#after phantoms of your former self

[coalfires]

[blacclotusss]

The Light in the Dark

For Rewind the Tape: Episode 2, I had two favorite outfits; I just simply could not choose between the two. The white suit Louis wore when he killed the man who dabbled in fuckery is perfection. Red, white, and blue have gone together for centuries, but have we ever seen it look this good? I think not. Once again, the silhouette is impeccable on Louis' frame even though it seems "oversized". I adore the mix of stripes on both the tie and shirt, as well as that pleated left breast pocket.

The black tunic Louis wears in present-day Dubai is the epitome of what some may call "quiet luxury". The fabric looks like to be a silk material, very expensive of course, and settles on the skin like a soft blanket. Many think the looks in Dubai are just regular and bland, but if you truly pay attention, Louis is as impeccably dressed as he was back in New Orleans.

@iwtvfanevents 🌞🌑

[eddiestightywhities]

also on ao3 HERE

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“So, I overheard this guy in the line at the coffee shop this morning talking about name meanings—”

“Of course you did,” Eddie interjects, not unkindly.

Buck turned up with beers about a half hour ago, and has had his head in his phone for the last, what, twenty minutes? Something like that.

This is the first thing he's said since Eddie let him in and he sat his ass down on the couch in silence, looking like he needed Eddie to just allow him to.

Eddie did.

“—and I thought I'd look up ours.”

He's chewing on his bottom lip like it tastes good.

Eddie surprises himself by wondering if it does.

“I'm guessing you already know what Christopher means.”

Thinking back to when Shannon asked if he liked the name, Eddie smiles.

“Means 'Bearer of Christ', or something, right? We chose it because was Shannon's grandfather's name, though. He was Greek, and she adored him.”

Searching fingers instinctively find his pendant. It's positioned to the left, sitting right over his heart.

He misses his son like he'd miss a lung.

Buck looks up at him and smiles back, and Eddie feels glad the release he'd found dancing 'round his living room earlier isn't going to suddenly disappear down the bathroom sinkhole, along with his moustache.

“So, tell me, what does Edmundo mean, oh scholarly one?”

Buck's eyebrows try to meet his hairline.

“You don't know?”

Eddie tips his head back against the couch and scrunches his mouth up into nose.

“I have sisters, man, of course I know what it means. But that doesn't mean I don't want you to tell me.”

Buck seems somewhat happy with that.

“Well, it's a derivative of the Old English name Edmund, which is a combination of the words ēad and mund. The first part means prosperity, or riches, which is a bit of a bust, sorry man,” and he tries for a grin. It almost hits.

“But the the mund part means protector—which is pretty spot on, I reckon.”

Buck's eyelashes are kind of blonde, and kind of pretty. Eddie's thought it before, but there's just something about them in this light, in Eddie's house, on Eddie's couch.

“It's actually a real pretty name, Edmundo. Don't know if I've ever told you I think that.”

“Don't think I've ever told you your eyelashes are kind of pretty, so that makes us even, I guess.”

Eddie smiles at Buck, big and genuine, and somehow it's so easy.

Buck smiles back. Looks a little confused, or pleased, or both. Eddie's not sure, but either is okay with him.

“Um, thanks?”

Eddie bites his tongue between his teeth in a poor effort to stop his grin turning positively goofy.

Buck takes it for what it is, and bats his eyelashes at Eddie, silly, and laughs.

His whole demeanor then changes as he finally settles properly into the couch and gifts his lungs with what might be the first proper breath he's taken since he arrived.

“Anyway, Evan is the worst of the three. It means yew, like the tree? Which is—it symbolises, like, spirituality, and rebirth and shit like that. 'S not really, uh, me, you know?”

“You mean like Evan isn't really you?”

Buck bites at his red, red lip again.

Eddie decides it'd taste like cherry Chupa Chups.

“Yeah. But it's—my name.”

“Except it isn't though, it's it?” Eddie reminds him. “You're name is Buck, Buck. You decided that.”

“I don't know why he always insisted on calling me Evan. Or why I just—let him. It was kind of weird.”

Tommy.

"Called? Past tense?” Eddie flips his tongue in his mouth. Breathes a little more deliberately.

Buck looks at his phone again before he's slowly placing it down on the couch between them.

His fingers are touching the outside of Eddie's thigh, and Eddie's suddenly acutely aware that he still isn't wearing any pants.

Buck leaves his hand where it is.

“He, uh, he dumped me. Because I—”

Buck sucks in oxygen, a lot of it, and holds it in his lungs before puffing out his cheeks as he makes a show of blowing it back out again.

“I asked him to move in with me.”

Eddie was not expecting either of those statements.

"Ouch.”

Buck's fingers twitch against Eddie's skin, and Eddie feels it travel right down his leg and into his toes, which curl involuntarily into the carpet.

“You wanna talk about it?” he offers, kind of knowing Buck doesn't. He will when he's ready.

“Not really.”

Eddie licks at his lips. They taste like beer, and a little like confidence.

“How about Buck?”

Buck looks at him, perplexed.

Eddie's leg is starting to cramp a bit.

He doesn't move it.

