Preview

Horror Television in the Age of
Consumption
Characterized as it is by its interest in and engagement with the super-

natural, psycho-social formations, the gothic, and issues of identity and
subjectivity, horror has long functioned as an allegorical device for inter-
rogations into the seamier side of cultural foundations. This collection,
therefore, explores both the cultural landscape of this recent phenome-
non and the reasons for these television series’ wide appeal, focusing on
televisual aesthetics, technological novelties, the role of adaptation and
seriality, questions of gender, identity and subjectivity, and the ways in
which the shows’ themes comment on the culture that consumes them.
Featuring new work by many of the field’s leading scholars, this col-
lection offers innovative readings and rigorous theoretical analyses of
some of our most significant contemporary texts in the genre of Horror
Television.
Linda Belau is Professor in the Department of Literature and Cultural

Studies and Director of Film Studies at the University of Texas-Rio
Grande Valley, USA. She is the editor of Topologies of Trauma (2002)
and Psychoanalysis and La Femme (2010), and the author of several
articles on literary, cultural, and cinema studies.
Kimberly Jackson is Associate Professor of English and Chair of the De-

partment of Language and Literature at Florida Gulf Coast University,
USA. She is the author of Technology, Monstrosity, and Reproduction
in Twenty-First Century Horror (2013) and Gender and the Nuclear
Family in Twenty-First Century Horror (2016).
Routledge Advances in Television Studies
1 Parody and Taste in Postwar American Television Culture

Ethan Thompson
2 Television and Postfeminist Housekeeping

No Time for Mother
Elizabeth Nathanson
3 The Antihero in American Television

Margrethe Bruun Vaage
4 American Militarism on the Small Screen

Edited by Anna Froula and Stacy Takacs
5 Appreciating the Art of Television

A Philosophical Perspective
Ted Nannicelli
6 Politics and Politicians in Contemporary US Television

Washington as Fiction
Betty Kaklamanidou and Margaret J. Tally
7 Contemporary British Television Crime Drama

Cops on the Box
Edited by Ruth McElroy
8 Television and Serial Adaptation

Shannon Wells-Lassagne
9 Girlhood on Disney Channel

Branding, Celebrity, and Femininity
Morgan Genevieve Blue
10 Horror Television in the Age of Consumption

Binging on Fear
Edited by Linda Belau and Kimberly Jackson
Horror Television in the Age
of Consumption
Binging on Fear
Edited by Linda Belau and

Kimberly Jackson
First published 2018
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Contents
Introduction: Binging on Horror 1

L i n da B e l au a n d K i m b e r ly J ac k s o n
1 Pigeons from Hell: Anthology Horror on American

Television in the 1950s and 1960s 16
Pet er H u tc h i ngs
2 “Where It Belongs”: Television Horror, Domesticity,

and Alfred Hitchcock Presents 29
M a r k J a n c ov i c h
3 The Thing “Chants Out Between Two Worlds”:

Surreal Latency in the Twin Peaks Universe 45
E d C a m e ro n
4 “If I Could Have Feelings at All, I’d Have Them for

Deb”: Love, Law, and Loss in Showtime’s Dexter 62
K i m b e r ly J ac k s o n
5 White Trash in Wife-Beaters? U.S. Television

Werewolves, Gender, and Class 76
L o r n a J ow e t t
6 “The World Is Changing Again”: Bodies,

Interpretation, and the Monotony of the
Drive in The Walking Dead 90
Al e x a n d e r N . H ow e
7 Family Ties and Maternal Things: Bates Motel as

Family Romance for the Post-Oedipal Era 104
L i n da B e l au
vi Contents
8 Masters of Mise-En-Scène: The Stylistic
Excess of Hannibal 120
S tac e y Abb o t t
9 Sleepy Hollow and the Horrors of History Post-9/11 135

J i m Da e m s
10 It’s a Monster Mash! Penny Dreadful and the

Return to (and of) Contemporary Horror’s
Victorian Roots 148
M ich a el F uchs
11 Slashing through the Bonds of Blood: Queer Family

and Scream: The TV Series 161
K y l e Ch r i s t e n s e n
12 Resurrection: Ash vs Evil Dead, Network Television,

and the Cult Horror Film Revival 176
I a n Con r ich
13 “Welcome to the Upside Down”: Nostalgia

and Cultural Fears in Stranger Things 187
Ro s e B u t l e r
List of Contributors 202

