After seven years of airing, Sunday 24 August was broadcast the final of True Blood, and as all final sparked great controversy among fans; There have been many accusations to authors, But despite a few bumps here and there I don't think it was possible to do better or that the story could end very differently, at least not without losing consistency.The desire to Bill to meet the true death is one of the most debated topics: on one side it is necessary to recognize that Bill has always had a lot of nostalgia of his life as a human, and he points out that the Hep-V did feel more human than ever; the message you wanted to convey with this decision is that even human life, whose death does not necessarily part, has its own beauty and one of his poems (“the natural cycle of life is beautiful in and of itself, and […] death gives life meaning”, stated showrunner). Dall’altro lato, Unlike what sustains Buckner, I don't see anything heroic in the choice of asking Sookie to kill him: I understand that Bill wants to leave with dignity, so maybe you don't want to wait to explode to a pulp for the disease, but it could also do it all alone, discreetly and without forcing everyone to address this suffering. All that talk about his love for Sookie that he must die to make it free and let her have the life she deserves is a set of arrogance and bullying, which reaches its maximum under the pretence that she renounces her powers. The fact that Sookie in the past he wanted a normal life does not give some to Bill the right to decide for yourself and deprive it of part of its nature, and I am so glad that even Sookie has come to this conclusion. Although the main theme of True Blood has always been the integration, with vampires presented as an allegory of the homosexual world, the finale brings attention to the only true protagonist, Sookie, and if the vampire that has always been linked dies the allegory continues with her at times when reflecting on the proposal for a Bill; and as the conversation with the Rev., While interesting, to make a change is Grandma Stackhouse, in the flashback, reminds the small Sookie that “You can have any kind of life you want; You can persevere; anything you want, Sookie, you are entitled to it. There are no limits on you if you don't put them on yourself”: can have what you want, What is up, without having to give up for this part of herself, without having to change what is. Is this not what True Blood He always taught us? And that's what, over time, Sookie does: finds happiness by staying true to its origins; know the face of her husband in flashforward is not important, What matters is Sookie has been able to go on taking advantage of all that lived in the past. Add to this the wonderful performance from Anna Paquin: when suddenly he hears the thoughts of Bill in his eyes it reads the terror, and the scenes in the Tomb are nothing short of harrowing; those tears amid the remains of her great love sends an indescribable pain and bewilderment with the words, that only who is left alone in the world can understand.
The storyline Jessica and Hoyt was very rushed and a little’ forced, even more than in the previous episode: as she pointed out, the memories that Hoyt has her “start today”, VA bene l'amore ritrovato but even the wedding is a little’ troppo. Despite this and the extreme machismo desire to Bill that Jessica was “spoken for”, the wedding scene was very moving, and provided a good excuse for a final ironic conversation between Arlene and Holly on a hypothetical pregnancy of Jessica: “a cute little baby vamp” “with his little tiny teeth” “breastfeeding would be a bench!”. Another pleasant side-effect is the newfound harmony between Jason and Hoyt: at the bottom of the first repented enough and deserves to be forgiven, and although Hoyt did not remember giving the Council their friendship Jason wiser: “Let's go out there and make some new memories”. As Sookie learns to start over and create a new life, the same can also do them. I also appreciated the presence of Brigette in flashforward; Although the evolution of Jason in mature man (“ain't going to be no girlfriend Ferris again”) and family man would deserve more attention, the permanence of Brigette in Bon Temps seems to almost make sense of their vicissitudes: It might be awkward to be friends for you and Hoyt, but basically you can say that nothing serious happened between them, It is as if their relationship, instead of just being gone bad, It was served to lead everyone towards their own true love.
Although the final episode, Eric and Pam have unfortunately not had any scenes with other actors (because the commitments of Alexander Skarsgaard), This has made them less interesting storyline, anything but: Eric has finally decided to take out all the Yakuza (was now!), and one of the best moments of the episode is undoubtedly the one that dances to music while driving with dead bodies in the back seat! These two characters do what they have always been able to do: reinvent themselves and start again, together, and this time with a link to the past, namely the Fangtasia revamp. I enjoyed the location of the scenes where they turn the infomercial (with a cameo by Charlaine Harris), they have lightened the atmosphere after the excruciating death of Bill and in view of the poignant final farewell. Sarah Newlin for the first time cannot be saved (Despite the last-gasp attempt to be transformed), but I was expecting something more than a tedious captivity for years and years; at least it gave us a nice chat with Pam: “I'm an horrible person, aren't the? “Yes, Dear, you are”.
Very little space was given over to Lafayette and Sam, but those final shots were enough to make us understand that they got their happy ending, as well as all other. A season that began in an apocalyptic climate and hopeless ends, as opposed, with all the characters who find equanimity in their lives; even though they were really in love, with the death of Bill he finds that human side of himself that he thought he had lost forever and she learns to accept it for what it is and to live the life you always wanted. The family atmosphere of the latest episodes becomes even stronger: da un lato, with a parade of familiar faces (Tara and my dad, Stackhouse in flashback, even Alcide by name in his van) to pay tribute to all those who, for seven years, gave birth to True Blood, and with that final scene in which celebrate Thanksgiving together home Stackhouse, the center of all adventures. It will be difficult to tackle next summer without vampires, but taking example from Sookie & co.: move forward proudly being true to the end.