Buffy the Vampire Slayer
True Blood seems to get better with every episode that airs. When it premiered last fall I was unimpressed and was close to giving it up. My new Southern friends here in North Carolina assured me that Sookie Stackhouse’s (Anna Paquin) accent was laughable (what did I know?) and the series’ vampire plot seemed like Buffy-lite. But slowly the show found its footing. And now I’m obsessed.
I attribute much of the show’s allure to its mastery of the slow burn. What I mean is this: while many programs with rich, soapy plots (The O.C., Desperate Housewives, Gossip Girl)) rush through their storylines, anxious to bring them to a climax before audience interest wanes, True Blood is a true tease. Mysteries remain mysterious and flirtations go on and on and on (I am particulary taken by the brewing attraction between Sookie and Eric [Alexander Skarsgard]). Furthermore, we are always finding out something new about the show’s characters–they evolve and become more complex with each episode.
Maryann Forrester’s (Michelle Forbes) story arc is another great example of True Blood‘s deft storytelling technique and character development. Maryann first appeared at the scene of Tara’s car accident at the end of Season 1, cradling a pig and looking devious. The writers made us suspicious of her character then, but buried her secrets behind Maryann’s sweet, disarming demeanor. In this way we were much like Tara (Rutina Wesley); we know something isn’t right about Maryann, but what is it? That she smokes too much weed, buys too much delicious fruit, and parties too hard for a woman in her 40s?
It is not until almost halfway through Season 2 that we find out that Maryann is an immortal supernatural being and somehow tied to the god, Bacchus. She thrives on unfettered human drives like hunger, lust and violence. The scene in last night’s episode (“New World in My View”), where Maryann crafts a pyre of meat and flowers while the sounds of buzzing flies fill the air was the apotheosis of the excess she had been slowly and cannily directing all season long. It was a satisfying moment.
The best scene of the evening, however, had to be when Jason Stackhouse (Ryan Kwanten) (who really deserves an Emmy for his work this season) and Andy Bellefleur (Chris Bauer) (who will always be Frank Sobotka to me) outwit Maryann’s angry mob by outfitting Jason as the “God who comes.” These two characters are consistently portrayed as the biggest morons in the town of Bon Temps, but they are able to (momentarily) save Sam Merlotte’s (Sam Trammell) life by using their wits. So there’s something else rattling around in Jason’s brain besides the drive to drink beer, screw and kick ass? Good to know.
An honorable mention goes to Lafayette Reynolds (Nelson Ellis) (any scene with Lafayette is a great scene as far as I’m concerned), who banded together with his estranged aunt (Adina Porter) to yank Tara free from Maryann’s spell. At one point Lettie Mae prays for her daughter’s salvation but trails off in despair and, without missing a beat, Lafayette finishes her prayer. Lettie Mae turns, looking surprised. “Jesus and I agree to see other people. That doesn’t mean we don’t talk from time to time” he responds in his usual deadpan manner. So Lafayette has religion? Yet another nuance we can add to his already rich character.
And of course I would be remiss if I didn’t mention “the Queen” (Evan Rachel Wood), who Bill (Stephen Moyer) visits just before the episode ends. We see only her white leg, covered in a stream of blood, before the screen fades to black. As always, True Blood, like any good tease, leaves me wanting more.