So yes, this is a show about an adolescent girl, her friends, and various vampires. Vampires writing in diaries, vampires attending high school, vampires investigating various mysterious supernatural events, vampires tormenting each other, vampires eavesdropping on each other, and vampires being sarcastic about other vampires' hairstyles. Vampires embracing every possible opportunity to take off their shirts.
For some, vampires are still firmly in the 'evil, scary' column. However, in recent decades, vampires also run the gamut from evil to morally ambiguous all the way to fangless and vegetarian. I think part of their appeal lies in their versatility. Vampires can be the villain, the hero, and everything in between, all depending on the writer's whim. You'll also never hear me say that anyone is doing vampires 'wrong' because unless a real vampire stands up and sets the record straight, it's anyone's game as a far as defining them in fiction.
I was thinking about vampires and, specifically, about what makes vampires a romantic trope: about what people like about not just vampires but supernaturally long-lived creatures in general, which is a thing that shows up in probably fifty to sixty percent of paranormal romances... And then, for some reason, I decided to reverse it.
Alaya Dawn Johnson
For over 1,700 years, the Jews have been bewailing their sad fate in that they have been exiled from their homeland, as they call Palestine. But gentlemen, did the world give it to them in fee simple, they would at once find some reason for not returning. Why? Because they are vampires, and vampires do not live on vampires. They cannot live only among themselves. They must subsist on Christians and other people not of their race.
There were things out there in the world, things that vampires feared, and now those things were here. She was only seconds out of a very light, fitful sleep, but she knew that the nightmares had followed her effortlessly right into the real world. The draug. They weren't vampires; they were something else, something that moved through water, formed out of it, dragged vampires down to a slow and awful death.
Vampires Are Us: Understanding Our Love Affair with the Immortal Dark Side," is now out! Quote: "Vampires let us play with death and the issue of mortality. They let us ponder what it would mean to be truly long lived. Would the long view allow us to see the world differently, imagine social structures differently? Would it increase or decrease our reverence for the planet? Vampires allow us to ask questions we usually bury.
The twins stopped and stared in surprise at the two vampires guarding a door on their right. The vampires returned their look of surprise. "What are you doing here?" One of the vampires hissed. "We're looking for Taco Bell." Luther said cheerfully as he and Tyrone reached behind their backs. "Left or right, Tyrone?" "I'll take the one on the left." Tyrone replied.
The worst was relizing that I'd lost him for nothing because he'd been rght about all of it-- vampires, my parents, everything. He'd told me my parents lied. I yelled at him for it. He forgave me. He told me vampires were killers. I told him they weren't, even after one stalked Raquel. He told me Charity was dangerous. I didn't listen, and she killed Courtney. He told me vampires were treacherous, and did I get the message? Not until my illusions had been destroyed by my parents' confession.
If there is in this world a well-attested account, it is that of vampires. Nothing is lacking: official reports, affidavits of well-known people, of surgeons, of priests, of magistrates; the judicial proof is most complete. And with all that, who is there who believes in vampires?
Aaron Spelling was a huge fan of vampires, and everything in that genre. He just really loved the entire subject of vampires and he was really passionate about it. If you really like the idea of this other world and the intricacies of it, because there were a lot of them, and once you're hooked, it's always something that's a fascination to you.
You know, what's popular? Okay, vampires are very popular. Let me make my vampire movie. I'm not saying you can't make a vampire movie. But if you're going to do one do something crazy. I mean don't just get a bunch of, like I said, models and make them into vampires so you'll get an audience. You know maybe get some ugly vampires for a change.
Billy Bob Thornton
... We were born vampires." "I thought you became """ """ vampires by being bitten? Dear me, no. Oh, we can turn people into vampires, it's an easy technique, but what would be the point? When you eat... now what is it you eat? Oh yes, chocolate... you don't want to turn it into another Agnes Nitt, do you? Less chocolate to go around." He sighed. "Oh dear, superstition, superstition everywhere we turn.
We were born vampires." "I thought you became -" "- vampires by being bitten? Dear me, no. Oh, we can turn people into vampires, it's an easy technique, but what would be the point? When you eat... now what is it you eat? Oh yes, chocolate... you don't want to turn it into another Agnes Nitt, do you? Less chocolate to go around." He sighed. "Oh dear, superstition, superstition everywhere we turn.
Kim Newman's Anno Dracula is back in print, and we must celebrate. It was the first mash-up of literature, history and vampires, and now, in a world in which vampires are everywhere, it's still the best, and its bite is just as sharp. Compulsory reading, commentary, and mindgame: glorious.
We've been shooting the last two weeks with a lot of vampires. I don't want to give away too much, but if you've read the books, it's the standoff with lots of vampires in play. There's like 70 people going through the works at once. It's a little maddening, but fun. We shot pretty much the ending of the two movies the other day.
The basic principle of structural analysis, I was explaining, is that the terms of a symbolic system do not stand in isolation-they are not to be thought of in terms of what they 'stand for, ' but are defined by their relations to each other. One has to first define the field, and then look for elements in that field that are systematic inversions of each other. Take vampires. First you place them: vampires are stock figures in American horror movies. American horror movies constitute a kind of cosmology, a universe unto themselves. Then you ask: what, within this cosmos, is the opposite of a vampire? The answer is obvious. The opposite of a vampire is a werewolf. On one level they are the same: they are both monsters that can bite you and, biting you, turn you, too, into one of their own kind. In most other ways each is an exact inversion of the other. Vampires are rich. They are typically aristocrats. Werewolves are always poor. Vampires are fixed in space: they have castles or crypts that they have to retreat to during the daytime; werewolves are usually homeless derelicts, travelers, or otherwise on the run. Vampires control other creatures (bats, wolves, humans that they hypnotize or render thralls). Werewolves can't control themselves. Yet-and this is really the clincher in this case-each can be destroyed only by its own negation: vampires, by a stake, a simple sharpened stick that peasants use to construct fences; werewolves, by a silver bullet, something literally made from money.
To the jaded eye, all vampires seem alike, but they are wonderful in their versatility. Some come to life in moonlight, others are killed by the sun, some pierce with their eyes, others with fangs, some are reactionary, others are rebels, but all are disturbingly close to the mortals they prey on. I can think of no other monsters who are so receptive. Vampires are neither inhuman nor nonhuman nor all-too-human, they are simply more alive than they should be.