| "The Gift": Analysis of "The Gift" Arc of ABC-TV's Port Charles
(c) Alison Armstrong |
| An analysis of the "The Gift" 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. |
| "The Gift" Analysis #2 Unlike the previous Port Charles arcs, which primarily revolved around the conflict between humans and vampires, “The Gift” emphasizes the domestic turbulence between lovers. Although filled with supernatural elements (vampires, a magic ring, even a werewolf), “The Gift” centers on the types of relationship problems on which daytime dramas traditionally are based. “The Gift,” in some ways, thus reveals a return to more typical soap opera plot elements, as the characters struggle against obstacles standing in the way of their romantic bliss. The fact that some of these characters are vampires or werewolves does not change the psychological aspects of the storyline, for, as Port Charles reminds us, the quest for love is archetypal and universal. Despite their bitter feuds, Livvie and Alison, as well as Caleb and Rafe, share a belief in eternal, unconditional love. Yet fears and obsessions threaten this belief. As Rafe grows increasingly preoccupied with Caleb’s ring, Alison senses that she and Rafe are drifting further apart. When she tries to talk about the brainwashing and the stabbing, he attempts to evade the conversation, claiming to have forgiven her but refusing to discuss how he feels about everything that has taken place between them. Later, when she mentions Livvie’s visit and conversation, Rafe bristles with suppressed resentment, kissing her curtly, then leaving to “get some air.” He seems almost jealous that Alison and Livvie, though enemies, were able to briefly confide in each other. Yet he fails to acknowledge that he is the one to blame for the communication problems; he is the one who has caused Alison to share with Livvie what she cannot share with him. Instead of confronting his true emotions, Rafe retreats deeper beneath his stoic facade, shutting her out from the pain, the sense of betrayal he doesn’t want to admit that he feels. As usual, he vents his anger and frustration on Caleb. Holding Caleb responsible for all the misery Joshua caused, Rafe seeks to steal the symbol of Caleb’s heritage and power, the Morley ring. He is as fixated on it as Caleb is. Whereas Livvie used to be his main obsession, Caleb now seems primarily focused on the ring. Her insecurity intensified by Caleb’s apparent shift in priorities, Livvie, in turn, becomes even more determined to keep Caleb fully engrossed in her. However, her constant demands for attention and assurances of his love backfire. The more she whines to Caleb about his obsession with the ring, the more he wishes to escape from her. When Caleb returns to the apartment, after searching, in vain, for the ring, Livvie is anxiously waiting for him. “Thought you’d be asleep,” he remarks, surprised to see her awake already. “Yeah, I was,” she answers in an annoyed voice, “until I woke up and you weren’t here again.” |
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| Snappies of "The Gift" scenes taken by A. Armstrong |
| “Well, I’m home now,” he says, giving her a rather lackadaisical kiss, a kiss of appeasement rather than passion.
“You went back there, didn’t you?” she demands, unswayed by his kiss. “You went to find the ring. After everything we said to each other, it was just too seductive, wasn’t it?” Instead of responding, he walks towards his guitar, and picking it up, brings it with him to the bedroom. “Caleb, answer me!” she persists. “Don’t walk away like that!” “Olivia,” he sighs irritably and begins to plug in his guitar as Livvie follows him into the room, “if I wanted to talk about it, I would talk about it. But I don’t, not now.” “OK, so you don’t want to talk about the ring, you don’t want to talk about Alison, you don’t want to talk about our relationship, whatever that means,” she complains. “So what would you like me to do, Caleb? Am I supposed to just call and make an appointment?” Because that’s what I’ll do.” Caleb, however, is ignoring her demands, her interrogations, her sarcasm. He plugs in his earphones, drowning out her voice. The music engulfs him. It, more than words, can express what is deep within the soul. |
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