Friday, June 14, 2013

When you stepped in, the political relevance went out

If you're at all curious about the extent to which True Blood is not a political allegory for the gay rights movement, or what Bill Compton is going to do next now that he has been resurrected as an avatar of the vampire goddess Lilith—well, this little thing I wrote celebrating the delightful, sheer refusal of the show to "mean" anything more than what it is might interest you. Read it at:

An excerpt:
The dialectic of show-runner and critic has demanded that premium cable shows, in particular, be interpreted as social commentary and high mimesis. That's why, say, Mad Men and Girls get in trouble for their lack of non-white characters with substantive story lines: we expect them not only to mirror reality, but to represent social reality in a holistic way. That's why Breaking Bad gets scrutinized for what it says about the American economic crisis. That's why television critics in 2008 felt the need to claim that a show about libidinous vampires was actually about the gay rights movement. But True Blood is actually a spontaneous piece of fantastical free-association storytelling of a kind that is sorely lacking nowadays.
GIFs were found and inserted by the Internet-savvy staff of PolicyMic. I bear sole responsibility for the picture of Stephen Moyer worshiping the ancient vampire goddess at the top, though. 

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