Index 205
Introduction
Binging on Horror
Linda Belau and Kimberly Jackson
Horror on TV
Since the publication of such seminal works of criticism as Carol Clover’s
“Her Body, Himself: Gender in the Slasher Film” (1987), Barbara Creed’s
“Horror and the Monstrous Feminine: An Imaginary Abjection” (1986),
Linda Williams’ “When the Woman Looks” (1983), and Robin Wood’s
Hollywood from Vietnam to Regan (1983), the popular horror film has
come to occupy a significant space in the realm of cultural studies. Such
films are now seen as legitimate, indeed important, objects of criticism
that are just as revealing of cultural attitudes and social relations as more
“highbrow” film genres. Horror Television in the Age of Consumption:
Binging on Fear offers a significant contribution to this ever-growing
critical conversation, focusing as it does on horror’s now near omnipres-
ence on the small screen.
This collection aims to explore what has become an ever-burgeoning
TV phenomenon that now spans all televisual realms: premium chan-
nels, network TV, specialized channels, and online streaming venues.
The popularity and recent proliferation of horror television series—
which include such contemporary hits as AMC’s The Walking Dead
(2010–), WB and CW’s Supernatural (2005–), A&E’s The Bates Motel
(2013–), NBC’s Hannibal (2013–2015), and Showtime’s Penny Dread-
ful (2014–)—can be attributed to a number of sociohistorical and tech-
nological factors, from relaxed censorship regulations to advancements
in digital technology that allow for cinematic effects to be employed on
the small screen. In addition, many of the contemporary shows exhibit
an obsessively loyal fan following, demonstrating an enthusiasm for
horror programming and horror themes unprecedented in the modern
television era. An examination of this sub-genre is thus triply essential,
as its success in recent years provides important commentary on the
evolution of the horror genre, the nature of the televisual, and the cul-
ture of the twenty-first century. Through multiple scholarly voices and
perspectives, the essays in this collection further illuminate what makes
the sub-genre so attractive, the factors that qualify it as a sub-genre, and
the uniqueness and diversity of its manifestations.
2 Linda Belau and Kimberly Jackson
Film and television critics of today seem to agree that Gothic and
horror are particularly well suited for television. For Helen Wheatley,
Gothic television in its serial form allows for a powerful manifestation of
the uncanny, while contributors Stacey Abbott and Lorna Jowett point
out that “television is ideally suited for horror because it is still perceived
as an object of horror” (xiv). But while the proliferation of such series is
a fairly recent phenomenon, the question of whether horror belongs on
television is not. This collection thus begins by looking back at the hor-
ror anthologies of the 1950s and early 1960s, in the process examining
the issue of genre formation and the establishment of a unique set of plot
elements and aesthetic components that allowed for the serialization of
the genre in the first place, setting the stage for the acceleration of serial-
ity that has taken place in recent years, particularly since Netflix began
to offer access to full seasons of serialized programming.
This acceleration of seriality, which has become part of the televi-
sion viewing experience in all genres, not just horror, has resulted in the
popularization of a phenomenon we now refer to as “binge-watching.”
According to cultural anthropologist Grant McCracken,
I believe we binge on TV to craft time and space, and to fashion an

immersive near-world with special properties. We enter a world that
is, for all its narrative complexity, a place of sudden continuity. We
may have made the world ‘go away’ for psychological purposes, but
here, for anthropological ones, we have built another in its place.
The second screen in some ways becomes our second home.
McCracken’s poignant quote is both a reflection and articulation of the

positive stance many critics have taken with regard to binge-watching,
defined by Netflix, the company largely responsible for its rampant rise,
as “watching 4 or more episodes of the same TV show in one sitting.”
While the term “binge” is obviously associated with addiction, compul-
sion, and self-destructive behavior (and indeed, these associations can
cause feelings of guilt in those who practice it), most critics agree that
binge-watching is part of a complex web of cultural, artistic, economic,
and technological processes that do not necessarily translate into intel-
lectual dullness, cultural decay, or psychological distress. On the con-
trary, the relationship between consumers and cultural production that
largely defines this phenomenon involves a complex interplay that has
resulted in a mad rush of original series with complicated narratives and
highly diversified content, delivered by top actors and top directors and
aimed at an audience poised to engage with what Jason Mittell refers
to as the shows’ “operational aesthetic” (qtd. in Loock 92). Not only
does binge-watching not necessarily “ruin” the viewing experience or go
against the intent of the producers, but in fact, Netflix in particular—
with its release of an entire fourth season of Arrested Development in
Introduction 3
2013—has begun producing original series structured with the idea that
viewers would binge-watch. Television series are now advertised with
binge-watching in mind, not just on Netflix but also on other channels
like AMC and WB/CW that play and produce popular series: “Get ready
for a new addiction!”
Binge-watching is part of a larger movement Henry Jenkins has
termed “convergence culture”: “Media convergence is more than just a
technological shift. Convergence alters the relationship between existing
technologies, industries, markets, genres, and audiences. Convergence
alters the logic by which media industries operate and by which media
consumers process news and entertainment” (16). This new way of pro-
cessing popular narratives involves a radical enough shift that Mareike
Jenner, for example, has tentatively suggested that we have entered a
new age of television—TVIV—which involves precisely a move away
from the TV set to such a degree that one can claim “Netflix is simply
not TV” (261). Part of what Jenner terms “post-postmodern culture,”
today’s consumers possess unprecedented “media mobility” (Tryon 3).
Not only is our relationship to space and geographical location trans-
formed but time as well, since we can access thousands of media events
at any time, no longer having to be present at their first broadcast, a
phenomenon Tryon refers to as “time shifting” (5). In addition, pop-
ular narratives take place through a broad network of media outlets.
A viewer not only watches a television show, but also becomes part of
a larger media experience that includes blogs and fansites, as well as
various layers of intertextuality. Because of this, the viewer takes part in
what Jenkins terms “transmedia storytelling”:
Transmedia storytelling is the art of world making. To fully experi-

