Tagged: review

John Ostrander’s Got Nothin’

This is what a deadline looks like on writer’s block.

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Nothin’. I got nothin’. Lots of stuff has happened this week, lots of stuff happened in the pop arts, there are sure to be lots of topics from which to choose, something must interest me enough to blather about for the length of a column aaaaaaand

. . .nope. Brain’s not interested in any of them.

I finally went to see Man of Steel. There’s sure to be a column in that. What I thought of it, good bad or indifferent. Except that everyone has commented on it. Martha Thomases has commented twice and done it well both times. I’ve been lapped in Superman commentary by Martha Thomases. The film dropped 60% in attendees between the first and second weekends. Everyone who wants to see it already has and have their own opinions. A review on Man of Steel at this point is lame. Superman is dead. Even my brain doesn’t want to go there.

I got nothin’.

Hey, I’m a professional writer. I’ve encountered brain freeze and deadlines before. I know tricks and ways around writer’s block. One is to stop staring at the blank screen and go do something else.

Okay. Did something else. Aaaaaand. . .more nothing.

Distract yourself, John. Go on Facebook. Read what other people are saying, doing with their lives. Share funny things on your wall. Go do that.

Did that. FB bores me. It’s fifteen minutes later and I still have plenty of nothin’. And I’m slipping past deadline now.

I’m tired. That’s what it is. Go take a nap. That’ll do it.

No, it didn’t. A half hour shot and . . .

AAAAARGH! I can’t write I never could write why did I decide to be a writer?! The screen is still blank. Hungry. Demanding. Intimidating. Whatever made me think I could be a writer?

Oh, that’s right. Mike Gold offered me money. Curse you, money, you evil temptress! Why couldn’t I have remained as I was – an unemployed professional actor working part-time straight jobs to cover the rent? I was happier then.

No, I wasn’t. I’ve obviously gone around the bend. I’m hallucinating about the “good ol’ days” that were never really that good.

I’ll distract myself. Go play with the cats. Here, kitty kitty kitty.

Two minutes later. They’re bored and abandon me to my deadlines. Wretched felines. Can cats smell loser on you?

Play a game online. I often do that to cleanse my mental palate, get my concentration up and the brain cells energized. At least, that’s always been my justification. Yeah, that’s the ticket. Go play a game.

Did that, just came back,  and. . .I got nothin’. It’s just later in the day.

I went and washed dishes. That’s how desperate I am. It might work. Put my mind in zen mode and something will come out.

It didn’t work.

Stupid Computer! You know how I write! Why can’t I bring up an app or something and you write my column?!

Wait. There’s an idea. When musicians reach a certain age and don’t have anything new to do, they put out a Greatest Hits collection. Maybe I could do that. Just go back over some of my past columns and pull out random lines and string them together and see what happens.

Godfather II deepened and expanded on the first film; Godfather III – not so much. Any list of faves, yours, mine, or the guy down the street, says something about us. What I want is something new. As I said, Pamela Lee Anderson starred in the movie and I lingered, waiting to see if she would take off her clothes which is the main reason for any guy to watch a Pamela Lee Anderson movie. Mitt Romney wants to deep fry Big Bird.

Okay, that’s not going to work, either. Maybe interesting as a paragraph but a whole column of that? I don’t think so.

Maaaaybe I could write a column on what it’s like having to write a column when you have writer’s block and the deadline is upon you.

I wonder if I could get away with that?

Hurm.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Pulp Fiction Review and the Big Clear

  • Uncategorized
  • June 24, 2013

New Pulp Author Ron Fortier returns with another Pulp Fiction Review. This time out Ron takes a look at The Big Clear by Christopher Harris.

THE BIG CLEAR
By Christopher Harris
Short Cypher Press
275 pages

Mason “Dub” Storm was a Special Forces sniper in the first Gulf War and then worked in East African locales such a Somalia with an elite secret platoon.  In the end Storm began to question his own justifications for his assignments and just who his puppet masters really were.  Ultimately he left the service and returned to his home base of Austin, Texas to pick up the pieces of whatever remained of his soul.

