In my previous discussion regarding this enduring archetype of film and television, I focused most of my attention on the mythological warrior woman—she who transcended from history and myth onto the screen—and the varied attempts made to bring her to life. Today, however, I’m going to talk about pop culture and the gift of the modern Amazon that Hollywood has bestowed upon us.

It is clear that there is an ever-growing trend of powerful women onscreen. This would perhaps hint at a change in society’s attitude toward women, to begin with, if only to the untrained eye. We’ve gone from screaming victims and hapless dancers to ruthless avengers and superheroines in scanty outfits, always ‘packaged’ for maximum commercial consumption. Yet, at the same time, we’ve managed to (accidentally?) create more complex female characters for generations to come. I could hardly call it a feminist victory—in certain aspects, Western society still has a way to go, but it is best to enjoy the full half of the glass.

‘THE AVENGERS’ (1961-1969), ©ASSOCIATED BRITISH CORPORATION

The Land Before Time

During the ‘60s, there was a massive influx of testosterone-powered tales of great adventures whose heroes exhilarated their audiences by killing ferocious animals with their slick revolvers before they found themselves speechless in front of a full-breasted lady that sort of… ‘didn’t belong’. From thereon, almost accidentally, the ‘wild heroine’ evolved.

Filmmakers opted for exotic or prehistoric landscapes in which to challenge their female protagonists, usually in eras when clothing was scarce, which was fine for exposing their gorgeously chiselled curves. Almost always, the leading lady was a blonde, a ‘white goddess of the jungle’—just one example of the many racial tones that consistently plagued productions of that era, as ‘white’ was perceived as code for ‘good’ and ‘black’ was considered ‘evil’.

The most memorable prehistoric warrior queen of that time is Raquel Welch as Loana in ‘One Million Years B.C.’ (1966). While it elevated her to international sex-symbol status, the film itself was a remake of a 1940 original that starred Carole Landis and Victor Mature, and most of its box-office power stemmed from the nearly gratuitous exploitation of Welch’s stunning figure—her character sports fur bikinis, heroically rescues the male protagonist Tumak, and has heated fight scenes with equally enticing cavewomen, dancing dangerously on the edge of volcanic eroticism.

Loana inadvertently falls for Tumak and leaves her beloved tribe and known world to trek across a dangerous desert beside him not as a companion but as an equal. She faces dangers and fights dinosaurs and members of the rock tribe, yet she doesn’t alienate the male audience with her warrior nature. Fundamentally, Loana is still the nurturing and composed influence of the story, smoothly sliding into the traditional and universally accepted slot usually reserved for women in film and literature.

‘ONE MILLION YEARS B.C.’ (1966), ©HAMMER FILMS

Before Welch, former model Irish McCalla had made her share of waves as a ‘wild presence’, donning leopard skins and blowing her signature buffalo horn in ‘Sheena: Queen of the Jungle’ (1955-1957). A cause for numerous wet dreams among mid-century teens, this particular depiction bears a striking resemblance to the Venus of Laussel, a Palaeolithic deity dating back 20,000 years, as identified by David Broad in his article for ‘Studies in Popular Culture’ of 1997. Like many of her warrior counterparts in television, Sheena was a product of the comic book realm, created as a female rival to Tarzan by Will Eisner and S.M. Iger.

She, too, was abandoned and raised in the jungle. She, too, displayed the perfect, powerful physical form. She, too, had a flawless sense of right and wrong. Alas, Sheena’s popularity was doomed to eventually fade, given that period’s repressive Eisenhower-McCarthy climate when social emphasis became laser-pointed on the nuclear family. The woman needed to be pushed out of the workforce that had previously welcomed her during WWII and sent back into the ‘loyal housewife’ or ‘brainless bombshell’ moulds, instead.

But while it lasted, ‘Sheena: Queen of the Jungle’ presented an indisputable appeal through Ms McCalla, a pinup dame that reminded Hollywood brass and network viewers of the Marilyn Monroe and Jayne Mansfield type that had already blown up on the silver screen. As a character, she was notedly different: innocent yet strong-willed, a fighter, and a nurturer.

‘SHEENA: QUEEN OF THE JUNGLE’ (1955-1957), ©NASSOUR STUDIOS INC.

Other notable examples of the savage woman warrior from lost ages include ‘Jungle Girl’ (1941), a fifteen-part serial based on Edgar Rice Burroughs’ novel that follows France Gifford’s Nyoka becoming a reckoning force of wilderness; ‘Saga of the Viking Women and their Voyage to the Waters of the Great Sea Serpent’ (1957) by Roger Corman, which sees traditional roles reversed with men kept in bondage as the women pursue their rescue; and a ton of otherwise mediocre titles that include the word ‘Amazon’ solely as an excuse to use as little costume material as possible.

