Facts do not cease to exist because they are ignored~~Aldous Huxley
Here’s a fact: Almost every day along the vast worldwide network of tentacles that comprise the international corporate media monster, some pundit or other will sternly rebuke the audience, in some variation of the following exchange: “President Kennedy was killed by the lone nut assassin Lee Harvey Oswald”. His or her tone brooks no argument. There is nobody there to contradict him. The Barbie or Ken anchor person or feature writer will nod in solemn agreement. He or she might chirp up with one of a myriad of inane dismissals: “Conspiracy theories are the fevered brain children of demented minds who find comfort in forcing order out of chaos”.
Well duh to the last part. We all seek structure and order or else somebody is going to get shot. For instance. Or fuck pigs in the dirt. Who wants to see that? We’d rather not live like The Aristocrats, thank you very much.
This is one of the many ‘lessons’ corporate media teaches us each day. Kennedy assassination theories are beyond the pale. If you subscribe to them you are a deranged loser with nothing better to do with your life than chase childish fantasies. And make a profit too. Any theorist who has published his or her findings is also labeled money grubbing opportunists who cynically profit off the dead body of our great and very dead dead president.
What does this relentless one sided media campaign against Kennedy assassination theories [or any CT they refuse to discuss] tell us about ‘the agenda’? For one, it tells us that the truth about Kennedy’s death still matters. And it tells us the powers that be, the ones who run or control the media, have something to hide. If they were not hiding something they would allow theorists equal time to state their case.
Don’t hold your breath. No matter how outraged people become over the propaganda spewing media the puppet masters behind CNNBCBSABCIA could care less. As long as the majority are pacified the anger can’t reach critical mass. No change for you!
You have to be a Kremlinologist to decipher today’s media. You have to know how to read between the lines, pan for those nuggets worth keeping. Disinformation is as powerfully revealing for what it DOESN’T say as for what it does.
Usually, in media reports of importance–and all too often the seemingly unimportant– there is a lamentable lack of evidence: documentation, first person accounts, credible sourcing, 2 or more confirming sources, or an editorial slant that bears any resemblance to the ‘facts’ as stated.
To judge a fact in order to obtain the fullest, richest possible picture of the truth you have to judge the players and their characters as much as the circumstances and forensic clues. One factor without the others is empty and useless.
How do we judge the players and their character, the innermost code of conduct by which they live? We do it by gathering the facts ma’am, just the facts. Any good criminal investigation begins with basic statistics and works it’s way out from there, ideally in concentric circles.
Judging a person–and I don’t mean condemning them to hellfire, I mean judging whether you can trust this person’s word or if you want this person to be a part of your life— is like pointillism, dot by dot. It takes time and patience. Let his actions paint a careful portrait of his own soul. All is revealed when you are ready to take a step back and look at the big picture.
It’s the same with anything. When I was young I didn’t know shit but as I’ve aged and time passes faster and faster and faster I’ve learned to judge people and situations much more quickly. It’s the same for most of us as we mature. Some people and events are just what they seem but not many. Take only children and animals at face value but don’t assume the worst of your fellow man either. Balance takes time.
Which brings us to season 5 of True Blood. Whew! About time, right? Sorry. All of the above is my long winded way of basically saying: “It’s in there”.
We now have the sources we just need a little more confirmation. Or preferably a big damn awesome reveal that blows all our minds. This is a SHOW after all, a fantasy. We deserve our catharsis or else what is entertainment for? Certainly not this torturous labyrinth of lies we know as True Blood. Relief MUST come, as a naked blonde god if needs be. We’ve been denied our bliss long enough.
To start: we have all the facts we need to know that Bill Compton, who may not even BE the real BC, Civil War veteran [soldiers are the bomb!], is a serial killing sadistic evil fuck who is also a hideous shape-shifting sorcerer engaging in human and Fae harvesting, breeding, experimentation, and trafficking. He gets off on necrophilia, incest, forcible deflowering, and demonic sacrificial slaughter of innocents. Always the innocent.
Oh yes he is. All of it. It’s in there.
You know we’re not just talking about William T. Compton, right?
Before delving into the ‘evidence’ I want to explain how this post is as much about how Alan Ball has manipulated the mainstream media into almost guilessly demonstrating their own gullibility and compliance with the pronouncements of men in charge. A careful study of the narrative reveals much and utterly contradicts the studied cloak of respectability with which Alan Ball has mischievously clothed his Emperor of Deceit. Oh how easy it is to convince the erstwhile men and women of the media that a serial killer—a fact which is not at all glossed over in the narrative so I will not be wasting time presenting evidence of an undisputed fact [seriously, would you let a serial killers hands anywhere near your body? The very sight of his hands would make you puke. Hold that image in your head next time Bill puts his hands all over Sookie's face, pawing her like fiend.]—is a reasonable choice to become ‘a man in charge’ even in fiction.
Just look at the kind of man who gets the cheerleader experience in the media. Blowjobs for blowhards!
