching at my bedroom door, then threw a fit over the (barely) damaged carpet a few hours later. I moved out of his house two and a half years ago but, up until recently, I got nervous any time anyone told me not to worry about something, because he’d often say things like “don’t worry about it” and “take it easy” shortly before he lost his temper over the very same things he told me not to worry about. In a similar vein, Jean Paul first tells Holly to “go ahead” into the crypt, only to then start ranting about how he thinks that some people on the island want the cryocapsule to break down and want to tell the authorities about what he’s doing on Maljardin.

“Now, what were you looking for, Miss Marshall?” he asks her menacingly after his rant.

“I wouldn’t touch that!” she replies, referring to the capsule. “I want you to bring your wife back to life!”

“Then what were you here for!”

“Looking for a way out!” She turns away from him, clutching her head. “Trying to get away from all this. I can’t stand it anymore!”

“I am going to have to make an example of you,” Jean Paul threatens.

“I was only looking for a secret door,” she protests, then explains how he (actually Jacques) led her down there to show him where she thought the secret passage was three episodes ago.

Before he can respond to her, Alison comes rushing down to the crypt to tell him about the notes of Dr. Menkin’s that Jacques left in her lab in Episode 38, which cover part of the previously missing six-week period of his experiments:

Sure, Jacques *might* answer, but only if he feels like it.

Jean Paul tells Alison, “guard these [notes] with your life,” and the episode ends, which means it’s time to discuss the Lost Episode summary. Normally, I do so in either the introduction or at a point in the episode where a plot point was changed, but here the events of the original episode differed so much from those of the final aired version that I decided to discuss them after my recap.

The Lost Episode 40

To begin, here is the summary for the original Episode 40:

Source: The Plain Dealer (November 7, 1969), p. 72.

So the second séance originally took place in this episode and involved a conflict between two spirits. But who? We know for certain the identity of one of these spirits, courtesy of these summaries for Episodes 41 and 42, respectively:

Source: Ibid, p. 84.

Source: Ibid., p. 88.

A slightly longer version of the latter summary from The Fitchburg Sentinel names this priestess Tarasca, the same figure who appeared in a puff of smoke in the original Episode 35 and whose existence apparently threatens Alison’s life. While most summaries of the original Episode 44 (including the one in The Plain Dealer) mention hallucinations, this one from The Minneapolis Star (November 13, 1969) specifically mentions that the hallucination took place at the séance:

Holly searches for the secret passageway when her sleeping mother re-lives the happenings at the séance.

So we know the identity of one of the fighting spirits from the second séance, but who is the other? This summary for Episode 38 states that Jacques promised Vangie that he wouldn’t interfere a second time, but can we really rely on him to keep his promises? (I believe that he most likely summoned Tarasca to mess with the second séance on his behalf while technically not getting involved in it himself.) Still, even considering Jacques’ lack of trustworthiness, it would make more sense for the other spirit to be Erica, given that the whole purpose of both séances is to contact her.

Curiously, another thing we know about the second séance is that Matt took part in it, because Vangie told him that Holly would be in danger if he refused. I know I called the summary for last episode boring, but hearing the way Vangie talks about him in this episode has made me rethink my previous dismissal of its importance. If Vangie demanded that Matt attend the second séance, that means that she must not have considered Matt a disruptive influence in the original, or at least not enough to exclude him.

Who else attended the séance? At the very least, Vangie, Matt, Jean Paul and Elizabeth, but logically Raxl and Quito as well because of their involvement in the Conjure Faith. Alison may also have attended, but I doubt it because (1) Vangie prefers séances with either five or seven participants including the spirit and (2) Alison is getting increasingly fed up with Jean Paul and may have refused to take part.

The mention of Holly being in danger also raises an additional question: which spirit was threatening her, Erica or Tarasca? For my attempt to answer that question--which would contain some spoilers if I included it here--you will have to wait for a future analysis.

Coming up next: The Bad Subtitle Special for Week 8, followed by a very special essay comparing Strange Paradise to the H. P. Lovecraft novella The Case of Charles Dexter Ward and its 1963 film adaptation The Haunted Palace. After that, a review of Episode 41.

{<- Previous: Episode 39 || Next: Episode 41 ->}

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michelles-garden-of-evil · 4 years ago

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Episode 38 Review: Of Zombies and Men

{ YouTube: 1 | 2 | 3 }

{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

Damn, Jacques is hot in that scene! There. I just had to say that before starting this review.

Hello and welcome again to my Garden of Evil, which I have once again been neglecting. Long story short: the past month has been both terrifying (for what should be obvious reasons) and very, very busy, and I’ve been spending more of my free time offline than usual focusing on things like starting vegetables for my real-life garden. I don’t foresee things getting better for at least another month, so most likely either I won’t be very active or my muse will be more active than ever. If the latter, it may mean more reviews or it may mean more silliness like the Desmond Hall personality quiz from earlier this week. We shall see.

But, for right now, shall we jump into our exploration of Episode 38?

Wait! Quito didn’t leave the chandelier hanging on the table before!

The table (post-séance) from Episode 36, for comparison.

Another night has passed on Maljardin (as indicated by Jean Paul Desmond's change in clothing) and now someone has hung the chandelier on the side of the broken séance table where it wasn't in either of the previous two episodes. "Keeping this here as a souvenir, Jean Paul?" the Reverend Matthew Dawson, who is still wearing the same outfit as two episodes ago, asks.

"No, Reverend," Jean Paul corrects him, but forgets to tell him who put the chandelier back on the table and why. Instead, he tells him that there will be another séance.

Matt accuses him of playing with their lives and he responds with what sounds like a veiled threat: "Come now, Reverend, this is no game. Surely, superstitions and fears are not going to blacken your learned convictions. All of our days are numbered." Yes, Jean Paul's in pissy passive-aggressive mode and he will remain there for most of the next three weeks. This is one of the reasons why I prefer Jacques Eloi des Mondes. He may be THE DEVIL and he certainly has his own nasty, passive-aggressive side, but he doesn't go around glowering like his descendant and he takes himself less seriously. His death threats are also way funnier than Jean Paul’s. On top of that, he has that stunning cape that he once wore to the main island, which I miss horribly. I can’t see Jean Paul moping around on Maljardin while wearing that gorgeous number, which is a pity because it looked so good on him.

Just noticed while re-watching the episode that Matt has a pompadour now. I'm going to go ahead and guess the reason based on evidence from Episode 7: he's trying to level with the groovy swingers and keep up with what's happenin', but he's too square to realize the hairstyle he's adopted in his efforts to be happenin' is ten years out of date. (I’m sure I used at least two of these outdated slang terms incorrectly. Forgive me.)

Jean Paul lying to cover up Jacques’ attempted murder. Also, a pretty shot of Fox-C’s eyes!

To no viewers’ surprise, Jean Paul is planning on holding another séance, and another, and another, until he finally establishes contact with his late wife Erica. This angers Matt, who has been a loose cannon since Episode 35 and is due to fire again soon. “You forget the medium said death points only to me!” the lovesick, grieving billionaire shouts and storms away before Matt gets another chance to air his grievances against him.

We next see him in the crypt, telling Quito to have the table and the chandelier repaired ASAP. And then he gets a moment alone with Erica’s cryonics capsule and he says this interesting, cryptic aside:

Is he only saying that because of Jacques’ frequent possessions, or does he have another reason to mistrust himself? Lines like this one make me think that maybe Dan’s suspicions are correct and he did murder Erica.

Matt grows bored waiting for Jean Paul to return, so he visits Alison in the lab. Wearing a stylish blue labcoat, she is reading through Dr. Menkin’s notes on her sister Erica and confides in Matt about her despair that she has found so few of them.

Alison and Matt in the lab.

Their conversation in this scene is quite interesting. First, she reveals that Dr. Menkin has been researching cellular reconstruction and that, using his notes (especially the missing parts), it might actually be possible to bring Erica back to life. This means that there’s a chance that it was reasonable from an in-universe scientific standpoint--if still somewhat ethically questionable--for Jean Paul to freeze Erica.

Second, she denies Matt’s accusation that Jean Paul is treating them like chattel, replying, "What you forget is his love for Erica, his need for her is what drives him, not purposeful harm to others." Has she developed Stockholm Syndrome towards Jacques/Jean Paul during her time on the island? This line makes me wonder.

Their conversation drifts to Vangie’s accident, which reminds Alison to check on her! They find Vangie in the Great Hall, walking down the stairs in her Conjure Woman robes, her arms stretched out before her in standard zombie fashion. Because she isn’t watching where she’s going and is just staring blankly, Alison guides her down the stairs and onto the couch to prevent any further injuries. At the end of the scene, Quito comes to check on her and lets out a silent scream before covering his face: most likely as a subtle cue to new audience members that the silent servant in the earlier scene in the crypt is, like Vangie, a zombie.

Alison guiding Vangie to the couch.

But can we really compare Vangie’s state to Quito’s? In book canon, Quito was one of Jacques’ slaves, whom he killed and then had resurrected to punish Raxl for disobedience. The show canon never states how Quito became a zombie, but we do know that he is undead based on his lack of a pulse in Episode 33 and Jean Paul’s reference to “a soulless corpse” in Episode 16. Vangie, in contrast, is still alive, but behaves like a zombie (allegedly) because of a brain injury caused by the crashing chandelier. Oddly enough, her body language and behavior are more in line with a stereotypical Hollywood zombie than Quito, which makes me wonder how the hell she was able to put her Conjure Woman robes back on while in a cataleptic trance. (I bet it’s just another continuity error, like the chandelier hanging off the side of the table.)

There’s a brief scene here where Matt opens one of the cabinet drawers in the lab and pulls out one of Alison’s scalpels. I don’t understand why she doesn’t keep that drawer locked on such a dangerous island.

In his and Raxl’s bedroom, Quito mixes Vangie a potion using herbs from the island to attempt to bring her out of her catatonic state. He tastes the potion and nods as though to say, "Yes, it tastes right.” Even so, it doesn't appear to have any effect on him after he tastes it, which is strange. I don’t know how to interpret this scene. It could mean anything from “the antidote only works on living people” to “the antidote only works on people who were turned into zombies the way Vangie was (and Quito was not)” to “Quito drank this same potion years ago, and that’s why he can move around, think, and feel and isn’t stuck in a catatonic state like Vangie.”

The ambiguity makes this yet another unexplained plot point in a show overflowing with them, thanks to the change in writers and producer. I want to give Robert Costello and the team of writers who wrapped up Maljardin the benefit of the doubt and say that perhaps they ignored this plot hole because Ian Martin’s notes were partially missing like Dr. Menkin’s, but most of the evidence suggests that they consciously chose to go in a different direction than the one that Martin originally intended. We know that, from Episode 30 onward, executive meddling forced him to change and rearrange events in his episodes. There is that one line from Episode 54 that reminds me of what I believe were his original intended revelations about Erica, but I suspect that I’m over-analyzing a line for which Cornelius Crane probably intended a different, less unusual interpretation than mine.

