True Blood jumped the shark.
There's no denying it. When slick vampire Eric (Alexander Skarsgård) defied gravity and flew up, up, and away just like Superman in this season's penultimate episode "Frenzy"... well, I'd put that right up there with Fonzie strapping on his water skis, wouldn't you? Not only did it look ridiculous — as this show's vampire effects unfortunately often do — but there was absolutely no precedence. When one of Arlene's stunned kids shouted, "He can fly?!" I was right there with her. I've been watching this show for two seasons now and I had no idea that vampires could fly.
I was prepared to call it quits. The show's second season started off very strong, but the plot involving bitchtastic maenad Maryann (Michelle Forbes) paled greatly in comparison with the goings-on at the vampire-phobic Fellowship of the Sun Church. By time they got to the fourth or fifth straight episode where Maryann drove the residents of Bon Temps into fits of orgiastic sex and violence, the storyline had basically lost whatever steam it had started with.
And yet here I am, a couple days after the season finale, looking forward to the next batch of episodes (set to air summer 2010). The finale, "Beyond Here Lies Nothin'," might not be an example of great television, but it is an example of great True Blood. Which brings me to the conclusion that True Blood succeeds by explicitly not being great television. To be sure, it's had its share of heavy emotional moments. I won't soon forget the aftermath of Sookie's grandmother's death, or the beautiful way in which they did away with Amy (Lizzy Caplan). Not to mention the fact that repressed road worker Hoyt (Jim Parrack) and teenage vampire Jessica (Deborah Ann Woll) have one of the best relationships on TV.