Wes Craven's Scream series has been viewed as a form of postmodernism or even so-called “hyperpostmodernism.” It should, however, be noted that “postmodern horror” was discussed before the release of the film: Isabel Pinedo, for instance, (somewhat inevitably) drawing on Jameson, would note how “Humor frequently involves self-reflexive references to other horror films” in her discussion of franchise entries such as Friday the 13th Part VI: Jason Lives (Tom McLoughlin, 1986) and Hello Mary Lou: Prom Night II (Bruce Pittman, 1987). This acknowledgement of earlier genre productions that also involved characters discussing elements of common horror frameworks should not distract from what made and makes Scream unique. Whereas in previous “postmodern” examples, the narrative personalities may show their pop culture awareness (“I’ve seen enough horror films to know this means trouble” states someone being stalked by Jason in Friday the 13th Part VI shortly before her impalement), Craven and screenwriter Kevin Williamson had Scream subvert the expectations of characters, genre, and audience. Hence, premarital sex does not result in death, one of the killers (instead of the potential victims) says “I’ll be right back,” there is more than one “final girl,” and the teenagers of the suburbia where the slaughter takes place band together and watch old horror movies instead of splitting up (which also does them no good but attests to a wider, general acceptance of a doomed generation). Even the concept of copycat antagonists across sequels, although not without some precedence, is unique within a slasher template that favors the reappearance and repetition of key villains (Chucky, Leatherface, Michael Myers, Norman Bates et al.).

Certainly, the influence of the Scream franchise is undoubted; Adam Rockoff speaking of the original 1996 film notes how it “broke all the rules, shattered box office records and once again made the slasher film viable.” Perhaps Craven's most famous achievement, and certainly his most lucrative, it was probably no surprise to anyone that Scream inspired a quicky turned-around sequel (in 1997) and a “concluding” chapter in 2000.