Anyway, while Quito is downstairs, Jean Paul and Jacques have this amusing exchange:

Jean Paul: "You were the disrupting influence at that séance." Jacques: "I? Do I resemble a part of the chandelier that came crashing down?"

I think you can guess where this leads. Jacques possesses him, and this time the resulting scene is the most deliciously evil one we’ve seen yet of his character:

Just after possession, zombie Vangie identifies Jacques as Lucifer, and he confirms this. Since the first episode, we have heard Raxl say repeatedly that Jacques Eloi des Mondes was THE DEVIL, but at last we have confirmation that Ian Martin’s Jacques is, even after the beginning of executive meddling.

“Devil he is. Devil he will remain till I can exorcise and destroy him,” she adds, still in a trance and still with her eyes fixed forward.

“But aren’t you finding him too powerful for all of us?” Jacques replies.

“In the end, it is we who will be too strong for him.”

“But you are already losing all the battles.” Jacques smirks and leans closer to Vangie, as my heart--and the hearts of half the original audience--skips a beat. “Look at you now, Vangie. Look at you now, able to talk only with me because, like Quito, you are living in his...half-world.” (Does this mean that Quito can speak to him, too, when they are alone and Jacques allows it?) “Who put you there?”

“Fear not. He cannot kill me. My death is ordained.”

“He hasn’t killed you,” Jacques grins. “Who knows? Maybe in your present state, you will be able to reach Erica.”

“I didn’t want to reach her for myself, but for you, Jean Paul.” (Why does she identify him as Jean Paul now, when she called him Lucifer a minute ago? Jacques hasn’t de-possessed Jean Paul yet.)

Quietly, Alison and Matt enter undetected, as she continues. “The demon Jacques Eloi des Mondes, his evil was at the table. It was his alien presence that destroyed the séance.”

She lies back down on the couch, Jacques yells her name and grabs her, and Alison breaks her silence. “Jean Paul!” she shouts, rushing over to Vangie. “Leave her be!” Jacques demands that she bring her out of the trance, but Alison says that she doesn’t know how. He shoots down her suggestion that she take her to the mainland for treatment.

“It’s mystifying to hear her talk as though you were that man, an ancestor three hundred years dead,” Matt comments, pointing to Jacques’ portrait.

“The islanders are very superstitious with strange fancies,” Jacques gaslights him. “You’re not joining that group, are you, Reverend?”

“I may join them, too,” says Alison.

“Perhaps you all need therapy, or some other kind of treatment,” Jacques says as the camera zooms into his face. He starts off with a fairly neutral Jean Paul expression--he’s been getting better at imitating his descendant--but then widens his eyes in that way only Jacques does. It's not quite Bissits Face™, but it is a very Jacques expression nonetheless.

After the commercial break, Matt asks for some clarification as to what he meant by treatment. “Relief of tension, as at a séance,” he responds with a smile.

Another argument about séances is about to erupt when Quito walks up holding a cup of his herbal remedy. Jacques identifies this as “a pinch of hope, a dash of witchcraft, a hint of prayer, as harmless as Quito himself is.” Surprisingly, despite knowing that this will take Vangie out of her trance, he lets Alison serve it to her.

When Vangie recovers, she, too, insists--also surprisingly--that they have another séance. “It’s Jean Paul Desmond himself who risks all,” she tells Matt when he accuses her of endangering the guests’ lives. Alison has Matt take her upstairs to rest while she heads to the lab to grab a tranquilizer.

Meanwhile, in the lab...

A secret door behind the cabinet opens and Jacques comes out, carrying more of Dr. Menkin’s notes. When he hears Alison’s footsteps, he shuts the door (but not all the way--oops!) and leaves them on the table. After a brief conversation about Vangie, he leaves through the lab’s main entrance and Alison flips excitedly through the newly discovered notes.

My favorite shot of Alison from this scene.

The Lost Episode summary for this episode from The Newport Daily News mentions the secret door--indicating that it appeared in the original script for the episode--but also that Vangie knows about it and that Jacques will leave her alone during the second séance if she keeps it secret. Another version of the summary from the Minneapolis Star (November 5, 1969) says that the hidden door leads to “a secret passageway,” begging the question of where Jacques has hidden the notes. It must be somewhere between the Great Hall and the lab, but where?

You know, I’m surprised that, for all Raxl and Quito’s searching for the conjure doll and the silver pin and Alison, Dan, and Matt’s searching for the missing cyanide, they haven’t found more of the château’s secret rooms and passages. It’s just as inexplicable as how Jacques still doesn’t know the location of the Temple of the Serpent after three hundred years, hours of spying on people in the crypt, and that failed investigation of it with Holly last episode--and the Temple’s entrance isn’t even well-hidden! On a show set on an absurdly cold tropical island with anachronistic period costumes, 20-year-olds who look 30 but get turned away from the bar without being carded, white Incas, a white voodoo priest and priestesses, and a man with an IQ of 187 knowingly placing a glass table beneath a loose chandelier--and that’s only listing what we’ve seen so far--this stretches my willing suspension of disbelief more than anything else.

Right at the end of the episode, we learn from Jacques that Jean Paul’s will to resist him has become stronger, making possession of him more difficult:

Does Jean Paul’s stronger will explain all the headache faces?

Coming up next: A piece of the Conjure Man’s message reminds Raxl of Jacques’ pirate ship, which gives us the perfect opportunity to explore Jacques’ former career.

{<- Previous: Episode 37 || Next: Episode 39 ->}

#strange paradise #ian martin #maljardin arc #week 8 #episode 38 #review #analysis #continuity errors #genuinely scary episodes #hot as hell (best of jacques)#lost episode summaries #1960s slang #oh erica #the seance table #unexplained plot point #zombies

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michelles-garden-of-evil · 4 years ago

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Episode 35 Review: In Which Matt Calls Out Jean Paul

{ Not available on YouTube }

{ Synopses: Debby Graham | Bryan Gruszka }

{ Screencaps }

Welcome back to Maljardin, the beautiful tropical “paradise” that is, in reality, a deadly prison for the guests of Jean Paul Desmond and his demonic lookalike ancestor Jacques Eloi des Mondes. Tensions mount as more and more characters realize that the island’s multimillionaire owner god refuses to let them escape and pushes for a séance in order to contact his late wife. One, Reverend Matthew Dawson, ex-minister and current stalker of one Holly Marshall, has reached the breaking point and now dares challenge Jean Paul.

Now, I know that I briefly compared and contrasted Matt with Reverend Trask (specifically, the second Reverend Trask) from Dark Shadows in my Episode 10 review last year. There are a handful of similarities--including both running boarding schools of questionable ethics (which I forgot to list in that review)--but they remain characters with fundamentally different personalities at their cores. In spite of this, Matt does share one of the favorite hobbies of the men of the Trask family: YELLING in an exaggerated Mid-Atlantic accent in long and emotional speeches! That’s what happens for a good portion of the episode, and I can’t deny that I find this sort of soap opera shouting match highly entertaining.

We open with Jean Paul descending the Great Hall’s staircase while wearing the Blue Suit of Sexiness, which he will continue to wear for the next few episodes. He sees Matt staring at the portrait of THE DEVIL JACQUES ELOI DES MONDES and asks him if he’s “mesmerized by” him. (How could anyone not be, I wonder, before reminding myself that Matt is straight.)

“It seems everyone is, or at least the evil Raxl fears he’s spreading,” is the Reverend’s response.

“And you?”

“There is evil here, Mr. Desmond, but I don't believe in devils. I attribute it more realistically to a live, active human being.”

And then they exchange pissy faces to dramatic music.

I’ve noted before that I didn’t expect a minister like Matt (especially one who believes in other supernatural phenomena) to admit that he doesn’t believe in devils. Still, even if he did, that’s no guarantee that he would make a distinction between Jean Paul and Jacques or think anything of his sudden switches of personality beyond grief and/or mental illness.

The first shot of the glass-top table set up for the séance. Kind of odd that Jean Paul just happens to have a table with astrological symbols on it just lying around.

Just then, Raxl and Quito enter, and the former announces to Jean Paul, “It is foretold that the Conjure Woman one day will find death on Maljardin!” Jean Paul ignores this and tells Vangie (who also conveniently just entered) that she must hold the séance and he must speak to Erica.

Some Jean Paul crazy eyes. Shades of Gérard “Crazy Eyes” Berner, discussed in this entry.

“Master! In the Temple of the Serpent, the Conjure Woman was told that this séance must not take place! The spirits have spoken!” Raxl protests, but he ignores her. Remember, this is a man who announced three episodes ago that he is willing even to perform blood sacrifices to get his Erica back. He is crazy in love--literally. His obsession with Erica makes Matt’s decision to quit his ministry to stalk Holly seem sane.

“On Maljardin, only I speak!” Jean Paul declares, eyes wide and burning like the blue flames on a gas stove. He uses his “on this island, I am God” tone of voice, but sadly Jacques isn’t cheering him on this time. Speaking of Jacques, he immediately storms over to the portrait and shouts, “I must have contact with my darling!” as though he thinks that Jacques will willingly provide that. Oh, Jean Paul, my sweet summer child, if only you knew that he has no intention of resurrecting your dear, sweet Erica.

Alison arrives just in time to overhear him tell Matt that, as an “undesirable element that would ensure its failure,” he shouldn’t take part in the séance. He starts to ask Alison to join him, but then decides he would rather make a passive-aggressive comment about how Matt probably doesn’t believe in souls (WTF?), which triggers the following argument:

Jean Paul: "And the theologian, not because he believes in the soul, but because..." Matt: "Because he is tolerant, Mr. Desmond!" Jean Paul: "Tolerant of what? My madness, perhaps?" Matt: "I did not say that!" Jean Paul: "Are you prepared to face the dead?"

He tries to get Vangie to let him choose who will participate in the séance, but she refuses because she understands spiritualist matters better than he does. (Also, she can teleport to and from Maljardin, so it’s not like she’s trapped on the island like the other guests. This means that she can stand up to Jean Paul without the risk of him imprisoning her.)

Raxl brings up the missing notes about Erica. Alison demands to know how she knows about them, and she claims that she knows because of how often she and Dan discussed them. Raxl accuses Alison of trying to hide the notes in the cove (but why would she store them so far from the lab?). Matt has a point when he says the following line:

I am accused of pushing Holly Marshall down the stairs, Dan Forrest is accused of tampering with the cryonics capsule, Mrs. Marshall is accused of trying to kill her own daughter, and you are accused of concealing Dr. Menkin’s notes that might bring Erica Desmond to life again!...Now, a séance. Who knows what new accusations we will hear and against whom, and I wonder who will make them?

