Alan Ball was known for his masterful use of music inSix Feet Under. He's lost none of his touch when it comes to his current HBO series, True Blood -- which happens to be set in the Louisiana swamps, not terribly far from Houston. Much thanks to True-Blood.net, who has offered to help us with tracking down the songs of True Blood post-episode.
A lot happened this week, including major deaths, revelations of a world-shattering vampire plot, and Anna Paquin taking her clothes off again. Before we get into that, I want to point out that everything this season that isn't the Vampire Holocaust is basically being held together by Nelsan Ellis as Lafayette.
Oh, he's not driving the story or anything the way he did in Season 4, but his is literally the only connection between everything that is happening. Sam and Alcide's side-quest over the custody of Emma, Terry's increasingly mental breakdown, and truth being the death of Sookie's parents are all pretty much completely different television shows happening in the same 50-minute time slot except for the fact that Lafayette drops in on each to remind you that, hey, this all takes place in a small town and used to be one cohesive narrative.
As interesting as this season is, it's starting to fracture again because the show simply has too many interesting characters off on their own arcs. This is why Doctor Who jettisons companions every year or so and leads just a little more often than that. If you don't watch what your players are doing, they'll wander off and lose the thread.
In another sense, that's why the song this week -- and many of the other songs this season -- have kind of been failures. Don't get me wrong. "Don't You Feel Me?" by Damon is an inspired song from one of the country's absolute best underground acts. He was just another vagabond musicians traveling around playing and recording when he could. He wasn't a crooner or a rock guy, he was more like Jim Morrison if he had trodden that poet's path more quietly.
Then one day a DJ picked up his album Song of a Gypsy for pocket change, and then made it one of the most sought-after underground vinyls. The title song is a perfect example of what makes that album great. It's just psychedelic enough to trip your head while keeping a nice firm grounding in rock that never lets you loose. Good tune from a good album, and another nice, obscure choice from the True Blood folks.
Too bad they used it all wrong.
You're never going to hear me complain about Anna Paquin being naked. That's a lovely thing that should happen all the time. When we get to the end of this episode, she's got Warlow tied up because he's afraid he'll hurt her at night when he's more vampire than fae.
Sookie starts thinking aloud about how Bon Temps thinks of her as a "danger whore," and in a somewhat sad to watch resignation she lets Warlow bite her before stripping and mounting him. They fuck until light shines from her vagina. No, really.
Cue to Damon, who asks if we can feel him loving us in the sunlight and the moonlight. Considering this obsession with daywalking vampires and the light of the fae it perfectly sums up that scene, I admit, but if you're going to name the whole episode after the song then you should really try to make it more of a summation.
In the end, it's little more than a booty-call mixtape selection, and I've come to expect better from the show. Where's a moment like Godric's death as Lyle Lovett sang about rising up despite death?
There is one other loose connection. It looks like we may be losing Terry, who arranged his own murder before Arlene hit upon the idea of using a vampire's glamour to make him forget his troubled past. Of all the characters that have come alive in the show better than they were in the books Arlene and Terry are near the top. Arlene's come far from her start as a somewhat trashy gold digger, and Terry has consistently been a sympathetic man.
Through troubled times and unbelievable obstacles they've managed to hold together, and watching that come to an end is just horrifyingly sad. It's this one, beautiful moment of tragedy that you can almost hear Arlene's mind trying to reach Terry through his dying, fractured psyche to echo Damon's question about being able to sense love amid the ruins and maelstroms.
It just seems a bit more meaningful than Sookie's fleshlight.
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