Chapter 7
Other Vampires, Other Hollywoods:
Serialized Citizenship and Narrowcast Difference

This chapter explores an explosion of serialized vampires after television’s deregulation. Like newspapers and newscasts, serialized television can produce national audiences around topical issues about citizenship and difference. What cinema often excludes due to the financial risk, television can include by offshoring production and narrowcasting transmission. Although Buffy the Vampire Slayer (1997–2003) ushered in “girl power” and a place for same-sex relationships, it was criticized for its racial insensitivity. With greater racial/ethnic diversity, True Blood, The Vampire Diaries, and The Originals explore legacies of racial oppression. Transnational Hollywood largely masks locations, prioritizing economic over cultural consideration. Some series are produced in southern California, others elsewhere—Gabriel, amor inmortal (2008) in Florida, The Vampire Diaries and The Originals in Georgia, True Blood in Louisiana, From Dusk till Dawn: The Series (2014–present) in Texas, The Strain (2014–present) in Ontario, and Penny Dreadful (2014–2016) in Ireland. Web series emerge as a means of narrative and economic experimentation, ranging from UGC in The Hunted (2001–present) to cross-platform marketing and narrative experiments of Valemont (2009) and Carmilla (2014–present) to videogames.


Angel
(USA 1999–2004; cr. David Greenwalt and Joss Whedon) 


Carmilla
(USA 1990; dir. Gabrielle Beaumont)


Dracula: Pages from a Virgin’s Diary
(Canada 2001; dir.
Guy Maddin) 


True Blood
(USA 2008–2014; cr. Alan Ball)


Carmilla
(Canada 2014–present; cr. Jordan Hall and Ellen Simpson)