As the book opens, Dub, is a two bit stoner working, whenever he can get a customer, as a private investigator.  Because of his drug connections, he comes in contact with Angela Easley, the strung out youngest daughter of one of the richest men in Texas.  Her three year old son, Hunter Parsons, has been kidnapped and she begs Dub to find him for her.  Well aware he is venturing into a world as alien to him as the foreign battlefields of his past, the weary private eye agrees to help out until the police take over.  It all seems easy enough.

Right. Until Dub recalls Angela’s older sister, and her Daddy’s chief business assistant, is none other than the high school sexpot from his youth, Heather Easley.  One look at her in her expensive mannish business suit over her hour glass, trim body and Dub finds himself floating in ancient dreams that were never ever going to come true.  Then, a friend named Kid, who had been helping him with surveillance, is brutally murdered and Dub’s hands are once again covered in other people’s blood.  Gunfights, steamy sex and a mystery with enough twists to give us a queasy stomach abound in these pages.

Harris’s style is a mix of traditional noir and punk giving the narrative a smooth jolt throughout and becomes quickly addictive.  He deftly mixes Dub’s confused present with his hellish past and when the two collide viciously towards the finale, it is a satisfying resolution though still an ambiguous one.  Dub Storm is one of the most complicated heroes I’ve encountered in a long, long time and one I’m hoping to see in action again soon.  This is a well-executed thriller by a writer worth keeping an eye out.  Go pick up “The Big Clear” and prove my point.

GUEST REVIEW- PULP 2.0’S ‘THE AUSLANDER FILES’ REVIEWED BY ANDREW SALMON!

  • News
  • June 16, 2013

ICH BIN EIN AUSLANDER

A Review of Michael Patrick Sullivan’s THE AUSLANDER FILES

by Andrew Salmon

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The debate has raged on since New Pulp first burst on the scene: what exactly is “new” about New Pulp? Should today’s pulpsmiths be trying to recapture the style and tone of the great pulp yarns of yesteryear or should they be trying to re-invent the form for a modern audience?

Here’s another question: what if you can do both?

THE AUSLANDER FILES by Michael Patrick Sullivan is the answer to that last question.

The premise is deceptively simple: a WW2 German agent wakes up in a hotel room in the US. He can’t remember who he is and he has false identification for multiple identities. He calls himself The Auslander, the Outsider. He dreams of terrorist acts, espionage, sabotage and concludes that he is the architect of these pending crippling attacks on the US war effort. Yet his devotion toNazism has been lost along with his name and identity and he must race against the clock, and around the country, to prevent the operations from taking place.

What follows from this are 10 punchy tales collected for the first time by Pulp 2.0, 10 sustained, machine-gun blasts of pulp action! THE AUSLANDER FILES is one of the best New Pulp releases of the year – hell, it’s one of the best New Pulp books I’ve ever read.

Each tale kicks off in the middle of the action. The Auslander is on the scene and fighting not only his own people but the average citizen as well, trying to save the day while every hand is against him. Assassinations, abductions, sabotage, bombings… The Auslander frantically attempts undo the evil he himself has devised before it’s too late. The tales are short, quick, addictive reads averaging out to about 10 pages a pop. Yes, they are formulaic but this must be overlooked inlight of the fact that they were originally published months apart, which required some recapping of the overall premise. This minor stumbling point is easily sidestepped by the intense writing and pace of each actioner. The Auslander is a complex character and this is no small feat as we do not learn who he is by the end of the collection. What does come across is his willingness to do whatever it takes to prevent the destruction he has set in motion.

I enjoyed all of the tales in this collection. If I had to pick a favorite it would be “The Yellow Star of Antwerp” for its emotional resonance as well as how it depicts just how far The Auslander will go to prevent further bloodshed. Ultimately, all of the stories work very well. Very well indeed.

