Complex Slasher Characters in American Basic Cable Television

Abstract

The prominence of slasher television programs in the twenty-first century is evident in the variety that have been produced by a wide array of cable networks. Among these shows are FX’s American Horror Story (2011–), NBC’s Hannibal (2013–2015), A&E’s Bates Motel (2013–2017), MTV’s Scream: The TV Series (2015–2016) and Scream: Resurrection (2019), and Chiller’s Slasher (2016–2019). These shows are utilized to meet the overall programming goals of their producing networks and, to do so, employ narrative innovations that reinforce the significance of the killer character. The killers no longer operate only as obstacles to the protagonist. Increasingly, they also have their own backstories and narrative arcs that explain their constitution as psychological and dynamic beings, allowing these shows to highlight certain social issues especially relevant to the show’s targeted audiences. Furthermore, these killers are usually punished for their crimes, allowing the shows to warn a network’s desired demographic away from certain behaviors or to signal the network’s adherence to more traditional moral standards. Academic inquiries have discussed how morally complex protagonists and the heinous acts they commit function as serialized components intended to lure the producing network’s desired demographics, increase audience shares, and ensure series longevity (Lotz, Cable Guys; Mittell, “Lengthy Interactions”; Smith, Storytelling Industries). However, the development of the killer in slasher series has been thus far neglected. Even though slasher shows are profitable for basic cable networks, frequently occupying primetime slots, generating sufficient ratings, and airing for multiple seasons, few academic accounts mention their notable status and impact on programming plans and strategies. Instead, inquiries are generally concerned with gender representations and the development of slasher genre tropes across television and film, with special attention given to the depiction and evolution of the Final Girl. These investigations link the representations of gender to cultural values instead of considering the influence of changing production contexts and industrial practices. Furthermore, comparing film series to television series, as these studies frequently do, ignores the industrial specificities and operational dynamics of both visual mediums.