Returning after a successful 12 episode run, HBO’s “True Blood” is back on Sunday, June 14, 2009. In this first of four “Blood” stories I’ll write for EI, I have been fortunate enough to see, prior to its premiere, the hour long episode 13, subtitled “Nothing But the Blood.”
The first season ended with a fang, and this second season is no different. Although the vampire action and intrigue is ever-present, I was surprised by the effectiveness of the romance between Sookie Stackhouse (Anna Paquin) and Bill Compton (Stephen Moyer). Theirs is a complex love affair, to be sure, but one that has unique pathos.
In episode 13, Bill must reveal to Sookie that he has taken on a young protégé, new vampire Jessica (Deborah Ann Woll). We know that Jessica was created by Bill in order to square things after killing a fellow vampire in season one. But Bill has concealed this from Sookie out of fear that he may lose her. Sookie’s reaction to the news puts Bill in a terrible position and threatens the future of their already strained relationship.
Meanwhile Jason Stackhouse (Ryan Kwanten) has turned to religion in an effort to slake his on-going troubles mainly centered on his insatiable libido. He visits the Fellowship of the Sun, a religious group hell-bent on bringing down the vampires that have come out of the shadows.
Bar owner Sam Merlotte (Sam Trammell) remains sullen and dour as ever, this time finding himself tortured by a woman from his past—the mysterious puppet master Maryann (Michelle Forbes). Everyman town detective Andy Bellefleur (Chris Bauer) has climbed into the bottle causing slow and steady Sheriff Bud Dearborne (William Sanderson) to consider disciplinary action against his employee.
As a side note, Sanderson is just terrific in this Sheriff role, completely understated and a man of few words. Part of this is writing, of course, but Sanderson, a veteran of both television and film, has got the amazing ability to stare so blankly that you wonder what he is thinking. This may sound counterintuitive, but fans of “Blade Runner” know exactly what I mean. In “True Blood” Sanderson’s Sheriff is a character built on everything Sanderson has played up to this point—a lifetime of performances honing a peculiar look and posture that is special to the actor. Compare a much touted and award-winning performance by actor Bryan Cranston as the troubled Walter White on AMC’s really interesting “Breaking Bad.” Sometimes saying little, says more.
To extend this line of thinking let me tell you about a conversation I recently had with Jennifer Lynch, the filmmaker and David Lynch’s talented daughter. We both are fans of actor Michael Ironside. While talking about her latest feature “Surveillance,” Lynch told me that Ironside is amazing to hang out with, and he has a special talent in making any line of dialogue work. By contrast, I submit that Sanderson is an actor who greatly benefits from having little dialogue and lots of face time. In Atlanta, there is an actor friend of mine, Steve Warren, who has literally been in just about every Atlanta movie, large and small, and who fits comfortably into the Sanderson mold. The key to Sanderson’s method, I think, is his commitment to giving us little more than stillness and slight movement of his aged and fascinating features to inform on his character’s inner thoughts--longing, anger, sadness, and compassion in one face, even collectively and simultaneously. The master of the understated performance.
But back to the specifics of episode 13 of “True Blood,” in this hour-long episode more is learned about the fate of the colorful LaFayette Reynolds (Nelsan Ellis), the enterprising short order cook, who works the kitchen at Merlotte’s often donning eye-shadow and wearing club clothes. Needless to say, his situation is one that will do more than curl your toes.
The many different subplots in “True Blood” are handled well and in admittedly a good soap opera fashion. Tormented waitress and Macon, Georgia, native Carrie Preston returns as Arlene Fowler and is understandably on edge given the conclusion of episode one. Without recapping those events, I encourage readers to visit HBO.com and watch them for yourself!
Romance is perhaps the most impressive special effect in upcoming episode 13 kicking off “True Blood” season two. Sookie and Bill look at one another with such genuine emotion, it has an immediate impact on the viewer. Alan Ball and his team know full well the great benefit they get from the creepy makeup and lighting and the built in danger associated with fantastical subject matter. But Paquin and Moyer are able to transcend the schlockiness that could have been and make it credible. When the bedroom is in play, and the blood begins to tickle, the hair on back of one’s neck might stand at attention. Erotic and emotionally connective, “True Blood” season two offers delights rarely seen on the little screen.