Raxl, Vangie, and Quito visit the temple to pray for the protection of everyone during the séance. This is probably the point where Tarasca would have appeared and vanished for the first time in the original draft, but we may never know for sure. Meanwhile, Jean Paul brags both to Jacques’ portrait and to my hysterical laughter that he is now in full control of himself. Sure, Jan Jean.

I really like this shot of Jean Paul with his arms outstretched in front of Jacques' portrait. Taken out of context, it looks like he’s trying to hug Jacques. "Caressing" evil, indeed.

Matt approaches the stairway to the crypt, but Jean Paul stops him. Matt then remembers that he threatened to kill anyone who trespassed into the crypt, which shocks Alison. “Does it upset you that I want to protect your sister’s return?” he asks her, and this triggers a second, much longer argument between Jean Paul and Matt. As usual with long conversations on this show, I will only include the highlights and summarize the rest.

It starts out with Matt repeating that everyone on Maljardin is Jean Paul’s prisoner. He accuses him of making them all suspect each other as a deliberate act of divide-and-conquer. I think that, in order for that to be true, it would require Jean Paul to be both omniscient and omnipotent, neither of which he is. (Even his hidden camera system only covers certain rooms.) Matt also accuses Raxl and Vangie of “seeking guidance for further accusations,” whatever the hell that means.

“Do you fear to face your judgment day?” Jean Paul asks him, which momentarily shuts him up. He stares at Jean Paul, stunned at the thinly-veiled threat.

Meanwhile in the temple, Raxl and Vangie decide who should and shouldn’t attend the séance. In short, neither Holly nor Dan should attend, but Quito should.

When Raxl asks if Jean Paul should attend, Vangie faints onto the temple floor!

When Matt recovers, he makes a whole list of over-the-top accusations against Jean Paul: "Hear me! Be a little god on your insane Island, manipulate our lives, play games with our reason! Be both judge and jailer! Yes, raise the dead, walk on water! That will be next. Crucify yourself, but remember, you, too, will be judged!"

Matt trying to look intimidating.

Jean Paul (thinking): “Please. When I said I was God on this island, I didn’t mean it in that way.”

You know, Jean Paul’s behavior this week reminds me of someone--and no, I’m not referring to whom you probably think I’m going to. I’m thinking instead of Jerry Layton, the show’s co-creator, producer, and “so-called production expert” who apparently shared some notable personality traits with early Jean Paul. According to the show’s floor director, Bob Wilson:

To be honest with you I always thought, and I’m not the only one who thought this, that the Jean Paul Desmond character was really Jerry Layton. Oh yes. He was mad. He was crazy. He would rant and rave about the simplest thing. And we would all stand around and wait until he did his little thing. And it was almost like an actor taking his lines and just running amok with them. I recall that--it was very easy to be intimidated by this character. I remember [technical producer André “Andy” Moujean] and I coming away from that dinner and saying to each other--What are we getting ourselves into?[1]

According to StrangeParadise.net, Layton insisted on running the show on next to no budget, which earned him the nickname “Mickey Mouse” among the production team. There’s a hilarious photo on there of Colin Fox with a Mickey Mouse pin pinned on one of Jean Paul’s dressing gowns and a mischievous smile on his face. There’s also this one in the website’s archive of the wall where John Pashley, one of the cameramen, wrote the comment “While my prose will not compare with Proust, thank f.....g Christ for Mickey Mouse.”[2] Notable examples of Layton’s mismanagement of the show include the lack of air conditioning in the studio while filming in August (as noted in this quote on Fox’s IMDb page) and the grueling schedule for the cast and crew, which Wilson also mentioned in his interview:

We all put in horrendous hours, not only in the production, but in getting the thing together. ... There were an awful lot of people who stayed [in Chelsea, at Crawley studios] overnight. I was not one of them, but I can remember the sound guys staying overnight, trying to meet deadlines, with their effects. I can remember the lighting guys staying overnight, trying to get the right look on a particular scene. [...] The bus would deliver, say, 25 people, and at night, maybe 17 would go back, because the other people were staying overnight to try to make deadlines.[3]

Despite these similarities, however, I doubt that Jean Paul is based on Jerry Layton. First, there is no evidence that Ian Martin actually ever visited the set, despite his position as headwriter. In fact, according to Wilson, he never did:

SRS: I was curious whether you ever met Ian Martin--he was the guy who wrote the first seven or eight weeks.

BW: I did not. To the best of my knowledge, I don’t believe--which is an unbelievable statement to make, but I’m pretty sure I’m right in saying this--I do not believe that any of the writers ever attended a production meeting, when we were at the studio. Now if Ian Martin was there, it would have been fleetingly, and he was the initial writer. The reason I’m even bringing this up is it was the bane of the actors’ existence that this didn’t happen. Many times they would say, “How can this guy continue writing [the show]--he hasn’t even been here to see, to get the feel of the set, of the ambience...”

SRS: He was writing it, but you were taping at that point well in advance of the broadcast--I see on this plan [of the set, which BW had] here, there’s a date--”August 11, ’69, programs number 2 and 3”--I’m taking from this that the original production of the actual show began in August of ’69. I don’t believe it began running on Canadian television until October of ’69.

BW: That would be correct.

SRS: So Mr. Martin is happily writing his scripts, but he’s not viewing any of the episodes... So he’s just spinning it off in his little room.

BW: Which was a sin, because we could feel the way it should have gone, we could feel where it could go--we weren’t writers, and when I say “we” I include cast and crew, because we were a family, we were very much a family. ... Had any one of the writers, Ian Martin or any one of the writers after that come out and even just spent some time, it would have paid so many dividends. As I say, I stand to be corrected, but to the best of my knowledge, that never took place.[4]

Second, such megalomaniacal types tend not to have a sense of humor regarding their own shortcomings. If Layton had even suspected that Jean Paul was supposed to represent him (assuming that he behaved as Wilson claims he did), I think that he would have insisted on changing his characterization earlier on. Most likely, Jean Paul’s characterization derives from the archetype of the Byronic lord of the manor, an extremely popular character trope in Gothic literature. Examples include Mr. Rochester from Jane Eyre, Nicholas van Ryn from Dragonwyck, and (eventually) Richard Morgan from Martin’s 1979 novel Shadow Over Seventh Heaven. Despite this, I have to wonder if, when the actors were rehearsing this script, they were thinking of Mickey Mouse and his own so-called production expertise and putting their feelings about him into it.

Some delicious Raxl scenery-chewing in the Not-So-Hidden Temple after Vangie faints. “It is the prophecy,” she recalls in reference to Vangie’s prediction that she will die on Maljardin. “MUST IT BE NOW?”

Returning to our recap, Alison tries to shut Matt up because “Jean Paul is under a strain,” but he won’t have it. He proceeds to criticize Jean Paul to his face, and one has to wonder if some of these lines reminded Dan MacDonald of Mickey Mouse:

Why is it that no one’s feelings are to be considered, only his? There is no one, it seems, in all the world that has ever suffered except Jean Paul Desmond! No one has ever lost a loved one, only Jean Paul Desmond and his unique sorrow for his beloved Erica!

Colin Fox doing some literal backacting.

Jean Paul getting pissy.

We wondered whether we had seen him change into another man, one man one moment, another man the next! Now we are seeing the real man…A man who ignores the suffering of others, who is indifferent to the pain he inflicts upon them, who is willing to imprison them for all their lives for the sake of an impossible experiment in bringing back the dead, in getting what he wants because he suffers, because he is willing to punish the whole world in order to get what he wants out of blind selfishness masquerading as strength, this selfish thing! So great is his love of himself, which he calls love for his dear Erica!

For the most part, he’s right about Jean Paul, save for the part about him being indifferent to others’ suffering. He’s indifferent to the detained guests’ wishes to escape the island, yes, but not to Alison’s mourning of her sister or Holly’s of her father. He just doesn’t want the tabloid press to find out about the cryonics situation and spread scandalous rumors (or, perhaps, a scandalous truth) about him and Erica. Matt thinks that the whole cryonics experiment is just as blasphemous and ridiculous as Jean Paul’s insistence that he is God on his island.

Jean Paul’s anger is so intense that it’s starting to mess up his shellacked hairdo.

Now it’s Jean Paul’s turn to fling accusations at him: "I did not pursue a young girl in the name of God and good works. I did not beset and harass a mere child out of a sick desire. And I did not strike the girl unseen and secretly fling her down the stairs because she knew, knew what you were!" A reminder: Holly is almost twenty-one, and yet Jean Paul refers to her as not just a child, but a young one. The way the characters keep talking about Holly like she’s seventeen is just baffling. Like I’ve said before, Matt’s attraction to Holly is already creepy enough without those kinds of implications, simply because of the former captor/former captive power dynamics involved.

Just after Jean Paul says that he is responsible for everyone on the island, Quito arrives, carrying Vangie. “Your responsibilities grow,” Matt tells him. “Now you have the soul [line flub for “blood?”] of Evangeline Abbott on your hands.” However, it turns out he spoke too soon, for Vangie soon recovers, albeit with a vision of death!

“Jean Paul, I saw death!” she says upon recovering. “The death I saw was not my own ending. A figure--it wasn’t clear.” And then she points to Jacques’ portrait and shouts, “That man! The Devil!”

This leads Alison to beg Jean Paul to cancel the séance. Jean Paul is surprised that "now the scientist believes in the devil." Jean Paul, being extremely stubborn, insists again on going through with the séance. But what unholy death and destruction will this séance wreak on Maljardin?

Jean Paul sitting down at the séance table during the credits.

Coming up next: The séance and a return to the YouTube episodes. (Am I the only one who’s been missing the ridiculous automatic captions? I hope not.) Shortly after that, the next part of my review of Shadow Over Seventh Heaven, which I would have posted before this one, but I was so much farther along with this one that I decided to post it first.

{<- Previous: Episode 34 || Next: Episode 36 ->}

Notes

[1] Bob Wilson, interview with S. R. Shutt, Ottawa, October 15, 2002. Wilson is also the one who called Layton the “so-called production expert,” which reminds me of David Benioff, the “so-called production expert” behind Game of Thrones whose mismanagement of that series is well-documented on the YouTube channel The Dragon Demands. In a sense, Benioff and Weiss wrote it like a soap opera, changing characterizations and “subverting expectations” at will with random plot twists--which is fine until you remember that they were running a high-budget adaptation of an unfinished book series.