The Warrior Ladies of ‘Conan the Barbarian’

The ‘70s had been brewing a comeback of the warrior queen for quite a while before Robert E. Howard’s Conan hit the big screens. The three movies that ultimately secured Arnold Schwarzenegger’s career also brought forth some phenomenally badass women, heavily influenced by ‘Wonder Woman’ (1975-1979) and ‘The Bionic Woman’ (1976-1978). At the time, there was also a steady fandom growing around the French comics of ‘Metal Hurlant’ and their English sister ‘Heavy Metal’, along with the smashing success of the ‘Dungeons & Dragons’ roleplaying game. It’s what we, today, might call a perfect storm.

‘CONAN THE BARBARIAN’ (1982), ©UNIVERSAL PICTURES

Valeria of ‘Conan the Barbarian’ (1982) was the first to combine all of the above elements, epitomizing the Viking ideal of power and beauty. Portrayed by Sandahl Bergman, she was tall, blonde, gorgeous, and a worthy match for Conan on every level. She equalled him in thievery and in lovemaking, ultimately winning his eternal devotion when she sacrificed herself to save him from James Earl Jones’s villain Thulsa Doom.

‘CONAN THE DESTROYER’ (1984), ©UNIVERSAL PICTURES

In ‘Conan the Destroyer’ (1984), the female protagonists are decidedly strong-willed. Queen Tamaris, played by Sarah Douglas, is ruthless in her desire to awake the god Dagoth and rule beside him, while teen princess Jehnna, embodied by Olivia D’Abo, is spoiled but wise to follow her instincts since Conan’s judgment is still clouded by the loss of Valeria. My absolute favourite is Grace Jones’s Zula, an incarnation of the model’s performance art—gorgeous, gender-bending, primal, and fierce as a panther.

The third film of the Conan series, ‘Red Sonja’ (1985), was a painful stretch and a box-office flop. It ended further adaptations that had been originally planned for Schwarzenegger’s iconic character even though it didn’t feature him onscreen. While still based on Howard’s stories, the film brought forth Brigitte Nielsen as the dominating female protagonist and alluring fantasy warrior. Unfortunately, the lack of acting chops and irritating attempts at annoying relief tanked the whole franchise. Fortunately, there’s a reboot on the way, penned by Joey Soloway and Tasha Huo, and featuring Hannah John-Kamen of ‘Ant Man and the Wasp’ (2018) and ‘Brave New World’ (2020) fame as Red Sonja.

‘RED SONJA’ (1985), ©DINO DE LAURENTIIS COMPANY

The Honourable Shieldmaiden

Most of the high fantasy genre is still male dominated. No surprise there, considering oeuvres such as the ‘Lord of the Rings’ trilogy by J.R.R. Tolkien, whose Middle-Earth realm is fought over and controlled by the men of the species—human, elf, hobbit, and orc alike. We’ve got Aragorn, son of Arathorn and key protagonist. We’ve got Frodo, Sam, Pippin and Merry. We’ve got Legolas and Gimli. Gandalf and Saruman. We’ve got Elrond and Eomer and, well, you get the picture. Sure, let’s give Arwen a nod here, why not? After all, Peter Jackson did do a grand job of recalibrating Tolkien’s handful of female characters for a generation of viewers that are better accustomed to women in combat roles.

But the true warrior woman exception of ‘The Lord of the Rings: The Two Towers’ (2002) and ‘The Lord of the Rings: The Return of the King’ (2003) is the incomparable Eowyn, niece of King Theoden, superbly portrayed by Miranda Otto. Demonstrating her expertise with bladed weapons early on, she comes across as an aggressive fighter unfortunately still repressed by the king and by the traditional role that she’s expected to fit into—despite death itself knocking on Rohan’s battered gates. By the climax of the trilogy’s third part, however, Eowyn has slipped into a suit of armour and joined the armies of men against the evil of Sauron. She has fought valiantly and nearly died to defend humanity’s ideals. She has resisted darkness and despair, and she has held her king in his dying moments.

‘THE LORD OF THE RINGS: RETURN OF THE KING’ (2003), ©NEW LINE CINEMA

Xena and Her Conscience, Gabrielle

Originally designed as a companion to ‘Hercules: The Legendary Journeys’ (1995-1999), ‘Xena: Warrior Princess’ (1995-2001) went on to outgrow its brother and became a turning point in the history of television due to its exquisite development of the warrior woman archetype within that epoch and its sensible approach to depicting female protagonists, in general—as opposed to the usually objectified babes I mentioned earlier. What I found most extraordinary was the depth with which fans (most of them women) connected with the show. It was an intimate relationship that led to numerous discussion boards dissecting each episode, proving that Xena’s supporters weren’t just passive consumers but interactive viewers who later shaped and steered the show.