Moving on. Like any good detective we’re going to take my assertions apart one by one. Ascertain the facts, connect the dots, come to an educated conclusion.
Before we begin we must first stipulate that the rules of evidence are very different for film studies than they are for a real life forensic investigations. For the purposes of True Blood, a statement or an image or a scenario that is repeated at least twice means we should focus on it for some reason. Repetition is the swiftest form of mind control. The ‘message’ is being ingrained in our psyche for a purpose.
Another reason we look to repetition is as confirmaation of a theory or concept. If anyone other than Bill makes a statement of fact it might be true, but only if the other character is not one of Bill’s doppelgangers–which is basically an avatar of a character whose narrative function serves the main character in question as spokesperson and foreshadowing device. To clarify, the three main characters–Bill, Eric, and Sookie– all have doppelgangers, major and minor. And to simplify, the villains du season, brunettes all, are all major doppelgangers belonging to Bill and heroes such as Jason are at the vanguard of Eric’s doppelganger camp. The hair analogy falls apart with more minor doppels such as Lafayette, who is by turns an avatar of Sookie and his own man.
The hair. This must be said before we get down to the nitty gritty. Eric’s steadily darkening hair is a CLUE to the FACT of narrative hijacking. By making him brunette Eric is subliminally torn down to Bill’s level. Just to be clear now, this isn’t a brunettes are evil diatribe. Let’s be clear that this is simply the narrative device of association by hair but it’s a minor one out of many associations between doppels. In any case, narrative trickery, and even photographic ‘shopping’, must be kept firmly in mind when assessing the veracity of certain events as portrayed. We’ll do that as we go along.
You know I’m not just talking about True Blood, right? Right, moving on.
Bill is a Human Sacrificing Demonic Sorcerer
The evidence of repeated imagery applies in particular to Gran’s crime scene on the kitchen floor. We see it at the end of one episode, the opening scene of the following episode, and within the episode itself where it’s shown from a couple of different oblique angles. Subsequently, the message is reinforced in three separate and visually startling flashbacks.
Yes, this is meant to shock and traumatize us. The very brutality of it discourages us from closer inspection. But we need that image in our heads in order to receive some silent message. The push and pull of operant conditioning.
What else can we infer from the repetition of these images? And what does Gran’s murder have to do with Bill being a sorcerer?
I’ll tell you why it means Bill is a sorcerer, but Gran’s murder first has to be placed in context by examining several subsequent ‘strange events’ that involved a murder. These murders all demonstrated roughly the same consequences, namely, Sookie’s sudden compliance with Bill’s desires which represented a sharp reversal of her former attitude, and/or dramatically illogical, reckless behavior. And they all have one thing in common: more anomalies, or lookeys, than you can shake a stick at. Key sequences involving deaths or suspected deaths play out so brazenly bizarre it’s hard to imagine why anyone would take it’s veracity for granted.
Let us take a moment to remember why Sookie would don a sacrificial white nightgown, run across a cemetery at night, and toss away her her long held virginity to a blood sucking predator who three nights prior had been firmly rejected in favor of a dog, a dog she kissed quite convincingly.
Bill Compton, the man who cruelly scared the piss out of a cop. Who allowed three psychos to menace her unmolested for several terrifying moments. Who shushes her in front of hot men. Who looked incredibly creepy the first time she met him. Who can’t save his own ass from ignorant rednecks. THIS is the man to whom she gives her virginity? And this is not even taking into account the bloody horrific experience she just went through with finding Gran in a pool of blood on her own kitchen floor. Spending hours and hours cleaning up the horrendous mess. Not being able to close her eyes without seeing Gran’s face. Nightmares.
Why in the ever loving monkey jumping HELL would Sookie even consider having sex with Bill or anybody else with bloody murder images of her Gran flooding her mind? What could drive a wholesome young girl to have sex in the middle of a tragedy such as this? Died in her sleep? I could maybe understand. But with a man she hardly knew and did not like just a couple of day before? No, it’s illogical. Yes I know the arguments against becoming too attached to a ‘piece of skin’ but a hymen represents more than just skin. Having sex the first time is a spiritual and emotional step forward that not all girls are willing to be casual about. So there is that, especially when considering the personality of the pious girl we first met. Sookie was, without question, manipulated into taking this momentous step with a man she knew deep down she shouldn’t trust.
What else happened to Sookie as a consequence of Gran’s murder? For one thing she was ‘branded’ as ‘his’ before the whole population of the Bon Temps.. And now that we know he can heal bite wounds with a drop of his blood rubbed in, we conclude that Bill MEANT for an active serial killer to target Sookie.
Why would Bill deliberately place Sookie in the path of a serial killer? Is it just about trauma programming or is something deeper going on here? Why does Sookie reinforce the message by yelling for all the world to hear that she is now a functioning fangbanger? Why doesn’t Sookie remember her dead friends, and more importantly, WHY her friends are dead?
Why is Sookie oblivious? Ahhh, that is the million dollar question.
