Because it's all she's got, thanks also to St. Paul, Sarah lamely says in turn, "I hate your hair," sitting back all self-satisfied. "There's a witch, and a sumbitch," says Jason. "Fuck you, Newlins." Sookie smiles at him, sure now that he's back, and they are sweet together some more. It just makes me sad, because Sarah could be the best cult leader ever, if she weren't a woman, or she weren't a willing part of a culture that defines male power using women as currency. You know, like if there were some culture or religion of consequence that didn't do that, she could really rock out. But since the first time we met her, she's been the Woman Behind the Man, and no matter how much it galls her that's all she knows how to be, so it twists her even further. And that is fucked up.
Arlene serves a couple of women, who take out their cameras and beg to see the freezer where they found Daphne's body. "It was the walk-in refrigerator and you are one sick buzzard. Go find some roadkill, because you ain't eating here." Arlene takes away their food and gets bothered by some man looking for silverware, but bitches her way past him to the ringing phone. It's her daughter. "Merlotte's, hurry up. Lisa, lunch is your job, you got a microwave, that's all you need. Oh, come on, Coby'll eat cat food if you put mayo on it. Mama's gotta work." Heh.
Lafayette appears, pouring out a shot as she admits to being shit scared most of the time now: "Daphne, oh my God." Lafayette hands her the double shot and she downs it: "She was clumsy, stupid and mean, but I wouldn't wish that kind of death on a possum." Which is a funny line, and plays well with the unerring characterization of the Arlene/Daphne thing -- "I rubbed this lantern to get a new waitress after Amy died, and look what bullshit came out" -- but also: If Miss Jeanette were here, she'd remind us that it's precisely what she got: a possum's death. She whines about Miss Jeanette too, and Lafayette is grim. He's been paying more attention than anybody, he fucking knows. "I'll look out for you if you look out for me," he promises, allying himself with the Sam/Andy/Jason war crew once and for all, and when she asks when it's going to stop, he doesn't answer: Terry's calling the next order.
Arlene goes to pick up the order, and Terry avoids her eyes weirdly, and finally she starts crying. "Terry, please quit being so much more peculiar than you usually are! Please talk to me. If what we did was so terrible..." (Dialogue that is good on paper is good on paper, but doesn't mean it's going to be easier for the actor to sell. Not when the show doesn't usually go there. There are plenty of shows with a broad enough tone that you can get away with stylistics like that, but this crap is all through the script and really makes line deliveries difficult. We already knew Macon's own Carrie Preston was one of the most gifted actors on the show, but that line proves it. This episode is condescending, in that particularly Coen Brothers way that I can't fucking stand, and the burden rests mostly on the hick characters like Arlene and the Stackhouses, and the Newlins who clearly need to be even more cartoonish. Good thing it fucking excels at vampires, because damn does it excel with the vampires.)