My only knock against the collection is the odd problems with tense and a typo or two. Jarring, yes, but not debilitating. Bumps along this roller-coaster ride do not derail the train. Trust me, pulp fans, you want to get on board The Auslander express. If you like quick, shot-to-the-gut action tales, look no further. If you like a tormented lead character, THE AUSLANDER FILES has your poison. A great read, start to finish, don’t miss it.

GUEST REVIEW- SALMON REVIEWS TRILOGY OF TERROR!

TERROR TIMES THREE

A Review of Kelly Everaert’s TRILOGY OF TERROR by Andrew Salmon

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What’s in a name? Well, plenty. Permit me to elaborate. The title of Kelly Everaert’s homage to the great horror magazines and comics of yesteryear might lead the reader to conclude that there are only 3 tales in this beautiful 54-page, black and white, 10.5″ X 8″ stroll through nightmares. Not so, the title refers to the volume being a collection of the 3 issues of Everaert’s small; press comic. There are 6 tales in this gloriously beastly book – tales you don’t want to miss.

That is if  you’re a fan of the EC horror comics, Eerie, Creepy and the like. If the style of the cover illustration alone doesn’t ring any bells, then you’re in troubled waters, hard about. However, for any fan of classic horror, and who isn’t, TRILOGY OF TERROR will fit your reading needs like your favorite easy chair fits your nether regions. Everaert has clearly done his homework with this volume. That he is a fan of this stuff shines through on every page.

“Retribution From The Deep” gets the bleeding started with a haunting tale of greed and revenge. “Awaiting Rescue” jumps ahead for a quick sci-fi tingler featuring a female astronaut stranded on an alien world who may, or may not, be alone. “The Curse” yanks us back to Victorian times for a journey into the occult for the book’s longest tale. The fast-paced “Open House”shows us that a lot can be revealed when showing a property to prospective buyers. Should one only be afraid of getting mugged while walking through New York’s Central Park? “A Walk Through the Park” answers that question. Here Everaert gets a helping hand with inks by Robin Thompson. Everaert brings the collection to a bloody close with “The Prize Catch”, a shocker Lovecraft would be proud of.

TRILOGY OF TERRORis a throwback in every sense of the word. Everaert is not trying to re-invent the wheel here. This is no updating or re-imagining of the classic horror comics. Rather the book stalks down this familiar territory with gusto and verve served up by an artist who knows the route to what scares us. The artwork is richly detailed, heavy blacks abound. The tales move quickly. The writing duties are shared between the writing tag-team of Kelly and his wife, Michelle and the tales move towards their grisly conclusions at a great clip. The variety of tales here also means that there’s something for everyone to scream at.

For those readers out there who can only look longingly at the original issues of the horror classics or shake one’s head in awe at the prices for the various collections of same, TRILOGY OF TERROR, coming in at $6 a throw over at IndyPlanet will seem like a steal. Don’t miss this one horror fans!

To find out more about the artist and his work check out: Kelly Everaert

The Shadow Fan and the Perilous Prognosis of Dr. Zorn!

Shadow Fan Barry Reese returns with Listener Feedback and two exciting reviews: “The Green Hoods” from The Shadow Magazine 8/15/38 and The Shadow Year One # 3 from Dynamite Comics! These are some truly classic stories featuring our favorite hero and both are well worth your time in tracking down!

If you love The Shadow, this is the podcast you’ve been waiting for!

Listen to The Shadow Fan podcast now at http://theshadowfan.libsyn.com/the-perilous-prognosis-of-dr-zorn

REVIEW: Cleopatra

CleopatraThere is a sumptuousness and exotic look and feel to the Ancient Egyptian culture that I have always been drawn to. The clothing, décor, architecture – it has always been utterly fascinating and their monarchies and dynasties are as rich as any in Europe. One of the best biographies I read in the last few years was Stacy Schiff’s Cleopatra, which mined all known existing records about the Queen and attempts to weave together the most likely version of her storied life and death.

