Fangirlish - The Vampire Lestat Season 7 Review: ‘The Failures’ (SPOILERS FOR EPISODE 7)
The Vampire Lestat Episode 7 “The Failures” is one of the boldest, most well-executed, most ambitious episodes of television in recent memory. It’s the near-perfect end to a season that’s delivered hit after stylish hit, with Sam Reid leading the way as Anne Rice’s titular Brat Prince in a fashion that, lest I go without saying this as many times as possible before the bitter end, makes it impossible not to wonder if Reid is, in fact, Lestat de Lioncourt. He’s been blowing us away since day one, first on Interview with the Vampire and now in these seven straight episodes of Lestat telling his story in the most creative, sometimes purposely dishonest, fashion imaginable.
This finale elevates everything there is to say about Reid—if that’s actually his real name—to a whole new level, as Lestat’s very soul faces a tribunal of figures from his past and must answer for his perceived failures. Lestat isn’t alone in his near-death, true death, experience. While his head’s in Daniel’s bowling bag and his body’s laid out on a slab at a closed butcher shop, that same butcher shop houses Louis de Pointe du Lac…in pieces. If Lestat’s emotional journey is a terrifying, heartbreaking, otherworldly sort of affair (and it is), what Louis faces is all of those things but in a much more…immediate sort of way.
He may not have to face everyone from mother to Maker—and everything in between—as Lestat does, but he is at the mercy of Armand at his most evil. And unlike Lestat, who’s in that odd in-between realm, Louis is close enough to his actual body to feel every physical bit of torment on top of the mental torture Armand puts him through. That, somehow, fits. In a sick, twisted way, it makes all the sense in the world that the most human of vampires would be trapped in a situation that only a vampire with very powerful blood could withstand…with an all-too-human sense of mortality looming over his grotesquely severed head.
I wish I had the late Rice’s way with words because I feel like only someone with her talent could describe the performances from Assad Zaman, Jacob Anderson, and Lestat Reid in this season finale in any way, whatsoever, that does what they do here some shred of justice. Put their work together with a score that totally dazzles, particularly during the sequence where Lestat confronts his mother about her forcing him to watch the witches burn, even when it meant watching someone who played at his home die that horrible death. Mix in some absolutely stunning closeup shots, the blurry filter for a fading Louis’ visions of Armand here before he’s looming over him with a terrible clarity there, the effects of Louis’ severed head just being…there the whole time, flashbacks of Lestat’s greatest hits (failures), and so much more.
And what do you have? A masterpiece worthy of the Prince Lestat himself.
Armand is the villain in Louis and Lestat’s story, always has been in many ways. In fact, as far as AMC’s adaptation of The Vampire Chronicles goes—at least in both seasons of Interview with the Vampire and, now, in The Vampire Lestat Season 1—the tradition is that he reveals himself in all his diabolical glory at the end of the season. “The Failures” continues that tradition and takes it to a whole new level.
Armand delivers his “true and heartfelt Armends” in a way that, well…it’s a good thing he goes with the clever play on words because these are not amends. Not in any way, shape, or form. Especially not when he brings up the Fred Steins as an extra “F you” to Louis, punctuating his totally-remorseless accounting of events by pouring salt in the wound for the mere pleasure of it. Then, there’s how he gloats about all the work he did to put Regina in Louis’ path, to torture him with the very notion of her—Claudia, the one Armand’s coven killed while he “took an aesthetic pleasure” in it all. Yes, he took credit for saving Louis when it was really Lestat. No, he’s not sorry. Because it bound Louis to him, a companion, someone he claimed to love…but did he?
Typically, this is the place where I’d highlight some aspects of a performance, a line reading here, a change in expression or movement quality there. The problem with Assad Zaman’s performance in The Vampire Lestat Episode 7 is it’s actually impossible to do that. Trying to keep track of a single perfectly-delivered line—all casual cruelty one minute, something particularly threatening or menacing the next, poetic and melodic in a way all along—means jotting down every single word he says in the entire season finale. I have the same difficulty when it comes to the movement. Each time he tilts his head a certain way, or places his fist under his chin just-so, leans in or dances away to rest in Armand’s evil one moment while playing up that cruelty the next there is endless in how much it conveys.