Once one begins to peel away at the many layers that made Sam Raimi’s work such a success, one can’t help but notice the beautiful dynamic between Lucy Lawless’ spicy Xena and Renee O’Connor’s more down-to-earth Gabrielle. The warrior and the maid. The sword and the shield. The fighter and the peacemaker. Through the entire series, Gabrielle becomes Xena’s focal point and recipient of all her affection and loyalty, leading to the protagonists splendidly complementing each other. The former is more ‘traditionally feminine’ and the latter’s conscience, a counterweight to Xena’s cruel instincts that once defined her violent past. In this show’s universe, the warrior queen carries herself with two equally beautiful faces: Xena and Gabrielle.

‘XENA: WARRIOR PRINCESS’ (1995-2001), ©MCA TELEVISION

The Monster Killer

For a long time in horror films, there was a recurring pattern of the woman conceptualized more as victim than as hunter, which is why the ‘90s and the ‘00s rose in rebellion with tales of modern female protagonists who turned the trope inside out and started fighting back against the terrible monsters. See Milla Jovovich in ‘Resident Evil’ (2002), for example, who reacts with instinctive power and magnificent combat techniques when zombies and mutant beasts come to kill her.

The Gothic heroines of the past are gone. In their place come enticing femme fatales who wield stakes and blades and machine guns with remarkable ease. See Kate Beckinsale in ‘Underworld’ (2003), in which she takes on the lead not only as a woman but as a vampire—a monster hunting monsters. Clearly, the warrior queen at the turn of the new century is infinitely more complex and dons a darker side.

‘UNDERWORLD’ (2003), ©LAKESHORE ENTERTAINMENT

This new action figure was skilfully defined early on through ‘Buffy the Vampire Slayer’ (1997-2003), winner of two Primetime Emmys and the favourite show of several generations. Joss Whedon’s cult classic wasn’t expected to do as well as it did, ultimately spawning a spinoff for David Boreanaz in the process. Truth be told, the series is one of the most ambitious feats of television that virtually reshaped parts of the creative process behind future similar monster-slashing projects. It did a spectacular job with character development, too.

The monsters were never the dominant aspect of ‘Buffy the Vampire Slayer’. They served as bloody and exciting décor for a story whose heroine tried to wade through life as a young adult, as a misfit, as a daughter and as a friend, struggling with the common issues that made Sarah Michelle Gellar’s character so relatable and beloved by most—love, life, death, sexual experimentation, and profound self-identity crises. At times campy and worn out, the show did bring forth a protagonist that became a celebrated milestone in TV history.

‘BUFFY THE VAMPIRE SLAYER’ (1997-2003), ©MUTANT ENEMY

Not forgetting Lori Petty’s prolific ‘Tank Girl’ (1995), Diana Rigg’s statuesque, raspy-voiced Emma Peel in ‘The Avengers’ (1961-1969), Sigourney Weaver’s Ripley in ‘Alien’ (1979), Jennifer Garner’s Sidney in ‘Alias’ (2001-2006), nor Uma Thurman’s Bride in ‘Kill Bill: Vol. 1’ (2003), among many others, when addressing the warrior queens of pop culture, it’s delightfully plain to see that the film and television industry have come a long way. Sure, there’s still just as much ahead as we struggle to forge unique and original female characters, but the warrior woman has not only become more popular in recent decades… She has become downright indispensable.

Leaving the vintage vampire behind, I thought I’d start this piece with a trigger warning: the Nineties and the Naughties are equal parts wonderful and terrible for the bloodsuckers. In certain regions, they’re even… sparkly. Nevertheless, I shall swallow my ‘puritanical’ pride and continue enriching this compendium with other fangers brought forth by film and TV over the past three decades as we pick up where we left off.

In fact, consider this second volume to be a bittersweetly fragranced potpourri of the good, the bad, and the highly marketable but terrible vampires—yes, I’m looking at you, Edward. All harmless jabs aside, however, a current can be easily observed beginning with the Nineties, and it’s mostly due to Warner’s intelligent move to dramatize Anne Rice’s ‘Interview with the Vampire’ bestselling gothic fantasy novel.

It was a turning point for the onscreen vampire as it morphed into the disarming yet deadly seducer that glamours our pants off. The sexy leather-and-white-ruffle-clad brooding romantic whose sadness is meant to discourage us from dreaming of immortality—yet we only end up wanting it more.

‘VAMPIRE IN BROOKLYN’ (1995), ©PARAMOUNT PICTURES

Tom Cruise Like You’ll Never See Him Again

First and foremost, all hail to the queen of vampires, Anne Rice. It’s only fitting that the coming decade be crowned with an upcoming series based on her ‘The Vampire Chronicles’ novel series. She spruced up the 1990s, after all. She might as well save the 2020s.