On the other hand, the 1963 spectacle of the same name merely adapted Plutarch’s version of events. Today, Cleopatra has become shorthand for a bloated misfire of a film and is always cited as the one that nearly caused 20th Century-Fox to crumble. The studio survived and has had the last laugh, making a fortune off the film ever since. Out now is the overdue Blu-ray edition and they have lavished much attention on the production so it’s the best version you will find for home viewing.

Starring Elizabeth Taylor, she was in her thirties and at her optimal beauty, making her the ideal lead for the movie. Her stardom was such that the studio was willing to plunk a cool million for her services, setting a new record for actors. They budgeted $2 million for the film but the costly production swelled to a then-record $44 million (over $325 million today) until the next $44-million record film budget, which was, of course, Star Trek: The Motion Picture.

The film was a labor of love for Joseph L. Mankiewicz, who codirected, cowrote, and coproduced the film. While it made headlines for Taylor’s salary and affair with costar Richard Burton, it also brought home four Oscar Awards, including Best Cinematography and Best Effects, Special Visual Effects so it couldn’t have been all bad. And it’s not.

1963_cleo_rex_harrisonWe start in 48 B.C. and end with her death in 30 B.C. and during that time Cleopatra VII rose to rule then oversaw her country’s absorption into the Roman Empire, loving Julius Caesar while using that relationship to protect her people. Gaius Julius Caesar (Rex Harrison) chases Pompey to lush Egypt, just in time for a civil conflict as Pharaoh Ptolemy XIII (Richard O’Sullivan) has sent his sister Cleopatra out of the capital city of Alexandria. Caesar and Cleopatra meet, scheme together, and in the process, fall in love, changing the fate of two governments.

They produce just one son, Caesarion, a living symbol of the two countries’ enduring unity but he is so besotted with the Queen, he neglects his duties back home long enough to stir talk of rebellion. In time, he goes home and soon after she comes to visit, he is named dictator for life and subsequently assassinated. Mark Anthony (Richard Burton), the new ruler, eventually follows Cleopatra back to Egypt where they start their own torrid affair, allowing Caesar’s nephew Octavian (Roddy McDowall) to plot his own overthrow.

Taylor 2 Cleopatra

This is a long film, with a lot of lingering views of temples, pyramids, courts, and costumes. Taylor had a record-setting 62 costume changes in this production and we must pause to notice every bangle. The pacing, thanks to two editors, is a little uneven and 20th balked at the length, trimming after its premiere and destroying much of the cut footage. What we get is the 151 minute New York premiere edition, complete with Overture, Entr’acte and Exit Music.

Thankfully, the restoration is brilliant and gorgeous to watch. The colors are vibrant and the action a pleasure to watch. Similarly, the DTS-HD Master Audio 5.1 track is a match so you can hear the sand crushed beneath the sandals.

Given the film’s running time, it is split over two discs but comes with a ton of extras starting with an examination of  Cleopatra’s Missing Footage (9:00), wherein film historian Brad Geagley and 20th Century Fox film archivist Schawn Belston take you through the history.

In Fox Legacy with Tom Rothman, the studio CEO reviews the tortured production, trying to separate truth from myth (30). Cleopatra Through the Ages: A Cultural History offers us Professor and Chair of Anthropology at UC Santa Barbara Stuart Tyson Smith as he talks about the historic personage (8:00).

The Cleopatra Papers: A Private Correspondence lets us glimpse at the work retinaed by publicists Jack Brodsky, based in Rome, and Nathan Weiss, in New York until they swapped places. were the publicists for 20th Century Fox during the epic production of Cleopatra. One was stationed in Rome, the other in New York – then they switched places.

cleopatra-1963-300x199You also get the 2001 Commentary track with  Chris Mankiewicz, Tom Mankiewicz, costar Martin Landau and publicist Jack Brodsky.

The second disc offers up Cleopatra: The Film That Changed Hollywood, a two-hour film about the making of Cleopatra, which explains that the blockbuster was competing with television, keeping the studios relevant to audiences. As narrated by the great Robert Culp, this makes compelling viewing.

The Fourth Star of Cleopatra is a ten minute short showing some behind the scenes footage of the massive set constructions.

