About sex, love and other remedies: True Blood

On account of a friend I found myself reading about Ask.fm (of which I have not still caught the inherent meaning, apart from a continuous showing off). I do not have sex: but love: the antithesis of the nowadays famous I fuck hard by Christian Grey, the playmate of millions of women, who bothered even the firemen, and not for a streaptease. The user of the social network is feminine and it is plain to see. It is usually a woman who embodies a romantic ideal of the couple, as well as the guardian of a universal allegory that has been customizing her for centuries.

The feminine’s image is like a sheet of paper: no thickness, two-sided only, the Saint or the Whore. Women are the custodian of positive values: Procreation, Trueness to a man and Self-denial to the neighbour, even when it leads to an extreme negation of one’s identity. This is due to the fact they are entirely programmed to sacrify themselves, not caring about their own value. In most cases, women are perceived as mere physicalness, and the feminist’s debate mainly focuses on body commercialization, even for toothpaste advertising, and it does not deal too much, I think with dentine enamel’s brightness. This image is a cultural construction that is still alive, in a cyclic gender backlash that makes us revert to the previous state, giving us only a fleeting satisfaction.

However, what if the roles should reverse? How the public could react if some of the peculiar masculine attitudes were given to a woman? We have an answer thanks to Sookie Stockhouse’s performance on the seventh episode of the current season of True Blood, entitled In the Evening. At the end of the previous episode, Don’t You Feel Me, Sookie gives herself to Warlow, after these words “Downtown this is what they think about me: they call me a danger loving slut. And you see: I think they are right.” She showes an emblematic look on her face: she is in despair, almost hopeless. The core of ideals and hopes of the series, she who has taken up the vampiric nature – twice – decides fighting is not worthwhile anymore. There is a growing feeling of resignation in Sookie’s mind, she who was till then projected to the happy ending, although her desire to be loved cannot be so easily erased. “Forever” is a psychological need, indelibly imprinted in our DNA: it is not only happy ending in Disney’s style.

In these case the roles of man and woman are reversed: Sookie is the one who keeps her distance, her cynism is an armor which shields her own feelings, while Warlow is the illusions’ depositary. “Do you think that just because we had sex now I am gonna marry you’?” […] “Did you ever go to bed with other women when things did not work between us?” “You know that it was not just sex” Warlow says. “It is not a simple crush”. “No, it never is” is Sookie’s reply. And behind that dull irony we can see some kind of truth, because Sookie finds it difficult to tell apart physical pleasure from love, which always seems to drift away from her hands. The general opinion of the fandom about ‘miss fair’ never exceeded the unforgettable definition of Pam, in the fourth season: “I am so over Sookie and her precious fairy vagina and her unbelievably stupid name!” Sookie is nothing but the trasformation of a Saint (previously exquisitely virgin) into the stereotype of a bitch, although she have only had three men in her life, if you think of it. No wonder why the public should not apply the same judgment categories of a fiction (both literary and televisional) even to ordinary people.

Italian Version

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