[2] Another funny photo of the wall can be found here, On this one, someone dubbed the show “Canada’s own all-American T.V. series!” and used the Mark of Death (from a future storyline--not saying any more about it until later) as an unofficial logo.

[3] Wilson.

[4] Ibid.

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michelles-garden-of-evil · 4 years ago

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Episode 33 Review: The Gentle Zombie

{ Not available on YouTube }

{ Synopses: Debby Graham | Bryan Gruszka }

{ Screencaps }

And now, following our over-4,000-word-long sojourn into the eerie, isolated estate of San Rafael on Tuesday, we at last return to the even eerier and even more isolated locale of Maljardin, THE DEVIL JACQUES ELOI DES MONDES’ Garden of Evil! *sting*

Once again, Colin Fox has the day off to recover from his spinal injury the year before, meaning we get another Foxless episode. Unlike some of the previous Foxless episodes, however, this one is a real treat. We get the first centered around the mysterious Quito, Jean Paul Desmond’s silent manservant, Raxl’s closest companion, and owner of the adorable Chalcko, mascot of this blog. We also finally get payoff for my least favorite Maljardin-era subplot, the saga of the Holly portrait--which, if you ask me, is long overdue--and it’s good.

The Lost Episode summary for this episode indicates that it was always intended to focus on Quito. As usual, the Cleveland Plain Dealer provides the most detailed and best summary (and I am not at all biased, despite living in Cleveland):

Source: Cleveland Plain Dealer (October 24, 1969). The “Repeat” part is a misprint, as the episode only aired once on WKBF.

Interestingly, we already saw Quito give Holly the gift of a sparkling stone three episodes ago in the aired version of Episode 30. For whatever reason, the executives and/or Ian Martin himself decided to have this event occur earlier in the series’ timeline, possibly with its original importance to the overarching story decreased. The second sentence of this summary, however, remains accurate, as you will find in this review.

Quito kissing the cryonics capsule.

The episode begins with Quito visiting Erica Desmond's capsule and bringing more flowers for her. Both the way he kisses the capsule and the fact that Jean Paul doesn’t make him give Erica flowers show that he, like Raxl, truly loves her.

After leaving the crypt, he visits the Great Hall following a painting/bickering/recap scene between Tim and Holly, to stare at the portrait of Erica--or, rather, the roughest possible approximation of her appearance, because Jean Paul has done everything in his power to make Tim’s project as difficult and frustrating as possible for him (see also my post on Episode 24). A drum pounds for suspense, he turns to face the portrait, and, just as he reaches out to touch it,

HE COLLAPSES!

Fortunately, Alison and Dan come in from outside at just the right moment for her to check his pulse. She believes him dead at first because he has no heartbeat, but then hears him breathing despite him continuing to have no pulse. She concludes, much to pragmatic lawyer Dan’s shock, that Quito must be a zombie as he once said (this is another instance where I can’t recall which episode, unfortunately).

This is what the Holly portrait looks like now, by the way.

A close-up of the face. Still looks approximately halfway between Holly’s face and Erica’s in Tim’s original sketch of her.

They leave Holly and Tim alone with Quito while they go to the lab (in Alison’s case) and the crypt to search for the missing cyanide (in Dan’s), when they hear Holly scream! Dan, who was so close to making friends with Chalcko, bolts upstairs to find the mysterious servant previously thought to be dead (un-undead?) has once again come alive. He starts to pursue Holly, but Alison stops him, so he turns around and tears the cover off the Holly portrait. “Is it Holly, or my sister Erica?” she asks herself out loud. “I can’t tell!”

The rest of this scene suggests that perhaps Quito, too, can’t tell, or at least sees too much of Erica in Holly to ignore. Most likely, that’s why he’s drawn to her and waits on her as though he were her servant as well as that of Jean Paul and Erica. Dan attributes Quito’s fainting to the shock of seeing a portrait that so captures Erica’s likeness that the uncanny resemblance between her and Holly frightens him.

Two and a half months ago, Curt of the Maljardin Blog wrote that the production crew did not cast an actress to play Erica at the beginning of the show, as evidenced by their use of crew member Lara Cochrane to play Erica’s corpse in Episodes 1 and 4. But now I wonder, what if Ian Martin originally intended for Sylvia Feigel to play Erica as well as Holly, given his frequent mention of their alleged resemblance? It seems like an odd decision, especially because I believe that Sylvia was originally destined for a dual role as both Holly and the blonde girl whom Tarasca sacrificed in her nightmare. But, if Sylvia Feigel was supposed to portray the living Erica, would that mean that Erica’s past incarnation was not Jacques’ wife Huaco, but the sacrificed girl? It wouldn’t make sense for Erica’s past counterpart to be her instead of Huaco, unless he decided to also give Sylvia her role, which would have made her Huaco’s third actress. But this is all extremely unlikely, especially because such a quadruple role seems like far too much for a single arc of a live-action series. Even Dark Shadows didn’t make its actors play four roles in the same arc.

All right. Enough of a theory that I myself don’t completely believe, even if it is possible (if improbable) that Ian Martin intended it. Matt-- who, naturally, hurried down the steps when he heard his stalkee screaming--thinks that the reason why Quito fainted upon touching the portrait was because he "sees something of Erica Desmond in [Holly]." I believe there’s more to it than that, though. There must be something supernatural going on that made him faint, something like Erica’s ghost exerting her power over him. But they never did explain this bit, so--like most of this show--it’s up to interpretation.

Tim: “Quito, I thought you were dead!”

Quito touches the portrait and then his heart. “Only Raxl can tell what he’s trying to tell us,” Matt claims, but Alison, too, understands the message. Quito, whom Dan calls “a soulless man,” loves Holly.

This horrifies Holly even more than Matt’s affections. She shouts “NO!” and Quito retreats to the crypt. She throws a fit, disgusted by the thought of “a monster who lunges at people” wanting a romance with her, and even accuses him of pushing her down the staircase, even though Quito was in the temple at the time.

For the Serpent’s sake, Reverend Stalker, leave her alone! The last thing she needs is your “comfort” when we know that what you really want is to get in her pants!

Holly: “Drag, drag, drag, the Reverend Matthew Drag!”

I’m dying of laughter at this terrible line.

Dan suggests that, if Jean Paul can’t bring Erica back to life, he may decide to replace her with Holly. We know that Jean Paul would never do that, but that his ancestor Jacques almost certainly would--at least once he got bored with his lovely witch Elizabeth/Tarasca. (I’m still not convinced, though, that he doesn’t want to make her sacrifice Holly, either just for fun or so that she--and, after their marriage, he--can get her fortune.)

Tim begs to differ about the painting’s resemblance to Erica, once again lampshading the absurdity of the whole situation. You have an artist painting a portrait of a dead woman, using a living one as his model who may or may not resemble the show’s current image of Erica Desmond. He took on this commission to save his life, but, now that he is on Maljardin, he’s in more danger than he ever was while the Mafia was pursuing him. And now a zombie passes out, and the other characters blame it on Erica’s likeness to Holly, which Tim must know is a completely ridiculous explanation. I’m telling you, someone’s spirit--either Erica’s or Jacques’--made him collapse. And if it was the latter, most likely Jacques intended to kill him a second time.

Quito in the crypt.

I want to shift focus now to the subject of zombies and their portrayal on SP, as well as what we know of Quito’s past. This section will contain references to slavery and suicide, so, if those subjects trigger you, you may wish to skip ahead to the next section, beginning with another copy of the photo of Quito looking into Chalcko’s birdcage.

Before I got into SP, I was long predisposed to dislike zombies because of the clichéd way that most horror movies and shows depict them: namely, as mindless creatures focused solely on eating human brains. Hordes of walking corpses who go on living only to consume and destroy are a useful metaphor for the effects of things like consumerism and social media addiction, but they don’t make for interesting characters; in fact, they make for rather dull ones, in my (highly unpopular) opinion.

But Quito was shown from early on to be a very different kind of zombie, almost the opposite of the Dawn of the Dead type. We see hints as early as Episode 12 that he has thoughts and feelings and now we have confirmation that he even has the capacity for love. He appears mindless, soulless, and unfeeling to some other characters, but those who know him well like Raxl and Jean Paul know that, despite his silence and his undead state, he has a mind, a personality, and even a heart. It doesn’t hurt that Kurt Schiegl gives Quito a great deal of expression and personality through his body language; we may not know exactly what thoughts are going through Quito’s mind, but we can get an idea. (And he never once expresses an interest in eating brains, which is another plus.)

The reason why Quito is so different from most modern portrayals of zombies is because he is based on an earlier conception of who zombies are and how they are created. In the traditional beliefs of Haitian Vodou, a zombie is created when a Vodou sorcerer or bokor resurrects a corpse to serve as his personal slave. While there are many theories as to when these legends originated, the most likely theory (which Mike Mariani argues in The Atlantic) is that they began during the period of French colonialism. During this period, which stretched from 1625 to the Haitian Revolution at the turn of the 19th century, most of the population of the island of Hispaniola (then known as Sainte-Domingue) was enslaved on sugar plantations, which required back-breaking, often deadly labor. This, combined with the other indignities of slavery, drove many enslaved Africans living there to commit suicide in an effort to return to their home countries. The idea that those who ended their own lives would be stuck on Sainte-Domingue eternally as zombies came about as a way or Haitians to discourage suicide. “Death was better than slavery for many – the suicide rate among Haitian slaves was very high. It was bad to be a slave,” Amy Wilentz writes in her review of the Vice documentary I Walked with a Zombie. “Worse would be to die and discover that, rather than returning to Africa, you continued to be enslaved as a dead person, run by a master, doing his bidding – and this is the fear that created the ‘Americo-normative’ zombie, as we know him.”

According to Mariani’s article, zombies did not become associated with bokors until after Haiti won its independence and subsequently abolished the institution of slavery. He calls this “the post-colonialism zombie, the emblem of a nation haunted by the legacy of slavery and ever wary of its reinstitution...The zombies of the Haitian Voodoo religion were a more fractured representation of the anxieties of slavery, mixed as they were with occult trappings of sorcerers and necromancy.” Wilentz associates this with “the fear of re-enslavement,” for “no one wanted to be dead, consciousness-less, and working for free for a master,” especially in a country that had fought so hard to rid itself of its shackles.

The show canon for Strange Paradise has not given--and will not give--much information about Quito’s backstory. What we do know is that he is a native of somewhere near Maljardin, descended from an indigenous Central American culture related to the Aztecs, and that was alive during the same period as Raxl. He was Jacques’ “servant” (more likely a slave) in the 17th century and, at some point before Jacques’ death, became a zombie. We also know from his reaction to the Conjure Man’s name in Episode 13 that the Conjure Man did something to him at some point that traumatized him, which may or may not have included the spell.