He wastes nothing, maximizes everything, flawlessly performs in a way that appears effortless yet can’t possibly be. I’ve found Zaman to be an actor who understands this character—from Arun, to Amadeo, to Armand, and then some—since before it was even confirmed that he was Armand and not “Rashid.” And yet. I’m still so incredibly blown away by what he does in this season finale. I’ve watched scenes over and over, sat with it for a while before trying to write a review, and still…what can I even say other than wow? It’s the detachment as Armand tells Nelson or Regina to “rest,” knowing that means they’ll cut themselves; it’s the intensity throughout, the brilliance of knowing when to play up the evil and when to let it just…be.
But even though Armand is the villain in this story, The Vampire Lestat Episode 7 reminds us that he bears an enduring, unbearable amount of trauma as well. Before he became Armand, before he became this, he was just a boy. When a fading Louis, who’s been put through the infinite level of grief surrounding Claudia’s death all over again by watching Armand use his considerable power to control Regina, reminds Armand he’s “got some reason to be dark-sided,” Zaman’s already-stunning performance gets even better. Nothing excuses what he does to Louis and Lestat (especially Louis) in this hour. But to watch his breathing change, to watch him melt, to reveal all that pain of his own…it’s hard not to feel for him, just the same.
Zaman does such a fantastic job of showing Armand’s struggle to contain himself, to not reveal or show too much to Louis, there at the end of their time together. But if you watch how he worries his mouth behind his hand—like he wants to scream, or cry, or bite his nails but won’t give anyone the satisfaction—and you watch the way he does, eventually, break while almost smiling because he finally has talked about this, finally has received an apology from Louis for never discussing any of it (or his own profession, no less)…just…it’s insane, how good Zaman is here. These are the two sides to most of Rice’s characters, the horrible angst and—yes—that endless capacity for evil. Even when he’s over his psychotic break of sorts (for now?), even when he not-quite-gently heals Regina with his blood, that threat remains.
Absolute masterclass from Zaman. I don’t know how else to put it.
In The Vampire Lestat Episode 7, Jacob Anderson has the very interesting job of playing multiple versions of Louis. There’s the one who joins in judging Lestat at the long table, adoring at times and almost smug when he mentions Lestat’s failures at others, sometimes even bordering on loathing. Then, there’s the Louis toward the end of the hour, reunited with Lestat in the softest, most loving of moments as Louis strokes the Lestat’s neck and Lestat levels that intense gaze on him while stroking his back. And, of course, there’s what we see for the majority of this season finale—the severed head.
Now, there’s obviously all sorts of TV magic that absolutely must have gone into…the head. Still, all those horrible, choking, gasping sounds and that effort it takes to get out any words at all, with that raspy voice—that’s all Anderson. The same goes for every expression of dread, and terror, and grief, angst, and—yes—determination the character cycles through during his ordeal with Armand. One moment that really stands out is Louis’ reaction to seeing his own arms, desperately reaching for him, his neck just a bloody mess where his head should be. Something in the tiny movements of his mouth, the flare of his nostrils, and those eyes lays bare Louis’ realization of how completely powerless he is in this moment, how over it may all really be for him.
Still, Louis fights back in the only way he can. For the longest time, he doesn’t give anything away to Armand. He doesn’t cover up his suffering—no strength to do that—but he looks at his captor with such hatred in places, refuses to say he forgives Armand for Paris. He’s unwavering in his love for Lestat, above all. And though it flays him from the inside out to do it, a level of suffering Anderson portrays in increasing, deepening clarity throughout, he doesn’t immediately give in to save Regina. Instead, he takes the punishment rather than do what his captor demands. He sits and watches her, hears her, as she suffers right along with him.
When Armand first welcomes their additional guest, that moaned “no” from Anderson is absolutely everything. And no, I can’t comprehend Delainey Hayles sustaining that level of sobbing, screaming, fear from the first moment we see her until Regina runs away either. There’s something to be said for Louis finding some sort of strength to get his words out more clearly, more boldly, when he grits out that Regina “didn’t know.” And, despite everything, the amount of empathy he shows for the 12-year-old boy Armand used to be, the one Louis says was “sold into…what you were sold into” is almost more painful to watch than all of his suffering on his own behalf up until that point.
Louis is not a perfect angel. He has run those types of businesses, and he has hurt those whom he loves. And yet, his capacity for evil is only bested by his capacity to feel far, far too much. At Lestat’s long table, we see both. The violent slam of his fist on the table, coupled with a look at screams “grudge” is the one side. Somewhere in between, there’s the simplicity of him calling Lestat’s destruction of the Children of Darkness “impulsive, reckless.” He doesn’t rub it in, just states facts in an open and honest sort of way that doesn’t hold back either.