If there is one form of the vampire that most may agree on as a classical, it is definitely ‘Interview with a Vampire: The Vampire Chronicles’, adapted for the screen by Ms Rice herself and directed by Neil Jordan. Other films based on her writings have fallen short of the source materials, but this one not only endures, it has become a precious page of vampire lore. And how could it not, when it shamelessly indulges in the talents of ridiculously young and thirsty Tom Cruise and Brad Pitt?

The story of Louis and Lestat, joined here by the eternal child Claudia (Kirsten Dunst) and the notorious Armand (Antonio Banderas), will never cease to cause wonder and melancholy, as it is ripe with weirdness and dark romance, with guilt and longing, with heart-breaking solitude and bone-crushing rage. Nothing tramples through the emotional spectrum harder than a Vampire Chronicles protagonist.

‘INTERVIEW WITH THE VAMPIRE: THE VAMPIRE CHRONICLES’ (1994), ©WARNER BROS.

Robert Rodriguez Does Vamps

You might remember that Robert Rodriguez underwent voluntary drug testing sessions to fund his first movie, ‘El Mariachi’ (1992). Just four years later, the visionary director added his own version of vampires to this marvellous compendium with ‘From Dusk Till Dawn’, starring George Clooney and Quentin Tarantino.

It’s the two-movies-in-one-gritty-experience that ‘Grindhouse’ (2007) could have been, as the first half follows two brothers and bank robbers on a spree headed south of the border, and the second half brings them to the Titty Twister, which turns out to be a vampire coven—anyone alive that is caught in this place must fight until dawn if they wish to survive.

Harvey Keitel’s ministerial presence and Juliette Lewis’s virginal innocence form a robust contrast with the Gecko brothers’ murderous tendencies and the club’s lethal seductress portrayed by Salma Hayek. ‘From Dusk Till Dawn’ glorifies the violence of night demons and humans alike, but not without a pinch of guilt—just enough to remind the Gecko brothers (alongside the viewers, of course), that for all its appeal, immortality is not without a price. Based on a story by Robert Kurtzman and written by Quentin Tarantino, the film was later made into a series by Rodriguez, which spanned three seasons.

‘FROM DUSK TILL DAWN’ (1996), ©DIMENSION FILMS

The Blade That Changed Everything

Before the CGI-riddled superhero sagas from Marvel and DC, Hollywood made room on its roster for David S. Goyer’s take on the comic antihero known as Blade. With Stephen Norrington directing and Wesley Snipes as the iconic half-vampire-half-human vigilante, ‘Blade’ (1998) broke a lot of boundaries and pushed the bloodsuckers’ genre into previously uncharted territory.

The screenplay established the ‘gritty but realistic’ allure that later delivered ‘The Dark Knight’ trilogy and ‘Man of Steel’ (2013), and it offered vampires as bloodthirsty fiends that simply asked for a proper beheading. Blade himself was an interesting take, since his human side allowed him to walk in the daylight.

Defined by athletic spectacle and a festival of hacking, slashing and slicing, ‘Blade’ recorded a tremendous commercial success that later grew into a trilogy—the third installment helped Ryan Reynolds and Jessica Biel grow out of their ‘Van Wilder: Party Liaison’ (2002) and ‘7^th Heaven’ (1996-2006) childlike ruts, respectively. Blade was the first of his kind, and none have been able to replace him.

‘BLADE’ (1998), ©MARVEL ENTERPRISES

Vampire Children and Glittering Bloodsuckers

The year 2008 was a complicated one for the purposes of this compendium, which is why I find more value in cramming two films in a single, wholehearted breath. ‘Let the Right One In’, Tomas Alfredson’s Swedish bloody fantasy changed the way we looked at vampire. Written by John Ajvide Lindqvist, this particularly unsettling story focuses on the friendship between Oskar, a shy and bullied 12-year-old, and Eli, his pale and mysterious new neighbour.

Bonded by their darker sides, Oskar and Eli form a friendship as they reveal their true natures to one another. Despite its ‘bloody Valentine’ vibe, ‘Let the Right One In’ carries itself with a warm conclusion and just a pinch of infantile sweetness.

‘LET THE RIGHT ONE IN’ (2008), © EFTI/FILMPOOL NORD

But nothing was more impactful on vampire culture than ‘Twilight’, of all silver screen creations. Oh, ‘Twilight’. While I hate the franchise with the fire of a thousand suns, credit must be given where it’s due. Regardless of its underwhelming vampiric representation and gothic-bubblegum aesthetic, Catherine Hardwicke’s cinematic take on the Stephenie Meyer novels rightfully earned its place in this collection devoted to fanged dazzlers.