ence any fictional world, consumers must assume the role of hunters
and gatherers, chasing down bits of the story across media channels,
comparing notes with each other via online discussion groups, and
collaborating to ensure that everyone who invests time and effort
will come away with a richer entertainment experience.
(21)
Horror, it seems, is quite at home in this new media culture, as the pop-
ularity and recent proliferation of horror television series would attest.
The original essays collected here—in their analyses of individual series,
both old and new—offer various perspectives on these shows’ successes.
Yet certain themes repeat themselves and are thus deserving of some
introductory treatment here, namely, a focus on televisual aesthetics and
technological novelties, the role of adaptation and seriality, questions
of gender, identity and subjectivity, and the ways in which the shows’
themes comment on the larger economic and political context in which
they are consumed.
We will leave the question of what constitutes horror largely to the
side for now, as the essays that follow each treat that issue in their vari-
ous ways. Suffice it to say that the shows we have included here are not
simply concerned with the visceral experience of spectacles of blood and
gore (although there is that, too). There is what some would term Goth-
icism, the supernatural, science-fiction, mystery, psychological thriller,
etc. Some would make the distinction between horror and terror, in the
way, for example, that Enlightenment thinkers distinguished between
the beautiful and the sublime. But since this collection is focused pre-
cisely on themes of transmedia interactions, intertextuality, pastiche,
and all other manner of mixing and crossing, it hardly seems appropri-
ate to attempt to draw lines where they really do not exist. And yet we
do not think anyone would argue against our choices here; there is a
reason we have not included Netflix’s Orange is the New Black (2013–)
or AMC’s Breaking Bad (2008–2013); as horrifying as some elements of
such shows are, they are not horror.
One of the elements of television horror that Lisa Schmidt identifies in
her essay “Television: Horror’s ‘Original’ Home” is precisely its cross-
genre links to the Gothic, particularly in its melodramatic eighteenth-
and nineteenth-century serialized novel versions: “Through seriality,
television horror reveals the melodramatic nature of the genre. Moreover,
it (re)creates that original horror in a way that speaks, perhaps, to some
of horror’s less appreciated pleasures and less acknowledged audiences”
(159). Indeed, Gothic elements abound in the shows analyzed in this
collection, all of which undoubtedly contain some or all of the following:
a mood of dread and/or terror inclined to evoke fear or disgust in the

viewer; the presence of highly stereotyped characters and plots, of-
ten derived from Gothic literary fiction…; representations of the su-
pernatural which are either overt (created through the use of special
effects) or implied (suggested rather than fully revealed); a proclivity
towards the structures and images of the uncanny…; and, perhaps
most importantly, homes and families which are haunted, tortured,
or troubled in some way.
(Wheatley 3)
These melodramatic narrative elements dovetail nicely with the kind of

suspense created by seriality. As Wheatley points out, serialized Gothic
horror is “underpinned by a kind of serial uncanniness, whereby the
repetitions of the serial reinforce an uncanny feeling of dreadful recog-
nition” (180). Schmidt continues,
Serialized shows demand an investment from the viewer beyond a

single, one-hour block of time, but with this investment comes the
possibility of greater emotional impact… Not to put too fine a point
Introduction 5
on it, serialized television shows can create astonishing levels of
emotional crisis and catharsis because they have time on their side.
(166)
This emotional investment rises exponentially when such serial install-

ments are viewed in rapid succession. As Robyn Warhol contends, “the
forward narrative pull of long-form serial television programs is pro-
foundly suited to binge-watching. The ability to move instantly from
one season’s cliffhanger to the next premiere’s Big Reveal has altered the
emotional dynamics of watching serialized television” (145).
With so many of these shows readily available for viewing, and given
the fact that most of them go on for multiple seasons, each show has to
compete with other similar series and, in addition, continue to outdo it-
self to keep fans watching. This is particularly true of shows that rely on
spectacles of violence, as so many treated in this collection do. As Karin
Hoepker argues in her essay “No Longer Your Friendly Neighborhood
Killer: Crime Shows and Seriality after Dexter,”
[c]learly, many shows in the field of contemporary crime drama

simply push the envelope regarding their depiction of violence. But
much more interesting are the broader aesthetic patterns and dy-
namics that emerge from a logic of serial escalation as productions
supersede and surpass themselves and as generic variations evolve in
an effort to achieve a characteristic and recognizable profile.
(250)
It is thus not only the serial form that contributes to horror’s particular
aesthetic; television horror also benefits from “the effects of the digital
age on what could be produced on TV” (Wheatley 175). As Wheatley ar-
gues, “There has been a long tradition of using the supernatural Gothic
to demonstrate or ‘show off’ innovations in audio-visual media” (172).
Similarly, Abbott and Jowett contend, “[b]y exploring the potentially
unlimited palette of visual and aural aesthetics available within televi-
sion… these series re-imagine what horror is or can be” (154). Thus, far
from being a genre that tolerates passive, distracted viewers,
Gothic television is a particularly striking example of a genre of