But at times, at times…Louis is just in love. And proud of it. Louis holds a certain power over Lestat, and I think something in Anderson’s posture and presence during all of those long table scenes drives it home in a way that even Lestat’s reaction to him can’t quite. He’s as vital to this season finale’s wild success—ironic, considering the episode’s title?—as Zaman and even Reid.
I may, like anyone else who sees a beloved series of books adapted for the screen, have creative choices I disagree with. But zero nitpicks I’ve had have totally ruined my experience. And I can’t say enough about the wise choice to keep Louis as involved as he has been in The Vampire Lestat Season 1. I’m just…so beyond grateful for the choice to give Louis an expanded role here. To do otherwise would’ve been such a waste of Anderson’s talents, which I’m always happy to see showcased, even in the crazy off-kilter way we get them in “The Failures.”
And, honestly, if we look at all the subtle hints Lestat gives in Rice’s books, the dedication and love that we see on TV is always there, floating in the background. Much more subtle, yes. But it’s there. So, for Louis to call Lestat “love of my life” here is spot on, as is the obvious way Lestat makes him the center of his universe, the welcome distraction from the torture his two Makers put him through, both at the long table and almost immediately upon his reawakening.
Sam Reid is Lestat, is Sam Reid, is Lestat. Over and over again. Repeat it. Watch The Vampire Lestat Episode 7. Sit in awe of what he does, yet again, for the seventh straight episode, to deliver on every single layer, every aspect, every internal struggle and outward showing-off this character has to offer. And then, watch it all over again. You’ll find more to impress you each and every time. Only the actual vampire Lestat could bring such an inhuman level of talent to the table…right? Right.
While he’s stuck in that strange place between afterlife and true death, Lestat’s insecurities dominate him. There’s a certain fear, a wariness to how he holds himself a she walks through those woods. He’s troubled, freaked out, uncertain of where he is or why he is or what he is. And that, right there—right at the very start!—is the true heart of all of these vampires’ stories. They are outside of reality, outside of their own understanding, and constantly grappling with what any of it all means. What is their existence, and what is their nature? They don’t know, and it’s an immortal source of angst.
When Lestat sits at the table where he spends most of this season finale, that nervous, wild way his eyes track back and forth says it all. Every single figure at this table terrifies him. He has failed them, just as they have failed him. And the overwhelming amount of trauma and pain he experiences as he looks at Magnus reminds us that, yes, Lestat’s story—rockstar era and all—is a horror.
The Vampire Lestat Episode 7 makes our hero much…smaller, more childlike, than he’d usually like us to see. As he sits at the head of that table, he’s mostly taking the condemnation of those central figures in his life, shrinking with each blow, hurt here, devastated there, and all the while realizing the end is coming for him. When he asks, in that oh-so-shaky voice, how he died, it’s immediately after his usual melodrama and mockery have failed him. There’s something in Reid’s delivery on “so…I’m dead. This is death. My father’s f**king table in your sh**y tower?” that just doesn’t have the same punch. Somewhere between life and death, stripped of all his characteristic arrogance, this is Lestat, the core of him, the center of it all.
He can’t maintain the pride and swagger, even when at the head of a once-grand table, in a chair that could easily become a throne if he let it. He cackles, unhinged, as he tries to deny being in that place at all, then becomes even more unhinged when he finds out where his head is. But that deranged grin absolutely melts away when we cut away to that butcher’s shop with his body in it.
Later, as his fledglings and Makers bring up his abandonment of the Paris coven, he slips back in the persona of the Brat Prince, defending his act of abandonment by bringing up what Magnus did to him. Still, there’s something…not quite as grand as what we’re used to. The wide eyes to play up the clownery, that little shrug, even the way he almost bounces once at the very end to punctuate his scoffing comment on how “Magnus speaks in the third person when he’s on the back foot” are all Lestat the show-off, like always. And yet, imagine him saying this in any other situation, at any other point in the season. Reid smartly holds back.
That allows the performance to grow, for his righteous anger to flare when he reminds Magnus he “refused” when that hideous thing told the Wolfkiller to “ask for it.” And there’s a certain brightness, a renewed fire in his eyes, and bitterness when he reminds Magnus of how little he showed or instructed him before (here Reid purely explodes) lighting himself on fire “DANCING AS HE BURNED!!” Every time we’ve seen Lestat act out or throw a tantrum, I’ve talked about Reid making the layers of pain underneath clear. In The Vampire Lestat Episode 7, he reverses—angst first, artifice wrapped like the thinnest of blankets around it.
