It moves like a freight train. The best thing about this show is that it moves. It doesn’t meander through plot, stringing reveals out as long as possible. It introduces a story and then tells that story at a breakneck pace, all while folding in several other side-stories to keep things entertaining. The sheer amount of plot the writers have ripped through in one-and-a-half seasons would make The O.C.-era Josh Schwartz hang his head in shame. In the season two premiere alone, all of these things happen: Someone gets their fingers chopped off and a knife in the gut, a different someone gets stabbed in the gut, an evil doppelganger shows up in town and does evil doppelgang-y things, a new mysterious maybe werewolf is introduced, someone almost gets turned into a vampire, someone else actually does get turned into a vampire, and someone gets their neck snapped but comes back to life. On top of all that, they also manage to squeeze in at least 11 conversations about feelings and junk. It’s impressive not only in its ambition but especially in its execution, as nothing feels rushed, and no one story is slighted. The overstuffed, haphazardly plotted True Blood can—and should—take a few notes.
Notice none of the reasons are vampires. BECAUSE ITS THAT GOOD. “HAS VAMPIRES” doesn’t even make the top 10!
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