Anna Paquin stars as Sookie Stackhouse, a human who has a relationship with a vampire, in HBO's ''True Blood.'
When "True Blood" premiered in September, I expected it to unfold as a highly thought-out and orderly metaphor of minority struggles in America. In Alan Ball's TV adaptation of Charlaine Harris's Sookie Stackhouse novels, vampires come "out of the coffin," churches declaim "God Hates Fangs," and still the undead and their nightclubs have a hip cachet.
As the tiny Louisiana town of Bon Temps was initially scandalized by the love affair between the human Sookie (Anna Paquin) and Bill (Stephen Moyer), a gentlemanly creature of the night, it was hard not to fit the lovers into our history of enmity toward interracial romance. With Sookie and Bill fighting off bigotry, I thought of the more passive heroine of "Society's Child,"' Janis Ian's 1960s pop hit about racism. "True Blood" looked like it was going to be a fabulous - but limited - conceit.
But the neo-gothic series, which will finish its first season on Sunday night at 9, has turned out to be so much more than a canny metaphor. Yes, the parallels between vampires and American cultural outsiders remain strong, and Ball and his writers aren't afraid to use them to comic and dramatic effect. The clips of vampires defending their rights on TV are amusingly droll sendups of real-life talking-headed venom. And Bill's mistreatment by Bon Temps has been both touching and, as it undoes the sensitive vampire and his beloved waitress, tragic. Sookie and Bill belong together.
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