Kristen Stewart and Robert Pattinson were too young and their characters too superficially written to make an individual lasting impact. The storyline itself was predictable, at best, and clotted with clichés. But ‘Twilight’ gave the world a new kind of vampire—the kind that conquered a new generation and brought young people back to reading fantasy. Obviously, there were better tales deserving of such attention, but ‘Twilight’ changed the market altogether, becoming a starting point as readers and viewers alike grew and moved on to greater titles.

‘TWILIGHT’ (2008), ©SUMMIT ENTERTAINMENT

Korean-Style Fangers

Having been accustomed to the unpredictable yet poetic violence of Park Chan-wook’s ‘Oldboy’ (2003) and ‘Sympathy for Mr Vengeance’ (2002), I wasn’t exactly shocked by the concept of ‘Thirst’ (2009). I was, however, blown away by the stylistic execution and flawless character design. Inspired by Émile Zola’s ‘Thérèse Raquin’, Mr Park’s horror fantasy follows a priest who is afflicted by vampirism and forced to remove himself from his ascetic ways while developing a sexual affair with the woman he feeds on.

Better known for his storytelling formula that blends brutality and controversy with light-hearted humour, the South Korean director pushed his method into a whole new realm through ‘Thirst’, a thought-provoking take on the colossal yet versatile vampire. Playing with gender roles and subversive editing, this particular bloodsucker’s tale is as ravishing as it is satyrical. Double points for Mr Park!

‘THIRST’ (2009), ©FOCUS FEATURES INTERNATIONAL

The Impoverished Vampire

Fast-forward to 2012, when Neil Jordan returned to the vampiric realm with ‘Byzantium’, starring the inimitable Saoirse Ronan and the severely underrated Gemma Arterton. Unlike most vampire stories, this visually astonishing yet coolly detached film does offer a polite nod to the director’s first foray with ‘Interview with the Vampire’. Unlike its more romantic predecessor, ‘Byzantium’ presents vampires not as elite charmers of the night, but as the necessitous or even downright beggarly creatures of a lower class.

Ronan’s protagonist feeds only on the blood of those that are already dying, while her mother, Arterton’s Clara, is an equal parts tragic and inspiring being—the former because she still makes a living as a prostitute, and the latter because she chose to become a vampire in a time when such a transition was reserved exclusively for men. What makes ‘Byzantium’ truly stand out is Mr Jordan’s treatment of blood in each and every scene where it is featured. The elaborate displays of scarlet are impossible to look away from, and the tinge of feminism neatly tucked within the story cannot be ignored, either.

‘BYZANTIUM’ (2012), ©DEMAREST FILMS

The Bloody Double Whammy

Another great year for vampires was 2013. Jim Jarmusch made an artful comeback with ‘Only Lovers Left Alive’ in a time when the blood drinkers were already expanding their reputation throughout the television medium, as well. The American director’s treatment is superb, to say the least, as Tilda Swinton and Tom Hiddleston emerge after centuries of bohemian living—two splendiferous though rather different sides of a coin.

Hiddleston’s vampire is tired and despondent. Swinton’s vampire is hopeful and warm, eager to bring him out of the darkness of their neverending existence and into the light of… well, their neverending existence.

There is a flow of ideas happening in Mr Jarmusch’s movie. A love of life and an appreciation of mystery that doesn’t dwindle after hundreds of years of living. It’s an optimistic angle, sure, but it’s a most welcome setup. Among all the vampire productions included in this collection, I’d venture to say that ‘Only Lovers Left Alive’ is the most human, aiming to inspire and thrive, to encourage viewers to step into new realms and experience adventure. To never stop breathing and wondering and living.

‘ONLY LOVERS LEFT ALIVE’ (2013), ©RECORDED PICTURE COMPANY (RPC)

And while on one hand we have this honey-like drizzle of vampirical romanticism, Jermaine Clement and Taika Waititi’s ‘What We Do in the Shadows’ (2014) comes as a most welcome dollop of humour—something we’ve not seen much of since Udo Kier’s Warholian vampire. In this 86-minute comedy, Clement and Waititi are joined by Jonathan Brugh and Ben Fransham as four fangers who were turned during different time periods. That leads to some hilarious conflicts of culture and personality, while the misery of eternal living persists somewhere in the background, much like an uncomfortable wart.

Deadpan mockumentary humour aside, ‘What We Do in the Shadows’ is a brilliant take on the vampire as it’s dragged out of its gothic pizzazz and thrust into the real world today, where dishes have to be washed and bouncers can refuse one’s entry into a nightclub. Perhaps too short in its feature form, the film did go on to evolve into an eponymous series helmed by Mr Clement. Can’t say I mind it. Not even a bit.

