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True Blood
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True Blood is an American fantasy horror drama television series produced and created by Alan Ball. It is based on The Southern Vampire Mysteries, a series of novels by Charlaine Harris.
The series revolves around Sookie Stackhouse (Anna Paquin), a telepathic waitress living in the fictional rural town of Bon Temps, Louisiana. It is set two years after the invention of a synthetic blood product branded "Tru Blood" that has allowed vampires to "come out of the coffin" and let their presence be known to mankind. It chronicles the vampires' struggle for equal rights and assimilation while anti-vampire organizations begin to gain power. Sookie's world is turned upside down when she falls in love with 174-year-old vampire Bill Compton (Stephen Moyer), and for the first time, she must navigate the trials and terrors of intimacy and relationships.[1][2]
The show was broadcast on the premium cable network HBO, in the United States, and was produced by HBO in association with Ball's production company, Your Face Goes Here Entertainment.[1] The series premiered on September 7, 2008, and concluded on August 24, 2014, comprising seven seasons and 80 episodes.[3][4] The first five seasons received highly positive reviews, and both nominations and wins for several awards, including a Golden Globe and an Emmy.
Series overview
[edit]| Season | Episodes | Originally released | ||
|---|---|---|---|---|
| First released | Last released | |||
| 1 | 12 | September 7, 2008 | November 23, 2008 | |
| 2 | 12 | June 14, 2009 | September 13, 2009 | |
| 3 | 12 | June 13, 2010 | September 12, 2010 | |
| 4 | 12 | June 26, 2011 | September 11, 2011 | |
| 5 | 12 | June 10, 2012 | August 26, 2012 | |
| 6 | 10 | June 16, 2013 | August 18, 2013 | |
| 7 | 10 | June 22, 2014 | August 24, 2014 | |
The series is set in a fictional universe where vampires have always existed, unbeknownst to the majority of humans until two years before the series premiere, when the creation of synthetic blood ("Tru Blood") by Japanese scientists, which eliminated vampires' need for human blood to survive, allowed vampires to "come out of the coffin" and reveal their existence to the world.E-1 This so-called "Great Revelation" has split vampires into two camps: those who wish to integrate into human society (i.e., "mainstream") by campaigning for citizenship and equal rights,E-1 and those who think human-vampire co-existence is impossible, because it conflicts with the inherently predatory and violent nature of vampires. It has also caused similar divisions amongst non-vampires; some believe that vampires should be accepted and granted rights, while others view them as monsters to be destroyed. Throughout the series, other supernatural creatures are introduced, among them shapeshifters, skinwalkers, werewolves, werepanthers, demons, zombies, faeries, witches, and a maenad.
The series revolves around Sookie Stackhouse (Anna Paquin), a telepathic human-faerie hybrid known as a halfling (not to be confused with similarly named, but unrelated creatures found in other fantasy works). Sookie is a waitress at Merlotte's Bar and Grill, owned by Sam Merlotte (Sam Trammell) in the small Louisiana town of Bon Temps. Sam is a shapeshifter, though this secret is kept hidden from most of the town. Other characters include Bill Compton (Stephen Moyer), a 173-year-old vampire who has returned to Bon Temps to take up residence in his former home following the death of his last remaining relative; Tara Thornton (Rutina Wesley), Sookie's tough-talking but insecure best friend; Jason (Ryan Kwanten), Sookie's womanizing brother; Eric Northman (Alexander Skarsgård), a 1,000-year-old vampire and Sheriff of Area 5; and Lafayette Reynolds (Nelsan Ellis), a short order cook, drug dealer, road crew member, and medium.
The show explores several contemporary issues such as the struggle for equal rights, discrimination, and violence against minorities and homosexuals, the problems of drug addiction, the power of faith and religion, the control/influence of the media, the quest for identity, and the importance of family.
Season synopses
[edit]Season 1 (2008)
[edit]The main mystery of the first season concerns the murders of women connected to Sookie's brother, Jason. Maudette Pickens and Dawn Green are both strangled shortly after having been alone with him. Though Detective Bellefleur has little doubt that Jason is the killer, the town sheriff does not suspect him. Sookie's grandmother is murdered shortly afterward. After the murders, Jason becomes addicted to vampire blood and has a short relationship with another addict, Amy Burley, which ends when she is murdered as well. The season also focuses on Sookie's relationship with Bill and Sam's relationship with Sookie's friend Tara. Bill explains the rules of being a vampire to Sookie and, after killing a vampire to defend her, is forced to "turn" a young girl named Jessica into a vampire as punishment. The immature Jessica is left under Bill's care and starts to grow up both as a vampire and as a person. In the end, it is revealed that Arlene Fowler's fiancé, Rene Lenier, has been killing women who associate with vampires. Further, he is actually a man named Drew Marshall who created a false identity, complete with a fake Cajun accent. The season ends with the discovery of a body in Detective Andy Bellefleur's car in Merlotte's parking lot.
Season 2 (2009)
[edit]The second season loosely follows the plot of the second novel of The Southern Vampire Mysteries, Living Dead in Dallas. In addition, the character of Sophie-Anne Leclerq, initially introduced in the sixth novel Definitely Dead, was introduced as a major supporting character. The main theme of the season involves the disappearance of Godric, the 2,000-year-old vampire Sheriff of Area 9. Eric enlists Sookie and Bill's aid in finding the ancient vampire in Dallas. Their paths cross Jason's as he seeks to discover meaning in his life with the Fellowship of the Sun, a church dedicated to anti-vampire activities. A second theme concerns a maenad named Maryann who visits Bon Temps after Tara attracts her attention at the end of the first season. Maryann is a figure from Sam's past and knows his true identity as a shapeshifter. Her influence on the town and its residents results in mayhem that grows more destructive as the season progresses. At the end of the season, Bill proposes to Sookie but is kidnapped by unknown assailants when Sookie retreats to the bathroom to consider his proposal.
Season 3 (2010)
[edit]Season 3 loosely follows the plot of the third novel of The Southern Vampire Mysteries, Club Dead, and introduces werewolves to the show's mythology through Alcide, a werewolf hired by Eric to help Sookie find Bill. It also introduces the characters of Russell Edgington, the Vampire King of Mississippi, who wishes to overturn the Vampire Authority. In addition, some characters from the fourth novel Dead to the World are introduced: Crystal Norris as Jason's love interest, her family of werepanthers from Hotshot, and Sookie's "faerie godmother", Claudine. Sookie's heritage as part faerie is also revealed later in the season, a major plot element from the eighth and ninth novels From Dead to Worse and Dead and Gone. This season ends with Jason left to take care of the werepanthers of Hotshot, Tara leaving Bon Temps after a traumatic experience with a vampire, Sookie discovering that Bill was first sent to Bon Temps by the Vampire Queen of Louisiana, Sam shooting his brother, Tommy, and Hoyt and Jessica moving in together. The final cliffhanger involves Claudine taking Sookie away to the land of Faerie.
Season 4 (2011)
[edit]A coven of witches, led by Marnie, poses a threat to vampires when they discover the witches are working on necromancy. Sookie returns to Bon Temps after a year (even though for her she was away for only a few minutes in Faerie) to find Bill as the new King of Louisiana and that her brother and friends had given up hope of finding her. As the series progresses, a powerful necromancer from the 16th century, Antonia, possesses the body of Marnie in order to exact revenge on all vampires. Sookie starts a romance with Eric who has amnesia due to a spell cast by Antonia/Marnie. The witch Antonia eventually realizes the wrongdoing she's caused to innocent people and decides to stop. Yet Marnie, addicted to Antonia's power, binds her against her will to acquire her powers. Subplots include Lafayette's introduction to the world of magic and his abilities as a medium, Sam's family troubles, Alcide and Debbie's troubled relationship, and Jason, Hoyt and Jessica's love triangle. The finale is a series of cliffhangers, including a warning from the ghost of Rene that Terry will cause Arlene trouble, the escape of Russell Edgington, the reappearance of Steve Newlin as a vampire, and the shooting of Tara.
Season 5 (2012)
[edit]The season starts with Sookie and Lafayette asking for Pam to turn Tara into a vampire. Bill and Eric are captured by the Vampire Authority for killing Nan Flanagan. The two are almost sentenced to death by the Guardian, Roman, before revealing that Russell Edgington is alive and free after being released by a mysterious vampire. With the help of Sookie, the team discovers his hiding place and brings him in. Russell and his new vampire-companion, Steve Newlin, along with Salome, and Eric's vampire sister, Nora, redefine the values of the Authority and view humans as nothing more than food: just as Lilith of the Vampire bible wanted. Meanwhile, Alcide deals with his troubled rise to pack-master, Terry learns he is death-cursed after committing a terrible crime during the war in Iraq, while Tara learns how to deal with her newly given life as Pam's progeny. Jason and Sookie discover that their parents were murdered by a vampire named Warlow. Hoyt gets involved with a hate group, then decides to leave for Alaska, just as Andy heads towards life as a family man, and Lafayette tries to deal with the powers given to him by Jesus. The season ends with the Authority leadership being wiped out during the True Blood crisis, and Bill drinking the entirety of the sacred vial of Lilith in front of Sookie and Eric. He soon meets the "true death", but shortly after, he "rises from the blood", as an even more powerful vampire reincarnation of Lilith ("Billith").
Season 6 (2013)
[edit]The sixth season of True Blood premiered on June 16, 2013. After Alan Ball's departure from the series at the end of season 5, Brian Buckner replaced Ball as the show's showrunner. Season six focuses on Bill's abilities after he had drunk Lilith's blood. Sookie and Jason try to find Warlow, the vampire who killed their parents, with a fairy grandfather named Niall who arrives in Bon Temps while Louisiana governor Burrell leads a platform to eradicate the entire vampire race with Sarah Newlin. Sam and Alcide fight for Emma's safety; Terry struggles to live with himself after having killed Patrick; Andy raises his fairy daughters. Eric decides to turn the governor's daughter Willa into a vampire to convince him to stop his campaign, but she is put into a vampire camp by her father along with Eric, Pam, Jessica, and Tara, where they are all supposed to meet the sun according to Bill’s prophecy. Bill asks Sookie for help, who is considering becoming Warlow's vampire-fairy bride after discovering her parents tried to kill her when she was young. Eric has discovered that Sarah Newlin created a virus that kills vampires, later witnessing Dr. Overlark and Governor Burrell infect Nora in front of him. When the vampires are about to meet the sun, Bill offers his blood to them, allowing them to walk in the daylight. The season finishes six months later where Sookie is dating Alcide, Bill has released a book about the effects of drinking Lilith's blood, and Sam being the mayor of Bon Temps and selling his bar to Arlene, and a group of infected vampires heading toward the bar during a human/vampire outdoor night barbecue mixer.[5]
Season 7 (2014)
[edit]The final season premiered on June 22, 2014, with the last episode airing on August 24. In this season, Bon Temps is terrorized by a group of vampires infected with the virus created in the previous season. They kill Tara and kidnap Arlene, Holly, Jane Bodehouse, Kevin and Nicole. Pam travels the world in search of Eric, who is found in France infected by the virus. They return to Bon Temps and help Sookie, Bill, and Jessica rescue the people who were kidnapped, after Sookie and Bill’s first attempt results in Alcide's death and Sookie being infected by the virus which she later transmits to Bill. Eric and Pam search for Sarah Newlin, who supposedly has an antidote for the virus. Several characters encounter closure like Lettie Mae making peace with Tara through visions caused by vampire blood, Jessica and Hoyt getting married after reuniting during the season, Lafayette entering a relationship with Jessica's ex-boyfriend James, and Sam leaving Bon Temps with Nicole. At the end of the series, Bill refuses to take the antidote to heal himself from the virus and asks Sookie to give him the "ultimate kindness". Sookie eventually agrees and strikes Bill's heart with a wooden stick in his grave at Bon Temps cemetery. Pam and Eric successfully sell the new Tru Blood with the antidote. The last scene of the series shows a pregnant Sookie sitting outside at a table full of people on Thanksgiving beside an unknown man. They kiss and drink, and everyone around them appears to be happy.
