The world these days is ‘a vam­pire’

Sunday Tasmanian - Tassie Living - - NEWS -

HAV­ING starred in a few vam­pire-themed projects, ac­tor Mia Mae­stro sees big sim­i­lar­i­ties be­tween the blood­suck­ing mon­sters on screen and re­al­life so­ci­etal pres­sures. But in­stead of crea­tures of the un­dead drain­ing our souls, it’s the mod­ern world and things like war, so­cial di­vi­sion, junk food and over­con­sump­tion killing the hu­man spirit. “I think there’s some­thing about this era, the time that we live, that ac­tu­ally sucks our en­ergy and life out of us,” Mae­stro, who stars in tele­vi­sion series The Strain, ex­plains.

“It’s re­ally hard to just find your true en­ergy … what your spirit re­ally is and what we ac­tu­ally have come here to do in this life­time, so I think there’s this vam­piric main en­ergy that we’re go­ing through.”

The Strain, which be­gins lo­cally on Eleven this week, is a thriller that sees a team of bio­chemists in­ves­ti­gate a fast­spread­ing vi­ral out­break that has all the hall­marks of vam­pirism.

Mae­stro plays Nora Martinez, a sci­en­tist help­ing in the fight to save hu­man­ity. She also played Car­men in the pop­u­lar Twi­light film series.

“There are no sim­i­lar­i­ties at all,” she says.

“In a way, I feel like the vam­pire genre is still be­ing writ­ten and vi­su­alised as if it was in the 18th cen­tury and in a very ro­man­tic way.

“It’s nice to recre­ate the world of vam­pires at the hand of (series cre­ator) Guillermo del Toro … (who has) taken the genre into the 21st cen­tury.”

She be­lieves the show is “like noth­ing you’ve ever seen” and ditches many of the tra­di­tional vam­pire elements – in­clud­ing an ab­sence of pointy fangs.

There were even a few times dur­ing shoot­ing when she for­got it was about vam­pires, Mae­stro laughs.

“It’s a re­ally dra­matic show that hap­pens to have vam­pires and I don’t think there’s any­thing like it where you have such an in­tri­cate and beau­ti­ful story … yet we’re fight­ing vam­pires.”

THE STRAIN MON­DAY, 9.30PM, ELEVEN By Shan­non Mol­loy

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