The angst is there again when, once Gabriella takes the place of Magnus as the master of ceremonies, her initial gentler approach immediately turns to drawing out her son’s suffering. It’s just like Magnus from there on out. This is Lestat, looking to his mommy for help, thinking he’ll get it, and having her fail him. As always.
And, as everyone goes through negative reviews of his performances—with a blast from the past to help—it’s clear he has no allies here. And his memories, of all the shameful times they slept together or all the horrors she forced him to witness as the witches burned, completely take over. When we explore the witches’ place more fully, the sense of how truly horrified Lestat is by the thought, even in the way Reid breathes as Lestat pauses on the journey there, is stunning.
As he demands to know why his mom took him there, and all she offers is judgment for him disappointing her and failing to leave home before 30, Lestat finally cracks. Wide open. Raw. Howling, wailing in that long, awful, drawn out way. He cracks. Up until that point, Reid’s performance has been intense, the emotion overwhelming, throughout The Vampire Lestat Episode 7. This, here, now, is so much more.
Eventually, he stops the breakdown long enough to put on one. Last. Show. And even that, all the strutting across the table, standing on stage in the spotlight, working the crowd, stops and starts, with Lestat fighting against not only death itself but also all the self-loathing that’s been uncovered at that table. Without seeing everything that comes before it, maybe this would just be another instance of the prancing, peacocking Lestat to some. But now, the truth is painfully obvious in a way Reid’s performance made it all along…but that’s perceived by others now, as well.
His quiet moment with Louis’ brother is one of the most touching, brilliant little moments in the hour. Even with everything else that happens, that one stands out. Possibly because of what it says about Louis and Lestat, but mostly, I think, because it’s Lestat finding some kind of peace before he dies. Louis loved him. He realizes it, deep, deep down, here at the end of everything. And that’s enough.
Luckily, it’s not the end, though.
When Lestat awakens back on his tour bus, Reid plays that confusion, and awe, and wariness from the beginning all over again. Except, this time, Lestat is stunned to be alive. Grateful. And when he rushes off to find Louis, then freezes after seeing the love of his many lives sitting there…that’s yet another great moment of physical performance from Reid. I also love the moment when he refuses to go on stage. The rage he levels on Gabriella is probably a favorite for purely “she hurt my baby too many times” reasons. But it also says something that the showman has no more need to be in the spotlight in him right now.
And, there at the very end, we see a contemplative, reflective Lestat. He’s finishing his recording of “The Failures,” which we’ve listened to all season. Just in time to, yes, circle back to the beginning. Because he’s yet to explain the events leading up to…all of that, outside. So, when do we get that part???
“‘Could be nice,’ says Louis. ‘Could be,’ I say. And our hands touch. I am staring at Alex in his plastic Dracula mask, and then I think, ‘why is he here?’” Reid’s gasp of a breath before, “and then the world pivots.” Oh, and the camera itself actually pivots and takes us on the ride with Lestat’s head! Amazing.
This whole opening voiceover is just in this…very uncomfortable voice instead of the usual melodic whisper. Then, Reid switches to almost awe, and confusion, on “and I see stars in the sky. Though, it’s…upside down? And my blood, a half-painted moon. And then, I’m dreaming…” Gorgeous.
The Brat Prince, so pretty in purple out in the sunlight.
“…limits our view and cuts out the world so we gaze ahead towards God…” In which Lestat fills in for his baby self again.
I kinda chuckled at the “Lestat” getting an answer of “Lestat” from, well, each version of Lestat.
“…the light’s going out of your blue eyes, as if all the summer days are gone.” THANK YOU. FINALLY.
Armand’s two quick snaps before he tells Louis about the second lie. Amazing.
His hair is curling. Thank you for that.
“Many times, I told myself the lie did not matter because what we had built, a love that served as a bunker against time, was weightier and more consequential than the lie, but it wasn’t true. The lie did matter. Because the corpse was there, calling forth the flies.” Ok but like. When Zaman rushes through the beginning of this, it’s like Armand’s still arguing and bargaining with himself. At one point, even, it’s like the acidity around the lie is aimed inward. But it’s so brief. I love it; I love everything about this. (Except, you know, Loustat being in such dire situations. But otherwise!)
