Dare I say it? If you seek to watch one of the best, fast-paced thrillers on TV, you’d best be watching “The Vampire Diaries.”
I realize people might already have their misgivings. Perhaps you’ve previously tried the soapy CW genre and felt the uncomfortable diminishing utility of an hour spent watching pretty people whine about their problems. Or you’re most likely already jaded because the word “vampire” brings up scarring associations with crazy metaphorically-blood-sucking fangirls.
But contrary to what the flowery title or sultry trailers might connote, “The Vampire Diaries” is not merely an alternate Stephenie Meyer universe. The show not only seeks to make its featured love triangle interesting but fleshes out all other aspects appropriately.
Our heroine Elena (Nina Dobrev) might be caught between two supernatural hotties, but neither of them fall into cookie-cutter, Cullen-esque perfection. “Bad boy” Damon (Ian Somerhalder) encompasses both remorseless killer and witty jerk, yet consistently forsakes both personas to keep his loved ones alive. And “nice guy” Stefan (Paul Wesley) actually gets all the ladies, yet also happens to be a dangerous blood-lightweight temporarily on cold turkey hiatus.
The even more enjoyable thing is that no one’s moping or talking about their feelings because they’re too busy trying to keep each other alive to dwell. It doesn’t take much for me to get bored with sexual tension, but “VD” always moves its plot too fast for anyone to exchange longing glances.
Beyond the ever-relevant central romance, “VD” is complex to the point that it’s impossible to give a synopsis of the series. It has a basketful of plots that extend through many seasons, all of which weave together into the sources of conflict that are the villains’ short-lived yet intricate plans. And most of the schemes are only driven by self-preservation, so once a greater evil comes along, every trope is thrown to the wind as alliances shift. Suddenly, you have the bad people doing good things, and good people doing bad things.
The show unabashedly leaves no plot rock unturned even when it comes to character development. Unlike other shows, experiences visibly change the characters. In season four, Elena, unable to deal with a traumatic death, pulls a Darth Vader and transforms from the show’s most moral conscience into her friends’ worst vice.
Picking sides in Elena’s world has always been a game of musical chairs, and in only four years, the “good” protagonist meta-catalyzes further change by leaving her role now up for grabs. In vilifying its most predictable character, the show breaks one of the only consistencies it’s ever retained — and that is what marks good series on television.
With the recent influx of thematically powerful television, of course one may think “The Vampire Diaries” can’t hold a candle to every other drama that is on the verge of defining an era.
But believe me when I say there’s gold to be found in this “guilty pleasure.” It does justice to all its characters, giving each a tangible role in the series (even if the supporting cast is slaughtered and killed, you grow emotionally attached to what little part they play). Its plot twists never lag past their expiration date, and good-looking people are just the cherry on top.
So don’t scoff at “The Vampire Diaries” because of its unfortunately sexified promos. This story offers a fresh perspective on storytelling, one definitely worth sinking your teeth into.
