What interests me about this is the link between the Labyrinth story and the Dionysus story, because of course the connection makes total sense, both for the show and generally. The Labyrinth is about diving down into the darkness, the confusing and scarier parts of ourselves, and acknowledging what we find down there. The thread of Ariadne is the way back, and it'll jerk you off your pedestal if you get stuck there, or think that the Labyrinth is the point. And then Dionysus, he's all about turning things upside down. Loss of control: the experience and integration of rage and lust and all the other things we use as excuses to hate ourselves. I think every God guards a door to the Labyrinth, just like there are a million ways to be happy and work your shit out. Just like there are a million masks for God.
Dionysus is interesting here, because the two people that energy is coming at are Tara and Sam. My theory is that Tara killing her demon, which I found so offensive last year, was the door that opened to Maryann. Repression, especially conscious and deliberate repression, is an invitation to madness, always, for the same reason we pop blisters.
Growing up with comics maybe this is easier to do, but it's a bifocal operation, like with superheroes or the Endless, or the Gods of whatever pantheon really: persona and personality. Sense and sensibility. You have the Thing that they are, and the personality wrapped around it, the viewpoint. Hera's a bitch because being married is a bitch, and you have to fight for every piece of what you won. Aphrodite acts like a slut because the heart is fickle, and beauty doesn't last. Hephaestus is lame because his beauty is internal.
"Every idea is endowed of itself with immortal life, like a human being," Baudelaire said. "All created form, even that which is created by man, is immortal." As much as Maryann is nutty and funny and scary and kind of a bitch, you have to remember always to look at her also as Madness, and Delight, and Delirium, and Hunger, and Singularity (nature, according to Baudelaire again being "nothing but the inner voice of self-interest"), and Selfishness, and Pleasure. If vampires are the gods of the American shadow, moving through the deep, then Maryann is Crossing State Lines. Some scenes she's more one, some scenes she's more the other, but they are both always true. And what calls to her, and offends her, and excites her, is repression and authority. It's why she wants Sam, on the Maryann level. But on another, Sam's repression calls Her into being.