Segan intentionally refuses to play to his strengths as Francis, a neurotic character whose predatory mystique is consistently challenged and second-guessed by secondary characters. Because optics matter, as one character places it, whether or not we prefer it or not, and blasting Wagner’s “Gotterdamerung” in your flashy automobile tends to attract consideration, even on the fringe of city.
In this tongue-in-cheek approach, Segan will get some mileage out of Francis’ apparent habits by enjoying with our generic expectations. So Francis asks for permission earlier than getting into any constructing, as a result of he’s a vampire. He additionally tries to be well mannered every time addressing varied human characters, as a result of he’s a pleasant Jewish boy, irrespective of what number of centuries previous.
Jane doesn’t care about any of that. She cuts Francis right down to measurement with a fast, true-crime-podcast-ready spiel about how he met her late mom. Then Jane inserts herself into Francis’ life, regardless of his whiny protests. “Sorry if this doesn’t suit your narrative,” she shrugs. Moroles is excellent with that specific mixture of snappy pouting and matter-of-fact sass.
Segan additionally did effectively to play to his co-lead’s strengths, which carries “Blood Relatives” throughout its emotionally muted scenes. Francis drives himself and his daughter round, and she or he repeatedly proves that she doesn’t want him within the ways in which he thinks she does. Because his loaded expectations are normally primarily based on a complete lack of expertise, as a father or mother and a social creature, so Francis typically performs to a kind that he solely selectively matches.