“A Buck is another name for a stag, right?” he continues. “And the stag symbolises strength and purity—

“Don't forget fertility” Buck is looking at Eddie, and it feels like something.

Eddie snorts. “'Course, don't wanna forget fertility.”

Buck smiles the first proper Buck smile of the evening, and Eddie's feels it in his chest.

“Hey, hang on, how come you know so much about stags, Edmundo?”

“You did that project with Chris about the forest.”

Buck blinks at him.

“Dude that was, like, years ago. And, as you said, I was the one learning all about the woodland creatures and different types berries and toadstools, so how do you—”

“Because you told me,” Eddie shrugs a shoulder.

Buck blinks some more.

“And you—remembered that?” he asks.

In this moment, Eddie couldn't blink, nor look away from Buck, even if somebody were to pay him.

“I remember everything you tell me.”

It's weird but it's like the air itself is crackling as they sit here, just staring at each other.

They look at each other for what feels like a long time. Or maybe it's just a single heartbeat, Eddie can't really be sure.

He watches as Buck swallows, his Adam's apple a calling card.

Eddie isn't entirely sure of why he thinks of that.

Until he is.

When Buck moves his hand, it's to slide it fully onto Eddie's thigh to just sit there, right at home.

Eddie's suddenly blinking so much he's a little worried he might be stroking.

He doesn't mean to say, “Can you smell toast?” but finds himself saying it anyway.

Buck smile is both crooked and adorable.

“You worried you're having a stroke, old man?”

“We'd have been at the same school at the same time, Buck. I'm not that much older than you.”

“You are old and I am young and everyone and the universe knows this,” Buck claims, cocky and sure of himself once more.

Eddie licks at his lips again.

“I, uh, I think I finally believe you.”

Buck now mirrors him, licking his own lips.

Cherry Chupa Chups.

“You mean about the universe?” he's asking, like he doesn't almost always knew what Eddie means.

“Yeah,” Eddie breathes.

Buck waits.

Just as Eddie is thinking he really should go put some on some sweats or something, Buck must get impatient because he replies, “I think it always wanted you to believe.”

Eddie doesn't have a clue what time it is, or whether he had dinner or not, or how he got so damn lucky.

“I'm gonna choose to believe, because you believe—and I believe in you, Buck” he says, somehow both sure and unsure of absolutely everything that is to come.

At long last, he finds he is totally okay with that.

“Anyways, I can hear it now,” he tells Buck, “and I'm listening.”

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unedited; pls be kind!

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edited version now found HERE on ao3 if you'd like to pop across and leave me a comment xp

[lonelyzarquon]

There's the spark.

[nicelytousled]

Louis de Pointe du Lac - Pretty Girls Walk

have some dessert with your new trailer 🍰

youtube

[interviewwiththevampireart]

Portrait of a Young Girl with Red Hair (Jean-Jacques Henner, 1800s)

1.02 “… After the Phantoms of Your Former Self”

[neverswungonswingingstars]

'You're going to find that quite difficult'

Lestat in After the Phantoms of Your Former Self

[soupy-sez]

Interview With The Vampire, S01E02

[valithiri]

Interview with the Vampire (2022-) | 2.08 | 1.03 | 1.02

Louis and his rage

[louisetaylor]

after the phantoms of your former self

Daniel has just been served dinner by Armand, who he doesn' t yet know is Armand. "Fattening me up for the inevitable end??" he asks.

Oh ho ho, Daniel, you have no idea.

[iwtvfanevents]

Rewind the Tape —Episode 2

Art of the episode

Just like we did for the pilot, we took note of the art shown and mentioned in the second episode while we rewatched it, and we are sharing our findings with you. Did we miss any? Can you help us put a name to the unidentified ones? Do you have any thoughts about how these references could be interpreted?

Unnamed painting by Marius de Romanus

Created for the show (uncredited artist).

Armand (still "Rashid") tells Daniel that Marius was a contemporary of Tintoretto (1518-1594).

Transformation

Ron Bechet, 2021 [Identified by Gizmodo's Linda Codega, here.]

Bechet is a New Orleans-born visual artist. He's a relative of the early jazz pioneer Sidney Bechet. Exhibition Prospect.5 says about the collection this piece belongs to: "Bechet carefully renders the ways vines wrap themselves around trees for support and access to sunlight. At times, this relationship serves both the vine and the tree. Works such as Transformation depict a harmonious symbiosis, as tree and vine both flourish. (...) Through his immersive compositions, Bechet invites us to see history and ourselves in relationship to the beauty, power, and violence of the natural world." And, from Xula Gallery: "Here, we are gifted with the physical proximity of life and death – How they share the same organic space, how they sleep together as equals. The flora of South Louisiana's natural landscape is cleaved open to expose its roots. (...) Here is botany that has every potential of becoming monstrous. All of these meanderings are used to symbolize the deep historical roots of a family home and exhibits the precariousness of nature, both human and environmental, with all of its nurturing and destructive potential. (...) It is a diaspora body, skin folded back to reveal its elegant and resilient backbone."