The Paperback Library novel Island of Evil, however, gets far more detailed about Quito’s backstory and shows his transformation into one of the undead. In the novel, Jacques forces Raxl to relive a particularly painful memory from the 17th century in order to coerce her into doing his bidding in the then-present. In her memory, Raxl visits the pregnant and bedridden Huaco des Mondes during a dinner party, although Jacques has forbidden them from meeting with each other. When he catches her returning from Huaco’s room, Jacques gets revenge on Raxl by stabbing Quito (who is her husband in the books) and then forces an African Vodou priest whom he recently purchased to resurrect him for his guests’ entertainment.[1] It’s worth noting that, like the zombies of Haitian folklore, the Vodou priest tells Raxl not to allow Quito to consume salt: “Should he eat either [salt or meat],” he says, “he will know he is a dead man.”[2] Thus the book canon connects Quito both to the horrors of slavery in the colonial-era Caribbean and to early zombie folklore, before zombies became the brain-eating monsters they are usually portrayed as today.

Quito checking on his adorable bird. Curt recently mentioned the possible connection between Chalcko, Huaco (Jacques’ “pigeon”), and Erica (Raxl’s “little bird”) in a post on his Tumblr, which was a piece of possible symbolism that had never occurred to me until then.

Dan reveals to Matt that Jean Paul has a Stanford-Binet IQ of 187. I’m noting this only because I’ve referenced it before in regards to Jean Paul’s alleged intelligence juxtaposed with his tendency to make stupid decisions. He may have an IQ of 187, but that only applies to his book smarts, not to common sense decisions like the knowledge that you should never make a deal with the Devil unless you are absolutely certain that the Devil won’t screw you over, or that you can defeat him through loopholes or some other, similar means. Even the smartest people--even those with an IQ of 187--can be manipulated, and that is true of Jean Paul, whom THE DEVIL JACQUES ELOI DES MONDES has successfully outsmarted. I wonder if he even suspects that Jacques has no intention on bringing Erica back to life, as he revealed fourteen episodes ago?

Holly talking to the cryonics capsule.

At the end of the episode, Holly visits the crypt to talk to Erica’s capsule. “ Mrs. Desmond,” she says, her hands on the capsule, “I want to say something to you. I don't know if you can hear or not, but I'm so afraid. I’m afraid of Quito, I’m afraid of my mother, and also of the Reverend. Mrs. Desmond, I’m so afraid somebody wants to kill me. But not your husband. I love him the way I love my father, but I'm so lost and so alone. Please help me...I want to know what it was that Quito and they saw in the picture.”

Quito catches her talking to the capsule and approaches her, his arms outstretched. “No, please!” Holly pleads, finally screaming and running from him, leaving the zombie with a heart alone in the crypt.

Upstairs, Holly calls for everyone to “see what you’ve done,” and the camera cuts to the portrait, which now bears a slash across the middle:

The end of the ill-fated saga of the Holly portrait.

“There is your spirit of love,” she cries, “or is it hate?” Alison, Matt, Dan, and Tim stare on, shocked and appalled by the slashed portrait and forever unaware of the identity of the culprit. The episode implies that the responsible party is Jacques Eloi des Mondes by showing a shot of his portrait glowing shortly before this scene, but this episode’s trivia on StrangeParadise.net indicates someone else. As with the trivia for Episode 30, it has to do with plot points that ultimately remained unexplained on the show, but nevertheless contains spoilers for the true nature of one character, so read at your own risk.

The first time since the pilot that Jacques’ portrait has glowed.

Coming up next: The characters react to the slashing of the portrait and we learn a telling bit of backstory about Elizabeth Marshall.

{ <- Previous: Episode 32 || Next: Episode 34 -> }

Notes

[1] Dorothy Daniels, Island of Evil (New York: Paperback Library, 1970), pp. 92-99. I will cover this book and the other two Paperback Library novels in more detail in a future series of posts.

[2] Ibid., p. 100.

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michelles-garden-of-evil · 5 years ago

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Episode 24 Review: Top 5 Reasons Why the Holly Portrait Subplot Doesn’t Work

Welcome back to Maljardin, where the melodramatic master Jean Paul Desmond is God and the Devil is a snarky talking portrait.

Speaking of portraits, today we will be looking at the subplot about Tim’s portrait of “Erica” (or, rather, of Holly) and the main things that are wrong with it. This subplot is, in my opinion, the worst in the Maljardin arc and I’ve been holding off on writing a detailed explanation of why I feel that way until my review of this episode, which mostly centers around the damned Holly portrait.

The portrait, circa Episode 18. There aren’t any good shots of it from Episode 24, so I had to settle for this one.

To recap: After the death of Erica Desmond, her husband Jean Paul hired Tim Stanton, a young artist in debt to the mob, to paint a portrait of her. Erica being both dead and encased in a cryonics capsule which both Jean Paul and THE DEVIL JACQUES ELOI DES MONDES refuse to open, Tim must instead use young heiress Holly Marshall as his model until Erica comes back to life as Jacques promised that she would.

Sound like a reasonable plan? No? I didn’t think so, either, and now I shall explain why. Here are the top five reasons why I think this subplot is stupid:

#5: Holly neither looks like Erica, nor knows what Erica looked like.

This screencap is actually from Episode 13, but I’m including it because it’s relevant.

I sometimes wonder if this criticism is unfair, because the only viewers up to this point in the show’s broadcast history who would have seen Erica were the viewers of Episodes 1, 2 (where Tim shows Alison his sketch of her), and 4. In the first scene of Episode 4, the Cryonics Society froze her corpse in the cryonics capsule, meaning that anyone who started watching after that scene would not have seen her face before Tim got his assignment from Jean Paul. Even so, neither Erica resembled Holly, which makes it absurd for her to sit for it. Why not have Alison pose instead when she’s not working? After all, they are sisters and they share a strong family resemblance according to the original pilot script. Holly barely resembles either Erica beyond being pretty.

Tim’s sketch of Erica from Episode 2, with a screencap of Alison from Episode 17 for comparison. With its upturned nose and full lips, the sketch is clearly intended to resemble Dawn Greenhalgh (Alison) and not Sylvia Feigel (Holly).

Because Holly hardly looks a thing like her, Tim complains in Episode 13 that he “can’t use her for anything but position and play of light.” In spite of this, later episodes including Episode 24 show that he has painted a sort of semi-abstraction of Holly’s face, with features about halfway between those of Holly and those of Erica. This means that he’s only making more work for himself for when Jacques brings Erica back to life--if he brings her back to life--because he will need to paint over the semi-abstraction with Erica’s face. In short, he’s wasting his time.

Besides, it’s unclear why Holly doesn’t know what Erica looked like if Erica was a very famous actress and she and her husband were stalked by the paparazzi until they escaped to Maljardin (as previous episodes have indicated). Surely she would have seen a photo of Erica in the newspaper at some point, or her face on the poster for one of her plays, or something. I realize that’s not the same as seeing someone in real life, but it’s just odd that she doesn’t know.

#4: Tim doesn’t have even a photo of Erica with him and so has to rely mostly on memory.

He even says so in Episode 13: “I have to depend on my memory of your wife and that sketch I made of her at the café,” he tells Jean Paul (or, rather, Jacques while he is possessing him). As we saw in that episode, opening the cryonics capsule and posing Erica’s thawed-out corpse for Tim is too devilish even for Jacques, so the starving artist is left with a dilemma. Jean Paul, being a fancy rich guy of noble descent, naturally assumes that any criticisms of his assignment is just a case of beggars trying to be choosers and ignores them; in his mind, he did him a favor by paying his debts and taking him to his island, so Tim should obey his every whim without question. But the truth is that Jean Paul has no understanding of how artists work, nor why Tim needs the real Erica to complete the painting, and he may not even understand the creative process behind painting a portrait.

This could make for interesting social commentary if the writers had had Tim take a good hard look at the situation and realize that Jean Paul is not just imprisoning him on the island but flat-out exploiting him. They could have made his subplot about class conflict, the establishment’s lack of empathy towards creative types, or both. However, they choose not to use the subplot for such commentary, instead going in a much more conventional direction.

#3: The Holly portrait is mostly used to drive a clichéd romantic subplot.

Two people meet and hate each other at first sight--or at least pretend to--although they are clearly attracted to each other. They argue, bicker, treat each other indifferently at best and abuse each other at worst, until one day they realize that they have fallen in love. When was the first time you read or saw this story? Do you even remember the first time? Most likely you don’t, because the exact same plot has been used and reused so many times since Shakespeare’s Much Ado about Nothing premiered that Western media is saturated with it. It’s not a bad plot in and of itself, but it’s been overused so much that you can usually see it coming from a mile away. When Tim and Holly first bickered over her being too young to order booze, I predicted that they were setting up a romance between them. There are many signs: Tim confesses to Vangie that he feels sorry for Holly, Elizabeth suspects that he’s hitting on her, and, while she claims to dislike them both, Holly seems slightly less irritated by Tim than by her former captor, Matt Dawson. Ian Martin was clearly setting up a romance between the heiress and the artist, who are gradually bickering less and less: a telling sign that they are getting closer to falling in love.

As creepy as it is and as much as I don’t want them to get together, I actually find the Matt/Holly subplot more interesting to watch than Tim/Holly. Danny Horn of Dark Shadows Every Day may have written about how “groovy priest attracted to the beautiful young girl that he wants to take care of” is an old soap cliché, but I’ve seen it done far less often, which I suspect has something to do with all the church scandals in the past twenty years. The Belligerent Sexual Tension plot, on the other hand, is still very popular, so it feels less fresh to me than Matt and Holly’s subplot. (That doesn’t mean that I don’t still think he should leave her alone. Personally, I ship Reverend Dawson with his right hand and I think they ought to stay together.)

#2: The use of the Holly portrait on the show doesn’t connect to the show’s use of portraits for symbolism.

This one is really nitpicky and based mostly on my personal interpretation, but bear with me. Although far more complex than the Dark Shadows ripoff that many critics reduce it to, Strange Paradise nevertheless relied on many of the same tropes and themes, including the way its writers used portraits. On Dark Shadows, the writers often used a trope that Cousin Barnabas of the Collinsport Historical Society blog calls the “Portrait as Id,” meaning the use of paintings to symbolize and illustrate the truth about whatever character they represented. We see this in Strange Paradise as well with the portrait of Jacques, who tells Jean Paul that he is “the man you are, the man you might have been,” implying that the ostensibly good Jean Paul is not so different from his evil ancestor. Later on after Robert Costello becomes producer and the show becomes more like Dark Shadows, we’ll meet another character whose portrait does not turn out as intended because of the evil in said character’s heart, which also connects to this idea of portraits reflecting hidden reality. Although the conjure doll also resembles and represents Jacques, he does not generally use it to communicate with Jean Paul the way he does with the portrait. This makes sense, given that the doll and silver pin ended his life, while the portrait was painted at some point while he was alive.

