I'm Kristen Bauer, and I'm Deborah Ann Mool, and you've been invited in.

Welcome back to Truest Blood, where we sink our fangs into the series episode by episode.

This week's episode is entitled Shake and Fingerpop, written by Alan Ball and directed

once again by the great Michael Layman.

There is a lot of fun happening in this episode, and it feels like a good time to take a step back,

and look at how the story is being captured.

We'll discuss all of your favorite moments, but then we're going to revisit

with the help of our lead camera operator, Simon Jays, to discuss the different ways the camera is used

to capture the story just right.

And adding on to that, we have the phenomenal cinematographer and director Romeo Taroné with us this week

to add his expertise to the picture.

Literally.

The cinematographer collaborates with the director using the lighting and camera movement to create

just the right mood for the scene, and it's a really delicate and profound art form,

and Romeo is one of the best.

There's so much to cover, so without further ado, this week on True Blood.

Fang's beard, billbacks, hoit to the door, but turns out, hoit isn't who he's worried about.

I wasn't going to do nothing.

It's not her that I'm protecting, son.

After a last, longing look between Hoit and Jess, he leaves.

Luckily, Jess and Sookie are able to talk some sense into Bill and all three head off to Dallas,

but this little family trip immediately turns sour.

...