Like it or not, Sookie from Gran’s murder forward begins to represent…Bill. She will become fully his slave, his puppet, his minion, his Renfield. Gran’s murder was merely the first step in a demonic process. The power of Sookie’s goodness and magic could not be overcome with the same old drugs/mind control techniques. The big guns–ritual human sacrifice–had to be utilized. A crossfire. Full spectrum dominance. Psychological warfare writ all too heartbreakingly intimate.
How do we know Sookie’s obliviousness is not the result of her drug addiction–for make no mistake, she is an addict; those repeated doppelganger images again– and conditioning alone? That’s where the other weird events involving murder comes in.
To wind up this installment, I will summarize the circumstances and consequences of Rene’s sacrificial death and lead off with and explore in depth the maenad death ritual in the Part III.
Irrationally, Sookie allows a man she barely knows to drive her home from work. Think about it. She feels unsafe in public but feels safe alone and unprotected in her home in the middle of nowhere. In the midst of a serial killer terror spree she trusts a virtual stranger. When she realizes, too late, that Rene murdered her friends and her Gran she is compelled to run toward her lover, a man who as far as she knows cannot possibly help her. When she finally stands over Rene’s body, sobbing but triumphant, she can’t possibly know that she has branded HERSELF as Bill’s, forever more or until he is dead. She spends the next several weeks ‘branded’ with a black eye and talking incessantly about her boyfriend.
Wait wait wait. If Rene killed Gran and the others he got his comeuppance, so what does this have to do with Bill? You didn’t know? Simple. Bill killed Gran and all the rest. Sifting through the narrative, we find Arlene on the phone the night of Maudette’s murder mediating a parental power struggle between Rene and Arlene’s kids Coby and Lisa over watching a program on HBO. On top of that, Jason was the only one who knew Maudette was a fangbanger. If Rene has an alibi and no motive for the first murder the likelihood of his involvement in the rest is sketchy to say the least.
It is illogical to believe that Rene would leave his family, for whom he usually showed such tender regard and attachment, to go murder a woman he did not know, and did not know was a fangbanger.
As for Gran, it’s hardly credible that after a small town ‘night on the town’, Rene would leave his cherished family to..go out some more? Right, and Arlene just went along with that?… in order to kill a woman he knew was out on a date?
And what about those images? How does the crime scene Sookie witnessed first hand stack up with Rene’s memory of the crime? It does not. Not at all. Between her first view of the deceased and the memories thereafter, both hers and Rene’s, have been a collage of dancing Gran’s, who first falls on her side, then is shown face up; the chair fell near her hand, now it’s several feet away. First her head was pointing toward the dining room, next it’s pointed at the cabinets.
To understand what happened here, we fast forward to season 2. We remember Leo the limo driver and how easy it was for Bill to implant a false memory in the mind of the hapless henchman. But even there, Bil mucks it up. There’s a slight misunderstanding–the plane never arrived, or we just weren’t on it? Therein lies the genesis of the lookey as utilized by Alan Ball to denote that Bill has hijacked control of the narrative.
It’s the anomalies, Snooki. Whenever lookeys abound in a scene or a sequence, you know it’s a lie, a cover-up. If it’s a lie, it’s coming from Bill, the father of True Blood lies. I have two well documented posts on lookeys here at TBU that will tell you all you need to know about what to look for. There are literally thousands more examples chronicled at TAP. Get digging, diggity dig!
It is a lie that Rene killed Gran or anybody else. Sookie spent weeks afterward branded with the reminder of his sacrifice. Rene, an innocent man. Until this day, with sporadic bursts of independence to remind us of her indomitable strength and spirit, Sookie behaves as a doll on a string, dazed and confused.
The only suspect with a motive to whitewash his own involvement and frame an innocent person for murder most foul is William T. Compton. Remember I warned you when Bill tries to whitewash his involvement in the Comstock Murders and blame Eric in season 5. Bill is the only one who got what he wanted–regular, undisturbed access to Fairy blood– and came out smelling like a rose while everybody else lay in emotional and spiritual ruins.
This clearly discernible pattern of cause and effect only intensified with the maenad death and fertility ritual, an utterly fascinating ceremony rife with dark demonic magic, teleportation, time warps, deeply twisted, subversive misogynistic archetypes driving holes in our brains, dark hints of hidden entities, and ominous foreshadowing of a breeding program.
The whole story begins with the Minotaur…
Until next time, peeps! In the meantime don’t forget to visit the TAP forum for links, images, and citations on all of the theories presented in The Sorcerer in the Secret Code, in the introduction The Truth in the Lies, and in all subsequent installments of the Sub Rosa series. The information, data, and conclusions I reach in this series has been a collaborative effort between, in no particular order, Renee, me, osterby, Bobsgran, anna, Exit_PursuedByASloth, Courtly_LoveMachine, BellaKarma, JerronBarksdale, Dwimordene, wahoozit, lucasa, Genie, angiequinn, French K., caitlynmarie, Samnha, lookilook, Sass, and all of you wonderful contributors I know I’m forgetting, so please forgive me!