In contrast to the portraits mentioned above, Holly’s portrait does not convey any additional information about either her or Erica. Because it represents the late Mrs. Desmond in name only, the Holly portrait says nothing about Erica’s id, her personality, or the state of her soul. It doesn’t even say very much about Holly. Instead, it’s mostly just used as an excuse to force Holly and Tim to interact with each other and bicker until they can finally admit that they’re in love.

#1: It goes (almost) nowhere.

And when it does finally go somewhere, it’s only relevant for a few episodes before it’s forgotten about. Holly’s participation in the portrait sittings soon becomes completely irrelevant, much like so many of the show’s early subplots which Late Maljardin’s headwriter Cornelius Crane chose to ignore. I suspect that the Holly portrait would have eventually became more significant in the main plot had Martin not been fired around Week 9. We may never know how it would have become so, nor how significant it would have become in his original outline. Who knows? Perhaps Martin would have crafted a shocking plot twist involving Holly that justified its existence. Perhaps he would have connected the portrait and its eventual fate somehow to the nightmare she had about Tarasca, having it reveal some terrifying truth about Maljardin’s past. At the very least, he might have used it to cement the romance between Tim and Holly. But instead the subplot ends with little payoff.

Tim on his subplot.

Still, despite the focus on the Holly portrait, this episode isn’t entirely a waste. Raxl saves it with her pleas to the Serpent and her attempt to contact the Conjure Woman, in all her scenery-chewing, melodramatic glory. There’s also a scene where Holly pressures her to read the two Tarot cards--the King of Swords (whom Matt identifies as Jean Paul) and the Queen of Cups (whom he interprets as Holly)--that she dropped on the floor earlier in the scene “just for kicks,” and she refuses, shouting “No!” repeatedly. If you love Raxl like I do, you’ll enjoy her scenes. They’re not Best of Raxl material, but they’re fun.

So long until my next review, which will cover Episode 25, followed by Week 5′s long overdue Bad Subtitle Special. I know that this is a change of pace from my usual recap-style reviews, but I really wanted to go into more detail about why I don’t like Tim’s subplot. I hope you enjoyed this post and I’ll see you again soon.

Coming up next: Elizabeth continues her attempted seduction of Jean Paul as we explore inter-generational conflict on Maljardin.

{ <- Previous: Episode 23 || Next: Episode 25 -> }

#strange paradise #soap opera #review #ian martin #maljardin arc #week 5 #episode 24 #foxless episodes #analysis #list #conjure doll and silver pin #the damned holly portrait #dark shadows #matt/his right hand #scenery chewing #soap opera tropes #speculation on ian martin's original story #symbolism #tarot

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michelles-garden-of-evil · 5 years ago

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Episode 19 Review: She Was One of Us

{ YouTube: 1 | 2 }

{ Synopses/Recaps: Debby Graham | Bryan Gruszka }

{ Screencaps }

In the last episode, we saw Jean Paul’s lawyer and Alison’s fiancé Dan depart from the main island, at the behest of Jacques. This means that now all major characters save Vangie are on the isle of Maljardin, prisoners detained guests forced to partake in the funeral that Jean Paul reluctantly agreed to hold for Erica while he waits for her to return from the dead.

We open in the crypt, where Raxl and Quito are leaving flowers on top of the cryonics capsule. Raxl starts talking about how she wants Erica’s soul to “depart to the Great Serpent,” which Jean Paul overhears when he and Alison enter. “You don’t seem to have much faith in the last rites of Christianity,” he remarks. (Look who’s talking!) Jean Paul explains briefly to Alison that Raxl’s religion predates Christianity (which she calls “the new religion”), which soon devolves into yet another “Erica is dead forever and should be buried”/”Erica will rise again” argument. I’ve lost count of how many times he and Alison have argued about this, but I think we’re up to Argument Number #389723. They’re both determined to beat the dead horse until it’s reduced to a pile of smashed bones suitable only for fertilizer.

Colin, are you reading the Teleprompter?

She says that she wishes that he would have Erica put in the ground, and he responds that technically she is. I would call him a smart-ass, but the way he delivers the line doesn’t come across as sarcastic. In fact, at this point on the show, Jean Paul doesn’t seem to have a sense of humor. Jacques is the witty, sarcastic one, and Jean Paul is the serious one with the one-track mind that can only think of Erica. Later on in Desmond Hall, they try to give Jean Paul a sense of humor by having him make a joke every now and then, but it doesn’t work because it goes against his original characterization. Maljardin-era Jean Paul doesn’t joke around and rarely even uses sarcasm.

Despite his humorlessness, he is a joy to look at in this episode. Here he is earlier in the scene with Alison, putting flowers on the capsule and looking just dashing.

Anyway, Jean Paul sends everyone out of the crypt, so that he can have a few moments alone with the capsule. He clasps his hands together as through praying, although whether it’s to the Christian God, the Great Serpent, or himself is unclear because he stays silent.

Back in the great hall, Alison asks Dan and Matt some more about Raxl and Quito’s religious practices and learns that, because their religion considers Christianity heresy, they may refuse to take part in the funeral despite loving Erica. (They attend, anyway, although they do perform their own rites/ritual separately beforehand.)

Alison, the thought of that seems to please you a lot.

Holly comes downstairs and, after a recap conversation with her mother and Tim, goes to see Matt. She starts out by telling him that she’s wary of attending any funerals until her own (because of the quarrel that occurred at her father’s), but then mentions another reason why she doesn’t want to attend and why she couldn’t sleep in the previous episode:

Holly: "Look Reverend, you're going to think this is way off, but last night, I had a very strange nightmare." Matt: "What about?" Holly: "About me. Like...some kind of a warning."

Raxl, presumably on Holly.

She lights some incense and then a message appears in the writing box where Quito wrote something a moment before. A message from the Serpent about Holly, perhaps?

Holly: "Suddenly, there was this woman, like a priestess, who seemed to be in a temple, she was standing over me with a strange kind of headdress and she looked like my mother." Matt: "Your dreams are beginning to sound like a B-movie. Go on." Holly: "Well, then she said, 'Those who are part of this evil must pay the price.'"

She asks him what the dream means. He declines to answer because he’s not an authority in dream interpretation, but insists that she attend the funeral despite her worries. Because he can’t answer, I shall try to provide one for him based on some of the research that other fans have done on Ian Martin’s original plans for the Maljardin arc.

(WARNING: The YouTube and Maljardin Blog links in the next four paragraphs contain spoilers for later Maljardin episodes.)

For the first nine weeks of Strange Paradise, all episodes were credited to Ian Martin, a veteran actor and soap opera writer who appears to have been quite emotionally invested in the story, as there is evidence that he may have based Erica on his first wife Inge Adams, who also died young. I’ve read a rumor that Krantz Films owner Steve Krantz and his wife Judith (who later became a famous and influential romance novelist) may have ghostwritten some episodes, but there is no evidence to support the presence of any ghostwriters in this period of the show’s history.

Nevertheless, as the Maljardin arc went on, a discrepancy started to appear between the episode summaries in newspapers and the actual content of the episodes that aired starting in Episode 30. Strange Paradise historian Curt Ladnier has written many blog posts on these “lost episodes,” comparing the newspaper listings with the aired episodes and analyzing the changed plot points. Ladnier attributes the changes to executive meddling, requiring Martin to rewrite episode scripts when he was already writing five per week.

One of the most notable changes to these scripts was the omission of a new character named Tarasca, whom the newspaper summary for Episode 42 describes as “a native high priestess in love with Jacques, a French buccaneer.” Because Elizabeth dreamed about being her in the original version of that episode, we can safely assume that the priestess in Holly’s nightmare who resembled her was Tarasca. Also, given that this show mostly uses dream sequences as a means of showing events that happened in the past, we can also infer that, at some point, she sacrificed a young woman who looked identical to Holly, meaning that Martin was most likely planning on writing a 17th-century counterpart for her as well.

Several other early episodes hint at (or appear to hint at) the character of Tarasca and her connection to Elizabeth Marshall, including a cryptic line in Episode 12 where Jacques promises Elizabeth a “change” while she is on Maljardin. For more information and some more speculation about Tarasca’s role and backstory, see this video. I’m a little obsessed with this aborted storyline and have been waiting since October for a chance to discuss it, so, from now on, I’m going to reference it often and provide my own thoughts as to how I think it would have played out.

Erica’s funeral. Why is no one wearing black save for Dan and (obviously) Raxl and Quito? At the very least, Alison should be, because she takes her sister’s funeral more seriously than anyone else.

Jean Paul, I know what you’re thinking, but Reverend Dawson’s not talking about the possibility of Jacques resurrecting her. You really do have a one-track mind.

Jacques: “I do believe Holly needs me to jack her up by the bootstraps.”

Holly’s response to seeing Elizabeth chatting with Jean Paul. Really, Holly? Your mother marrying the richest man in the world *who adores you* is probably the best thing that could possibly happen to you.

After the funeral and a couple boring scenes about Holly’s subplot (there are a lot of references to the stupid Holly portrait in this episode), we see Dan confront Jean Paul about whether the guests can finally leave the island. Even though Jacques re-hired him last episode, he claims to be looking for a new job and he wants to make Alison leave the island with him and return to New York. Before Jean Paul has time to object, Jacques crashes the after-funeral reception, which he treats as a party. Ignoring Dan’s question of whether he and Alison can return to the mainland, he opens up the bar and commences trolling his detained guests:

So not suspicious. ;)

Tim: "With your permission, sir, I would like to propose a toast. To the departed. To Mrs. Desmond!"

Jacques: "Cheers--I mean, thank you."

He also pressures Alison into staying, giving her Dr. Menkin’s lab to use for her research. He then brags to Dan that none of the other guests want to leave and insists that he, too, can if he wants, but he will have to do it himself because it’s too late for Quito to sail him back:

BISSITS!

After the reception, Jacques returns to the crypt and gloats a little to Erica about how he has now imprisoned everyone on Maljardin. The handsome devil once again makes it clear that he doesn’t intend on freeing her and that she, too, is his prisoner. And, of course, he has some pun with it, as one might expect:

Can’t criticize this one, because even Shakespeare made it and I think it’s funny. I like puns, sometimes, just not terrible puns like the “pose” one from last episode.

Not even a detained guest anymore?

