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In 1960, Alfred Hitchcock’s Psycho stunned both the cinema-going public and critics alike. Its tale of a young, genial, likeable and mother-fixated hotel proprietor – Norman Bates (played by Anthony Perkins) – whose psychotic tendencies and fractured personality tapped into the zeitgeist of an America changing in a post-World War II world, was very much the antithesis of rock ‘n’ roll rebels like Elvis Presley and James Dean. Norman Bates was Anthony Perkins and Anthony Perkins was Norman Bates.

In 2013, Norman resurfaced from numerous remakes in Bates Motel. With its nod to the past, and a look to the future of how Norman’s story pans out, the series’ narratives, characters and situations showed there was life for him, his mother and the motel beyond cinema.

This chapter examines how Creed’s ideas of ‘Monstrous’ can be overlaid onto Norman, his mother Norman and Bates Motel.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.

Since the turn of the Millennium, horror has had a resurgence both in cinema and in television. With programmes like The X-Files and Buffy the Vampire Slayer paving the way for other horror shows such as The Walking Dead, American Horror Story and Penny Dreadful, this introduction discusses the way that TV has become a bedrock of new, exciting, vibrant and bold horror productions.

The present chapter reviews part of the literature that focuses on dark tourism and dark consumption. The main theories were placed under the critical lens of scrutiny. With strongholds and weaknesses, dark tourism seems to be enframed in an ‘economic-based paradigm’, which prioritises the managerial perspective over other methods. Like Dark Tourist, the Netflix documentary assessed in this chapter, this academic perspective accepts that the tourist's experience is the only valid source of information to understand the phenomenon. Rather, we hold the thesis that far from being a local trend, dark tourism evinces a morbid drive which not only emerges recently but involves other facets and spheres of society. We coin the term Thana-capitalism to denote a passage from risk society to a new stage, where the Other's death is situated as the main commodity to exchange. The risk society as it was imagined by Beck, set finally the pace to thana-capitalism. Dark Tourist proffers an interesting platform to gain further understanding of this slippery matter. In sharp contrast to Seaton, Sharpley or Stone, we argue that dark tourists are unable to create empathy with the victims. Instead, they visit these types of marginal destinations in order to re-elaborate a political attachment with their institutions. They consume the Other's pain not only to feel unique and special (a word that sounds all the time in the documentary) but also to affirm their privileged role as part of the selected peoples.