Cast
[edit]
True Blood employs a broad ensemble cast composed of regular, central characters and a rotating group of impermanent supporting characters. Though the series is based in the fictional town of Bon Temps, Louisiana, a noticeable number of the actors are originally from outside the United States. In an interview, Ball explained that he didn't intentionally seek out "non-American" actors, but was willing to go anywhere he needed to in order "to find the actor who makes the character breathe". Ball went on to explain that, in casting, there was more of a focus on who would portray the character in a compelling way rather than who would physically resemble the characters from the book. Noting that there's a definite difference between the characters and storylines portrayed in True Blood and the ones depicted in The Southern Vampire Mysteries, he described Harris as being very understanding in terms of how her work was being reinterpreted.[6]
Main characters
[edit]- Cast notes
The major characters of the first season of True Blood are introduced among various intertwining plot lines that surround the Bon Temps bar "Merlotte's". The show's main protagonist, Sookie Stackhouse (Anna Paquin), is a telepath and waitress at Merlotte's.E-1 In the opening episode she saves Merlotte's first vampire customer, Bill Compton (Stephen Moyer), when a local couple attempts to drain him of his blood (vampire blood is known on the show as a human narcotic: "V" or "V Juice").E-1 Through the relationship that develops between Sookie and Bill, the viewer progressively learns more about vampire culture and the limitations of vampire physiology (e.g. susceptibility to silver and the sun).
The major plot of the first season revolves around the murder of several women connected to Sookie's older brother, Jason (Ryan Kwanten).E-1 The women murdered include sexual partner Maudette Pickens (Danielle Sapia),E-1 on-and-off romantic interest and Merlotte's waitress Dawn Green (Lynn Collins),E-3 grandmother Adele (Lois Smith) or simply "Gran",E-5 and girlfriend Amy Burley (Lizzy Caplan).E-11 Though the viewer is always aware of Jason's innocence in their deaths, Detective Andy Bellefleur (Chris Bauer) targets him as the prime suspect in the investigation he conducts with Sheriff Bud Dearborne (William Sanderson) to identify their killer.E-1 Jason's best friends and co-workers, Hoyt Fortenberry (Jim Parrack) and Rene Lenier (Michael Raymond-James) provide him with support despite the turmoil he encounters.E-1 Rene, who becomes engaged to Merlotte's waitress Arlene Fowler (Carrie Preston),E-8 is eventually exposed as the Bon Temps murderer and is killed in a final confrontation with Sookie.E-12
A secondary plot in the first season (that later develops as the primary storyline in the second) revolves around Sookie's best friend Tara Thornton (Rutina Wesley).E-1 In the first episode, Tara is hired as a bartender at Merlotte's by bar owner, shapeshifter,E-11 and admirer of Sookie, Sam Merlotte (Sam Trammell),E-1 with whom Tara later has a brief relationship.E-3 Tara's cousin Lafayette Reynolds (Nelsan Ellis) already works as a cook at Merlotte'sE-1 (in addition to several other jobs that include road crew, prostitute, and drug dealer)E-3 with Andy's cousin and Iraq War veteran, Terry (Todd Lowe).E-2 Tara's story is characterized by her relationship with her alcoholic and abusive mother Lettie Mae (Adina Porter)E-2 and her own inner "demons".E-10 During the season, Lettie Mae achieves sobrietyE-8 but Tara's life begins to spin out of control. Kicked out of her home and totaling her car in a drunk driving crash,E-10 she's taken in by "social worker" Maryann Forrester (Michelle Forbes).E-11 While staying with Maryann, Tara is introduced to "Eggs" Benedict Talley (Mehcad Brooks), to whom she becomes attracted.E-11
The final major plotline of the first season revolves around the elements of vampire society that Sookie and Bill's relationship introduce. While trying to prove her brother's innocence in relation to Maudette and Dawn's murders, Bill takes Sookie to the vampire bar "Fangtasia" to investigate. There, Sookie is introduced to Fangtasia's owner and the vampire sheriff of "Area 5" in Louisiana: Eric Northman (Alexander Skarsgård).E-4 Eric is immediately interested in Sookie and her strange abilities, but his progeny and assistant Pam (Kristin Bauer) is less impressed.E-4 Eric employs Sookie to find a thief in his bar, but the perpetrator (a vampire named Longshadow) attempts to kill Sookie when she reveals his identity. Bill stakes and kills the thief to save her, but has committed a serious crime in killing another vampire.E-8 When Bill is tried for his crime, his punishment is to transform 17-year-old Jessica Hamby (Deborah Ann Woll) into a vampire to replace the one he destroyed.E-10
A secondary plotline introduced in the first season (which later becomes a main plotline in Season 2) is that although many humans are attracted to vampires (referred to as "fang bangers") and flock to establishments like Fangtasia, not all people are accepting of the idea that vampires should be given rights equal to those afforded the mortals of the True Blood universe. During the first season, one of the ways in which anti-vampire sentiment is expressed is through regular televised appearances by the "Fellowship of the Sun",E-2 a Dallas-based church that in Season 2 becomes headed by the Reverend Steve Newlin (Michael McMillian)E-3 after his father and family are killed in a strange "accident".E-2
During the second season of True Blood, the influence of Maryann Forrester and the conflict between vampires and humans is expanded. Most of the cast from the first season returns and several new main characters are introduced. The same style of interconnected storytelling used in the first season is repeated, with the foremost plot focusing on Maryann Forrester being revealed as a maenadE-19 with the power to influence humans.E-15 She begins by manipulating Tara and Eggs to achieve her goal of summoning her god to earth,E-20 and eventually takes control of almost the entire population of Bon Temps.E-22
While Maryann begins establishing her hold on Bon Temps, Sookie is recruited by EricE-15 to investigate the disappearance of his two-thousand-year-old maker and the Sheriff of Area 9 in Texas: Godric (Allan Hyde).E-17 While Sookie is absent from Bon Temps, Sam hires Daphne Landry (Ashley Jones) to join Merlotte's staff.E-13 Daphne (who is revealed to also be a shapeshifterE-17) begins a romance with Sam,E-16 but is later exposed as working for Maryann.E-18 Jason also leaves Bon Temps for Dallas to join the Fellowship of the Sun,E-14 which Reverend Newlin has steered in a new militant direction despite the protestations of his wife Sarah (Anna Camp).E-13 Godric is discovered in the custody of the Fellowship,E-17 and one of Godric's lieutenants, Isabel Beaumont (Valerie Cruz),E-17 sends her human boyfriend Hugo (Christopher Gartin)E-18 to assist Sookie in infiltrating the church. Though Eric's primary interest in Dallas is finding Godric, he also attempts to place himself between Sookie and Bill. To accomplish this, he enlists the aid of Bill's maker Lorena (Mariana Klaveno);E-17, who thus becomes a more prominent contribution to the cast after a brief introduction in the first season.E-5 In the penultimate episode of the second season, once the conflict in Texas is concluded, the vampire queen of Louisiana Sophie-Anne Leclerq (Evan Rachel Wood) is introduced.E-23 Both Bill and Eric visit her in an attempt to find out how to defeat Maryann.E-23
Season three picks up straight after the events of season two with Sookie on the hunt to track down Bill and his kidnappers. She turns to Eric for help, who is not interested (seeing this turn of events as a chance to get Sookie for himself), but he ends up sending werewolf Alcide Herveaux (Joe Manganiello) for assistance after it is revealed that Bill was taken by V-addicted werewolves in the employ of the 3000-year-old vampire king of Mississippi, Russell Edgington (Denis O'Hare). Meanwhile, back in Bon Temps, Lafayette embarks on a relationship with his mother's care nurse and brujo Jesús Velasquez (Kevin Alejandro) and learns about his own special powers as a medium, while Sam hires a new waitress at Merlotte's, Wiccan Holly Cleary (Lauren Bowles).