I think I just broke my comedy drum set. ;)

Coming up next: Another episode with a flashback to Maljardin in 1689, which means another two-parter. I also have a special essay in the works about the copyright status of Strange Paradise in the United States, which may surprise you. (It certainly surprised me.) Stay tuned for all these posts, as well as the Bad Subtitle Special for Week 4 after the Episode 20 review.

{ <-- Previous: Episode 18 || Next: Episode 20, Part I --> }

#strange paradise #gothic soap opera #review #ian martin #week 4 #episode 19 #maljardin arc #bissits face #the blue suit of sexiness #costumes #cryonics capsule #detained guests #maljardin blog #sp and religion #speculation on ian martin's original story #tarasca #unexplored plot point

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michelles-garden-of-evil · 5 years ago

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Episode 1 Review, Part I: Welcome to Maljardin

{ YouTube: 1 | 2 | 3 }

{ Synopses: Debby Graham | Bryan Gruszka }

{ Screencaps }

What to write about the pilot? How should I begin the introduction to the first real post on this blog? I don’t wish to write a detailed synopsis, because other people have already done so, and I feel neither the need nor the desire to comment on everything in this episode (or, indeed, in any episode). Also, funnier writers than I have already written detailed reviews of it, and I don’t feel I can compete with them, especially if I focus too hard on trying to be funny. So this will be a different kind of review series, focusing on analysis of what I think is important/interesting instead of recapping everything. And I promise that my other posts won’t be as long as this one. There’s just a lot to cover in this first post.

One of the main questions that I intend to explore in this post series is what makes a TV show “bad.” Obviously, this is purely subjective, and most of what I write will be my silly personal opinion, but we are dealing with a show that many people consider “bad” and that, arguably, is “bad” by most mainstream TV watchers’ standards nowadays. Today, we live in an era where TV dramas have increasingly higher budgets and production values, where viewers expect realistic acting and special effects, where streaming and binge-watching are increasingly the norm, and where making a single continuity error or retcon will inspire scorn from your entire fanbase (and God forbid one of the actors forgets to throw out their Starbucks cup). TV today is almost the polar opposite of TV in 1969, when shows were much lower budget, special effect failures were far more acceptable, and streaming on demand probably sounded more absurd than using science to bring a frozen woman’s body back to life. As such, people today expect different things from television from the soap opera viewers of fifty years ago, and are quick to dismiss a show as bad.

I agree that continuity errors and retcons are signs of mediocre writing, but do high production values and good special effects really matter? Is realistic acting necessary for drama, or can drama be just as effective with artificial, stylized, hammy or campy acting? How do we separate a genuinely bad show from one that is merely dated, or that has a few minor problems? If you ask me, the answer lies in the writing and the effectiveness of the acting--and it is the writing that will be the primary focus of this blog.

The pilot, like the 43 episodes that follow, was written by Ian Martin, an actor-turned-writer for soap operas and later Gothic romance and horror. He is most famous for writing over two hundred episodes of CBS Radio Mystery Theater in the 1970s. (While I only recently discovered CBSRMT and therefore haven’t listened to most of the episodes yet, I can say that those of his that I’ve listened to are very good. I particularly recommend “And Death Makes Even Steven” and “Time and Again.”) For the plot of Strange Paradise, Martin seems to have drawn on his own life experiences: namely, the tragic early death of his first wife, the actress Inge Adams. According to Curt Ladnier, “Though no one can claim to know what was going through Ian Martin’s mind as he wrote the scripts laying the groundwork for Strange Paradise‘s basic plot, it’s not hard to conceive he may have felt some familiarity with the story of a man who lost the love of his life to an untimely death.” His grief shines through every speech that he has Jean Paul give to Erica. Indeed, his episodes have far more heart in them than later Maljardin episodes or Desmond Hall, and most of my favorite episodes were his work. They also have a lot of snarky humor and better dialogue than most of the later episodes, so, if you imagine a sliding scale going from “good” to “slightly so-bad-it’s-good” to “David Wells,” most would be on the “good” side. (Most of Desmond Hall, in contrast, is decidedly on the other--which is a given, considering that David Wells plays a prominent role in that arc, and most of the time he’s hilariously bad.)

This is not to say that Martin’s writing is perfect. Some of his episodes drag and he is not exactly subtle about many things. He has characters (especially Raxl) repeat themselves perhaps more than is necessary. Also, many of his episodes contain a certain subplot that I find boring and pointless and that the show could have done without. (More on all these things when we get to them.) The early Maljardin episodes are not masterpieces, but they’re a hell of a lot better than most of what came after. And it’s clear that Martin was trying to do its own thing, rather than copy off Dark Shadows.

So, anyway, enough about Ian Martin and onto my thoughts about Episode 1, which is what you presumably came here for:

The obligatory first-episode title card screencap

The show opens on the fictional Caribbean island of Maljardin, which roughly translates to “garden of evil.” Jardin is French for “garden” and mal for “evil (noun).” Mal can also be used as an adverb to mean “badly,” but it is not an adjective. “Evil (adjective) garden” would be Mauvaisjardin, which doesn’t sound half as cool. The exterior shots are of Casa Loma, a mansion in Toronto surrounded by trees that look nothing like anything in the Caribbean, but I can forgive them because the Château de Maljardin is awesome both inside and out. I would say I want to live on Maljardin, but I don’t like the heat and I’m sure the air conditioning costs for the château are extravagant--and, although they never mention it on the show, you know that filthy rich and frequently overdressed Jean Paul Desmond would have had air conditioning installed.

Jean Paul Desmond (Colin Fox) is the master of Maljardin and he is grieving the death of his wife Erica (Lara Cochrane), whose body he is preparing to freeze in order to bring her back to life at some point in the future. Erica has apparently only just died, and he is already having his servant Quito (Kurt Schiegl) carry huge blocks of dry ice--with his bare hands (WTF?)--to line her coffin. Jean Paul must have spent a while preparing for this, and one wonders how far in advance he had to decide to do this, especially since he has already arranged for the Cryonics Society to professionally freeze her and they state in the first episode that he does not have a phone on his island. I’ve watched this episode three times and, each time I watch it, the whole situation seems a little more suspicious. But maybe he and/or Dr. Menkin (Joe Austin) predicted her death far in advance and planned accordingly? Surely a man as besotted with his wife as Jean Paul couldn’t have murdered her, right?

I love the scene where he makes his grand entrance carrying Erica. It's so extra. He's so extra.

I’m not speculating about all this because I don’t like Jean Paul, but rather because of certain clues in the narrative that might reflect a once-planned plot twist that writers after Martin ignored. (The keyword is might; I have no evidence that Martin was planning one, but one can always speculate.) In fact, I adore Jean Paul. His actor, Colin Fox, is the main reason why I’m obsessed with this show and can’t stop watching it. I have a huge crush on him thanks to this show, even bigger than my previous #1 crush, which was on King Henri III of France. Jean Paul is exactly my type: super-tall (he looks about 6′6″/2 meters), dark, handsome (more so when he’s not brooding), graceful, elegant, and very, very extra. He also has a beautiful voice, and I love listening to him talk. Yes, I know I’m attracted to him for mostly superficial reasons, but Jean Paul’s a fictional character, so does it matter? There are only a few problems with him, most notably some megalomaniacal tendencies:

I suppose, though, that it’s inevitable to become somewhat of a megalomaniac when you own not just an isolated private island, but “a brokerage house, a department store, three newspapers, a football franchise, motion picture and television interests, and real estate holdings,” to quote another character. Jean Paul thinks that he can bring Erica back to life by spending millions of dollars on cryonics, which other characters--most notably his housekeeper Raxl (Cosette Lee)--insist is playing God. Only one other character approves, and he even applauds him for it:

This is Jacques Eloi des Mondes, Jean Paul’s identical ancestor from the 17th century and my favorite character on this show. His surname literally means “of the worlds,” which I think is an awesome name for a character in an urban fantasy/horror series. According to Raxl, who is highly knowledgeable about both the des Mondes family history and the supernatural, Jacques Eloi des Mondes was THE DEVIL. (It is never clear whether she means this literally or figuratively.) He is also, in my not-so-humble opinion, the single hottest male character in the history of television. No exceptions. If you gave me the choice between Jacques and the entire cast of every other show in existence, I would choose him. He is charming, charismatic, seductive, and hilarious, at least in Ian Martin’s episodes. Most of the writers after Martin, however, ignore his superficial charm and focus instead on his evil, which Martin mostly only hints at. Anyway, Jacques talks through this portrait--a surprisingly good one compared to other “period” portraits from other shows and movies--which glows when his spirit talks to Jean Paul in this episode and which disappears when he (mild spoiler alert)

possesses him.

Jean Paul realizes that he and Jacques have a lot in common, including both having lost their wives at a young age. It is implied that he may even be a reincarnation of Jacques, who calls him “the man you are, the man you might have been,” before making him have a flashback to Jacques’ wedding reception three hundred years earlier. I will cover the flashback in another post, because, despite being only a minute and a half long, there is a lot to unpack and I want to critique the costumes in addition to analyzing the content. But I will say this now: Martin has Jacques mention “the cliff heights at sunset” in a rather ominous way, followed by a glance at the camera that suggests a much darker intent than just showing them to his bride:

This is the face of a very handsome man who is contemplating murder.

After this flashback, Jean Paul finds a glass of brandy in his hand that wasn’t there before: something which only Debby Graham’s synopsis mentions, but which is the first of many instances of Jacques literally making him drink. Jacques offers to resurrect Erica in return for Jean Paul setting him free, which involves finding his effigy in the crypt in the basement and removing a silver pin from its head. Jean Paul does this in a scene interspersed with clips of a singer performing a bad cover of “That Old Black Magic” (somewhere between slightly so-bad-it’s-good and David Wells on the sliding scale), and, as soon as he removes the pin from the doll’s head, Raxl freaks out because she senses what has just happened:

Jacques: *bows* “Bonjour!” *smirks as show cuts to brief shot of blank portrait* “The voodoo spell is broken.” *taps on doll’s head with pin* “I no longer have any need for you. Now...”

Raxl: "YOU DEVIL OUT OF HELL! OH! YOU FOOL! HOW DID YOU EVER BREAK THE SPELL THAT BOUND YOU TO-" *stops in archway and gasps*

Jacques: *in both Jean Paul’’s body and clothes now* "Why, what's the matter with you, Raxl?"

Jacques Eloi des Mondes, THE DEVIL, has possessed Jean Paul and is loose on Maljardin! And the episode ends shortly after.

