Hellah Horrah Presents: Blade Trinity

Written By Tya Alisa Anthony

Where Deadpool Was Born? 🦇

Darlings of the dark, sharpen those fangs and buckle up your leather corsets, because tonight we’re diving into the blood-spattered, fang-flashing chaos that is Blade Trinity (2004). Yes, sugar bats, this is the one where the vampire hunter extraordinaire—our stoic and shadow-soaked Wesley Snipes—teams up with a wise-cracking, chiseled, and delightfully foul-mouthed Ryan Reynolds.

Now, for those of you who haven’t brushed the cobwebs off your DVD collection lately, Blade Trinity is the third entry in Marvel’s OG midnight franchise—the one that taught comic-book cinema how to stalk the night before the MCU was even a twinkle in Dracula’s eye. Blade is still slicing and dicing his way through the undead, but this time he’s joined by the Nightstalkers, a ragtag group of vampire hunters led by Reynolds as Hannibal King.

💀 Here’s where your Mistress of the Dark sniffs out the real horror twist…

Hannibal King isn’t just Hannibal King. Oh no, kittens—watch closely, and you’ll see the undead seedlings of what would later grow into Deadpool. Yes, Reynolds’ character has the exact same cocktail: constant sarcasm, endless pop-culture one-liners, and a gleeful knack for undercutting horror with humor. In Blade Trinity, it’s almost as if Reynolds is workshopping the Merc with a Mouth under Blade’s leather-clad wing. Coincidence? I think not.

Imagine it—Deadpool didn’t just crawl out of a Weapon X lab, darlings. He clawed his way out of the vampire underworld, testing his jokes against Wesley Snipes’ icy glare. Reynolds’ Hannibal is Deadpool’s creepy chrysalis, and by the time he sheds his vampire-hunting skin, voilà—out pops everyone’s favorite regenerating antihero.

🩸 The Horror Angle: Let’s not forget this film is a blood buffet. We’ve got Dracula himself (played with Gothic grit by Dominic Purcell), vampiric hunting dogs (yes, hellhounds with fangs!), and a neon-lit nightmare of early-2000s CGI that might scare you more than the actual monsters. The film is campy, chaotic, and a little cursed—but isn’t that the exact recipe for cult horror deliciousness?

So next time you pop in Blade Trinity, don’t just watch Snipes swing his sword like a goth samurai. Watch for the birth of Deadpool, lurking in Reynolds’ smirk. It’s horror history with a comic-book twist, and Hellah Horrah decrees: this film may have staked its critics, but it planted the seed for something far darker, funnier, and bloodier in the Marvel graveyard.

Until next time, my creatures of the night—keep your fangs sharp, your jokes sharper, and never trust a vampire Pomeranian.

🖤 With shrieks and kisses,

Hellah Horrah – Hells’ Angel.

Tya Alisa Anthony

Tya Alisa Anthony is an American artist, photographer, writer, and independent curator whose work explores memory, mythology, ancestry, and the quiet ways people leave themselves behind in the objects they touch. For more than twenty years, her practice has existed at the intersection of visual research, education, and cultural storytelling, investigating resilience through the body, the landscape, historical archives, and the natural world.

Working across photography, collage, cyanotype, botanical collections, handmade books, and mixed media, Anthony approaches each body of work as an evolving archive rather than a finished statement. She is drawn to weathered photographs, heirlooms, medicinal plants, folklore, ritual objects, forgotten architecture, and the symbolic language that connects cultures across time. Her work asks how identity is preserved, transformed, and remembered.

Alongside her studio practice, Anthony has spent more than two decades building educational programs, exhibitions, and community-centered initiatives that expand access to the arts. Her leadership has helped shape institutions, mentor emerging artists, develop sustainable systems, and create spaces where creativity becomes a lifelong practice rather than a privilege.

Anthony’s artwork is included in the permanent collections of the Denver Art Museum and the Museum of Contemporary Art Denver’s Octopus Collection. Her work has been exhibited nationally and is held in numerous private collections.

She is currently creating Organic Tarot, a 78-card hand-collaged tarot deck and accompanying memoir that intertwines mythology, autobiography, botanical symbolism, and the archetypal journey of transformation. The project reflects the central thread running throughout her career: that art is not simply something we make—it is a way of understanding ourselves, preserving what matters, and leaving a map for those who come after us.

http://www.tyaanthony.com
Previous

Hellah Horrah Presents | The Omen
Next

A Sergeant’s Daughter : Freeman and Obedience