‘WHAT WE DO IN THE SHADOWS’ (2014), ©UNISON FILMS

The Vampire On TV

On the small screen, vampires have been wreaking havoc and building gargantuan fan bases on a weekly basis and across different age groups. From HBO’s ‘True Blood’ (2008-2014), based on Charlaine Harris’s ‘The Southern Vampire Mysteries’, which made everyone—absolutely everyone—fall head over heels with Alexander Skarsgård, to ‘The Vampire Diaries’ (2009-2017), which appealed to the young adult audience but then lost its vampire theme somehow between seasons 3 and 4, TV does not fall short in this uniquely diverse fantasy category.

‘True Blood’ was better because of its stellar cast—I shall never forget Nelsan Ellis as Lafayette, nor Rutina Wesley’s intensely broken Tara. ‘The Vampire Diaries’ made Ian Somerhalder into a household name, and I can unrepentantly state that those piercing blue eyes of his are pretty much the show’s only redeeming quality.

But before these vampires we had Spike and his weird-eyed cohorts in ‘Buffy the Vampire Slayer’ (1997-2003), and David Boreanaz’s iconic Angel that got his own spin-off with a darker and more mature treatment. We had the phenomenal Famke Janssen and Bill Skarsgård’s upirs in ‘Hemlock Grove’ (2013-2015), too, part of Netflix’s plunge into the vampire trend that dominated this sundowning decade. And ‘Being Human’ in both its UK and US versions struck a particular chord with fans on both sides of the Atlantic Ocean by making ghosts and vampires and werewolves live together under the same roof.

‘TRUE BLOOD’ (2008-2014), ©HBO/HOME BOX OFFICE

While most vampires follow the usual ‘sexy predator’ trope, there are some who stand out as multifaceted and intensely human, and a few who are truly unforgettable, savagely fun and interesting.

Ultimately, there is one change from the ancient vampers to the present-day fangers that stands out and is key to a show or a feature film’s success: they no longer take themselves too seriously. Yes, they are fierce and lethal and gory, able to tear one’s throat open for a mere sip, yet at the same time they manage to appear vulnerable, in some cases even silly, but always riding that wave of immortality better than their predecessors ever could. I, for one, appreciate the modern vampire more because it lives past the otherwise unavoidable tragedy of death and the end of things.

It lives past everything, and it asks the most daring question of all: what does forever look like?

The thing with successful TV series is that fans can’t get enough of them. Alas, all good things must come to an end, but in a bid to satisfy the viewers and to keep profits high, producers often consider spin-offs as a solution. Often, spin-offs fall flat. In some cases, they’re more beloved than the originals from which they were forged.

Where the big screen is concerned, continuity is fundamental—especially with superhero flicks; vast universes and at least five sequels are planned before the first film has even gone into production. It’s not as easy for the small screen. There are certain do’s and don’ts that must be taken into account, and each of these elements could easily make or break the spin-off.

‘THE LONE GUNMEN’ (2001), ©20TH CENTURY FOX TELEVISION

The Yeas and the Nays

For example, it’s a great idea to take familiar characters in a new direction, like David Angell, Peter Casey and David Lee did with ‘Frasier’ (1993-2004). Another fruitful avenue is to offer new heroes within the same fictional world, which we’ve seen working beautifully with Disney’s ‘The Mandalorian’ (2019).

And who doesn’t like a good prequel by delving into the past of a much beloved character? Viewers welcomed Vince Gilligan and Peter Gould’s take on Jimmy McGill in ‘Better Call Saul’ (2015) with arms wide open, after he’d already sparked their interest in ’Breaking Bad’ (2008-2013).

‘JOEY’ (2004-2006), ©WARNER BROTHERS TELEVISION

On the other side of the spectrum, the most underwhelming spin-offs have failed for a variety of reasons. Rehashing what was already done has not, does not, and will never work. ‘Joey’ (2004-2006) more than proved it by feeding viewers worn-out jokes that made ‘Friends’ (1994-2004) appealing. Too much of the same was bound to backfire.

Another major mistake is to simply overestimate the popularity of a minor character; what worked in ‘The X-Files’ (1993-2018) for Byers et al quickly fizzled in ‘The Lone Gunmen’ (2001), because no one was ever truly interested in watching a show entirely dedicated to three misfit conspiracy experts who played second fiddle to Mulder and Scully a few times.

Asking questions that nobody cared about has tanked its share of spin-offs, too; the only ones who wondered about what Superman’s grandfather was like were the Syfy producers who gave us ‘Krypton’ (2018-2019), which somehow made it through two seasons before being put out of its misery; sure, David S. Goyer and Damian Kindler had good intentions, but there’s only so much one can extract from a cinematic universe that has been basically bled dry.