While not one of the best episodes, the pilot is definitely interesting. The acting is somewhat campy and cheesy, especially in the flashback and in all of Raxl’s scenes, so this episode is definitely so bad it’s good. If you have read any of the synopses I linked to earlier in this article, it will be obvious that I didn’t write about everyone and everything in this episode (notably, I didn’t cover Alison and Dan’s scenes), but that is out of a desire to focus on Jean Paul and Jacques rather than a lack of interest. I do wonder, though: is this the first time that Jacques has spoken to Jean Paul? And just what is the true, original story behind Erica’s death?

{ <-- Previous: Introduction || Next: Episode 1, Part II --> }

#strange paradise #gothic soap opera #week 1 #episode 1 #maljardin arc #review #analysis #ian martin #cbs radio mystery theater #cbsrmt #conjure doll and silver pin #jacques making jean paul drink #magical costume change #on this island i am god #sliding scale of episode quality #speculation on ian martin's original story

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michelles-garden-of-evil · 5 years ago

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Episode 5 Review: In Which the Horror Begins (+ A Lesson on Irony)

{ YouTube: 1 | 2 | 3 | 4 }

{ Synopses: Debby Graham | Bryan Gruszka }

{ Screencaps }

We have reached the end of the first week of Strange Paradise and the real beginning of the fun. I hoped to get to this post a week or two earlier, but I kept having to postpone writing entries for this blog because life kept getting in the way. I’ve also been re-watching episodes from later in the Maljardin arc, because I actually re-watch, screencap, and write commentary on each episode twice before I review.

In the last episode, THE DEVIL JACQUES ELOI DES MONDES, while possessing his descendant Jean Paul Desmond, brought Jean Paul’s sister-in-law Dr. Alison Carr to his private island Maljardin. (I find it amusing how these soaps introduce almost everyone with their full names each episode and include so much exposition about earlier events. I know that it was necessary at the time because most soap opera episodes only aired once and DVRs weren’t invented yet, but it still sounds silly.) In this episode, Alison discovers to her horror what we the audience already know: that her sister Erica is dead and sealed in the cryonics capsule.

The first half of this episode and the way it is written is a good example of dramatic irony. Nowadays, the concept of irony is often misunderstood because of the way certain hipsters in recent years have abused the word, to the extent that few people now know what it really means. The term “irony” actually refers to several distinct devices used in fiction, rhetoric, etc. which all involve a difference between the appearance of or one’s expectations for a situation and the reality:

There’s verbal irony, when someone says the opposite of what they mean: for instance, if Raxl were to sarcastically call Jacques an angel or I were to say that this show is as subtle as a neon pink sledgehammer to the skull.

There’s situational irony, when something goes differently to what we the audience expect: say, Jacques signing his name instead of Jean Paul’s on Dan’s documents while impersonating him, or no one but Raxl and Quito knowing about the temple despite its incredibly obvious “hidden” door. (Had it ever happened, Raxl calling Jacques an angel would also qualify, because she is always so upfront about how she feels about him.)

There’s historical irony, when history turns out to be the opposite of what one predicts: take this early ad for the show that boasts, “Don’t laugh. Wait until you see the ratings.”

There’s cosmic irony, when a character’s fate turns out the opposite to their expectations. This is what happens to the protagonists in the majority of deal-with-the-Devil stories, who are manipulated into signing pacts for things like unlimited wealth or magical knowledge and who trick themselves into thinking that their good fortune will last forever, but who end up damned to Hell when the Devil comes to collect their souls.

There’s Socratic irony, which means feigning ignorance to trick an enemy. This is Jacques’ usual modus operandi when someone tries to unmask him.

There’s romantic irony or metafiction, which is not present in this show at all. Strange Paradise is not meta; it takes itself too seriously.

And then there’s dramatic irony, which applies to the plot of the first half of this episode. Dramatic irony is when we the audience know something that a character does not, but which will influence their ultimate fate.

Alison came to the island to visit Erica, to ensure that she was alive and well. Jacques disguised as Jean Paul convinced her that Erica was OK and then repeatedly changed the subject and took her on a tour of Maljardin to distract her. Thinking that she must be somewhere upstairs, Alison starts to climb the steps and says, “I’m going to see her. Where is she?”

“She’s not upstairs,” Jacques replies, making Bissits Face™ as a mike shadow passes along the wall. “She’s”--dramatic pause--”below. In the family crypt.”

He looks so sincere. Not.

At first, Alison does not understand and laughs. “What on Earth is she doing in the-” she asks, but then it hits her. Then she realizes that he means that her sister is dead. “No, no, she’s not!” she cries.

“Only temporarily,” says the handsome devil.

“What kind of a man are you? Take me to her!”

He gives her directions to the crypt and then de-possesses Jean Paul, who blacked out while he was possessed and is therefore confused about what is going on. Alison calls for him and he joins her in the crypt. This is Part Two of the big reveal of the ironic twist to Alison, when she discovers the Cryonics Capsule. “You didn’t! You couldn’t!” she screams, thinking that her brother-in-law has frozen Erica alive.

"I love her too much to just allow her to die,” Jean Paul replies, but that does not reassure her. She accuses him of freezing her alive, but he denies it and reassures her that she was already dead. She starts crying and we get the first of many scenes throughout the Maljardin arc where these characters display affection for one another. And with that come even more feels.

Jean Paul/Alison is my OTP.

Jean Paul confesses that he no longer has complete control over himself. “I don't know what I believe, what I accept these strange days,” he says. “Sometimes I don't even realize what I am doing. Something drives me on, some power stronger than me. Some…evil force.” Cut to Jacques’ coffin in the crypt followed by his portrait, because this show’s directors don’t know the meaning of subtlety. “Raxl claims it’s the devil.”

Following this, we get some background information, first from Jean Paul about Erica’s death and then from Raxl about Jacques. I will probably end up referencing the former again in later posts, so I will quote it:

Erica hadn't been feeling well, so Dr. Menkin took some blood samples to the Mainland for tests. She was sitting on that couch just as you are now, when the first attack came. It was devastating. I have never known such fear. Dr. Menkin called it an eclamptic convulsion...Well, I got her up to her room and put her to bed. Dr. Menkin took over but there was very little he could do to ease her suffering...We lost [the baby]. But I couldn't care in that moment. About an hour later, when I was holding her in my arms, she cried out, "no, Jean Paul, no, don't let me go.” Her body felt like a steel spring under compression. It felt like it was almost ready to explode. When the spasm hit her, she arched. There was nothing I could do. Nothing!...All that beauty, all that life. My life, snuffed out as easily as a candle. How I loved her. How I still love her. My darling Erica, gone.

The latter is longer and contains some tangents, so I will summarize. That evening, Raxl reveals that, after Jacques’ wife gave birth to his son, he murdered her. Raxl and some unspecified others (she says “we”) avenged the death of Madame des Mondes by making the Conjure Doll and piercing its head with the silver pin, which she says “destroys all hope for salvation.” Then she tells Alison about how Jean Paul set him free and that Jacques possesses him. Alison refuses to believe her, saying that such things don’t happen “in this day and age.” That she doesn’t believe Raxl creates more dramatic irony, because, in case you haven’t already figured it out, Raxl and possibly Quito are the only good characters so far who understand what is going on. But Quito is mute and a zombie--meaning that he can’t say what he knows--and almost no one believes Raxl.

She is probably thinking something like, “Oh, Dr. Carr, you sweet summer child.”

Then they hear a scream outside and open the front door. Because this show had neither the time nor the budget to film more outdoor scenes, they stay in the Great Hall and watch as Quito carries the corpse of an old man inside.

Hmmm...I wonder who did it? Do you think there’s a slight chance it may have been that smirking man right there?

Raxl identifies the dead man immediately as Dr. Menkin, and rightly suspects Jacques. He, of course, feigns innocence, complete with more Bissits Face™ and barely disguised smirking, because apparently he thinks Raxl is stupid enough to fall for that. Here is his alibi, which is thoroughly unconvincing:

But she sees through this, because Dr. Menkin doesn’t drink, and gives him the lie. He makes her swear to keep his implied murder a secret, then orders her to leave. And then Jacques de-possesses Jean Paul, but not before plying him with booze.

I said back in my first review that this would become a common theme.

He has a fever dream that consists of Raxl shouting at him while making some seriously frightening facial expressions. Had I watched this as a kid, the faces she makes in this dream sequence would have given me nightmares.

Raxl: "Don't look! Otherwise, you may see the very man you are…the very man you might have been!"

This line--a paraphrase of one from the first episode--implies that Jean Paul and Jacques are reincarnations of the same person. If this is indeed the case, does Raxl know? Is that one of the messages she intends to communicate to her master in this bizarre sequence? That Jacques and Jean Paul are the same character is something that Ian Martin implies repeatedly but never confirms, and one of many plot points that later writers forget to explore or explain. I’m not one hundred percent certain he was planning to reveal that (I don’t have access to his notes or original outline), but it seems likely.

Anyway, Jean Paul, who does not yet know of Dr. Menkin’s death, wakes up and confronts Jacques’ portrait. He, too, has begun to see the reality and cosmic irony of his situation: that, by setting Jacques free, he may have condemned himself to eternal suffering:

Jean Paul: "You are the nightmare! Must I restore your evil life to have my darling Erica's life back? Damn you!"

“Or am I the one that’s damned? Must I be lost in Hell with you!”

This episode is the first episode of Strange Paradise to successfully invoke the feelings of terror that one expects from a horror show. Although I love this program, I have to admit that, when they try to make it scary, they often fail and end up making it unintentionally funny instead. They tried before in the pilot in the scene where Jean Paul announces “on this island...I am God,” but the drum-roll, dramatic music, and Fox and Lee’s overacting make it instead laugh-out-loud funny. Likewise, the suspense of the scene where he frees Jacques is ruined by ridiculous screechy sound effects and intersplicing with a bad cover of a jazz standard. I think that the Jacques scenes in Episodes 2 and 4 were intended to be funny and, if so, they succeeded. While Episode 3 is scary, it’s a different kind of scary than the classic horror sense, being about two powerful authority figures trying to prey on a helpless young woman: still a common theme in the Gothic genre, yes, but not what most people watch spook-shows for. No, Episode 5 is genuinely frightening and compelling in its Gothic horror, making it a good conclusion to the first week of this soap opera.

Stay tuned for a Bad Subtitles Special on Friday and join us again next week as we review Episode 6, including a detailed recap and analysis (with a side of bad costume roast) of the second flashback about the life of Jacques. I look forward to it, and I hope you do, too.

( <-- Previous: Episode 4 || Next: Episode 6, Part I --> }

#strange paradise #gothic soap opera #week 1 #episode 5 #maljardin arc #ian martin #review #analysis #cryonics capsule #bissits face #genuinely scary episodes #irony #jacques making jean paul drink #jean paul/alison #non flashback dream sequence #on this island i am god #raxl knows best

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