television programming which asks to be looked at, which demands
concentrated attention from viewers (both domestic and scholarly),
through its emotional intensity, its complex plotting, and its highly
dense and detailed mise-en-scène.
(Wheatley 21)
The seriality of television horror is also intimately linked with the way
the shows adapt, revise, and remake horror narratives that both precede
them and are being created simultaneously. Adaptation, in various forms
and degrees, is a key component of many of the shows discussed in this
collection, including Bates Motel, The Walking Dead, Penny Dreadful,
Stranger Things, Hannibal, and Sleepy Hollow. Commenting partic-
ularly on the relationships among the various Psycho films and Bates
Motel, Kathleen Loock follows the lead of Katrin Oltmann, employing
Freud’s notion of Nachträglichkeit to explain the relationship between
“originals” and remakes. She writes,
Nachträglichkeit describes how a later event prompts the retroactive

attribution of meaning to an earlier event, its belated understand-
ing or even revision. The remake—if grasped along these lines—has
not only to come to terms with the cultural unfinished business and
memories of the earlier film, it also creates the original in the pro-
cess, retrospectively transforms its meaning in significant ways and
thereby hints at the instability of narratives in general.
(83)
By including Bates Motel in her analysis, Loock expands the category of

remake to include not only film but also television, and suggests that re-
making is a serial phenomenon, an ongoing conversation among various
versions of the same story:
In these cases [the Psycho franchise, including Bates Motel], it makes

sense to think of remaking in terms of seriality because the processes
of repetition and variation at work are structurally akin to the more
explicitly serialized aesthetics in other popular media.
(83–84)
In a similar move, Maria Sulimma challenges the fidelity/infidelity dis-

