The 1990s was a weird period for television horror. It started with the magnificent kookiness of David Lynch’s Twin Peaks (1990-1991), continued the gloriousness of The X Files (1993-2002) and managed to achieve a monumental hat-trick with Buffy, The Vampire Slayer (1997-2003). But it also brought us some other stuff, like Kindred: The Embraced (1996)
This last show was so 1990s but also such a mess. If one remembers the other three with a sense of misty-eyed nostalgia, Kindred: The Embraced profoundly reminds one that the good old days only seem so in retrospect, and that nostalgia is when one remembers the good bits and forgets the bad bits. Nostalgia like remembering old romances, in which one has forgotten why one ever split up. But just because one can’t remember why one split up, it doesn’t mean that there weren’t very good reasons.
So what we have is an Aaron Spelling produced television horror series that lacks the camp fun of Satan’s School for Girls and tries to mix the ‘attitude’ from Spelling’s masterwork, Dynasty (1981-1989), with the atmospherics of Twin Peaks, while throwing in a lot of Godfather-style underworld politics … but with no clear rationale. The result is a cocktail but not a tasty and intoxicating one. Instead, its not exactly sickly but is still a rather unappealing concoction. It is not exactly that the flavors clash but rather that something vital is missing, something that would bring them together and make them work in harmony.
Instead, what we get is lots of stylish people giving one another huge amounts of attitude (the Dynasty bits), lots of atmospheric lighting, lots of ominous noises and dirge-like music (the Twin Peaks bits) but nothing whatsoever actually happens. Even the action sequences seem to be strangely languid, so that people bust into flame or jump through windows in slow motion to the sound of melancholy music…
To the extent that there is a plot, it starts with C Thomas Howell as a maverick cop called Frank (warning no cop show thrills on offer here!), who is trying to nail underworld king, Julian Luna (get it? Luna = moon = creature of the night…) Frank is also having an affair with one of Julian’s ex-lovers but, unbeknownst to him, both she and Julian are vampires.
Anyhow, this poor woman falls in love with Frank – don’t ask me why – and their relationship threatens the vampire world so she has to be punished. This vampire underground is full of rules: no vampire must tell a human that vampires really exist; no vampire can harm a human; or take more blood from a human than is strictly necessary for their survival, etc. etc. Are these vampires, vegetarians or party-poopers? But having transgressed these rules, Frank’s lover decides to accept her fate and spontaneously combusts; but only after she makes Julian promise that, if she accepts her punishment, he will protect Frank from the vampire underworld.
Her crime is that, by revealing her true nature to Frank, she has threatened the fragile existence of the vampire underworld, which survives through the ‘masquerade’, i.e, through the deception or conspiracy that keeps their non-human existence a secret from the human world. It is typical of the show that the vampires don’t call this a secret, or a conspiracy, but rather use a pompous term like ‘masquerade’.
But Julian also has other problems to deal with. He is the prince of the vampire underworld and is struggling to maintain a precarious peace between its numerous vampire clans – this is where the Godfather-style politics comes in. In other words, Julian is trying to protect vampires and humans from one another, but Frank doesn’t understand this and hates Julian – Frank believes that Julian is just a run of the mill untouchable gangster but his attitude doesn’t change much when he realizes that Julian is also a vampire.
So basically, Julian has his work cut out protecting Frank, while Frank tries to destroy him, and while his vampires confederates all want to destroy Frank. Nightmare!
And all the while, Julian just keeps trying to make everyone see, especially Frank, that humans and vampires can co-exist. Of course, it would have been better, if the humans and the vampires had waged all out war against one another … well, better for us as viewers and for the survival of the series, which only lasted for eight seemingly interminable episodes.
But it is not simply that there isn’t much in the way of narrative that undermines the show, it is also the absence of anything resembling appealing characters. Frank is simply annoyingly stupid and one can sense Julian’s irritation that he has sworn to protect the fool – you can also sense that he would just love to tear the idiot’s throat out. But that doesn’t really make Julian much more interesting. In my book, vampires need to come in one of two types. They either have to really enjoy what they are doing, or they have to suffer a deep sense of self-hatred at their monstrous existence. It doesn’t much matter which, but they have to love or loathe their condition.
But Julian is neither type. He clearly doesn’t love his condition, and exists to police the joyless rules of the masquerade; but he doesn’t seem to sufficiently hate his existence either. Instead, he seems to accept his lot with the dull resignation of a institutional manager. You can sense his frustration with trying to get his subordinates to see sense and to act responsibly, but he gives off an aura of bored weariness rather than an existential despair or horrified self-hatred.
Of course, Kindred: The Embraced has its pleasures, although I must admit that I can’t think of many at the moment, but it functions much more powerfully as a kind of anti-nostalgia. Watching it is less like remembering the beautiful moments from a doomed love affair, and more like re-living all the frustrations, embarrassments and rows that led to the inevitable break up.