LESTAT'S TOUR BUS + hands 3.01 // 3.04 // 3.07

seen from United States

seen from South Korea
seen from China

seen from Türkiye

seen from United States
seen from China
seen from United States
seen from Germany

seen from United States
seen from Chile

seen from United States
seen from China

seen from United States

seen from Argentina

seen from Japan
seen from United States
seen from Russia

seen from United States
seen from United States

seen from United Kingdom
LESTAT'S TOUR BUS + hands 3.01 // 3.04 // 3.07
Kokuho's (2025) kabuki performances
Directed by Lee Sang-il, starring Yoshizawa Ryo and Yokohama Ryusei
Whoa! 👀Amazing! ❤ (tweet thread)
plus :D
Edit:
Franz Angelo Rottonaras (1848-1938), ''Maske und Kothurn'', Vol. 2, #2, 1956
ARCANE | Sevika's Arm Concept Art | Anne Laure To & Marietta Ren
I Love Boosters (2026) Dir. Boots Riley.
Blood farms and custom guitars: TVL production designer Andres Cubillan shares insights into the season’s most memorable setpieces.
As Lestat’s childhood flashbacks move through his adolescence to young adulthood, we’re given hint after hint that the family has fallen on hard times, mirrored by his father’s increasing infirmity, and the rest of his family succumbing to various illnesses. “We see less staff in the house,” production designer Andres Cubillan explains. “We see the food getting simpler. Even the china on the table. We go from a very sort of elaborate multi-piece setting, you know, crystal glassware, silverware, and that starts getting reduced. So you start feeling like they’re really impoverished in their sort of ridiculous aristocracy.”
“They’re not going to give [Lestat] some large bedroom. It’s going to be sort of awkward in size. I’ve spoken about the tile floor and the fact that it’s a material that would have been used for servants’ quarters or kitchens.” Lestat is a second-class citizen in his own home, and the images decorating his walls make a further statement about the violent undercurrents of his childhood. “The mural work on the walls, it was a play on the tropes of little boys’ rooms—the trains and the boats, and that heteronormative ideal for a little boys’ room in that era.” But instead of boats or scenes of boyhood adventures, Lestat’s bed is surrounded by “images of war and massacres and conquests,” creating a nightmarish backdrop to the only private space he has in the house.