tinction that usually dominates remake criticism, taking as her primary
example the “simultaneous seriality” that characterizes the relationship
between the comic and television versions of The Walking Dead. In this
case, the two narratives are evolving at the same time but along different
lines, so it is even more apparent that neither narrative is more original,
more privileged, or more “central” than the other. Instead, “[t]he rela-
tionship between both texts has to be understood not as a fixed config-
uration but rather as an ongoing process in which both occupy different
positions, imitating, supplementing, contrasting or competing with one
another” (133).
Finally, as part of an overall culture of postmodern “referencing,”
not only do these shows refer to earlier similar narratives and those
being produced simultaneously but also earlier eras in relation to our
own. As Rose Butler explains in her contribution to this collection,
Stranger Things, for example, references both earlier horror narratives,
Introduction 7
particularly those of Stephen King and Steven Spielberg, and the eco-
nomic and political climate of the 1980s, which bears a strong resem-
blance to what we are facing in twenty-first-century America. In this
way, our relationship to history is, in a sense, also serially remade.
As part of what Däwes, Ganser, and Poppenhagen call “transgres-
sive television,” the horror television series thus occupies a unique place
within the larger phenomenon of televisual seriality. As Däwes contends,
those series that deal with violence and criminality involve “a remark-
able blurring of conventional boundaries of genre, of fictional time and
space, of plot patterns and character types, of social and ethical norms,
of language, and of visual representation” (18). The artifacts treated in
the essays that follow thus represent something of a cultural revolution,
one we cannot hope to fully explore in these pages not only because of
its complexity and scope but also because we are currently immersed in
it, unable to say for sure where it will take us, but fairly certain that we
are enjoying the ride.
The Essays
Beginning the collection and its exploration of contemporary horror
television, Peter Hutchings’ essay, “Pigeons from Hell: Anthology Hor-
ror on American Television in the 1950s and 1960s,” engages with some
of the earliest forms of horror television and, as such, establishes the
historical backdrop, particularly as it relates to anthology horror. With
his analysis of early horror programming, Hutchings maintains that an-
thology series have been an especially important format in the develop-
ment of horror television from the 1950s onwards. Exploring some of
the earliest examples of anthology shows containing elements of horror,
the supernatural, and the macabre to appear on American television,
Hutchings considers the ways in which they framed and presented these
elements within a televisual context where a fully fledged horror genre
did not at that time exist. Focusing on the Boris Karloff-hosted series
Thriller, but also drawing examples from Alfred Hitchcock Presents,
The Alfred Hitchcock Hour, The Twilight Zone, One Step Beyond, and
The Outer Limits, Hutchings maintains that none of these series, includ-
ing Thriller, were exclusively horror-based. Rather, in varying combina-
tions, they offered mixtures of crime, science-fiction, and horror. Yet
they all worked to develop, in various ways, a televisual horror aesthetic
that drew upon horror cinema and horror literature but had its own dis-
tinctive, medium-specific character. Considering the significance of the
anthology framework itself and the role within it of the host, Hutchings
also considers contributions made by leading creative personnel to the
content, form, and style of the new television horror. Focusing on what
he argues is a prime example of one of the most distinguished examples
of anthology horror from this period, Hutchings further offers a reading
of the 1961 episode of Thriller entitled “Pigeons from Hell” in order to
specifically demonstrate the innovation and achievements of early horror
anthology television.
Continuing the historical backdrop and the exploration of the anthol-
ogy horror series, Mark Jancovich’s essay “‘Where It Belongs’: Television
Horror, Domesticity, and Alfred Hitchcock Presents” argues against the
notion that early television horror developed in a manner that charac-
terizes it as inferior to cinematic horror. Rather, he contends, despite
the domestic setting that permeates the genre, claims that the cinema is
superior have been widely challenged, especially since television horror
relies on a variety of other media, particularly in its earliest formation.
Focusing on television’s contribution to the wave of horror production
that developed in the mid-1950s and the ways in which television horror
of the period managed the relationship between horror and the domestic
sphere, Jancovich explores Alfred Hitchcock Presents and the ways in
which it was generically produced as horror television. Jancovich further
examines the role of Joan Harrison, famously known as the first female
producer in Hollywood, and the gendered dynamic of her working rela-
tionship with Hitchcock. Finally, Jancovich considers the ways in which
Harrison used Hitchcock in his role as host so that he not only mediated
between the domestic context of television viewing and the horror of the
stories, but also between these two worlds and a third: the commercial
messages provided by the sponsor for the series. By focusing on Alfred
Hitchcock Presents, Jancovich demonstrates that horror and television
have a long and fruitful history, that television horror has long proved
far more influential on cinematic horror than is acknowledged, and—
crucially—that the domestic context is not in tension with horror.
Moving the collection into the latter part of the twentieth century and
into the origins of the contemporary era of mass consumption, horror
television binging, and fanhood frenzy, Ed Cameron’s essay explores the
universe of Twin Peaks, including ABC’s 1990–1991 hit series, the 1992
feature “prequel” film Fire Walk with Me, and Showtime’s 2017 third sea-
son, Twin Peaks: The Return. While Showtime aired its “return” season
in 2017, the initial series (and cinematic prequel to the series) in the early
1990s set the stage for the current upswing in production and popularity
of other horror series that have emerged in the past three decades. Fo-
cusing on both the original and contemporary iterations of the program,
but primarily on the earlier series and its cinematic prequel, C ameron
considers the persistence of surrealist horror which, he argues, goes
back to the French surrealist attraction to early American horror films
and their championing of the disturbingly strange and bizarre over the
purely horrifying. In his essay, entitled “The Thing ‘Chants Out Between
Two Worlds’: Surreal Latency in the Twin Peaks Universe,” Cameron
argues that, like the surrealists and Sigmund Freud before them, David
Lynch possesses a preference for the uncanny—as a specific subclass of
Introduction 9
horror—over the purely horrifying as a means of achieving the bizarrely
terrifying effects for which his television show Twin Peaks is known.
Grounding his analysis in Jacques Lacan’s notion of the Thing—that
which hauntingly disturbs signification from within—to explain the dif-
fering role horror plays in all three manifestations of the surreal world of
Twin Peaks—the 1990–1991 ABC television program, the 1992 feature
prequel, and Showtime’s return to the third season in 2017—Cameron’s
essay offers an analysis of Lynch’s Twin Peaks universe through the lens
of the surrealist emphasis on the uncanny Thing with its privileging of
the latent reality that always lies within, is censored by, and continually
haunts the manifest content of Lynch’s narrative design.
Transitioning us into the twenty-first century and the “golden age”
of television horror series programming, Kimberly Jackson turns our
attention toward Showtime’s hit series Dexter which, given its appear-
ance on a premium cable network, presented itself as one of the earliest
articulations of contemporary horror television that beckoned fans to
the binge experience. Through her examination of the relationship be-
tween gender and law in Dexter, Jackson explores the repressed Gothic
underside of the series in her essay entitled “‘If I Could Have Feelings at
All, I’d Have Them for Deb’: Love, Law, and Loss in Showtime’s Dex-
ter.” Considering the manner in which the show attempts to cleanse it-
self of its Gothic excess, Jackson departs from the usual analyses of the
show that focus on the main character and focuses instead on the rela-