‘KRYPTON’ (2018-2019), ©SYFY

Hitting the Mark

Of the spin-offs that weren’t just as good as the original but managed to exceed expectations, I can easily and wholeheartedly refer you to ‘Star Trek: The Next Generation’ (1987-1994). Gene Roddenberry gave us a science fiction treasure trove with his tales of Starfleet adventures that took beloved heroes where no one has gone before. The original ‘Star Trek’ (1966-1969) embedded itself in television history as a revolutionary production that defied that era’s creative norms. It also made timeless stars out of William Shatner, Leonard Nimoy, George Takei, and Nichelle Nichols as Uhura—the first African-American woman to have a continuing co-starring role on TV who also gave us the first interracial onscreen kiss. ‘Star Trek’ deserved better than it got, in retrospect.

It generated a multitude of spin-offs and feature-length films, but only ‘Star Trek: The Next Generation’ was able to rise to the occasion. The show grew into a veritable grand space opera adventure that stayed loyal to its original whilst exploring new avenues through new and charming characters. Despite its rocky start, the series gathered a massive fanbase, conquering us with Patrick Stewart’s brilliant Captain Jean-Luc Picard and Brent Spiner’s Data, the latter most appealing through an effort to reconcile his own desire for humanity with his robotic design.

‘STAR TREK: THE NEXT GENERATION’ (1987-1994), ©PARAMOUNT TELEVISION

Mentioned earlier, ‘The Mandalorian’ is another prime example of a spin-off that hits the mark. It also shows how a creative team can mine TV gold from a well-known source. The series is based on a movie franchise, rather than a series, but Jon Favreau is triumphant in recreating the original ‘Star Wars’ look, imagining what happened once the Mandalorian character left the trilogy.

The show’s protagonist, Mando, has become an instant hero, splendidly brought to life by Pedro Pascal of ‘Narcos’ (2015-2017) and ‘Game of Thrones’ (2011-2019) fame. On top of that, few expected The Child, better known as Baby Yoda, to have such an impact on audiences. Favreau manages to take imagery from the past and craft it into something that stands to be highly anticipated in the future, as well.

‘THE MANDALORIAN’ (2019), ©LUCASFILM/WALT DISNEY STUDIOS

‘Better Call Saul’ doesn’t surpass ‘Breaking Bad’ which, to this day, is still a prime example for the television medium as an artform. The spin-off is excellent, however, as it is slated for a 6^th season in 2021. Chronicling the trials and tribulations of Jimmy McGill in a time before his strip-mall law office in Albuquerque, New Mexico, ‘Better Call Saul’ offers us glimpses of other characters from the main series, such as Maximino Arciniega’s Krazy-8 and Jonathan Banks’s Mike Ehrmantraut, who show up from time to time like a blast from… well, the future, since it’s a prequel.

The show offers something fresh by digging into the past, collecting an impressive number of award nominations along the way and without making the viewers wonder about Saul/Jimmy’s post-‘Breaking Bad’ career managing a Cinnabon in Nebraska. It is absolutely delightful because it shows us how Saul truly came to be, in a sense.

‘BETTER CALL SAUL’ (2015), ©NETFLIX

‘Buffy the Vampire Slayer’ (1997-2003) took an average movie and turned it into a ground-breaking cult classic series. Joss Whedon changed the matrix of fantasy television with his take on vampires and the supernatural. One memorable and much-loved character that got his own spin-off was Angel, the vampire cursed with a soul, played by David Boreanaz. ‘Angel’ (1999-2004) came after two seasons of the original and lasted for five of its own, applauded for darker and more adult storylines.

Buffy, as a character, was designed to grow up with her audience, while Angel simply trusted that his viewers were already there and ready to go beyond the worries and distractions of high-school and college life. The show was also proficient in the art of crossovers, with more than one episode bringing the two threads together and never afraid of pulling punches. In fact, ‘Angel’ is considered by many as one of the rare instances in which the spin-off is better than the original.

‘ANGEL’ (1999-2004), ©20TH CENTURY FOX TELEVISION

‘Frasier’ recorded a similar success in its 11-season run. Building from the beloved ‘Cheers’ (1982-1993) which gave us memorable comedic performances from Ted Danson, Shelley Long and Rhea Perlman, to name but a few, ‘Frasier’ took Doctor Frasier Crane to Seattle to become a radio show psychiatrist.

The show struck gold with its eloquent, witty and intelligent humour, as Frasier—the oddball former member of the ‘Cheers’ blue-collar ensemble—doled out advice to his listeners. Focusing on the social ineptitude of its characters, the spin-off went on to win 37 Emmy awards, including five years in a row for Outstanding Comedy.

