Peel's Baron Meinster always reminded me of Ian Quarrier in "The Fearless Vampire Killers" as well, at least aesthetically. Quarrier's part is played more for "wink, wink" laughs than for any easy real transgressive value. Still, Polanski's film is surprisingly frank of its depiction of male vampires with a yen not only for the same sex victim, but for their company as well. I also got the sense that the elder von Krolock's tastes mirrored those of his son's. The term "companion" seems to be used with a rather open meaning in this film. Ferdy Mayne's vampire king may make off with Sharon Tate, but she's really meant to be the main course at the climactic feast. Polanski's Alfred is designated as von Krolock Junior's love interest, while Jack MacGowran's elder vampire slayer seems to catch von Krolock's Senior's eye. When the Count talks about the pair "spending long winter evenings together" (I'm paraphrasing), it's obvious that the two male heroes have a decidedly different fate in store for them than Tate's more dispensable Sarah.