This darkly comedic ensemble narrative series takes us into a socially and economically disadvantaged apartment complex on the fringes of a Western metropolis, inhabited predominantly by first- and second-generation immigrants from the former Yugoslavia. The narrative flirts with the supernatural, drawing on vampire folklore rooted in Balkan mythology. But its uniqueness lies in one simple fact: the supernatural becomes real as the vampire queens at the heart of the story are actually ordinary women seeking justice and claiming power. These are women who choose to navigate their own destinies in ways that might seem irrational or even ridiculous, yet always with self-awareness. Embracing the power of self-irony, both the female protagonists and the creators of the series bring something we felt was lacking in the region: inviting audiences to laugh, reflect, and celebrate the complexities of the female existence through a specific kind of dark humour. Artistically, the series is a shout back to the 1990s. This retro approach runs through a variety of elements, such as the main character’s obsession with Jennifer Beals, the star of Flashdance. Once transformed, Miliana dresses, acts, tries to sing, and, yes, dances in that style. The 1990s-style video surveillance camera serves a double purpose: alongside its dramaturgical function, it imposes an aesthetic that will be reflected throughout the series. The contradiction between the overblown, luminous, shiny images and the blood and gore contributes to the very specific style the series will embrace, never forgetting that, ultimately, this is a vampire story. In terms of music and sound, we plan to use the same strategy – by embracing a very specific style of scoring, the pinnacle moments will be accentuated by a very deliberate and expressionistic use of music. This baroque-like treatment will further elevate the black humour and quirkiness that runs through the series.