''First Kill' clings to reference and bald exposition for dear life. The script does not trust its actors, so everything must be underlined at least three times through clumsy exposition,' lpbradley writes
does expand and improve upon the legacies of vampire fiction—particularly contemporary teen romances likeBoth of those properties maintained queasy relationships to the Confederate South as a source of nostalgia, and both sidelined Black characters. Vampire fiction has also been a reliable site for the “bury your gays” trope—in which queer and queer-coded characters die at a disproportionate rate, often after revealing their sexuality or consummating a romance.some credit.
The Burns and Atwood Fairmont families have distinct tastes—the AF’s are pretty preppy, while the Burnses prefer high-end athleisure—but the world they share appears to have been designed with all the richness of a deodorant commercial. Ifrelied too heavily on department-store fashions for its costumes, someone needs to have a talk withPerhaps the biggest disappointment: leads Sarah Catherine Hook and Imani Lewis never bring enough heat to explain why their characters would risk it all.
While Juliette shies away from their family’s distinction as ancient, day-walking vamps, Elinor embraces everything she is. Dzienny’s perpetual pout and condescendingly bored disposition exhibit a mastery of the genre. More importantly, she seems to be the only person in the cast having a consistently good time. To Elinor, life’s an all-you-can-eat buffet—being a vampire simply means she can eat more.’s production had embraced that kind of zest.