tionship between Dexter and his foster sister, Debra. In the show’s pre-
sentation of this relationship, particularly in the last three seasons, the
two characters’ identities become profoundly intertwined and ultimately
destructive. Thus, Jackson argues, they resemble such legendary lovers
as Catherine and Heathcliff from Emily Brontë’s Wuthering Heights.
Drawing on the similarities between the two narratives, she argues for
what emerges essentially as the buried feminist mythos of the show, as
opposed to the manifest Oedipal structure of the narrative that seems
to focus on Dexter’s relationships with the father as super-ego and with
the mother as lost object. This reading helps to explain the series’ tragic
close, which results in Debra’s death and Dexter’s exile from the social
and symbolic orders.
In her essay “White Trash in Wife-Beaters? U.S. Television Were-
wolves, Gender, and Class,” Lorna Jowett continues the exploration of
contemporary horror series as she argues that the werewolf has been
consistently aligned with the masculine. Cashing in on the popularity
of both the supernatural and the paranormal romance, horror series
frequently position the (male) werewolf as the opposite of the (male)
vampire, particularly in relation to the alignment of hypermasculinity
with social class. The male werewolf, Jowett argues, frequently coded as
trailer trash, is often violent, bestial, blue-collar, macho, manly, aggres-
sive, and “hot” blooded compared to the vampire’s cold and aristocratic
demeanor. Through analysis of werewolf/vampire-focused horror series
programs such as True Blood, The Vampire Diaries, and its spin-off
The Originals, Jowett examines how ongoing narrative arcs in these
programs develop their werewolf characters (and their werewolf mythol-
ogies), particularly in relation to the werewolf-vampire rivalry. Focusing
on other non-werewolf-centric programs like Supernatural, Jowett con-
siders how the appearance of the werewolf in one-off episodes of ongo-
ing series can offer a disruption of the status quo, both in terms of the
series and of the werewolf trope. Drawing on her examinations of both
the typical and the disruptive TV werewolf, Jowett further explores how
the Netflix series Hemlock Grove introduced a different version of the
vampire-werewolf relationship. According to Jowett, Hemlock Grove’s
apparently typical presentation of its vampire-werewolf protagonists
divided audience attention and opinion by simultaneously extending
and subverting some of the key features of the werewolf-vampire trope,
particularly in relation to whiteness, class, and masculinity, as well as
through tone and aesthetics.
In his essay entitled “‘The World is Changing Again’: Bodies, In-
terpretation, and the Monotony of the Drive in The Walking Dead,”
Alexander Howe turns to what has become, arguably, the most iconic
example of binge-horror television. Howe argues that early success for
The Walking Dead series was in large part due to faithful fans of Robert
Kirkman’s comic series upon which the television show is based. Ac-
cording to Howe, readers were immediately drawn to the uniqueness
of the comic version that focused less on the blood and gore of life with
zombies and more on the “human” interactions between characters. The
AMC version likewise follows this formula. Howe further argues that,
in following this formula, the intractable death drive of the zombies is
hardly an occasion for drama and only intermittently a thing of horror;
rather, the unyielding drive of the zombie is utterly banal—and already a
part of the mindless consumption and isolation of our daily lives. Thus,
Howe maintains, there is no better figure for the psychoanalytic concept
of the drive than the zombie, since drive is that ceaseless, organic impulse
toward lethal enjoyment and ultimately our own demise. Zombie narra-
tives, Howe explains, stage the drive without any cultural sublimation
whatsoever since the zombie is incapable of sociality or an experience
of its own body. Howe explores this dimension of the narrative, demon-
strating the importance of later Lacanian theory. The Walking Dead,
Howe further argues, duplicates the very logic that the show would os-
tensibly critique by serving as a sort of CliffsNotes take on the zombie
genre, making what were likely already unmistakable cultural analyses
all the more accessible so as to be consumed without desire or thought.
Through her Lacanian-inflected psychoanalytic reading, Linda Be-
lau’s essay entitled “Family Ties and Maternal Things: Bates Motel as
Family Romance for the Post-Oedipal Era” explores the five seasons
Introduction 11
of the polymorphously perverse cultural universe of A&E’s Bates Motel,
focusing on what she calls the “post-Oedipal” context, where the Name-
of-the-Father that functions as the organizing principle and the basic
cornerstone of symbolic exchange has been cast aside. Offering a read-
ing of the psychic dimension of horror and its relation to the contem-
porary social environment, with its shrinking public space and fading
symbolic pact, Belau considers how the symbolic dimensions of the cul-
ture that consumes the serial program Bates Motel come to reflect the
same psychotic mind-set that characterizes the main character of both
the television show and the source film that the program is adapted from
(Alfred Hitchcock’s Psycho). In her analysis of Bates Motel, then, Belau
explores the plethora of family ties and dysfunctional kinship relations
that permeate and condition both the protagonist Norman’s psyche as
well as the broader diegetic space of Bates Motel, where every potential
relation or act that might otherwise ground symbolic authority is will-
fully transgressed. From the image of the failed father and criminal law-
man to the over-proximate presence of the Phallic Mother, Bates Motel
provides a fascinating origin story for Norman Bates that accounts for
his ultimate psychic disintegration into a homicidal psychotic who mur-
ders his mother and completely disassociates from his symbolic identity.
Through her further analysis of the television series’ overt rejection of
the cultural authority of its own father figures (that is, Hitchcock’s film
Psycho and Robert Bloch’s novel from which the film is adapted), Belau
also considers how the show itself functions at the same level of symbolic
transgression that characterizes its story lines and permeates the meta-
textual trajectory of the program.
Turning the focus toward network television, Stacey Abbott’s essay
“Masters of Mise-En-Scène: The Stylistic Excess of Hannibal” examines
the aesthetics of contemporary television horror as characterized by a
form of visual and aural spectacle. The representation of spectacle, par-
ticularly in the horror television genre, Abbot argues, often encompasses
a combination of gore and stylistic experimentation, pushing the bound-
aries of acceptability and televisual transgression. Considering what she
calls the “new Golden Age of TV Horror” and the increased presence of
the horror genre on television, Abbott focuses on Hannibal as an extreme
example of the genre’s penchant for narrative and stylistic innovation
and transgression. Focusing on the TV landscape in which the horror
genre is increasingly commonplace, Abbott shows how this network
program redefined expectations of TV horror in terms of representations
of the body in disarray, narrative structure, moral ambiguity, visual aes-
thetics, and music and sound. In so doing, Abbott argues, H annibal
challenged and overturned the conventions of the televisual serial killer
genre, all while being broadcast on network television, defying assump-
tions that this level of experimentation was only available via cable or
streaming services. Abbott further positions Hannibal within a cross
section of influences and discourses, including the broadcast landscape
of television horror at the time of its airing and the show’s relationship to
the originating novels by Thomas Harris and the subsequent cinematic
adaptations, as she demonstrates the show’s effect on TV horror and the
serial killer genre when it is reimagined as avant-garde.
Continuing the focus on network television, Jim Daems considers the
rehabilitation of Washington Irving’s Ichabod Crane in the television
series Sleepy Hollow as it transforms Crane into a redemptive combat-
ant in an apocalyptic struggle, using elements of horror to anchor the
American identity in religious symbolism and Biblical lore. In his essay,
entitled “Sleepy Hollow and the Horrors of History Post-9/11,” Daems
argues that while Washington Irving satirizes certain aspects of his own
era in Sleepy Hollow, the series does not. There is nothing new in hor-
ror representing contemporary fears and anxieties, Daems maintains, but