Hard to believe they still had Fox Movietone News in the 1960s, but the disc has footage from the  New York and Hollywood Premieres. (7:00 min).  Finally, all three movie trailers are included.

REVIEW: Captain America (1990)

Captain America Collector's EditionShout! Factory has released a Blu-ray edition of the 1990 Captain America movie, a year after a DVD of the much-maligned film was released as a part of MGM’s Limited Edition collection. They deserve kudos for a nice, clean transfer but clarity and high definition cannot help a really weak story hampered by a low budget production.

As I wrote last year:

The film had actually been announced in the early 1980s from Cannon Films but in the intervening years, the studio folded and the right shifted a bit before Menahem Golan mounted it under his 21stCentury banner.

The movie languished in development until the rights were about to expire so director Albert Pyun urged Golan to let him take a crack at getting the film made for about $6 million. Marvel actually approved the script that was shot and Pyun loved its take on America’s fascination with heroism. If only some of that love found its way onto the screen.

The movie was shot in 1989 but wasn’t released theatrically and was finally dumped on video in 1992, where it was met with derisive laughter from comic book fans.

The horrific script from Stephen Tolkin (from a story by Tolkin and Lawrence J. Block) pays lip service to the source material and leaves you scratching your head at the shoddy story construction and utter lack of characterization. Significant changes were made, none of the better starting with giving Steve Rogers polio as an excuse to keep him from enlisting. Then there’s the Red Skull (Scott Paulin) now an Italian fascist, which never made sense. On the other hand, both this film and the current blockbuster made the unnecessary dramatic change in linking Cap and the Skull by having them both be products of the Super Solider formula.

There’s Matt Salinger as Cap/Rogers who is anything but the American ideal and fairly wooden in performance, perhaps because they give him nothing to work with. His first mission leads to the rocket that sent him to an icy sleep in Alaska. He’s found and inexplicably breaks free and rather than ask his rescuers anything, he runs all the way to Canada. There’s little time spent on his cultural isolation and his interactions with others is laughably minimal.

He makes his way back to Venice where he finds the love of life, Bernie Stewart (Kim Gillingham), an old woman, married and mother to Sharon (also Gillingham). He and Sharon then begin running around the world (without cash or passports or any hindrances) in search of the Skull, who apparently heads up an international cabal that directs the world’s affairs. Their current target is President Thomas Kimball (Ronny Cox), who as a boy actually saw Cap in action and has remained fixated on him ever since. He is targeted for his global environmental initiative which inexplicably would hurt the cabal’s interests.

The action is meager, the plotting a joke, the dialogue is flat, and at no time does the script allow the characters breath and expand, absorb the impact of what has been said and done. Fine character actors like Ned Beatty and Darren McGavin are utterly wasted here with nothing to do.

 

The film is supposedly about hero worship hence Kimball and Beatty’s boyhood fascination with Captain Midnight while the film also has references to the Human Torch and Superman which are oddities. Another missed opportunity is the relationship between the Skull (Scott Paulin) and his adult daughter, Valentina de Santis (Francesca Neri), who is dispatched as his assassin. She and her team of well-groomed killers are more joke than threat.

Much as the film looks better than it has since release, it also sounds pretty good, too. The lossless DTS-HD Master Audio 2.0 mix makes you long for a proper soundtrack. Shout! deserves brownie points for getting Pyun and Salinger to review this project for a 20 minute bonus feature, new to the disc. Both are fairly honest in their assessment that the film didn’t work although Pyun felt it would have been better with a bigger budget but trust me, it all starts from the story which was weak to behind with.

The Shadow Fan and the Wizard of Crime!

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New Pulp Author Barry Reese returns for Episode 33 of The Shadow Fan’s Podcast! This time around, he reviews a 1942 novel that features the villainy of King Kauger and takes a hard look at Chris Roberson’s debut issue on the Dynamite Shadow comic (issue 13). There’s also a bit of Shadow news and some listener feedback!

If you love pulp’s greatest crimefighter, then this is the show for you!

