One broad distinction between the post-1982 giallo and its earlier counterpart is that issues around Italian identity no longer seem as important.
For example, the mixture of ethnicities and nationalities amongst the characters in Nothing Underneath, with the presence of a photographer of East Asian and a model of African extraction amongst them, goes without remark.
This is in sharp contrast to the discourses of exoticism and otherness that typically employed in relation to analogous characters in the 1960s and 1970s, as with the treatment of the 'black' characters in Your Vice is a Locked Room..., The Case of the Bloody Iris and Torso.
If such an approach, along with the increasing tendency to locate narratives in the US rather than Italy can in part be read as a concession to market forces, recognising US hegemony after thirty years of Italian counter-hegemonic action, it might also be read as signifying the end of the vernacular giallo audience.
The terza visione, that is, had largely been left behind and/or incorporated into the (post)modern world.