In season 4, Jessica Tuck (Nan Flanagan) and Janina Gavankar (Luna) became season regulars. Alexandra Breckenridge (Kate) and Vedette Lim (Naomi) became recurring actresses.[7]
Joining the cast for season five was Christopher Meloni, who previously starred on another of HBO's own original series Oz as well as Law & Order: Special Victims Unit for 12 years.[8] Also joining the cast is Scott Foley as Patrick, Terry's old war buddy,[9] Louis Herthum as JD, Kelly Overton as Rikki, a new werewolf curious how Marcus died,[10] Carolyn Hennesy is expected to be Rosalyn Harris, a Texas vampire with twang,[11] and Jacob Hopkins will play child vampire Chancellor Alexander Drew.[12]
For season six, it was announced that Robert Kazinsky would join the principal cast as Ben, a faerie and a potential love interest for Sookie. He will also help Sookie and Jason discover the truth about their parents' murders.[13] Robert Patrick, who guest starred in season five as Jackson Herveaux, was promoted to series regular for season six.[14] Rutger Hauer, who starred in Blade Runner and Batman Begins, was announced as a series regular playing Macklyn, a character with "strong ties to Sookie and Jason."[15]
As reported by The Hollywood Reporter, Adina Porter would be returning for the seventh season as a series regular after being credited as a Special Guest Star since season two. Also upgraded to regulars are season six guest stars Amelia Rose Blaire as Willa Burrell, Bailey Noble as Adilyn Bellefleur, Luke Grimes as James and Karolina Wydra as Violet Mazurski.[16]
Production
[edit]Development history
[edit]Series creator Alan Ball had previously worked with the cable channel HBO on Six Feet Under, which ran for five seasons. In October 2005, after Six Feet Under wrapped, Ball signed a two-year agreement with HBO to develop and produce original programming for the network. True Blood became the first project under the deal after Ball became acquainted with Charlaine Harris's Southern Vampire Mystery books.[17] One day, while early for a dental appointment, Ball was browsing through a Barnes & Noble bookshop and came across Dead Until Dark (2001), the first installment in Harris' series. He read the entries that followed and became interested in "bringing [Harris'] vision to television".[17][18] Having already had two other adaptation options for the books, Harris said she chose to work with him, though, because "[Ball] really 'got' me. That's how he convinced me to go with him. I just felt that he understood what I was doing with the books."[citation needed]
The project's hour-long pilot was ordered concurrently with the completion of the development deal. It was written, directed, and produced by Ball.[1][17] Cast members Paquin, Kwanten, and Trammell were announced in February 2007, and Moyer later in April.[19][20] The pilot was shot in the early summer of 2007 and was officially ordered to series in August, at which point Ball had already written more episodes.[1] Production on the series began later that fall,[21] with Brook Kerr, who portrayed Tara Thornton in the original pilot, replaced by Rutina Wesley.[22] Two more episodes of the series had been filmed before the 2007-08 Writers Guild of America strike shut down production of the 12-episode first season until February 2008.[23] That September, after only the first two episodes of the series had aired, HBO placed an order for a second season of 12 episodes, with production scheduled to commence in January 2009 for a summer premiere.[24]
Title sequence
[edit]True Blood's Emmy-nominated title sequence is composed of portrayals of the show's Deep South setting, and runs to "Bad Things" by Jace Everett. The original featurette was created around the Jennifer Herrema (Royal Trux) song "RadTimesXpress".[25]

Conceptually, the sequence was constructed around the idea of "the whore in the house of prayer"[26] by intermingling contradictory images of sex, violence, and religion and displaying them from the point of view of "a supernatural, predatory creature observing human beings from the shadows ..."[25] Ideas of redemption and forgiveness are also explored, and thus the sequence progresses from morning to night and culminates in a baptism.[26]
The title sequence was created by the independent film company Digital Kitchen. The sequence also features images and themes of death and rebirth; the circle of life. A Venus fly-trap can be seen engulfing a frog, while the rotting of a fox's head is sped up to reveal maggots feeding off the corpse. Rebirth is represented by an image of a woman being "washed clean" from her sins in a lake, and a preacher blessing and possibly performing an exorcism on a member of his congregation.[27]
Some of the footage used in the sequence was filmed on location. Digital Kitchen took a four-day trip to Louisiana to film; it also shot scenes at a Chicago church, and on a stage and in a bar in Seattle.[26] The opening sequence of TRUE BLOOD contains shots that are composed of original documentaries, tabletop photography, studio and found footage which are completely handmade. Creative director Matt Mulder explains that they wanted the edit to “rumble through the swamps, wilderness and the cultures of the South to eventually reach into the hearts and minds of its inhabitants.”[28][29]
During editing, individual frames were splattered with drops of blood.[26] The sequence's transitions were constructed differently; they were made with a Polaroid transfer technique. The last frame of one shot and the first frame of another were taken as a single Polaroid photo, which was divided between emulsion and backing. The emulsion was filmed being further separated by chemicals, and those shots of this separation were placed back into the final edit.[25] Eight different typefaces, inspired by Southern road signs, were created manually for cast and crew credits, as well as the show's title card.[26]
In a 2010 issue of TV Guide, the show's opening title sequence ranked #5 on a list of TV's top 10 credits sequences, as selected by readers.[30]
Music
[edit]Gary Calamar, who supervises the series' music, said his goal for the show's soundtrack is to create something "swampy, bluesy and spooky" and to feature local Louisiana musicians.[31] True Blood soundtrack albums have twice earned Grammy Award nominations.
Composer Nathan Barr writes the original score for the series, which features the cello, guitar, prepared piano, and glass harmonica among other instruments, all of which he performs himself.[32] The main theme song is "Bad Things" by country music artist Jace Everett, from his 2005 self-titled debut.[33] Both Nathan Barr and Jace Everett won 2009 awards from Broadcast Music Incorporated in the BMI Cable Awards category for, respectively, True Blood's original score and theme song.[34]
The show's individual episode titles are named after songs featured in the episodes, usually heard during the closing credits. The title usually indicates something about the events that will unfold throughout the given episode. For example, episode ten of season four is titled "Burning Down the House", and the end credits feature a cover version of the classic Talking Heads song performed by The Used.
Soundtrack albums
[edit]| Title | Album details | Peak chart positions | |
|---|---|---|---|
| US [35] |
UK DL [36] | ||
| True Blood: Music from the HBO Original Series |
|
105 | 90 |
| True Blood: Music from the HBO Original Series, Vol. 2 |
|
84 | — |
| True Blood: Music from the HBO Original Series, Vol. 3 |
|
191 | — |
| True Blood: Music from the HBO Original Series, Vol. 4 |
|
— | — |
Marketing
[edit]
The premiere of True Blood was prefaced with a viral marketing/alternate reality game (ARG) campaign, based at BloodCopy.com, throughout the summer.[37] This included setting up multiple websites,[38][39][40] encoding web address into unmarked envelopes mailed to high-profile blog writers and others, and even performances by a "vampire" who attempted to reach out to others of their kind, to discuss the recent creation of "TrueBlood", a fictional beverage featured in the show. A MySpace account with the username "Blood"[41] had, as of June 19, uploaded two videos;[42] one entitled "Vampire Taste Test – True Blood vs Human",[43] and one called "BloodCopy Exclusive INTERVIEW WITH SAMSON THE VAMPIRE". A prequel comic was handed out to attendees of the 2008 Comic-Con. The comic centers around an old vampire named Lamar, who tells the reader about how TruBlood surfaced and was discussed between many vampires before going public. At one point, Lamar wonders if TruBlood is making the world safe for vampires or from them. Several commercials featured on HBO and Facebook[44] aired prior to the series premiere, placing vampires in ads similar to those of beer and wine.
HBO produced and broadcast two documentaries to promote True Blood, entitled "True Bloodlines".[45] The first, Vampire Legends, explored the earliest portrayals of vampires in legend, literature, and cinema. The second, A New Type, discusses vampire culture from Nosferatu to today's sensual, sexual creatures. To that end, the show also covered the modern vampire subculture and real-life vampire clubs.[46] Actors and writers from True Blood appeared in the documentaries. The shows first aired on September 6, 2008, on HBO.
Thousands of DVDs of the first episode were handed out to attendees of Midnight Madness, a special film festival. Blockbuster Video provided free rental of the first episode of True Blood several days before it was broadcast on HBO.
On April 16, 2009, HBO released the first teaser poster for season 2. The image uses a perspective technique that shows observers one of two images.[47] A minute-long promotional video advertising season two, which featured Bob Dylan's "Beyond Here Lies Nothin'", was released via Entertainment Tonight in early May.[48] There was also a website for The Fellowship of the Sun,[49] antagonists from the book series, featuring videos about hot-button issues such as becoming a vampire.
In September 2009, HBO filed a trademark registration with the United States Patent and Trademark Office for a possible future electronic game based on True Blood.[50] The network then launched a True Blood jewelry line in collaboration with New York-based designer Udi Behr. Inspired by the series, the jewelry has a Gothic look and features sterling silver, polished steel, and rubies.[51] In the same month, HBO.com began selling Tru:Blood, a beverage branded to resemble the fictional synthetic blood that appears in the show. The beverage is a carbonated blood orange-flavored drink, developed and manufactured by Omni Consumer Products, a company that specializes in defictionalizing brands from television and movies, and FMCG Manufacturing Company, a specialist manufacturer of licensed entertainment products.[52]

In June 2010, HBO held a special event at a number of movie theaters around the U.S.,[53] complete with red carpet, searchlights, and swag bags. Contest winners were invited to watch a live special, the Season 2 finale, a preview of Season 3, and a live interview on the set of True Blood with the cast and Alan Ball. HBO also began selling True Blood figural busts featuring Bill, Sookie, and Eric. Busts of other characters became available later.
HBO and IDW Publishing announced at the 2010 WonderCon that they would be publishing a comic book based on the series.[54] Alan Ball developed and wrote the comic. The first booklet, with a print run of 53,000, was released in July 2010[55] and soon sold out. The second issue went on sale August 18, 2010, with a second printing of the first issue going on sale August 25.[56] Six comics were issued in the series, and they were compiled as the graphic novel All Together Now on February 15, 2011. This was the first in a series of four graphic novels released by HBO under the True Blood franchise and sold in major bookstores.[57] Ensuing titles include Tainted Love, The French Quarter, and Ongoing.
Home media
[edit]The True Blood DVDs have been consistent best-sellers in the US. By the end of 2009, the first season DVD had sold over 1.6 million units and taken in over $57 million. It was the only TV show in the 50 top-selling DVDs of 2009.[58] The second season DVD sold a total of 1,159,509 units in 2010, earning over $41 million.[59] The third season DVD was the 61st best-selling DVD of 2011, selling almost 1 million copies and earning over $30 million. It was the best selling TV box set of 2011.[60] In its first week of release—the week ending June 2, 2012—season four debuted at number one on the UK "TV on Video" chart.[61] However, it reached only number six in the combined DVD chart.[62] In its first week of release in North America, it sold over 660,000 units, earning nearly $20 million.[63] In its second week of release in North America, it sold a further 120,000 units (making a combined total of 784,000 units sold), earning another $4 million.[64]
| True Blood: The Complete First Season | |||||||
| Set details | Special features | Exclusive items | |||||
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Reception
[edit]Critical reception
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The series has an approval rating of 70% on the review aggregator website Rotten Tomatoes.[72]
The first season of True Blood received positive reviews, despite initial impressions being mixed. Linda Stasi of the New York Post wrote of the opening episodes:
If HBO's new vampire show is any indication, there would still be countless deaths – especially among vampire hunters and the viewers who love them – because everyone would be dying of boredom. And so it is with HBO's new series from death-obsessed Alan Ball, creator of the legendary Six Feet Under, whose new show True Blood, won't so much make your blood run cold as it will leave you cold.[73]
Robert Bianco of USA Today concluded:
Sexy, witty and unabashedly peculiar, True Blood is a blood-drenched Southern Gothic romantic parable set in a world where vampires are out and about and campaigning for equal rights. Part mystery, part fantasy, part comedy, and all wildly imaginative exaggeration, [True] Blood proves that there's still vibrant life — or death — left in the 'star-crossed cute lovers' paradigm. You just have to know where to stake your romantic claim.[74]
The series achieved its highest Rotten Tomatoes rating of 95%, with an average rating of 8.25/10 based on 22 reviews, during its third season. The critical consensus of the season reads, "True Blood seems to fully understand its appeal, and its third season provides plenty of graphic thrills, steamy romance, and biting satire for its fans."[75] Metacritic, another aggregator of critical responses, found "generally favorable reviews" for the first five seasons, with ratings of 63, 74, 79, 74 and 74, respectively.[65][66][67][68][69]
The sixth season, notable for being the first of the series not to have Alan Ball as showrunner, was met with mixed reviews in contrast to the acclaim of the previous five seasons. Many critics noted the decreasing quality of the scripts and production values. In his review, Brian Lowry of Variety remarked:
People can debate when “True Blood’s” creative rigor mortis officially set in — somewhere during that stretch when the show began piling one supernatural creature upon another (werewolves and witches and faeries, oh my!) — but suffice it to say this once-significant and hugely lucrative HBO series limps into its seventh and final season looking pretty anemic.[76]
The sixth and seventh seasons each received an approval rating of 44% on Rotten Tomatoes, with the critical consensus of season six reading: "A major letdown coming off the end of season five, True Blood seems to be running out of steam and isn't aging as elegantly as its eternal vampires."[77][78] On Metacritic, the sixth season rated 58, while the seventh 54, both indicating "mixed or average reviews".[70][71]
The cast received positive reviews for their performances, with praise going to the performances of Anna Paquin and Nelsan Ellis. For the first season, Anna Paquin won the Best Performance by an Actress in a Television Series – Drama Golden Globe at the 66th Golden Globe Awards; she was also nominated the next year and won the Saturn Award for Best Actress in a Series, Drama at the 13th Satellite Awards, a ceremony in which Nelsan Ellis also won Best Supporting Actor – Series, Miniseries or Television Film. Stephen Moyer won the award for Best Actor on Television at the 2010 ceremony.
