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In Season 1 of the series, adapted from Charlaine Harris’ “The Southern Vampire Mysteries” novels, we’re introduced to Sookie, a Louisiana waitress residing in the fictional small town of Bon Temps.
And sure, Eric lies, but that's just Eric's way, and he's totally hot about it. I don't know about the tv series yet, Sookie could end up with either one.
Read More: Review: ‘True Blood’ Season 7, Episode 10 ‘Thank You’ Is All About Bill We’re denied such reconciliation and instead get an arguably sexist spiel from Bill, as part of his argument for his voluntary suicide is insisting that he needs to be out of the picture in order for Sookie to lead a normal life — “normal” apparently defined here as settling down with children.
Granted, Bill hails from an older time, but if he’s hip enough to write his own book, then surely he’s hip enough to be aware of modern-day feminist conversations.
What began as the premium cable version of your typical Southern Gothic vampire drama—a genre established by the likes of New Orleans native and writer Anne Rice—ended last month not with a bang, but an anticlimactic whisper.
HBO’s hit series “True Blood,” for all of its campy, at times sensational, plot points completely lost sight of itself in its seventh and final season—and more importantly, buried the relatable tale of leading lady Sookie Stackhouse (Anna Paquin) underneath a motley mix of the “Bill factor” and extraneous, poorly executed plot lines.
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