there is something deeply ambivalent about Sleepy Hollow’s historical
and contemporary apocalyptic contexts. This is evident in the series’ sce-
nario of situating the founding of the United States as already marked
by the founding fathers’ struggle against the forces of darkness. In this
sense, Daems suggests, Sleepy Hollow is a sustained commentary on the
ability of America to defeat its own demons through the conventions of
horror that it draws on. Through his analysis of key scenes and episodes
in the series, Daems demonstrates how Sleepy Hollow reveals anxieties
over the loss of a master narrative and a proper American identity in
the contemporary post-9/11 era. The series’ use of horror, Daems argues,
is an attempt to make up for the subjective loss and shore up this frag-
mentation, a reunion of then (national founding) and now (contemporary
Sleepy Hollow as a microcosmic U.S.). As Sleepy Hollow constructs a
supernatural-historical master narrative that reinvigorates the centrality
of the U.S. in the current global context of “terror,” Daems argues that
the series reaffirms the U.S.’s role to combat “evil” as a founding principle.
Arguing that contemporary culture has embraced the combinatory
nature characteristic of textuality, Michael Fuchs’ essay “It’s a Monster
Mash! Penny Dreadful and the Return to (and of) Contemporary
Horror’s Victorian Roots” explores what he calls the intertextual and
intermedial dimension of Showtime’s edgy and experimental television
series Penny Dreadful. The program’s novelty, he argues, consists in
its representations of returning icons of horror, which largely return to
their roots but are, at the same time, cast in a new light, with original
characters that, in the show, inhabit the same universe as these well-
known creatures. By transporting Victorian monsters into the present
moment, Fuchs contends, the show draws up a microhistory of the genre
reflected in both its intertextual and intermedial contexts. Maintaining
that “mashing” is nothing new, particularly in the horror genre, Fuchs
explores the ways in which the show utilizes a wide array of Gothic
themes and motifs, from the empathic, insightful, and sensitive monster
Introduction 13
to the past’s powerful grip on the present. Further, as Fuchs argues, by
setting its narrative toward the end of the nineteenth century, Penny
Dreadful itself becomes a kind of specter, invading the present moment
of the early twenty-first century from the past. Thus, in the same way
that the show’s characters uncover their dark, repressed pasts in a piece-
meal fashion, so Penny Dreadful not only reveals its origins but also
showcases the interrelations between the genre’s past and present. In
this manner, Fuchs argues, Penny Dreadful excavates the horror genre’s
foundations in the nineteenth century as it clearly emphasizes its histori-
cal location and establishes its setting through a very particular tone and
style. This meta-historiographic awareness functions as the very founda-
tion of Penny Dreadful while it concurrently fuels its aesthetics.
In his essay entitled “Slashing through the Bonds of Blood: Queer Family
and Scream: The TV Series,” Kyle Christensen examines MTV’s foray into
horror television with his reading of Scream: The TV Series in relation to the
Scream film it is adapted from. Focusing on the notion of “queer family,”
Christensen considers both the film’s and the series’ queering of family struc-
ture and traditional familial relations through representations of women’s
intergenerational relationships and what he calls the “ matrophobic-abject
mother.” Arguing that, despite the fact that the first season of the series
aired during the summer of 2015, which was monumental for queer politics
concerning the family in U.S. popular culture and society, Scream: The TV
Series fails to replicate the radical positioning of the successful film fran-
chise in terms of its presentation of a functional horizon for queer family re-
lations. In the progression from film to television, then, the Scream franchise
comes to lose its once innovative figures of queer familial-feminine identity.
Thus, according to Christensen, while Scream: The TV Series pays homage
to its cinematic predecessor, it concomitantly de-queers and re-heteronor-
malizes the family within its narrative. Whereas the film exemplifies politics
of queer family and the production of mother-daughter ties not steeped in
the bonds of blood, the television series accomplishes the opposite by ef-
fectively de-queering depictions of family within its narrative. Specifically,
Christensen argues, Scream: The TV Series upholds models of normative
familial relations by canonizing traditional reproductive motherhood and
depicting queer maternity as monstrous, while also recoding queer identity
as conventionally sexual/romantic, youth-centered, and without concern
for the maternal figure.
The penultimate essay by Ian Conrich, entitled “Resurrection: Ash vs
Evil Dead, Network Television, and the Cult Horror Film Revival,” dis-
cusses the Starz network series Ash vs Evil Dead, which extends the Evil
Dead trilogy of films directed by Sam Raimi between 1981 and 1992.
Because the film trilogy has enjoyed wide fan support and an extraor-
dinary cult following, Conrich explores its adaptation into a televisual
medium as he explores what he calls “nostalgia-horror” as television
that resurrects popular and cult film narratives and characters from the
golden age of post-classical Hollywood horror and takes them beyond
the fan fiction of the Internet. According to Conrich, today’s wave of
multimedia network platforms has created an unprecedented period
for television production. There has been a drive to develop resurrected
characters, locations, and authors as horror series offered spin-offs that
appropriated essential parts from the original successful films. However,
it was always largely believed that the original storylines of these horror
franchises would be insufficient to support an entire television series.
While this is the case with many of these kinds of shows, Conrich main-
tains, Ash vs Evil Dead is different insofar as it both resurrects and
advances the Evil Dead narrative and characters. Bruce Campbell, the
actor who plays the central character, Ash Williams, has acquired a hy-
perreal existence within the context of the series, where the line between
the actor and his character has often been blurred as the Evil Dead
world has grown. Conrich explores the rich parameters of this show, set
almost thirty years after its “precursor” Evil Dead II, as Ash appears as
a reluctant hero trapped and destined to forever fight the Deadites.
Focused on the hit series Stranger Things, Rose Butler’s essay “‘Wel-
come to the Upside Down’: Nostalgia and Cultural Fears in Stranger
Things” closes the collection with her analysis of the series, which is pro-
duced and is distributed by Netflix for immediate access as an instantly
streamable program. Butler’s essay investigates the series as a piece of
nostalgic horror television that utilizes its 1980s setting and genre aes-
thetics to explore a number of complex sociocultural anxieties and their
relationship to present-day America. In its presentation of the other world
of the Upside Down and in its allusions to a number of touchstones from
the 1980s, including the films Poltergeist, E.T. the E xtra-Terrestrial,
Firestarter, It (and its television adaptation), and Steven King as a horror
writer more generally, Stranger Things, Butler maintains, encapsulates
the culture of the era. Rather than evoking the decade as a happy time,
however, the television series functions as a sharp critique of the 1980s
and the rise of a deeply entrenched political conservativism, which, she
further argues, returns in the Trump administration and in the alt-right
conservativism that characterizes the contemporary political climate.
As it captures the pervading fears and anxieties of the decade, Butler
posits, Stranger Things borrows narrative and thematic elements from
its influences to draw attention to the social and cultural issues that
plagued the Reagan era, including fiscal inequality, social conservatism,
and Cold War militarism. Set in a fictional American suburbia blighted
by inequality and home to a secretive military laboratory performing
outlandish experiments, the show is, Butler contends, far more than a
genre pastiche; it is a piece of horror television which reveals the stark
similarities between two very troubling times in American history. In
this manner, Butler argues, the show’s themes speak to the present as
much as the past.
Introduction 15
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Horror Television in the Age of