Cultural influence
[edit]True Blood was the subject of a Sesame Street sketch parody titled "True Mud" (2010), featuring puppet versions of Sookie, Bill, Lafayette, Sam, Tara, and Sheriff Dearborne. In the skit, Muppet Sookie struggles to fulfill Muppet Bill's pleas for a pint of "True Mud", as the other characters speculate whether or not he is a "grouch".[79]
Anna Paquin (Sookie), Stephen Moyer (Bill), and Alexander Skarsgård (Eric) appeared on the September 2010 cover of Rolling Stone covered in blood and completely naked. This cover drew criticism[80] due to the image's supposed promotion of sexuality and violence. The show's creator, Alan Ball, stated in the magazine, "To me, vampires are sex... I don't get a vampire story about abstinence", referring to the Twilight books and films which were also highly popular at the time but had a more conservative approach to vampires and sexuality. "I'm 53. I don't care about high school students. I find them irritating and uninformed."[80]
Professional wrestler Matt Hardy credits the show as the inspiration for his "Broken" Matt Hardy character.[81]
Comparisons to LGBT rights
[edit]The struggle for vampire equality in True Blood has been interpreted as an allegory for the LGBT rights movement.[82] Charlaine Harris, the author of the book series on which the show is based, stated that her initial characterization for the vampires were as "...a minority that was trying to get equal rights".[83][84] Several phrases in the series are borrowed and adapted from expressions used against and about LGBT people, such as "God Hates Fangs" (God Hates Fags) and "Coming out of the coffin" (coming out of the closet).[84]
Entertainment Weekly's Ken Tucker wrote that the show is built "around a series of metaphors: Vampire rights stand in for gay rights, and now the clever laughs elicited from this bratty-vampire girl represent an extreme of adolescent rebelliousness".[82] David Bianculli of NPR wrote, "True Blood is big on allegory, and the tension about accepting vampires into society is an obvious play on civil rights in general, and gay rights in particular".[84] However, the series' creator, Alan Ball, who is gay, has stated that such a comparison is lazy and possibly homophobic; and Lauren Gutterman of the Center for Lesbian and Gay Studies has expressed concerns that the show might perpetuate negative stereotypes of homosexuals as deviants.[83]
Ratings
[edit]
The first episode of True Blood debuted at a very modest 1.44 million viewers compared to the network's past drama premieres such as Big Love which premiered at 4.56 million, and John from Cincinnati which debuted at 3.4 million.[85] However, by late November 2008, 6.8 million a week were watching: this figure included repeat and on-demand viewings.[86] The season finale's viewership was 2.4 million.
The second-season premiere of the series (June 14, 2009) was viewed by 3.7 million, making it the most watched program on HBO since the series finale of The Sopranos. The total number of viewers for the season premiere, including the late night replay, was 5.1 million.[87] The tenth episode of the second season (August 23, 2009) was seen by 5.3 million viewers, a new record for the series.[88] The second season's finale (September 13, 2009) was seen by 5.1 million viewers. An average of 12.4 million a week watched the second season.[89]
The ninth episode of the fourth season (August 21, 2011) set a new record with 5.53 million viewers, making it the most viewed episode to date.[90]
True Blood is HBO's most watched series since The Sopranos.[91]
U.S. Nielsen ratings
[edit]| Season | Timeslot (ET/PT) | # Ep. | Premiere | Finale | Aired | Viewers (in millions) | ||
|---|---|---|---|---|---|---|---|---|
| Date | Premiere Viewers (in millions) |
Date | Finale Viewers (in millions) | |||||
| Season 1 | Sundays 9:00pm | 12 | September 7, 2008
|
1.44[92] | November 23, 2008
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2.45[93] | 2008 | 2.00 |
| Season 2 | 12 | June 14, 2009
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3.70[94] | September 13, 2009
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5.11[95] | 2009 | 4.28 | |
| Season 3 | 12 | June 13, 2010
|
5.10[96] | September 12, 2010
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5.38[97] | 2010 | 4.97 | |
| Season 4 | 12 | June 26, 2011
|
5.42 | September 11, 2011
|
5.05 | 2011 | 4.97 | |
| Season 5 | 12 | June 10, 2012
|
5.20[98] | August 26, 2012
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5.05 | 2012 | 4.67 | |
| Season 6 | 10 | June 16, 2013
|
4.52[99] | August 18, 2013
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4.12[100] | 2013 | 4.24 | |
| Season 7 | 10 | June 22, 2014
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4.03 | August 24, 2014
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4.04 | 2014 | 3.48[101] | |
Awards and nominations
[edit]The show won an Outstanding Casting for a Drama at the 61st Primetime Emmy Awards; the two lead actors have both been recognized for their performances:
- Anna Paquin as Sookie Stackhouse, for Best Actress in a Drama at the 13th Satellite Awards
- Stephen Moyer as Bill Compton for Best Actor at the 37th Saturn Awards
The show received an American Film Institute Award in 2009 as "One of the 10 Best TV Programs" and was chosen as "Favorite TV Obsession" at the 36th People's Choice Awards. Its stunt performers have been recognized for Outstanding Performance by a Stunt Ensemble at the 17th Screen Actors Guild Awards.
Canceled reboot
[edit]In December 2020, it was announced that HBO was developing a reboot of True Blood.[102] The original series' creator and original showrunner, Alan Ball, was set to executive produce the reboot.[103] In February 2023, HBO CEO Casey Bloys confirmed HBO had developed a few scripts but stated, "nothing that felt like it got there".[104]
See also
[edit]Notes
[edit]- ^E-1 "Strange Love". True Blood. Season 1. Episode 1. September 7, 2008. HBO.
- ^E-2 "The First Taste". True Blood. Season 1. Episode 2. September 14, 2008. HBO.
- ^E-3 "Mine". True Blood. Season 1. Episode 3. September 21, 2008. HBO.
- ^E-4 "Escape from Dragon House". True Blood. Season 1. Episode 4. September 29, 2008. HBO.
- ^E-5 "Sparks Fly Out". True Blood. Season 1. Episode 5. October 5, 2008. HBO.
- ^E-8 "The Fourth Man in the Fire". True Blood. Season 1. Episode 8. October 26, 2008. HBO.
- ^E-10 "I Don't Wanna Know". True Blood. Season 1. Episode 10. November 9, 2008. HBO.
- ^E-11 "To Love is to Bury". True Blood. Season 1. Episode 11. November 16, 2008. HBO.
- ^E-12 "You'll Be the Death of Me". True Blood. Season 1. Episode 12. November 23, 2008. HBO.
- ^E-13 "Nothing but the Blood". True Blood. Season 2. Episode 13. June 14, 2009. HBO.
- ^E-14 "Keep This Party Going". True Blood. Season 2. Episode 14. June 21, 2009. HBO.
- ^E-15 "Scratches". True Blood. Season 2. Episode 15. June 28, 2009. HBO.
- ^E-16 "Shake and Fingerpop". True Blood. Season 2. Episode 16. July 12, 2009. HBO.
- ^E-17 "Never Let Me Go". True Blood. Season 2. Episode 17. July 19, 2009. HBO.
- ^E-18 "Hard-Hearted Hannah". True Blood. Season 2. Episode 18. July 26, 2009. HBO.
- ^E-19 "Release Me". True Blood. Season 2. Episode 19. August 2, 2009. HBO.
- ^E-20 "Timebomb". True Blood. Season 2. Episode 20. August 9, 2009. HBO.
- ^E-21 "I Will Rise Up". True Blood. Season 2. Episode 21. August 16, 2009. HBO.
- ^E-22 "New World in My View". True Blood. Season 2. Episode 22. August 23, 2009. HBO.
- ^E-23 "Frenzy". True Blood. Season 2. Episode 23. August 30, 2009. HBO.
- ^E-24 "Beyond here Lies Nothing". True Blood. Season 2. Episode 24. September 6, 2009. HBO.