Listen now at http://theshadowfan.libsyn.com/the-wizard-of-crime

Emily S. Whitten: It’s All About Me! …And You!

whitten-art-130528-1111783You guys! You guys! Hey you guuuuuyyyyysssss!!! …Otherwise known as “wonderful ComicMix readers.” Guess what? Go on now, guess! Naaaaah, you’ll never get it. So here it is:

I am one year old!!

Well. If by “I” I mean “this column,” and if by “one” I actually mean “one year and a few weeks.” But still: can you believe it? I’ve been writing this here li’l column for over a year now. That’s fifty-seven columns to date! Holy cannoli! (Aaaaand now I want a cannoli. Great.)

Anywho, I meant to post this column on my Actual ComicMix One Year Anniversary, but you know how it is: you’ve got interviews with awesome people like Phil LaMarr and Billy West and Nick Galifianakis to post, and film festivals and documentary screenings to write about…and those are way more exciting.

However! On this, my one-ish year anniversary, I want to send a big thank you out to anyone who reads my columns, shares them with friends, comments on them, or discusses them with me. I get a lot of joy out of writing these columns, whether they are the ones where I’m ruminating on the vagaries of pop cultularity; or the ones where I get to talk to extraordinarily talented people or review excellent art; or the ones where my mind runs whimsically through a field populated by ridiculous stuff like superheroes celebrating the holidays together and antisocial vigilantes answering dating advice questions. And although part of that joy comes from my passion for the subject and for writing in and of itself, a big part of it also comes from the experience of sharing my thoughts and knowing my writing is engaging others in thought or discussion, or providing a bit of enjoyment (I hope!).

I’m always interested in whether what I’m writing resonates with readers, and in writing on topics that others want to read about. Therefore, even though technically this column is about me and my one year of writing around here, what’s it’s really about is you, my readers! So that I can write more things you want to read, I’d really like to know more about you: like how you first found my column; what you’ve read; what you’ve most enjoyed reading; what you didn’t care for, and what you want to see more of. To help me with this, you can answer the quick survey below!

But before we do that, here is a brief reminder of some of the sorts of things I’ve written (And all fifty-seven columns can be found here):

So now that you’ve had a little reminder of what I write, on to the survey!

If you have any further feedback, please feel free to leave it in the comments!

Thank you for taking the time to help me write more things that you want to read; and until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

REVIEW: True Blood Season Five

TB_S5_BD_3D_nostickerIf True Blood Season Five could be easily summed up – and really, it can’t – the theme was about the consequences of one’s actions. Unlike the previous season, this one seemed determined to tidy things up and thin out the herd a bit. During the course of the season, Alan Ball let it be known this would be his final outing as showrunner and clearly, he was determined to be the one to say farewell to a few friends and foes. The season therefore zipped along at a wild, frenetic pace that saw more fangs, blood, and naked bodies than before.

Since Charlaine Harris’ novels began being adapted for HBO, the supporting cast has grown and interestingly, they’re the ones who appear to be the most interesting, getting the deepest development. The triangle of protagonist/antagonist/lover of Sookie, Bill, and Eric sees them getting the least depth this time around as the focus moves with regularity.

trueblood12_16_thSookie (Anna Paquin) is a telepathic human/fairy who can’t decide who will make her happiest: long-suffering Bill Compton (Stephen Moyer), now King of Louisiana; long-lived Viking Eric Northman (Alexander Skarsgård), or Alcide (Joe Manganiello), a werewolf for variety. She bounces from man to man, scheme to scheme and during the season never seems to take charge of her destiny, making her appear weak.

trueblood12_18The series’ mix of characters, themes, and setting in Bon Temps has made True Blood addictive viewing and Ball gets the credit for finding ways of taking the novels and enhancing them for premium cable, highlighting the more visual character traits and dosing the series with plenty of sex and nudity. Its compelling television as pure entertainment and the fourth season left us panting for more. Similarly, by resetting the stage, season five left us ready for some new directions which arrive in June. Meantime, HBO has released season five in a combination Blu-ray/DVD boxset complete with excellent extras and Ultraviolet digital copies.