Characterized as it is by its interest in and engagement with the super-

Linda Belau is Professor in the Department of Literature and Cultural

Kimberly Jackson is Associate Professor of English and Chair of the De-

1 Parody and Taste in Postwar American Television Culture

2 Television and Postfeminist Housekeeping

3 The Antihero in American Television

4 American Militarism on the Small Screen

5 Appreciating the Art of Television

6 Politics and Politicians in Contemporary US Television

7 Contemporary British Television Crime Drama

8 Television and Serial Adaptation

9 Girlhood on Disney Channel

10 Horror Television in the Age of Consumption

Edited by Linda Belau and

ISBN: 978-1-138-89565-2 (hbk)

Introduction: Binging on Horror 1

1 Pigeons from Hell: Anthology Horror on American

2 “Where It Belongs”: Television Horror, Domesticity,

3 The Thing “Chants Out Between Two Worlds”:

4 “If I Could Have Feelings at All, I’d Have Them for

5 White Trash in Wife-Beaters? U.S. Television

6 “The World Is Changing Again”: Bodies,

7 Family Ties and Maternal Things: Bates Motel as

9 Sleepy Hollow and the Horrors of History Post-9/11 135

10 It’s a Monster Mash! Penny Dreadful and the

11 Slashing through the Bonds of Blood: Queer Family

12 Resurrection: Ash vs Evil Dead, Network Television,

13 “Welcome to the Upside Down”: Nostalgia

List of Contributors 202

I believe we binge on TV to craft time and space, and to fashion an

McCracken’s poignant quote is both a reflection and articulation of the

Transmedia storytelling is the art of world making. To fully experi-

a mood of dread and/or terror inclined to evoke fear or disgust in the

These melodramatic narrative elements dovetail nicely with the kind of

Serialized shows demand an investment from the viewer beyond a

This emotional investment rises exponentially when such serial install-

[c]learly, many shows in the field of contemporary crime drama

Gothic television is a particularly striking example of a genre of

Nachträglichkeit describes how a later event prompts the retroactive

By including Bates Motel in her analysis, Loock expands the category of

In these cases [the Psycho franchise, including Bates Motel], it makes

In a similar move, Maria Sulimma challenges the fidelity/infidelity dis-

Pigeons from Hell

The Thing Chants Out Between Two Worlds

If I Could Have Feelings at All, Id Have Them for Deb

White Trash in Wife-Beaters? U.S. Television Werewolves, Gender,

The World Is Changing Again

Family Ties and Maternal Things

Sleepy Hollow and the Horrors of History Post-9/11

Welcome to the Upside Down

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Introduction: Binging on Horror 1

9 Sleepy Hollow and the Horrors of History Post-9/11 135

List of Contributors 202