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External links
[edit]True Blood
View on GrokipediaTrue Blood is an American fantasy horror drama television series created by Alan Ball for HBO, loosely adapting The Southern Vampire Mysteries novels by Charlaine Harris.[1][2] The series centers on Sookie Stackhouse, a telepathic waitress in the fictional town of Bon Temps, Louisiana, who navigates romantic and dangerous entanglements with vampires and other supernatural beings after the invention of synthetic blood—branded Tru Blood—enables vampires to publicly integrate into human society, sparking conflicts over coexistence, prejudice, and power.[3][2] Premiering on September 7, 2008, it spanned seven seasons and 80 episodes until its conclusion on August 24, 2014, achieving peak viewership of over 13 million for its finale and earning praise for innovative storytelling in the vampire genre while facing criticism for declining narrative quality in later seasons and heavy reliance on graphic sex and violence.[2] Notable achievements include a Golden Globe Award for Anna Paquin's lead performance and multiple Emmy nominations for production elements like main titles and makeup, underscoring its role in HBO's prestige programming era.[4][5] The show's defining characteristics encompass explicit depictions of sexuality and gore, which fueled its cult following but also drew scrutiny for sensationalism over substance, alongside allegorical explorations of otherness that some viewed as strained parallels to real-world civil rights struggles.[2][6]
Premise and Setting
Supernatural World-Building
The invention of Tru Blood, a synthetic blood substitute developed through a 1986 business agreement between Japan's Yakonomo Corporation and the Vampire Authority, provided vampires with a viable alternative to human blood consumption, enabling their public disclosure to humanity in the Great Revelation roughly two years before the series' central timeline.[7] This nutrient-poor facsimile, while insufficient to fully replicate the vitality derived from fresh human blood, mitigated the necessity for predatory feeding and underpinned vampires' push for societal mainstreaming under legal frameworks like the Vampire Rights Amendment.[8][7] Vampirism originates from a transformative process wherein a human is drained of blood to the point of death and then ingiven vampire blood, inducing clinical death followed by reanimation as an undead entity sustained by an unexplained magical mechanism rather than biological processes.[8] Lacking vital signs such as heartbeat, brain activity, or respiration, vampires depend on periodic blood ingestion to maintain functionality, with human blood conferring superior nourishment and euphoric effects compared to Tru Blood.[8] Their physiology confers advantages including superhuman strength and speed that accrue over centuries, accelerated wound healing via blood intake, and glamouring—a hypnotic ability to manipulate human perceptions, implant suggestions, or erase memories, though ineffective against other supernatural beings.[8] Counterbalancing these traits are pronounced vulnerabilities rooted in their undead state: direct sunlight triggers rapid, lethal combustion due to an inherent photochemical instability; silver contact causes severe dermal burns and systemic debilitation; penetration of the heart by wood or equivalent implements precipitates instantaneous true death by disrupting circulatory animation; and specialized pathogens like vampire hepatitis can incapacitate them for weeks by impairing blood processing.[8] Fire and decapitation similarly induce final dissolution, enforcing a nocturnal existence and reliance on concealed resting places during daylight, while their blood exhibits potent narcotic qualities for humans, complicating interspecies interactions.[8] The supernatural framework extends beyond vampires to encompass shapeshifters and werewolves, who retain human biology including mortality from trauma, disease, or senescence but possess heritable metamorphic capacities—shifters assuming any animal form via tactile genetic imprinting, and werewolves restricted to lupine transformations often aligned with pack social structures and lunar influences.[9] Fairies emerge as extradimensional humanoids with bioluminescent physiology enabling light-based sustenance, innate teleportation, and invisibility, their blood acting as an addictive accelerant for vampires akin to a biochemical opiate, which drives predatory pursuits and underscores evolutionary divergences in supernatural sustenance and vulnerability.[8] These elements collectively impose biological imperatives—such as blood dependency for vampires or metamorphic triggers for shifters—that shape secretive societal hierarchies until successive revelations force broader coexistence dynamics.[7]Key Differences from Source Novels
The True Blood television series, adapted from Charlaine Harris's Southern Vampire Mysteries novels, adheres closely to the first season's plot from Dead Until Dark (2001) but increasingly diverges thereafter, prioritizing ensemble storytelling and heightened drama over the books' first-person focus on telepath Sookie Stackhouse's mysteries in rural Louisiana.[10] The novels emphasize Sookie's personal investigations and relationships, narrated solely from her viewpoint, whereas the series shifts to third-person omniscient narration, expanding subplots for secondary characters and accelerating supernatural conflicts to suit HBO's serialized format.[11] This results in invented arcs, such as extended vampire-witch wars and fairy incursions drawn from later books but compressed and altered for immediacy, omitting the novels' gradual revelations and resolutions.[12] A primary deviation lies in character development and ensemble expansion; minor figures like cook Lafayette Reynolds, who dies early in Living Dead in Dallas (2002) without psychic traits, become central with medium abilities and survival through all seven seasons, reflecting the show's broader canvas beyond Sookie's limited observations.[11] Similarly, Bill Compton's backstory alters significantly— in the novels, his 19th-century human life and post-vampiric punishments differ, with no equivalent to the series' depiction of him surveilling Sookie on vampire orders from the outset, emphasizing agency loss over the books' romantic autonomy.[13] Harris noted these changes amplified visibility for her work but strayed into more violent, politically charged vampire dynamics not central to her cozy mystery tone.[14] Vampire mythology and politics undergo substantial reconfiguration: the series introduces a hierarchical Vampire Authority with biblical Lilith origins and synthetic blood-fueled integration accelerated into global tensions by 2008, contrasting the books' looser, regional vampire councils and absence of ancient progenitor lore, where societal rules prioritize secrecy over public advocacy.[15] Supernatural species integration quickens dramatically—werewolves and shifters appear in season 2 (2009) versus book 4 (Dead to the World, 2004), and maenads or witches trigger large-scale threats earlier, blending and fabricating elements from multiple novels for escalating stakes absent in Harris's per-book containment.[12] Erotic and violent content amplifies for visual media; while novels include romance and gore, the series heightens explicit sex scenes and brutality, such as prolonged torture sequences, shifting from mystery-solving to HBO-style sensationalism, as Harris observed in interviews contrasting her restrained narrative with the adaptation's "more action-based" evolution.[16]Plot Summaries
Season 1 (2008)
Season 1 consists of 12 episodes that premiered on HBO on September 7, 2008, and concluded on November 23, 2008.[17] The narrative unfolds in Bon Temps, Louisiana, two years after the "Great Revelation," when vampires revealed their existence to humans nationwide, facilitated by Tru Blood, a mass-produced synthetic blood substitute developed in Japan that nutritionally sustains vampires without requiring human donors.[7] [18] This development enables a precarious integration of vampires into human society, though widespread prejudice persists, with many humans viewing vampires as threats despite legal protections against consumption without consent.[2] [19] The season centers on Sookie Stackhouse, a telepathic waitress at Merlotte's Bar and Grill, who first encounters vampire Bill Compton during an altercation at the establishment; her ability to read minds does not extend to vampires, allowing her a rare respite from others' thoughts and sparking an initial attraction.[2] Their romance intensifies as Bill introduces Sookie to vampire customs and vulnerabilities, such as daytime lethality and silver allergies, while she aids him in navigating human interactions.[19] Concurrently, human-vampire tensions escalate due to a string of local murders, where female victims are exsanguinated and marked by apparent vampire fangs, prompting investigations that implicate supernatural involvement and fuel anti-vampire sentiment in Bon Temps.[2] Sookie's brother, Jason Stackhouse, experiments with "V"—vampire blood ingested by humans for euphoric highs and enhanced physical effects—leading to risky behaviors and entanglements with vampire-associated women who become murder targets.[19] Community dynamics at Merlotte's, including employer Sam Merlotte's guarded demeanor and cook Lafayette's side dealings in V distribution, underscore the ripple effects of the Revelation on everyday life, as residents grapple with fear, curiosity, and opportunistic exploitation of the new reality.[2]Season 2 (2009)
The second season of True Blood, comprising 12 episodes, premiered on HBO on June 14, 2009, and concluded on September 13, 2009.[20] It expands the supernatural conflicts introduced in the first season by introducing human religious extremism through the Fellowship of the Sun, a Christian fundamentalist group that portrays vampires as satanic threats to humanity and advocates for their extermination.[21] Jason Stackhouse, seeking purpose after personal losses, joins the Fellowship's "Light of Day" leadership training program, where he rises in status while internalizing their militant anti-vampire doctrine, including armed confrontations and ideological indoctrination.[21] Parallel to the human threats, the season centers on the maenad Maryann Forrester, an ancient immortal being portrayed by Michelle Forbes, who infiltrates Bon Temps under the guise of a social worker.[22] Maryann employs supernatural compulsion to erode inhibitions among residents, fostering widespread debauchery, violence, and ritualistic killings as part of her quest to summon and sacrifice Sam Merlotte—revealed as her intended vessel for the god Dionysus—in a ceremony requiring communal frenzy.[23] Her influence manifests in bull-like claw attacks, heart extractions from victims, and mass hysteria, disrupting the town's social fabric and forcing characters like Tara Thornton and Eggs Bennett into unwitting complicity.[24] Vampire society faces internal power dynamics and external pressures, with Bill Compton assuming responsibilities as the maker of newly turned vampire Jessica Hamby, navigating her impulsive bloodlust and familial estrangement amid rigid hierarchical protocols.[25] Eric Northman enlists Sookie Stackhouse and Bill in Dallas to rescue Godric, the 2,000-year-old sheriff of Area 9 and Eric's maker, who has been captured by the Fellowship; Godric's advocacy for vampire-human coexistence exposes fractures in vampire leadership, contrasting aggressive territorial enforcers with his fatalistic pacifism.[26] Sookie uncovers personal family secrets through her cousin Hadley, a human servant to the Louisiana vampire queen Sophie-Anne Leclerq, who discloses that Sookie's parents died in a flood-induced car crash precipitated by a predatory supernatural creature detecting Sookie's fairy heritage—a revelation that underscores her vulnerability to otherworldly attractions without resolving the incident's full causality.[27] These intertwined arcs culminate in clashes between the maenad's chaotic dominion over Bon Temps and the Fellowship's orchestrated assault on vampires, amplifying existential risks to both human and undead communities.[26]Season 3 (2010)
