I've been watching HBO's 'True Blood.' It is dripping with sex, rage and down-and-dirty life.
It is a strange show to watch for someone who receives blood infusions. In the narrative, Japan has invented synthetic blood so vampires have 'come out of their coffins.' Synthetic blood is commodified and sold as a beverage called Tru Blood so that vamps can subsist without feeding on humans. Likewise, vampire blood which is acquired by violently draining vampires is sold as an illegal drug called V Juice which seems like an ecstasy and acid kinda combo that makes people hyper-sensitive, euphoric and sexed up.
What I find strange is that synthetic blood plasma already exists. And, human blood has already been commodified for sale. Contrary to Canada's Blood Services, in the United States blood is not "in you to give," but in you to sell. Indeed, reports suggests that sales of blood plasma have gone up with the recession. I find it kinda freaky that I am literally getting some poor mothafucker's blood.
In any case, here is a worthwhile excerpt from a socialist take on the vampire trend via Socialist Worker:
VAMPIRES ARE everywhere: House of Night, Twilight, Southern Vampire Mysteries, Night Huntress, Savannah Vampire Chronicles, Guardians of the Night, Blood Ties, Being Human, Demons, Let the Right One In...
Ever since Bram Stoker's 1897 novel Dracula, vampire stories
have exerted a consistent fascination, but the seemingly limitless list
of contemporary versions is remarkable. The legend of the bloodsucking
"undead" provides a potent and flexible metaphor within the rapidly
changing political currents of our time.
Stoker's Dracula is rich in contradictions. It is a "St.
George versus the Dragon" Christian allegory ("dracula" derives from
words meaning "dragon" and "devil"). It is steeped in British
imperialism's orientalist fascination with the mythical East, which
represents both the evil antithesis of the West, but also the
irresistible lure of forbidden desire.
The figure of the centuries-old count, inhabiting a gothic castle in
Transylvania, feeding on the local peasantry, expresses bourgeois
distaste for aristocratic decadence and parasitism. But the vampire
offers an equally apt allegory for capitalism: the soulless boss who
bleeds workers dry. (Think of Thievery Corporation's song "Vampires,"
dedicated "to the world banking system.")
...
TODAY'S VAMPIRE has been tamed and is more romantic heartthrob than
scary monster. In a culture where youth is revered and death feared,
such an embodiment of immortality is enthralling. But beyond this
common factor, the 21st century vampire assumes diverse ideological
guises.
Stephenie Meyer's Twilight series books are overtly
conservative. The teenage heroine Bella Swan is painfully self-critical
(she sees herself as ordinary, uninteresting, clumsy and plain), and
worships the superhuman vampire Edward Cullen, who is richer, older (by
almost a hundred years), more experienced, physically stronger and
uncannily beautiful. She thus feels undeserving and insecure, convinced
first that he despises her, and later that he will abandon her.
The central theme is abstinence: No drugs, no alcohol and no biting
before marriage. The "good" vampires are "vegetarian," feeding only on
animals. The plot turns on the question of whether vampires possess
souls.
Judging by the books' immense fan base among teenage girls (which
certainly can't be accounted for by their literary merit--as Stephen
King puts it, Meyer "can't write worth a darn")--the series taps into
something in that demographic, even though the author came of age in
the 1980s, and Bella's strangely insipid world lacks many markers of
modernity.
They do offer a compelling story of true love that conquers all, and
imaginatively eroticize chaste displays of affection. But their
popularity seems symptomatic of an era where women's rights have
suffered such setbacks that a generation of teenage girls sees sex as
danger, and identifies with a relentlessly self-abasing heroine willing
to sacrifice everything for her boyfriend.
It is telling that Bella's worst nightmare isn't death by vampire or
werewolf, but that she will get old and ugly while Edward stays
eternally youthful and beautiful. The bite of the vampire trumps
retinol or botox.
"Post-feminists" argue that the Twilight series is popular
because young women crave "traditional romance." But this can't account
for the matching popularity of other series like the House of Night novels by mother and daughter team P.C. and Kristin Cast.
...
BUT OF all the current vampire tales, the one that best captures the
political sea change of the post-Bush era is the HBO series True Blood by Alan Ball (doing for the undead what he did for the dead in Six Feet Under) based on the Sookie Stackhouse novels by Charlaine Harris. Unlike the self-righteous Twilight and earnest House of Night, True Blood is also very funny and irreverent.
Since Japanese scientists have invented synthetic blood (Tru Blood
comes in O Neg or A Neg and is best microwaved), vampires are in the
process of "coming out of the coffin" to take their place in civil
society.
The opening credits are exhilarating: a rapid series of disturbing,
inspiring and bizarre juxtaposed images from the deep South--civil
rights marches, Ku Klux Klan gatherings, sexually objectified female
bodies, a decomposing fox carcass--to the accompaniment of Jace
Everett's haunting song "Bad Things."
Anna Paquin plays the (telepathic) waitress Sookie Stackhouse, who,
impatient with the narrow horizons of the backwoods town of Bon Temps,
La., and frustrated with the petty-minded prejudices of her workplace,
welcomes the first "out" vampire in town.
After a series of brutal murders, suspicion inevitably falls on the
vampires, who face constant discrimination (in one of the many witty
details, a church sign reads, "God hates fangs"). In a reversal of the
standard crime formula, here the police are one-dimensional,
incompetent and bigoted, while the quirky and complex protagonists are
the regular working-class townspeople.
While the series flirts with stereotypes, this is in tension with
the superb script, and in season one, the two main Black characters,
Sookie's friend Tara and the gay short-order cook, Lafayette, have the
best lines. In the first episode, Tara, who is reading Naomi Klein's Shock Doctrine,
quits her job at a store called Super Save-a-Bunch. She explains, "I
can't work for assholes," to which Sookie replies, "When did you get to
be so picky?"
Confronted in a television interview with vampires' proclivity for
violence, a member of the American Vampire League replies, "Doesn't
your race have a rather violent history of exploitation? At least
vampires never owned slaves or exploded nuclear weapons."
Vampires have come full circle: once representing the threat posed
to bourgeois society by the oppressed (the colonized, women), in True Blood they represent a refuge for the oppressed from the monsters lurking within capitalist society itself.
Watch it. If nothing else, it's freakin' hot.
Links:
'Blood Types' by Helen Scott, Socialist Worker
'Recession Indicator: Paid Blood (Plasma) Donations Rising', Naked Capitalism
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