Like, the closeup in Louis’ face, where he’s almost, sorta, kinda smirking…but also very much not???
“I told you I loved you, but DID I? Hm? Did I?” The nastiness on that first “DID I?!”
Every. Single. Word. I’m not kidding. All of it is beautifully written, and the performance is beyond.
Anderson’s expression after Armand tells Louis about the Fred Steins…like his whole life (77 years, at least) has been a lie. As if he’s always known Armand was this, yet he’s only now really knowing it.
“And where’s Claudia?” “She said all she needs to say to you is what she said.” OH GOD. That sad, little look at her empty chair???
Every time they holler about “THE SOUL” is just so delightfully weird.
“Judgment comes from God, Satan, the simulation—we don’t know. No one ever tells us. And yet, here we are on course number two hundred and five.”
The supporting characters are great in this. I laughed so hard when they all pretended to be asleep.
Something about that big AF blade and Armand together just makes sense.
It’s those hands writing out “F— YOU” for me.
Zaman’s hands spreading out when Armand talks about “the air between.”
Armand is absolutely relishing getting to show Louis the thing that used to be Lestat.
“…enjoyed ruining for the sake of ruining.” And then, he like, passes his hand over the body. Almost loving. Yet definitely not that. Art.
Not him making fun of Louis’ struggle to ask about the head. Ouch.
Watch every time we get the perspective of Armand looking down on Louis. What an image—a statement. “You are nothing to me. And so is he.”
At no point in my life will I ever take Daniel and this goofy AF red face seriously.
“I think you know you’ve wronged me. And I think you know the specific ways in which you’ve done it.” Brilliant on the determination, and hate, and thirst for the win.
“F**k you.” Armand wrinkling his forehead and moving his eyebrows some kind of way, as if to say, “b**ch, please” with a side helping of “the audacity.”
“Yes, you seem to be caught in that sentiment. Regrettably, your Maker’s body has not induced you to own it. So. One. Additional motivation.”
Delainey Hayles, folks. That sustained level of emotion. Every single time. WOW.
Absolutely died over the stunned, quiet gratitude on the rare occasion Gabriella stepped in and defended Lestat.
“I did what my maker showed me, throw money at the problem and run away.”
“Showed me a co-ffinnnnnnnn, some mo-neyyyyy, told me to scatter his ashes, AND THEN HE LIT HIMSELF ON FIRE!! DANCING AS HE BURNED!!!” The Vampire Lestat Episode 7 finally reveals the horror in a way that Lestat’s little musical version of events didn’t earlier in the season. And yet, there’s still something almost musical about how Reid reads these lines.
“You want Mommy in the chair?” Reid is every bit the broken little boy, begging for his mommy, when Lestat asks for Gabriella. And Magnus just…mocks him. Evil f—er.
I hate that they put her back in period dress with that long braid. (And I wish she’d had her pants all season, honestly.)
The particular way Hayles holds those hands out in front of her is so good. Regina knows nothing’s going to protect her, yet she can’t help it as she cowers and sobs there.
“The merciful universe acknowledging your need to grieve and her need for saving…or. Or was she conceived the instant you hurled me into the supporting wall of our Dubai penthouse.” Zaman’s timing and the specific way he tilts his head back in the other direction, changing his expression to something darker as he goes, on the “or.” Just…once again, all I can say is WOW.
My dude’s entertained AF by his own evil, huh.
Every thoughtful pause, every change in pace, every glance…genius.
I am, once again, like F Daniel and his goofy AF tan.
“Gotta say that sh** a mile up in the air for it to stick.” DIABOLICAL.
Anyone else sit through this season finale like “ok but WHERE IS AKASHA” or.
The twist of Lestat’s mouth after Molloy’s “blow me.”
Lestat, too taken aback and freaked TF out to form words after that big AF head came through the ceiling.
Real talk: I could do without the “she give you the Autism Gift” and “he’s on the vampire spectrum.”
‘I listened in on your seance last night. I think Claudia would approve of this…scientific risk.” Ok, the fiend has a point here.
“He was my Claudia. But I wasted a near century…and that is not nothing. That deserves amends.” Just the way he tosses that blade to punctuate his wasted century…wow.
Louis’ in a special kind of torn agony that, somehow, is even worse than having his head and his body quite literally torn apart.
