| "Naked Eyes" : Analysis of the "Naked Eyes" Arc of ABC-TV's Port Charles
(c) Alison Armstrong |
| An analysis of the "Naked Eyes" episodes of the show Port Charles, formerly of ABC-TV. This site will focus on the scenes featuring the vampire character Caleb Morley/Stephen Clay (portrayed by actor Michael Easton). The character of Caleb Morley/Stephen Clay and any other characters relating to Port Charles are the property of ABC and their creators. This is a fan-run site and is not an official site, nor is it affiliated in any way with ABC, Port Charles, or the actors portraying any of the Port Charles characters. No copyright infringement is intended. The writings on this site are copyrighted by the author, Alison Armstrong, and may not be reproduced without the author's express permission. |
| "Naked Eyes" #4 (cont.) “There’s a message in that music,” Joshua informs, apparently speaking to Chris and Doree. “You must open yourself up and connect with it. That’s what Stephen’s music is all about—the experience we give to ourselves and to others.” His talk of “experience” leads Chris to tempt Doree into experiencing the taste of oysters, renowned as aphrodisiacs. As Chris gives Doree an oyster and then kisses her, Stephen walks stealthily behind him, touching him lightly on the back. Chris, like Karen, feels a chill, “something strange” and disorienting. Lucy and Ian join the rest of their friends to attend Stephen Clay’s party. Even though Lucy hates Stephen Clay’s music, she is curious to see how the mysterious musician has transformed her warehouse for the evening. Ian, however, lacks Lucy’s sense of fun and adventure, trying to persuade her to leave this “flipping circus” in exchange for dinner and a movie with the kids. Ian seems to prefer the mundane, no-frills comforts of routine reality instead of the seductive glamour and magic of Stephen’s gala. Lucy manages to convince Ian to stay at the party by telling him she feels something big is happening here which will affect all of Port Charles, something “creepy” connected to Stephen Clay’s music and perhaps even to the sudden appearance of Livvie’s look-alike, Tess. Since Lucy still considers herself a psychic with a Slayer’s abilities to sense evil presences, Ian decides to humor her by staying. As Lucy and Ian discuss Lucy’s psychic impressions, Ian welcomes them to the party and hands them masks. “Please don’t forget to put them on,” he instructs. Replying, “We’re not really mask people,” Ian stubbornly refuses to put them on and open himself up to the mysteriously seductive mood of the evening. Speaking for both of them, he fails to take into consideration what Lucy might feel about wearing the masks and does not seem to realize that his obstinacy and lack of enthusiasm are ruining Lucy’s opportunities to have any fun at the party. Joshua assures him that “we’re all mask people,” but Ian has already decided for Lucy as well as himself that they aren’t going to enter into the festive spirit of the party. Ian epitomizes the steel-spine, iron-jawed, inflexible, boorish macho male who seems completely out of touch with the female aspect of consciousness. Like a stereotypical he-man, he is reluctant, perhaps afraid, to show any hint of androgyny, sensitivity, seductiveness, aestheticism, or anything that could be considered the slightest bit “feminine.” Closed-off and repressed, he buries his emotions deep inside himself. Unlike Caleb/Stephen Clay, Ian is too uptight and limited by rigid conceptions of masculinity to be able to savor the sensual, artistic, and creative delights Stephen so freely enjoys. As Lucy and Ian walk past Joshua, Lucy remarks that there’s “something very familiar” about him, an in-joke reference to a role the actor playing Joshua (Ian Buchanan) used to play on Port Charles’ parent soap, General Hospital, also featuring the character Lucy. They enter another room filled with masked, uninhibited people, including the regally sensual Stephen Clay. Devoutly caressed by another adoring young woman, Stephen watches Lucy and Ian. Gliding almost invisibly amidst the crowd, he lightly brushes against Lucy, who, like Karen and Chris before her, feels a chill but does not know its cause. Being in this atmosphere of lust and abandon created by Stephen to tempt the residents of Port Charles, Lucy and Ian gradually start succumbing to its influence. Conversations about their shared sense of loneliness lead to more carnal feelings. Lucy remarks that there must be some aromatherapy in the air because the amorous mood, evident everywhere around them, appears to be “catching.” Looking at Ian with an expression of surprised desire, she notices that Ian seems to be feeling it also. In a red-curtained alcove Ian and Lucy kiss. The only people at the masquerade who seem relatively unaffected by the arousing ambience are Marissa and Rafe. Although Marissa attends the party, she decides to leave early. On her way out, she unexpectedly encounters Stephen, temporarily mask-less, in the stairway. When Marissa tells him she’s surprised he’s emerged from seclusion and is no longer keeping himself so mysterious, Stephen explains, “that’s what the mask is for—so I can observe rather than be observed.” Thanking him for keeping their “bargain” regarding Ricky, she bids him good night so that she can go home and work on the band’s new song. Before she goes, Stephen, smiling mysteriously, informs her the band has something “big” lined up that he wants her to be ready for, but he won’t tell her any specifics; then replacing his mask, he returns to his increasingly uninhibited guests. Pleased with his party’s success, Stephen watches as Alison urges a reluctant Rafe to loosen up and try to have some fun for a change. Rafe, like Ian, is greatly in need of loosening. Socially awkward, emotionally defensive, fiercely protective of Alison, and burdened with a savior complex, Rafe seems unable to relax or forget his angel/Slayer past. Even though he assures Alison that he wants to live for once as an ordinary mortal, he has a very difficult time letting go of his rigid self-control and perpetual sense of duty. These obsessions with fighting evil and protecting Alison will create obstacles between Rafe and Alison, threatening their relationship and thereby inadvertently helping his enemy, Caleb, in his vengeful plot to defile their love. Rafe plays right into Caleb’s hands. As in “Tempted,” Caleb uses his enemies’ greatest fears against them. He mirrors our nightmares and darkest tendencies, as well as our most fervent wishes and desires, revealing the mask that can destroy or transform us. |
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| Snappies of "Naked Eyes" scenes taken by A. Armstrong |