Rewatching s3 after rewatching all s1 & s2 made me think about the name of this Brooklyn diner where Louis (not-accidentally) found Claudia's look-alike.
It seems to be a fictional diner, as far as google told me.
At the end of s3 we find out that it was never a coincidence that "Regina" was working there, but it was all Armand tugging on multiple strings in the background: 1, orchestrating consequences within Lestat's band and trying him to cancel the tour, and 2, taunting Louis with a person who resembled Claudia, who, on top of that, was a grifter who knew how to get into character and under the skin of her mark, which as Armand said, gave him more time to scheme and work on his other plans.
"I’ve known for some time Claudia was the aperture through which I could rip his innards out. I understood his obsession for forgiveness. I lived it with him. He was my Claudia."
-this Louis mentioned (or was Lestat narrating only, maybe) in 3x1:
And it was Armand's other words that made me think back to s2 and trying to connect all the meaning that's surrounding the diner named Brick & Bacon:
in this moment in 2x8, bricks and foundation visible, making a dent, crumbling away the facade of their lies.
The "supporting wall of their penthouse in Dubai" where, previously, this piece of art occupied the very same space: The Bacon Triptych:
Was it too on the nose in retrospect for Louis to suspect something about the name of the diner? Maybe. Maybe he was too lost in the vision of finding his Claudia again and forgot everything else. Maybe it's a total coincidence, but let's choose to believe it.
I haven't studied much of this painting besides reading the wikipedia page for now, but I like even the color-similar connection between the painting and the front view of the diner, red and golden/yellow tones, and inside hiding something controrted and un-human. Something about the painting could also be connected to the murder-trial in s2 and how Armand "could not prevent" Claudia's death, however sincere or insincere those statements were from him. The stoning, the crucifixation, the furies...
Three Studies for Figures at the Base of a Crucifixion (1944)
Bacon's principal mode of expression is introduced: the subjects are anatomically and physically distorted, and the mood is violent, foreboding, and relentlessly physical.
Although Bacon stated that he modelled the creatures on the Furies, the visual link to the sources is barely perceptible in his finished work.
In 1985, he observed that Aeschylus' phrase brought up in him "the most exciting images, and I often read it ... the violence of it brings up the images in me, 'the reek of human blood smiles out at me', well what could be more amazing than that."
For Three Studies, Bacon did not approach the Crucifixion as a Christian image per se, but rather found that the scene reflected a particular view of humanity he held. As he told David Sylvester: "it was just an act of man's behaviour, a way of behaviour to another."
The painting seems very connected to Armand and Louis relationship arc within the overall structure of s2 besides the plot. It was given a lot of focus throughout the season:
First, in 2x1 Armand tells Louis they got "an agressive offer for it" and "number he wouldn't anticipate", surprising Louis who doesn't even know they (or just Armand?) put it out for sale. Armand doesn't know the possible buyer. He tells him that in their bedroom that seems more like a gilded birdcage.
In 2x3 they get a phone call from the possible buyer's lawyer, discussing more details about the painting:
[cont.] 'Witnesses to Christ's agony. Mr Bacon also referred to these as the three "Furies", punishers of human wrongdoing.'
and we also got this information that the buyer "she wants it for her husband"
It is after 2x5 and them reminiscing / remembering the 1973 San Francisco week, and also after Louis found the Fred Stein's (and others) photographs among his works, that they have the conversation what else to put on the wall, or if they should --
While the paintings are prepared for sending to their new owner, already packed and still visible in a few scenes. It makes me think it moves parallel with the story and with how fractured the relationship between Louis and Armand was becoming throughout the season, ready to depart by the end of the season.
Circling back to 2x8 which brings the revelation and truths. The wall is bare, bricks on view. An idea forms in Armand's head, possibly, as he watches Louis telling him to leave before he comes back.
Supporting wall of their relationship? Broken. Brick & Bacon.
It was interesting too see how Armand was making his "Armends" throughout s3, and I wonder how sincere it was, but at the same time he was seeking out the same from those that wronged him too, an acknowledgement of their lies and mistakes.
Might have worked for Daniel, we haven't seen most of the acceptance of his maker, killer, lover? companion, yet.
He didn't seem to be successful with Lestat, who admited he never spoke up in Magnus' crypt in 1950s as it served as torture for both Louis and Armand, because he knew the lie would be eating Armand alive. It worked, and Armand tried to let Louis know he could let him leave, to abandon that lie if Louis wanted Lestat back. But Louis decided, in 1973 that Daniel had to survive as a testament to Louis and Armand's relationship, thus cementing them staying together despite the feelings waning and losing whatever they once had there. Memories scrambled, continuing the terrible-pretend play.
So it seems it was only here in 3x7 and talking with Louis' severed head while his soul was fighting to keep on staying alive, that Armand could reach some truthful depth of Louis that'd offer the words he has been chasing from him, despite their companioship ending about three years prior.
And at the end, Armand was satisfied, left into the daylight again (about 10am on Saturday, November 1st, 2025. Fareed's study having new results that more powerful vampires of Lestat's breeding could really survive decapitation for 5+hrs.), while Rashid from Talamasca was already probably waiting outside to collect both Lestat and Louis bodies so they can go on with their concert tour plan and bringing in the Akasha apocalypse. Fake-Claudia gone into the wind once more, and I really hope she got to cash out the checks they've been promising her from both sides.
Lastly, Lestat narrating episode 4 titled The Devil's Road, was interesting with how these words were spoken in front of the diner:
Now the only other thing about this I'm curious if we ever get to know the name of the new owner of the Bacon Triptych paintings, if the whole subplot of finding a buyer and seeing it send off was plot related with perhaps some new type of consequences.
sugurugetos
stormborns
snowghoul
yousharknotpass