“Thank you, Mother.” “Lover.” That self-conscious glance down and back up, gratitude now replaced with something much more uncomfortable.
“…a cross between a self-absorbed Robert Plant impersonator and an 80s hot dog embalmed with hair gel. Only the drummer escapes alive. Stereogum.”
Again, the casual arrogance is off when that sh**y tenor shows up. He’s trying so hard to play unbothered. And can’t.
Jennifer Ehle is her best version of Gabrielle—er, Gabriella—at this long table, and I don’t know how I feel about that.
So much awful, awful, angst on “why did you take me there.”
“…she used to play in our home, Mother.”
That sound he makes. HOW. Seriously. HOW.
AND WITH ALL THE CHAOS AROUND HIM IT DOESN’T END???
Justin Kirk is having one heck of a TV year, between this and Criminal Minds: Evolution. Also, I know their reasons are self-serving and not exactly like “yay, Lestat” or anything, but um. THANK YOU, TALAMASCA.
“He’s a watcher…” Ok but this ain’t Buffy.
Diabolical, demented, insistent gremlin.
“He pi**ed me off.” Loser.
I love the pacing, too. The closer we get to the end of The Vampire Lestat Episode 7, the more we’re just hectically going back and forth, back and forth between Louis, and Lestat, and Lestat’s memories, and…
“No biological rationale for head here and body there. That’s the soul fighting, Daniel.”
“…and you’ve got some reason to be dark-sided, Armand.” Obsessed with how Zaman stops himself short on “and you—…” before Armand goes through his own struggle, even has to change positions a little bit and take that steeling breath before repeating Louis’ “you have some reason to be dark-sided, Armand.”
He freezes when Louis talks about the houses.
“I didn’t want to think on my own sins. Orrrrrr picture you at 12. At 12.” The sobbing quality of Anderson’s voice!
“…you need a love that’ll cradle you. You should have that, and I was never that for you. And I’m sorry.”
Louis was never that for Armand because he couldn’t be, because Lestat was the love of his life.
“…my coldness, my denial, drove you to this…I saw good in…you…for a while.” And he’s doing that thing when you’re about to cry but don’t want to. So, you like…grimace, almost, and your eyes give you away.
That sigh from Zaman. Armand is relieved, relaxed, done. (For now?)
OH THAT “A” CARVED IN LOUIS’ CHEST. EVIL.
Lestat out here, giving a whole new meaning to “dying inside.”
Reid just swaying, totally out of control. Stunning.
Great moment from Ehle (and terrible from Mommy Dearest) as she mocks Lestat on “playing a plank for a piano…” Those eyes are about to bug out her head, just milking the moment. Like mother, like son, basically.
When Lestat goes from that sound to the demented chuckling? Another wow moment.
And one. Last. Chance for that swanning and peacocking, the sarcastic slow clap for his audience’s performance of his failures…
I’ve missed this Brat Prince for the whole hour!
“What a life it’s been.” So reflective and dreamy.
And what a season it has been!
The hair toss, the deep cut of that top, the swagger…
“I took your blood; I did my vampire duty! I brought death, spread fear, fostered superstition and paranoia!”
It’s the way he makes that sharp gesture and turns after Gabriella calls him “failure!” and goes “I don’t agree!” for me. I adore the sheer indignation.
“I think in the end—in the ennnd!—I think I was pretty f—kin’ great!” You were, Prince. So very much so. (The breaking down in tears and laughter on this…wow.)
Lestat, raging against the dying of…himself, wanting to go out his way. In style.
The panting exhaustion, grasping for more of a mark to leave behind before it’s too late…
And then, the physicality takes over again. Watch him stagger and stumble, then look up in pure awe and longing at the heaven he doesn’t believe he deserves.
There’s a moment where all we see is the dark shadow of him with all the lights in the back, and it is gorgeous.
Him mouthing “where’s Louis” gutted me.
“You go on stage—you get torn apart! YOU do it because I am not going on stage, I am not f**king singing, YOU F—ING MONSTER!!!” Perfect counterpoint to Lestat having a meltdown trying to rationalize their relationship to Louis.
“What did I say at the start of this…as to…the queen? As to…destruction unleashed? Something about…regretful dead, and then….traumatized…alive…that I had made a contribution. Let me take that back. The fault was mine. All of it.”
What an image there at the end.
When do we get the renewal press release????
Agree? Disagree? What did you think of The Vampire Lestat Episode 7? Leave us a comment!