Season 3 of True Blood premiered on HBO on June 13, 2010, and concluded on September 12, 2010, comprising 12 episodes.[28] The season shifts focus from the previous year's maenad crisis to escalating conflicts among vampire monarchs and the introduction of werewolf packs, with Sookie Stackhouse enlisting the aid of werewolf Alcide Herveaux to locate her kidnapped boyfriend, Bill Compton, in Jackson, Mississippi.[28] Bill's abduction stems from his covert assignment by Louisiana's vampire queen Sophie-Anne Leclerq to track V (vampire blood) trafficking, drawing him into the orbit of Russell Edgington, the ancient Vampire King of Mississippi, who seeks to exploit Bill's knowledge of Sookie's unique telepathic abilities.[29] Russell, portrayed as a ruthless 3,000-year-old vampire with a history of massacring human families including Eric Northman's in the 10th century, emerges as the primary antagonist, forging alliances with werewolf packs to bolster his territorial ambitions.[29] Central to the season's territorial wars is Russell's campaign to consolidate power among southern vampire kingdoms, including the murders of the kings of Louisiana and Arkansas to frame Eric and provoke open conflict with humans, whom he views as an existential threat due to synthetic blood's mainstreaming effects.[30] He experiments with creating vampire-werewolf hybrids by turning pack members like Cooter into undead soldiers, aiming for an army resistant to traditional weaknesses such as silver, while maintaining control over werewolves through loyalty oaths and shared predatory instincts.[31] Sookie's involvement exposes her to the werewolf pack dynamics at Lou Pine's bar, where Alcide's father, Jackson Herveaux, owes debts to Russell, highlighting pack hierarchies enforced by dominance challenges and betrayals, such as Alcide's girlfriend Debbie Pelt's V addiction and violent tendencies.[32] These Southern Gothic elements underscore the primal, pack-based loyalties contrasting vampire political intrigue, with shape-shifters like Sam Merlotte confronting his own past cons and family ties to transient shifter communities.[2] Personal betrayals intensify the narrative, particularly Bill's revelation to Sookie that he initially approached her under orders from Eric Northman and Queen Sophie-Anne to investigate her telepathy, positioning his affection as partially strategic amid the queen's financial desperation from V sales.[33] Eric grapples with his vendetta against Russell for his family's slaughter, allying uneasily with Sookie and using her as bait, while triangular romantic tensions arise between Sookie, Bill, and Eric, complicated by Sookie's growing attraction to Alcide during their Mississippi search.[30] Hints of Sookie's fairy heritage surface through her innate ability to emit photokinetic blasts that injure vampires, first demonstrated against Russell's guards and later weaponized in confrontations, suggesting a supernatural lineage explaining her resistance to vampire mesmerism and appeal as a blood source.[33] The season culminates in Russell's temporary neutralization via concrete encasement by Eric and Bill, averting immediate war but leaving vampire authority fractured and Sookie's powers partially unveiled.[31]Season 4 (2011)
Season 4 consists of 12 episodes and aired on HBO from June 26 to September 11, 2011.[34][35] The storyline introduces a coven of Wiccan practitioners in Shreveport, Louisiana, whose activities escalate into a war with local vampires after internal power shifts.[36] Lafayette Reynolds and Jesus Velasquez join the coven, where Marnie Stonebrook emerges as a central figure due to her necromantic abilities as a medium.[37] Marnie channels the spirit of Antonia Garriga, a 17th-century Spanish witch tortured and killed during the Inquisition in collaboration with vampires, fueling a vengeful agenda against undead beings.[38] This possession amplifies Marnie's powers, enabling spells that induce necrosis in vampires, causing their flesh to decay and posing an existential threat to vampire society, particularly evident in Pam De Beaufort's visible deterioration.[39][40] Coven dynamics fracture as members debate the ethics of Antonia's destructive influence, with some advocating restraint amid rising human casualties and others aligning with the anti-vampire crusade.[41][42] Eric Northman confronts the coven seeking a truce but falls victim to a memory-erasing spell cast by Marnie, resulting in amnesia that strips his aggressive persona and fosters an atypical, vulnerable alliance with Sookie Stackhouse, who shelters him on her property.[43][44] This vulnerability temporarily aligns Eric with human interests against vampire authority figures like Bill Compton.[45] Sookie's partial fairy heritage manifests more prominently, granting her photokinetic abilities to emit destructive light blasts effective against vampires and other threats, while revealing interdimensional conflicts tied to the fairy realm's isolationist policies and vampires' addiction to fairy blood.[46][47] These powers prove crucial in disrupting witch spells and navigating fairy politics, including efforts to retrieve kin from the human world.[48][34]Season 5 (2012)
The fifth season of True Blood comprises 12 episodes that aired on HBO from June 10 to August 26, 2012.[49] [50] It centers on escalating tensions within the Vampire Authority, an ancient governing body overseeing vampire society, amid a manufactured crisis in the synthetic blood supply. Multiple Tru Blood factories are bombed, contaminating the commercial product with hepatitis and forcing vampires into a precarious position where mainstream integration via synthetic sustenance becomes untenable.[51] This sabotage aligns with the ambitions of the Sanguinista movement, a fundamentalist faction advocating a return to human blood consumption as a divine imperative inspired by the mythical progenitor Lilith. Chancellor Salome Agrippa emerges as a pivotal figure, covertly excavating and rehabilitating Russell Edgington, the deposed ancient vampire king previously entombed in concrete by Bill Compton and Eric Northman.[52] Salome's machinations culminate in a coup, installing a Sanguinista regime that imprisons dissenters like Bill and Eric while elevating Russell as an ally, though his pragmatic disdain for religious zealotry sows discord. Bill, coerced into drinking Lilith's ancient blood, undergoes a transformative apotheosis into "Billith," amplifying the Authority's shift toward revelatory extremism and open defiance of human-vampire coexistence protocols. Eric, meanwhile, navigates espionage and alliances, including with his sister Nora, to undermine the regime from within.[53] In Bon Temps, Sookie Stackhouse pursues closure regarding Bill's apparent death by employing fairy light to erase her memories of him and Eric, though lingering doubts and investigations into her parents' drowning—linked to supernatural vendettas—draw her back into peril.[54] Parallel subplots involve a human-vampire hybrid pregnancy as Jessica Hamby grapples with ethical dilemmas in her relationship with Jason Stackhouse, while werewolf packs and anti-supernatural human vigilantes intensify territorial conflicts. Fairy incursions escalate as refugees from their war-torn realm flood Earth via portals, culminating in Andy Bellefleur impregnating the fairy Maurella, who births quadruplet daughters—human-fairy hybrids exhibiting rapid maturation and potent abilities—heralding broader interspecies entanglements.[55] These threads converge in Authority-orchestrated chaos, pitting political intrigue against existential threats to supernatural secrecy.Season 6 (2013)
The sixth season escalates the human-vampire conflict in the wake of the Vampire Authority's destruction, with Louisiana Governor Truman Burrell enacting draconian policies to subjugate vampires, including mass roundups and the deployment of Hepatitis V, a synthetic virus engineered to infect and debilitate vampires by causing rapid decay and bloodlust akin to zombification.[56][57] This plague introduces survival horror dynamics, as infected vampires exhibit grotesque physical deterioration and feral aggression, forcing survivors into desperate containment and evasion tactics amid human purges.[58][59] Vampires are herded into fortified containment camps operated under Burrell's regime, where they endure psychological torture, forced participation in gladiatorial combats for Tru Blood production, and lethal experimentation to test Hep-V strains, heightening the season's emphasis on institutional brutality and resistance from within. Eric Northman and Pam Swynford De Beaufort lead infiltration efforts, leveraging espionage and sabotage to dismantle the camps from the inside, while camp inmates face systematic extermination via sunlight exposure devices.[60][59] Bill Compton, having transformed into "Billith" through the ritual ingestion of Lilith's primordial blood—merging his essence with the progenitor vampire's—gains enhanced abilities including prophetic visions of impending vampire annihilation, which propel him to pursue faerie blood as a potential antidote or empowerment serum against human aggression.[56][61] Lilith's mythology, portrayed as a spectral guide urging Billith to fulfill a messianic role in averting extinction, intertwines with human conspiracies centered on Burrell's administration and complicit scientists developing viral weapons, revealing a coordinated effort to revert to vampire secrecy through eradication rather than coexistence.[62][63] Former antagonists like Nora Gainesborough, previously aligned with Sanguinista zealots, undergo redemption by collaborating in the camp resistance, shifting from ideological extremism to pragmatic alliance against shared human threats, thus integrating prior narrative threads into collective survival imperatives.[62][64]Season 7 (2014)
Season 7 of True Blood consists of 10 episodes that aired on HBO from June 22, 2014, to August 24, 2014, marking the series finale.[65][66] The season begins with a six-month time jump after season 6, depicting the rapid spread of Hepatitis V (Hep-V), a virulent strain afflicting vampires by accelerating their metabolism and leading to violent feeding frenzies, resulting in attacks on human settlements like Bon Temps.[67] Infected vampire gangs ravage the area, prompting human vigilante groups to execute captured vampires and stockpile weapons, heightening the risk of an all-out vampire-human war.[68] Bill Compton contracts Hep-V early in the season, refusing the synthetic Tru Blood substitute and succumbing to its effects, which drive him toward self-destruction while straining his bond with Sookie Stackhouse.[69] Sookie, leveraging her fairy heritage, consults her ancestor Claudine for guidance and navigates alliances amid the chaos, including efforts to protect fairy hybrid Adilyn Bellefleur. Revelations tie up prior seasons' threads, such as Eric Northman's recovery after using Sarah Newlin's blood—discovered as the antidote to Hep-V—enabling him and Pam Swynford De Beaufort to seize control of Newlin's Yakuza-backed operations and mass-produce the cure, halting the epidemic's spread.[70] Despite this, Bill's advanced infection proves incurable, leading Sookie to channel her fairy light to grant him the True Death in a ritualistic suicide, resolving his arc but underscoring the virus's irreversible toll on some victims.[71] The season addresses loose ends like Jason Stackhouse's romantic entanglements and Lafayette's personal growth, while averting broader war through the cure's dissemination, though human-vampire distrust lingers. In the finale, "Thank You," Sookie rejects eternal supernatural ties, opting for a mortal existence; a flash-forward shows her years later pregnant at a Thanksgiving gathering with Jason, his wife, children, Sam Merlotte, and an unidentified dark-haired human husband, implying family stability without specifying her partner and eliciting viewer debate over its ambiguity.[72] The condensed 10-episode format contributed to perceptions of rushed resolutions for the Hep-V crisis and character fates compared to prior seasons' arcs.[73]Characters and Casting
Protagonists and Central Dynamics
Sookie Stackhouse, portrayed by Anna Paquin, functions as the primary protagonist, a telepathic waitress at Merlotte's Bar in the fictional town of Bon Temps, Louisiana, whose innate ability to read human minds has historically isolated her due to the intrusive cacophony of others' thoughts, limiting her interpersonal bonds until vampires—immune to her gift—enter her life.[3] This shifts dramatically in the series premiere on September 7, 2008, when vampire Bill Compton intervenes in her attack by human assailants, forging a blood bond through shared exchanges that not only silences her telepathic burden in his presence but also causally links their physiologies, enabling mutual tracking and amplifying dangers from vampire foes.[2] Her subsequent entanglements with Eric Northman, a dominant vampire sheriff, and Alcide Herveaux, a werewolf enforcer, stem from protective alliances amid escalating threats, each relationship precipitating chain reactions such as political purges, memory manipulations, and territorial wars that test her loyalties and expose her partial fairy heritage, revealed in 2011's fourth season as enhancing her allure to predators.[74][75] Bill Compton, enacted by Stephen Moyer, represents a vampire of relatively recent origin—turned in 1865 shortly after the American Civil War's conclusion—whose genteel Southern demeanor conceals a history of Confederate service and initial subjugation to elder vampires, motivating his pursuit of Sookie under orders from Eric yet evolving into conflicted devotion that prioritizes her safety over hierarchical obedience.[2] This dynamic with Eric Northman, portrayed by Alexander Skarsgård as a millennium-old Viking progeny who ascended to sheriff of Louisiana's Area 5 through ruthless longevity, manifests as a rivalry rooted in jurisdictional authority and Sookie's strategic value, where Bill's deference often yields to Eric's pragmatism, leading to coerced collaborations against common threats like ancient deities or human zealots, with betrayals tracing back to blood oaths and power vacuums.[76] Their competition causally escalates Sookie's perils, as vying influences provoke retaliatory violence and force her into decisions that fracture vampire unity, underscoring how personal affections undermine immortal self-preservation.[3] Among human allies, Tara Thornton emerges as Sookie's closest confidante, driven by a backstory of enduring maternal abuse from alcoholic Lettie Mae, which fosters her fierce protectiveness and propels her from bar shifts into volatile romances with shifters and witches, culminating in her 2012 vampiric turning by Eric as a safeguard that severs her human vulnerabilities but binds her to undead dependencies.[3] Sam Merlotte, the bar's owner played as a shapeshifter capable of assuming canine forms, conceals his supernatural identity to maintain a facade of normalcy while harboring nomadic instincts from past evasive lifestyles, his secrecy motivating discreet interventions—such as incinerating bodies or relocating threats—to preserve Bon Temps' fragile equilibrium, though revelations of his abilities strain alliances and invite exploitation by organized crime within supernatural circles.[2] These supporting figures' concealed truths interweave with Sookie's orbit, generating cascades of exposure and conflict that amplify the protagonists' navigation of trust amid pervasive predation.[74]Antagonists and Supporting Roles
