If there is no intended finale in the minds of the writers at the beginning of the series, how can the payoff be rich? I get it. But even if your script can't feature a lush, Shakespearean payoff, at least tell some kind of story! This season started weak and set us up to fail. The town picnic massacre and aftermath took too much time. New ideas such as Merlotte's becoming Bellefleur's, Sam becoming mayor, every human home needing a vamp friend...all these were diversions of emotional energy that went nowhere. Episodic tie-offs were abrupt, but instead of being shocking (or exciting, given the changes they spawned), it was all rushed and insubstantial.
Sookie and Alcide? Okay. Alcide's dead suddenly? Okay. Town went cold sober witchhunt? Uh-oh! But I guess not, since we ignored them once they weren't interesting. A whole episode tied to Tara's childhood? WHERE WERE YOU A FEW SEASONS AGO AND WHY DO THIS NOW? And Bill's serial, never-ending flashbacks -- god, what torture! Write quick, people -- a short flashback, at the right time, has impact. Starting a second drama (and having it be disjointed, with a clanking sermon on Bill Compton, Friend To The Slaves) is yet another time-wasting, energy-draining diversion.
Then there are the glib-but-witless tie-offs for Lafayette, Andy, Holly, Arlene, and side characters such as Sookie's grandpa, Holly and Andy's kids, Pastor Newlin, Eric's Fangtasia minion, and whatsername, the town drunk. These episodes would have been perfect bonus materials for a disc set. Fun, sure -- but they detract from the season's story flow. Or they would detract, if the season had any real purpose.
The best thing about this season, and all that passed for acting, was the maturing of Jason Stackhouse. But even that was a bit empty, since JS's previous girlfriend had also imposed the "we're not sleeping together tonight" rule. Jason is now an old hand at crashing with a girl and not having sex with her, so Bridget's edict and his compliance was not exactly a refreshing step forward.
Much of this season seemed tied to the final books in the series, with the cluviel d'or, Sookie's Choice (even though she wasn't going to lose her fey in the book). But given that we are stuck with a mystery man in the flash-forward scene, did anyone consider NOT killing Alcide? He could have been put on ice or taken out of the picture early on. And then we would have had some connection to Sookie's future.
But the one thing that makes this episode the biggest stinker of all is the dialogue, especially between Sookie and Bill. Rambling thoughts, unconnected to action, and drained of emotion. Unsupported. Circular. Old territory. It's like watching people chew food. And Sookie's speeches are the worst of the worst. The demanding speech that gets no response. Too long. Old message. Rambling thought. Pointless. A thudding sermon on "I gotta be me" and "God doesn't make mistakes" and "Love is love" and other points we've covered eighty bajillion times on this show.
And wasting Eric and Pam on comic relief, and their wasting Sarah Newlin on cheesy TV huckstering and bar-basement small change, was more clunkery. And that truly nasty ending for Sarah Newlin herself was ugly.
I was relieved when it was over -- scene, episode, and series.
Sookie and Alcide? Okay. Alcide's dead suddenly? Okay. Town went cold sober witchhunt? Uh-oh! But I guess not, since we ignored them once they weren't interesting. A whole episode tied to Tara's childhood? WHERE WERE YOU A FEW SEASONS AGO AND WHY DO THIS NOW? And Bill's serial, never-ending flashbacks -- god, what torture! Write quick, people -- a short flashback, at the right time, has impact. Starting a second drama (and having it be disjointed, with a clanking sermon on Bill Compton, Friend To The Slaves) is yet another time-wasting, energy-draining diversion.
Then there are the glib-but-witless tie-offs for Lafayette, Andy, Holly, Arlene, and side characters such as Sookie's grandpa, Holly and Andy's kids, Pastor Newlin, Eric's Fangtasia minion, and whatsername, the town drunk. These episodes would have been perfect bonus materials for a disc set. Fun, sure -- but they detract from the season's story flow. Or they would detract, if the season had any real purpose.
The best thing about this season, and all that passed for acting, was the maturing of Jason Stackhouse. But even that was a bit empty, since JS's previous girlfriend had also imposed the "we're not sleeping together tonight" rule. Jason is now an old hand at crashing with a girl and not having sex with her, so Bridget's edict and his compliance was not exactly a refreshing step forward.
Much of this season seemed tied to the final books in the series, with the cluviel d'or, Sookie's Choice (even though she wasn't going to lose her fey in the book). But given that we are stuck with a mystery man in the flash-forward scene, did anyone consider NOT killing Alcide? He could have been put on ice or taken out of the picture early on. And then we would have had some connection to Sookie's future.
But the one thing that makes this episode the biggest stinker of all is the dialogue, especially between Sookie and Bill. Rambling thoughts, unconnected to action, and drained of emotion. Unsupported. Circular. Old territory. It's like watching people chew food. And Sookie's speeches are the worst of the worst. The demanding speech that gets no response. Too long. Old message. Rambling thought. Pointless. A thudding sermon on "I gotta be me" and "God doesn't make mistakes" and "Love is love" and other points we've covered eighty bajillion times on this show.
And wasting Eric and Pam on comic relief, and their wasting Sarah Newlin on cheesy TV huckstering and bar-basement small change, was more clunkery. And that truly nasty ending for Sarah Newlin herself was ugly.
I was relieved when it was over -- scene, episode, and series.