After a season resting under tons of concrete, Russell Edgington (Denis O’Hare) is back and seeking revenge against Bill and Eric. With Marnie the witch dispatched, they can concentrate on dealing with him, largely adapting Dead as a Doornail. Ball, unlike previous outings, knowing this was his last chance, as well as liberally lifting from subsequent novels in The Southern Vampire Mysteries.

trueblood12_15As has become custom, the new season picks up immediately where we left our fangbangers with Lafayette and Sookie standing over the bodies of Tara (Rutina Wesley) and Debbie. In short order, Pam turns up and agrees to turn Tara, a warped way of preserving her life and continuing to torture the strong character. Sookie agrees to help Pam (Kristin Bauer) fix things up with Eric, which is easier said than done, especially with the sexy blond, and Bill, arrested by the Vampire Authority, led by Roman (Christopher Meloni), for Nan Flanigan’s murder. Rev. Steve Newlin (Michael McMillian) is back, declaring himself a “Proud Gay American Vampire” while Jason (Ryan Kwanten), his former acolyte, deals with his new relationship with Jessica (Deborah Ann Woll), realizing the hookup now means his lifelong friendship with Hoyt (Jim Parrack) is done. Tara is finally resurrected and furious at being a vampire and her arc this season is coming to grips with her new reality, which also shows us another side to Pam.

Tara and PamSee? Consequences.

There’s plenty of Council political intrigue as they hunt Russell and deal with the rebellious Sanguinistas and Alcide has contend with the wolf pack that still disapproves of him. Meantime, the humans are tired of seeing their own kind become victims in the fighting and before the season is over, become a new threat. Meanwhile, Lafayette (Nelsan Ellis) has had enough brujo magic and finds his spiritual roots in signs from Jesus or is it his lover Jesús (Kevin Alejandro)? Jason, meantime, has his own spiritual journey as he learns what really happened to his and Sookie’s parents. Jessica, one of my favorite characters, finally grows up this season, playing a more pivotal role in the action.

The plot thickens, boils, spills over the pot and makes an attractive mess all across the south. There are the usual flashbacks to deepen some of the characters such as Pam’s first encounter with Eric. We even get ghostly visits from Godric (Allan Hyde) and a surprise, sinister return of Sheriff Bud (William Sanderson).

Bill-Eric-et-NoraThen there are the side stories that enrich the world of True Blood without blunting the main events. This season there was a stirring sub-plot for Terry Bellefleur (Todd Lowe), exploring his military past with the return of former platoon leader Patrick Devins (Scott Foley).

And how could not love a tool called the iStake?

Just when you think things are bad, Bill gets corrupted and as the season – and Ball’s involvement – comes to an end, he turns out to be the biggest, baddest vamp of them suddenly becoming the threat for the forthcoming season.

It’s got the usual assortment of over-the-top moments, moving emotional beats, and plenty of atmosphere thanks to great writing and cinematography. Moyer made his directorial debut, seamlessly blending in with the strong helmers that keep things running at a fever pitch.

As usual with HBO releases, the transfer to high definition is superb with excellent sound so these stand up to repeated watchings. And in keeping with the first four sets, this one comes with plenty of Blu-ray exclusive features. The episode-by-episode enhanced viewing is present as are the interesting audio commentaries. We get, as part of the enhancements, Character Bios, Vampire Histories and Hints/FYIs; Flashback/Flash Forward, and, True Blood Lines, a guide. The usual post-broadcast Inside the Episodes is included.

Of particular interest is the Episode Six: Autopsy, with the cast and crew discussing how this particular installment was crafted which is pivotal to the series and a good glimpse into what goes into making any episodic television

There are Authority Confessionals, short snippets with the characters Nora, Kibwe, Rosalyn, Salome, Steve and Russell all talking vampires, blood, and politics. Amusing.

Those buying the five disc DVD will get only Inside the Episodes, the five commentaries and the previews/recaps.

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