Rene Lenier, portrayed by Michael Raymond-James, operates as a concealed human predator whose serial killings target women involved with vampires, driven by visceral anti-supernatural animus masked by his everyday persona as a road crew mechanic and boyfriend to Arlene Fowler. This character's methodical violence, executed under aliases like Drew Marshall, exemplifies the personal-scale threat of bigotry-fueled predation, preying on perceived moral transgressions in Bon Temps society.[77][78] The Fellowship of the Sun functions as an organized institutional antagonist, a fundamentalist group advocating vampire eradication through indoctrination and militant action, led by figures like Steve and Sarah Newlin who frame their crusade as divine imperative against undead abominations. Its recruitment of vulnerable humans into anti-vampire zealotry generates widespread conflict, portraying collective human predation as a pseudo-religious response to supernatural integration, with tactics escalating from propaganda to paramilitary operations.[79][80] Maryann Forrester, a maenad immortal played by Michelle Forbes, embodies ancient mythological predation through her manipulative inducement of frenzied human behavior, fostering orgiastic rituals aimed at summoning and sacrificing to her god Dionysus. Posing initially as a benign social worker, her supernatural allure corrupts communities by amplifying base instincts, driving narrative tension via uncontrollable sacrificial imperatives that pit primal chaos against rational order.[23][79] Governor Truman Burrell, interpreted by Arliss Howard, wields political authority as a calculated antagonist, enacting state-level policies to quarantine and exterminate vampires amid rising human-supernatural hostilities in Louisiana. His alliance with extremists like Sarah Newlin enables technological and legislative assaults on vampire populations, illustrating predatory governance that exploits public fear for authoritarian control and systemic elimination.[81][82] Supporting roles amplify ensemble dynamics, with Lafayette Reynolds—depicted by Nelsan Ellis as a mediumistic cook entangled in drug trade and brujo possessions—navigating predatory spiritual entities that exploit his psychic vulnerabilities, thereby injecting occult predation into human-supernatural interactions and underscoring resilience amid otherworldly coercion.[83][84] Jessica Hamby, portrayed by Deborah Ann Woll as Bill Compton's progeny, transitions from impulsive fledgling vampire—initially succumbing to blood-driven predation post-turning—to a maturing figure managing maker-imposed duties and romantic entanglements, her arc revealing the predatory hierarchies within vampire lineages and the challenges of ethical adaptation in eternal undeath.[85][86]Production
Development and Creative Team
Alan Ball developed True Blood as an adaptation of Charlaine Harris's The Southern Vampire Mysteries novels following his October 2005 deal with HBO to create original programming after the end of Six Feet Under. Ball, drawn to the books' depiction of vampires emerging into a synthetic-blood-enabled society, pitched the series as a genre-blending exploration of horror, romance, and social allegory, emphasizing explicit eroticism and themes of otherness akin to civil rights struggles. HBO greenlit the pilot in early 2007, with the network ordering a full 12-episode first season by November of that year, allowing Ball to serve as creator, executive producer, and showrunner for the initial run.[87][88] Harris contributed the foundational mythology and characters but maintained limited direct involvement in the television production, focusing instead on her ongoing novels; she appeared in cameos, such as in season 2, but publicly noted the show's divergences from her source material, including altered character arcs and plot resolutions that she addressed by charting independent paths in later books like Dead Ever After. These adaptations prioritized televisual spectacle and serialized drama over strict fidelity, with Ball citing the need to expand beyond page constraints for ensemble dynamics and visual storytelling.[87][89][90] Ball remained showrunner through season 5, concluding in 2012, after which he transitioned to a supervisory executive producer role to reduce his workload; Mark Hudis was initially tapped to succeed him for season 6 but was replaced mid-preparations by veteran producer Brian Buckner, who helmed the final two seasons amid efforts to sustain the series' escalating supernatural scope. This shift reflected HBO's strategy to extend the franchise beyond Ball's direct oversight while preserving core creative continuity.[88][91][92]Filming Locations and Technical Aspects
Principal photography for True Blood primarily took place in Shreveport, Louisiana, and surrounding rural areas to capture the authentic Southern Gothic atmosphere of the fictional Bon Temps.[93] Locations such as residential houses on Austin Place and Sprague Street in Shreveport served as key sets for character homes, including the Victorian-style residence for Bill Compton.[94] [95] This on-location filming in northern Louisiana's humid, wooded environments provided visual realism reflective of the region's climate and architecture, though some interior and supplementary scenes were completed at studios in California.[96] The production encountered logistical difficulties with frequent night shoots, driven by the series' focus on nocturnal vampire activities, including sequences filmed on urban streets like Bourbon Street in New Orleans.[97] Prosthetic makeup was extensively employed for depicting vampire injuries, such as silver-induced wounds and blast trauma, with actors like Ryan Kwanten fitted for detailed applications to simulate realistic tissue damage and blood effects.[98] Visual effects integrated practical prosthetics with CGI to ground supernatural elements in perceptual realism, with Zoic Studios handling early vampire enhancements like superhuman speed blurs and retractable fangs.[99] As the series progressed, VFX demands escalated in seasons introducing fairies and portals, evolving from basic motion composites to more intricate digital simulations of light blasts, realm transitions, and aerial vampire maneuvers, balancing budgetary constraints with narrative spectacle.[100] This progression maintained a hybrid approach, prioritizing practical effects where possible to avoid over-reliance on dated CGI evident in some creature transformations.[98]Music, Title Sequence, and Visual Style
The title sequence for True Blood was produced by Digital Kitchen, with creative direction from Matt Mulder and Rama Allen, and live-action direction involving Rama Allen, Morgan Henry, Matthew Mulder, Matt Clark, and Trevor Fife.[101] It features quick-cut montage of Deep South rural imagery, including swamps, churches, roadkill, and baptismal scenes, set against a backdrop of gritty, atmospheric visuals that evoke isolation and underlying menace.[101] The sequence runs to the theme song "Bad Things" by Jace Everett, a country rock track with ominous lyrics and a building tempo that underscores the blend of Southern Gothic elements and horror.[101][102] The series' music incorporates both licensed tracks and original compositions to enhance its moody, sensual tone. Nathan Barr composed the original score, beginning with Season 1, which was released as True Blood (Original Score From the HBO Original Series) in 2009, featuring 21 tracks such as "Take Me Home" and "Bill's Lament" that mix haunting strings, percussion, and vocal elements to build tension in supernatural encounters.[103][104] Barr continued scoring subsequent seasons, including a Season 2 album in 2010 with 13 tracks emphasizing melancholic and bucolic atmospheres.[105] Soundtrack compilations drew from episode-featured songs by artists including Lucinda Williams, with volumes released to capture the eclectic mix of rock, country, and blues that complemented the show's Louisiana setting and character arcs.[104] Visually, True Blood employs a cinematographic approach using ARRICAM and Moviecam film cameras alongside Red Epic digital for select shots, paired with Angenieux, ARRI/Zeiss, Clairmont, and Cooke lenses to achieve a slick, modern look with emphasis on atmospheric night scenes.[106] Directors of photography utilized tungsten lighting corrected with blue gels for moonlit effects in outdoor sequences, creating high-contrast shadows that heighten the intimacy and dread of vampire-related action.[107] The style favors desaturated color grading to convey decay and otherworldliness, with vivid red accents for blood motifs and sensual close-ups that underscore the physicality of supernatural interactions.[108] This aesthetic persists across seasons, prioritizing immersive, gritty realism in Bon Temps' humid, nocturnal environments.[109]Marketing Strategies
![True Blood - 2011 International Comic-Con.jpg][float-right] HBO's marketing for True Blood centered on viral campaigns that immersed audiences in the show's vampire integration premise, including an alternate reality game promoting the fictional Tru Blood synthetic blood substitute, which mirrored the narrative of vampires emerging from hiding.[110] This multimedia effort, developed with agencies like CampFire NYC, used teaser videos and online content to generate buzz by simulating real-world vampire advocacy and opposition groups.[111] Trailers and ads emphasized the series' explicit depictions of sex and violence, such as promises of graphic encounters and bloodshed in promotional clips debuted at events like San Diego Comic-Con.[112] A notable viral element drew from the show's anti-vampire sentiment, parodying real-world hate groups with fictional campaigns like "God Hates Fangs," echoed in opening credits and extended through online parodies to provoke discussion and shares.[6] HBO partnered with brands for themed cross-promotions, integrating vampire motifs into ads while maintaining partner logos, and collaborated on mobile rich media units that drove a 38% viewership increase for season three via interactive iPhone ads.[113][114] Annual Comic-Con panels featured cast members like Alexander Skarsgård and Kristin Bauer van Straten, unveiling season teasers and fostering fan engagement, as seen in the 2011 event with executive producer Alan Ball.[115] Cross-promotions with Charlaine Harris's Southern Vampire Mysteries novels, the source material, included multimedia tie-ins leveraging the shared universe for expanded storytelling and merchandise.[116] International marketing aligned season premieres with U.S. airings through HBO's global networks, supplemented by region-specific social media activations, such as Twitter role-playing and AR games tailored for markets like Asia.[117][118]Themes and Symbolism
Allegories for Social Integration and Rights
