TV Jots

Sure, the earlier show shattered tons of expectations by making horror popular on the small screen again in a big way, especially among the pubescent and adolescent crowds. But the title character’s whiny, self-involved personality left a great deal to be desired, in my book, when it comes to heroines worthy of adoration. Buffy Summers’ vampire ex did have the depth and passion to deserve a fan’s loyalty, however, which is why I will always consider the spin-off Angel a far superior Joss Whedon creation.

Blade: The Series is a different entity all together from Buffy the Vampire Slayer, despite their common foundation in vampire lore, if not because the former is both darker and gorier, then because it’s more mature and profound. The series begins with Iraq military veteran Krista Starr (Jill Wagner) returning home to Detroit, Michigan, to learn that her twin brother Zack (David Kopp) was recently murdered. Intent on unearthing his killer, Krista pursues various leads that eventually reveal an unimaginable, well-hidden vampire subculture within her urban hometown.

Also looking for the parties responsible for Zack’s death is Blade (Kirk “Sticky (Fingaz)” Jones of Over There), otherwise known as the infamous Daywalker—the half-human, half-vampire product of a vampire bite his mother suffered during her pregnancy that bestowed him with the unique ability to survive in daylight. His singular nature gives him added ammunition in his quest to rid mankind of the world-domination-obsessed vampire race, and this complex yet simple objective serves as the recurring theme in each episode of the series.

Since Blade: The Series debuted on June 28, the show has steadfastly built up a captivating mythology involving twelve reigning vampire houses both at odds and in unison with one another, an underground movement of humans who aspire to become bloodsuckers and use the dust of vanquished vampires as drugs to acquire their superhuman abilities, a distinction between “superior” beings born as vampires (Pure Bloods) and “inferior” beings changed into vampires (those who are bitten and turned by other vampires—Blade is neither pure nor turned; thus, he stands alone), and a mysterious progression of brutal genetic experiments whose purpose at this point (the goal has appeared to change over the initial episodes) seems to involve developing a method of eradicating only specific types of vampires.

The experiments are conducted covertly by the House of Chthon, headed by the deceitfully dapper businessman Marcus Van Sciver (Neil Jackson) and his femme-fatale acolyte Chase (Jessica Gower), both longtime turned vampires with exceedingly well-developed skills in matters of treachery and self-preservation. They are the ultimate rivals for Blade, as he is for them, which makes it only fitting when Marcus’ latest turnee becomes Krista, whose twin was executed by Van Sciver when he was caught spying on the House of Chthon while working undercover for Blade. Krista’s mission as a vampire consequently becomes to avenge her brother’s death by likewise joining Blade’s struggle to destroy the vampire houses.

There is much to like in Blade: The Series if, like me, you’re one of those television viewers starved for more horror and imagination on the tube. Although the footage has that inauthentic, bargain-budget, shot-in-Canada patina common in earlier episodes of The X-Files, for instance (the show is in fact filmed in Vancouver, Canada, as were initial X-Files installments), the cast is nothing less than stellar, with each actor inhabiting their role so thoroughly and seamlessly, it’s as if they were born to bring their particular character to life. Yet, while the main players—Jones, Jackson, Wagner, Gower, and Nelson Lee as Blade’s brainy confidant Shen—all deliver consistently believable and engaging performances in perfect step with their characters’ personalities and situations, Jones has repeatedly been singled out by reviewers for his allegedly wooden portrayal of the title character.

In reality, Jones’ interpretation of Blade’s demeanor is right on the money. This is Blade the TV show, not the movie, and there’s no reason why the lead actor should feel compelled to mimic Snipes’ portrayal or make the burdened and weary hero of the television series incongruently easygoing or suave. Just like Angel, his fellow troubled vampire with a soul, Blade has major weight on his shoulders, and his shoulders alone, that makes stoicalness an almost requisite characteristic. But Angel lived in sunny California, where the atmosphere is inherently lighter and more prone to humor. So give a vampire-fightin’ vampire brother in Detroit a break if he chooses not to smile and emote just because it would make people feel better about his disposition.

Another appealing aspect of Blade: The Series is the fact that it has avoided merely aping the films’ plotlines in favor of constructing its own independent vision. Additional brownie points are deserved because the series also wisely focuses on more than just Blade, giving other characters ample screen time to establish complete and engaging backstories distinct from those in the flicks (though there is occasional overlap). Thus, the resulting slew of unexpected developments move the plot in interesting directions that create even more opportunities to expand and enhance the mythology, and maintain the series’ dramatic momentum.

In spite of respectable premiere ratings as the Number One show on cable among men aged 18–34 and 18–49, Spike TV’s core demographic, the audience for Blade: The Series has decreased by more than half in subsequent weeks. Those who decided to tune out have truly missed the evolution of what promises to be an increasingly compelling series. But if there really is a TV god, their exodus won’t signal the end of a very good show before it has the chance to realize its fullest potential.

The Verdict: A

Blade: The Series currently airs Wednesdays at 10pm EST on Spike TV

Blade: The Series photo courtesy of Spike TV