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Blade as an allegory of sorts for the now-decades of anxiety surrounding Barack Obama’s racial and national heritage. The comparison, while specific, is solid: Blade’s central conflicts all reflect the anxiety of purity logics rendered as a tool of oppression. A human-vampire hybrid known as the “Daywalker,” Blade (Wesley Snipes) supposedly moves with “the best of both worlds,” which is more to say that his vulnerabilities aren’t immediately legible. In this world, the vampires have their own hierarchy of “pure bloods” (those born vampire) who laud power over those merely turned. Where Blade sees his vampirism as something equivalent to contaminate and curse (following the likeness of earlier Black vampires), Deacon Frost (Stephen Dorff) sees in his hybridity the opportunity to obliterate the vampire hierarchy and seize dominance over humankind through invocation of La Magra, the Blood God, said to unleash a “vampire apocalypse.” The Daywalker’s blood is, o

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