In the series, the Great Revelation of 2006, during which vampires publicly disclosed their existence to humanity via a televised broadcast, enabling them to "mainstream" through synthetic blood substitutes like Tru Blood, has been interpreted by critics as paralleling the "coming out of the closet" experiences of LGBT individuals seeking social acceptance.[119] This event, occurring approximately two years before the narrative's primary timeline in 2008, sparked widespread human-vampire tensions, with vampires forming the American Vampire League (AVL) to advocate for legal protections against discrimination.[120] Series creator Alan Ball described the vampires' push for integration as drawing from broader civil rights dynamics, though he cautioned against overly literal mappings to specific groups like gays and lesbians.[121] Anti-vampire slurs such as "fanger," "dead f***," and "v-juice junkie," along with vigilante violence and restrictive laws prohibiting vampire-human business interactions in some locales, mirror derogatory language and discriminatory practices historically faced by sexual minorities.[122] Episodes in seasons 1 and 2 depict the AVL lobbying for anti-discrimination statutes, including protections in employment and housing, akin to real-world campaigns for equal rights legislation.[120] For instance, vampire spokesperson Nan Flanagan appears on news programs arguing for legal equality, highlighting parallels to advocacy against sodomy laws and for partnership recognition prior to nationwide marriage equality advancements. The Fellowship of the Sun, a fictional evangelical organization opposing vampire integration in seasons 1 and 2, employs rhetoric framing vampires as moral abominations requiring extermination or conversion, echoing conservative religious opposition to LGBT rights.[123] Guest storylines involving Fellowship leaders like Steve and Sarah Newlin parody figures advocating traditional family values over minority inclusion, with their "light of day" campaigns promoting human supremacy.[122] Ball later cited politicians like Rick Santorum, known for critiques of same-sex marriage, as influencing season 5's portrayals of human political resistance to vampire rights expansions, including equality in public accommodations.[124] These arcs underscore interpretations of the series as exploring legislative battles for social parity, such as those preceding the 2015 U.S. Supreme Court ruling on marriage equality.[125]Critiques of Predatory Metaphors and Moral Relativism
Critics have argued that the series' portrayal of vampires as analogous to oppressed minorities falters due to their biologically inherent predatory requirements, which necessitate the consumption of human blood for survival, often resulting in violence or death unless synthetic alternatives like Tru Blood are used—a limitation many vampires disregard in favor of direct feeding. This dependency on harming humans undermines claims of victimhood akin to historical civil rights struggles, where marginalized groups sought recognition without posing existential threats to others through immutable traits like race or sexual orientation; instead, vampirism entails active choices to embrace or restrain bloodlust, as evidenced by the frequent depictions of vampires glamouring and draining victims non-consensually across seasons.[6][126] Such metaphors, proponents of these critiques contend, foster moral relativism by framing vampires' "coming out of the coffin" as a liberation narrative that excuses atrocities, equating predatory instincts with identity-based discrimination rather than acknowledging the causal primacy of biology-driven harm over societal prejudice. Conservative-leaning analyses highlight how this relativism portrays human resistance—such as Fellowship of the Sun militancy—as mere bigotry, ignoring empirical show dynamics where integration efforts repeatedly collapse under vampire aggression, with data-like patterns showing the majority of vampires engaging in homicidal acts post-mainstreaming, as seen in events like the 2010 Dallas vampire attacks or the proliferation of rogue feeders. This setup, critics note, inverts predator-prey realities, suggesting tolerance demands overlooking inherent dangers rather than addressing them through containment or eradication, a view echoed in audience discussions questioning the justification for human self-defense against a species where moral restraint is exceptional rather than normative.[120][127] Further scrutiny reveals inconsistencies in the allegory's logic, as vampire society enforces hierarchies through sires and authorities that perpetuate violence, contradicting pleas for equal rights under the Vampire Rights Amendment; biological imperatives, not prejudice alone, drive conflicts, with synthetic blood failing as a universal solution due to vampires' preference for the "real thing," leading to sustained predation rates that validate human fears rather than refute them as irrational bias. These elements, according to detractors, promote a causal fallacy by attributing societal friction primarily to intolerance while downplaying the undead's evolutionary adaptations for hunting, thus relativizing ethics in a manner that prioritizes predator accommodation over victim protection.[6][128]Portrayals of Sexuality, Addiction, and Power
The series depicts vampire blood, referred to as "V," as a euphoric and performance-enhancing narcotic for humans, granting temporary superhuman strength, vivid hallucinations, and amplified libido, but precipitating rapid addiction with withdrawal manifesting as violent tremors, paranoia, and compulsive cravings. Overdoses trigger cerebral aneurysms, often fatal, mirroring real-world substance abuse trajectories where initial highs yield escalating dependency and health deterioration. This portrayal underscores causal chains of habituation, as seen in human dealers extracting V from captured vampires, fostering black-market violence and user desperation that overrides rational self-preservation.[129][130] Jason Stackhouse's storyline illustrates these dynamics: his recreational use for sexual potency devolves into sourcing V through kidnapping and murder, culminating in acute withdrawal that demands cold-turkey abstinence, highlighting the physiological grip and psychological fallout of addiction cycles without romanticized redemption arcs. Such narratives reject unqualified glamorization by linking hedonistic pursuit to tangible harms, including eroded personal agency and interpersonal exploitation among users.[131] Sexual portrayals emphasize impulsive, multi-partner encounters and fluid arrangements, frequently catalyzing betrayals that fracture trust and incite retaliatory violence. Characters engage in casual liaisons amplified by V's aphrodisiac effects, yet these yield relational instability, with infidelity precipitating cycles of deception, jealousy, and emotional isolation rather than sustained fulfillment. Bill Compton's repeated deceptions of Sookie Stackhouse, influenced by lingering maker bonds, exemplify how unchecked hedonism erodes commitments, fostering isolation and vengeful outcomes over idealized liberation.[132] Vampire hierarchies manifest through the maker-progeny bond, an irrevocable link conferring makers with telepathic summons, obedience compulsion, and sensory attunement over progeny, often wielded exploitatively to enforce subservience or extract loyalty amid power asymmetries. This dynamic parallels coercive dependencies, where progeny endure psychological torment until formal release, as in Lorena Krasinski's manipulative hold over Bill Compton, deploying the bond for sadistic control and relational sabotage. Benevolent makers like Godric impart strategic guidance, but the inherent asymmetry enables abuse, with progeny rebellion or severance risking existential voids or reprisals, grounding power in unyielding causal leverage rather than egalitarian mythos.[132][133] Critics observe that while visceral depictions allure viewers with risk's thrill, the series counters glamorization by tracing outcomes to decay—addiction spirals into self-destruction, promiscuity to fractured alliances, and hierarchical bonds to entrenched subjugation—eschewing consequence-free indulgences for realism in behavioral repercussions.[129][132]Reception and Ratings
Critical Evaluations by Season
Critics acclaimed Season 1 for its innovative fusion of Southern Gothic horror, romance, and social allegory, highlighting the "creepy, steamy" atmosphere and character-driven tension despite occasional muddled plotting.[134] The season's Tomatometer score stood at 68% on Rotten Tomatoes, reflecting praise for strong performances and premise novelty.[19] Season 2 elevated the series with deeper mythological exploration and ensemble dynamics, earning a 89% Tomatometer score for maintaining suspense amid expanding supernatural elements.[135] Reviewers noted improved pacing and character arcs, though early signs of sub-plot proliferation emerged.[136] Season 3 sustained high regard for its central vampire politics arc but drew mixed responses for introducing extraneous threads like werewolves, which some critics felt diluted focus toward the end.[137] IGN described it as starting strong and exciting before "frittering into oblivion," signaling groundwork for later narrative sprawl.[138] The Tomatometer remained robust at around 88%, buoyed by character depth.[139] From Season 4 onward, evaluations shifted toward criticism of convoluted arcs and overreliance on sensationalism, with the Tomatometer dropping to 65% as reviewers faulted ideological expansions leading to narrative inconsistencies.[34] The Hollywood Reporter observed the series had "lost some of its sheen," citing diminished coherence amid proliferating supernatural threats.[140] Slant Magazine attributed problems to an unwillingness to resolve conflicts decisively, fostering plot bloat.[141] Seasons 5 and 6 intensified complaints of meandering direction and ridiculous developments, with Metacritic aggregating scores reflecting directionless storytelling.[142] Critics increasingly panned the departure from early tension in favor of disjointed subplots and moral relativism overload. Season 7 culminated in widespread derision for narrative fatigue, securing a 44% Tomatometer score amid accusations of contrived resolutions and exhausted premises.[65] The Guardian characterized the finale as a "merciful release" after seasons of declining vitality, underscoring how unchecked expansion eroded the foundational character focus.[138] This trajectory evidenced causal links between sustained high-stakes serialization without pruning and resultant critical fatigue.[143]Audience Metrics and Nielsen Data
The premiere episode of True Blood on September 7, 2008, drew 4.0 million live viewers according to Nielsen measurements, marking a strong debut for HBO's Sunday night lineup. Viewership grew steadily, with the second season episode on July 12, 2009, achieving a series high of 3.9 million live viewers, bolstered by on-demand and DVR playback to reach over 5 million total impressions.[144] The fourth season premiere on June 26, 2011, peaked at 5.4 million live viewers, reflecting the show's mid-run popularity surge driven by expanding fan engagement and cultural buzz around vampire media.[145] Subsequent seasons showed declines in live tune-ins, with the seventh and final season averaging 3.48 million viewers per episode in the live-plus-same-day metric and culminating in a 4.1 million viewer finale on August 24, 2014, which represented a season high but still fell short of earlier peaks.[146][147] Across its run, the series generated gross audiences averaging up to 13 million weekly viewers in its third season when including DVR, replays, and on-demand, underscoring HBO's multi-platform counting that inflated totals beyond traditional Nielsen live data.[148] Nielsen demographics highlighted a core audience of adults aged 18-49, with particular strength in the 30-44 subgroup capturing 7-8 share points, and a gender split of approximately 52% female viewers.[149][150] Internationally, True Blood achieved syndication success through deals that sustained revenue via global distribution, contributing to its status as a perennial earner post-broadcast.[151] In 2025, the series experienced a streaming resurgence on HBO platforms in Central and Eastern Europe, topping charts in 13 countries including Romania, Bulgaria, Serbia, and Hungary as of July, driven by renewed interest in paranormal content amid seasonal viewing trends.[152][153]Awards, Nominations, and Industry Recognition
True Blood garnered recognition primarily in genre-specific categories, with notable wins at the Saturn Awards for its supernatural elements and performances. The series received multiple Saturn Award nominations and wins, including Stephen Moyer for Best Actor on Television in 2011 for his portrayal of Bill Compton.[5] Joe Manganiello also won a Saturn Award in 2011 for Best Guest Starring Role on Television for his role as Alcide Herveaux.[154] Alexander Skarsgård earned a Saturn Award nomination for Best Supporting Actor in Television for Eric Northman. The show achieved a Creative Arts Emmy win for Outstanding Main Title Design in 2010, highlighting its visual style.[155] Additional Emmy nominations included Outstanding Production Design for a Narrative Contemporary or Fantasy Program in multiple years, such as 2015 and 2014, underscoring technical achievements in set and art direction.[5] Anna Paquin won the Golden Globe Award for Best Actress in a Television Series – Drama in 2009 for Sookie Stackhouse, with a follow-up nomination in 2010.[4] The series itself was nominated for Best Television Series – Drama at the Golden Globes in 2010.[4] In recognition of its portrayal of LGBTQ+ characters, True Blood won the GLAAD Media Award for Outstanding Drama Series in 2011.[156]| Award Body | Year | Category | Recipient/Result |
|---|---|---|---|
| Saturn Awards | 2011 | Best Actor on Television | Stephen Moyer (Win)[5] |
| Saturn Awards | 2011 | Best Guest Starring Role on Television | Joe Manganiello (Win)[154] |
| Saturn Awards | Various | Best Supporting Actor in Television | Alexander Skarsgård (Nomination) |
| Primetime Emmy Awards | 2010 | Outstanding Main Title Design | Win[155] |
| Golden Globe Awards | 2009 | Best Actress in a Television Series – Drama | Anna Paquin (Win)[4] |
| GLAAD Media Awards | 2011 | Outstanding Drama Series | Win[156] |