‘FRASIER’ (1993-2004), ©PARAMOUNT TELEVISION

Crashed and Burned

‘Bones’ (2005-2017) will always stand out as one of the better procedurals, mainly over the onscreen chemistry between empirical forensic anthropologist Temperance ‘Bones’ Brennan and tough all-American FBI Agent Seeley Booth, beautifully portrayed by Emily Deschanel and David Boreanaz, respectively. Hart Hanson tried to whip up the same magic with ‘The Finder’ (2012), which takes place in the same fictional world but fails miserably.

Its backdoor pilot premiered on the sixth season of ‘Bones’, and the show itself focuses on the investigative adventures of Walt Sherman who, after a traumatic brain injury during the Iraq War, can see patterns that others can’t. Geoff Stults, Michael Clarke Duncan, Mercedes Masohn and Maddie Hasson headlined the spin-off, which, like the original, was based on books—in this case, ‘The Locator’ by Richard Greener. It only lasted a season, lacking the appeal that kept viewers glued to their TV screens during ‘Bones’.

‘THE FINDER’ (2012), ©20TH CENTURY FOX TELEVISION

‘Happy Days’ (1974-1984) was a gem of American television, made memorable by the likes of Ron Howard and Henry Winkler, among others. It also launched a fruitful franchise on ABC, with several popular spin-offs such as ‘Mork & Mindy’ (1978-1982), which brought Robin Williams into the spotlight, and ‘Laverne & Shirley’ (1976-1983). ‘Joanie Loves Chachi’ (1982-1983), with Scott Baio as Chachi Arcola and Erin Moran as Joanie Cunningham, however, flopped and then some.

Considered as one of the worst spin-offs of all time, ‘Joanie Loves Chachi’ followed its protagonists as they tried to break into the music business in the mid-1960s. It started off well, with its first season penned by the writers behind ‘Happy Days’, but it nosedived into its second season, leaving most audiences bewildered and disappointed. People wanted more of the Fonz, not Joanie and Chachi.

‘JOANIE LOVES CHACHI’ (1982-1983), ©PARAMOUNT TELEVISION

When Russell T. Davies took over ‘Doctor Who’ (2005), it opened the door to a plethora of spin-offs with varied degrees of success. ‘Torchwood’ (2006-2011) gave us wicked times with John Barrowman, and ‘The Sarah Jane Adventures’ (2007-2011) was an absolute hit with younger audiences during its impressive run. ‘Class’ (2016) is one of the lesser ‘children’, mainly because it missed the ‘Doctor Who’ demographic by years, choosing to focus on a group of teenagers attending the Coal Hill School, where the Doctor once acquired his first companions.

Starring Greg Austin, better known as Travis Leich in ‘Hunters’ (2020), ‘Class’ was supposed to appeal to younger viewers with subtle nods to shows such as ‘Buffy the Vampire Slayer’ and ‘Teen Wolf’ (2011-2017). Despite its initial stellar reviews, the show began to slide into poor ratings, having found its rescue in a series of audio dramas from Big Finish. The small screen doesn’t want it anymore.

 ‘CLASS’ (2016), ©BBC AMERICA

The One That Got Away

Of all the TV series that fans would absolutely love to get a spin-off from, ‘Supernatural’ (2005-2020) has missed the mark three times with backdoor pilots that never got a full season order. The supremely adored cult favourite and genre-masher has been around for fifteen years and is currently saying goodbye with its final season. Given the superb dynamic between Jensen Ackles’ Dean and Jared Padalecki’s Sam, further aided by a slew of memorable characters such as the angel Castiel (Misha Collins), the demon king Crowley (Mark Sheppard), veteran hunter Bobby Singer (Jim Beaver) and Lucifer (Mark Pellegrino), to name but a few, it’s hard not to imagine a good spin-off coming out of this gargantuan TV accomplishment.

‘SUPERNATURAL’ (2005-2020), ©KRIPKE ENTERPRISES/WARNER BROS. TELEVISION

But CW President Mark Pedowitz explained during a press tour at the 2018 Summer Television Critics Association that none of the three proposed spin-off projects had the promise of the ‘Supernatural’ boys past the first episode. Truth be told, Ackles and Padalecki have shouldered the series for a decade and a half, and the show’s writers have struggled to bring the same pizzazz to other pilots within the same universe. Mr Pedowitz has not fully dismissed the idea of a ‘Supernatural’ spin-off in the future, but most hopes were dashed when the ‘Wayward Sisters’ episode failed to get a greenlight.

In the end, spin-offs remain as elusive as ever. Sometimes they work and even surpass the originals. Sometimes they fail because the plot and characters weren’t strong enough to stand on their own. And occasionally, the original is just too powerful to allow an adjacent story to survive beyond the writers’ room. Caution is advised, either way, because a spin-off will always be faced with the challenge of following in the footsteps of giants.