Untitled photographs

Vivian Maier, undated

Maier was a street photographer whose work was discovered and distributed after her death —she took more than 150,000 photographs during her life, and never printed or circulated any. You can learn more about how her work came to light here. We don't actually see the self-portrait in the third picture, which hangs to the left, until episode four.

Dancers

Edgar Degas, 1899 [Identified by @nicodelenfent, here.]

Degas produced countless paintings of ballerinas throughout his career. While he is often considered an impressionist, he himself saw himself more as a realist and preferred harsh gritty subjects of working class backgrounds. Ballerinas at the time often came from working class or poor families and worked intense grueling hours.

Berthe Morisot with a Fan

Edouard Manet, 1872 [Identified by @nicodelenfent.]

Manet was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. The portrait in this scene shows his close friend, painter Berthe Morisot, wearing mourning blacks after the death of her father, but wearing a wedding ring —she was engaged to Manet's brother.

Portrait of Erich Lederer

Egon Schiele, 1912 [Identified by @nicodelenfent.]

The Schiele depicts a young Erich Lederer, son of art collectors Serena and August Lederer, whose collection was looted by the Gestapo.

Paddy Flannigan

George Bellows, 1908 [Identified by @nicodelenfent.]

The Bellows depicts a young impoverished boy on the streets of New York.

A Doll's House

Henrik Ibsen, 1879

Lestat tells Louis "They'll seat us late, and we'll miss Nora's entrance with the Christmas tree," which quite a few fans soon identified as a reference to this play, in which a housewife becomes slowly disillusioned with marital life and eventually leaves her husband. This conclusion led to the play being banned in certain countries, such as Germany and Britain, and Ibsen was compelled to write an alternative ending, in which Nora's husband forced her to stay. In the two stage productions pictured above, you can see Kelsey Brennan and Nate Burger on the left, and Assad Zaman and Anjana Vasan on the right.

Unnamed paintings of Papa du Lac and Paul

Created for the show (uncredited artist).

Unidentified painting*

* The running theory is that the woman in this painting is Gabrielle, Lestat's mother; which would mean this is another uncredited prop painted for the show.

Woman in A Fur Coat

Edouard Manet, 1879

Additionally, on the bottom left corner of the frame you can catch a glimpse of another unidentified painting, but we couldn't get any clearer looks of it either.

Autumn at Arkville

Alexander H. Wyant, 1909 [Identified by @vfevermillion.]

The one in the mirror and the one on the other side of the door are too blurry, but we managed to place the one on top of the couch!

The Lone Tenement

George Bellows, 1909 [Identified by @nicodelenfent.]

The National Gallery of Art says about this painting: "Bellows has imbued the composition with a sense of eerie wistfulness, recording the precarious positions of those who were being displaced to make way for the future."

Don Pascuale

Gaetano Donizetti, 1842

The opera that Louis and Lestat go to at the end of the episode follows an elderly bachelor, who gets conned by his nephew Ernesto and his friend Malatesta into marrying the nephew's lover, Norina, under false pretenses. You can find a complete synopsis here.

The Storm On The Sea Of Galilee

Rembrandt van Rijn, 1633 [Identified by Gizmodo's Linda Codega.]

Rembrandt van Rijn, Dutch Baroque painter and printmaker from the 17th century, is best known for his biblical and allegorical pieces. Rembrandt's only seascape was stolen from the Isabella Stewart Gardner Museum in Boston on March 18th, 1990, alongside other 12 works of art. The case remains unsolved.

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

This week, we will be rewatching and discussing Episode 3, Is My Very Nature That of a Devil. We can't wait to hear your thoughts!

And, if you're just getting caught up, learn all about our group rewatch here ►

[transldpdl]

After the Phantoms of your Former Self 🧛🏾 LDPDL

[blacclotusss]

The Carousel Spins

"Oh you need to stop using that word right now, 'cause it's soundin' a little like 'slave'."

I chose this quote for episode two as my favorite because it sheds light on the fact that Louis has to still deal with racist and micro aggressive remarks from people around him, including his own lover, after being turned. All that talking Lestat did about leaving a life of shame and being superior to regular humans once they got back into the real world because at the end of the day, Louis is still a Black man in the Jim Crow south. He's being disrespected at every turn and the one person who said none of it mattered has shown a bit of his true colors as well.

This was a needed line because too many people think any form or lick of power will make you a God, when it's a lot more nuance to that.

@iwtvfanevents ✨

[suikamelon6]

"There's the spark..."

[eddiestightywhities]

after the phantoms of your former self

G | 1546

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SUMMARY

“So I overheard this guy in the line at the coffee shop this morning, talking about the etymology of names—”

OR

A coda for s08e06 'Confessions'

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read on ao3 HERE

[rapha-reads]

IWTV rewatch

Season 1 episode 2 [... After the Phantoms of Your Former Self] - part 3/3

- Love how Grace knows it's not just a case of a baby crying, she knows her brother, she knows her brother is different, she knows he baby could very well be in danger. That's sibling and maternal instincts in one.

[Louis] "'I had him in my arms... And I was ready to tear into him. I'm never gon' get control over it.' [Lestat] 'You've been skipping meals lately. Don't think I haven't noticed.'" - notice how Lestat immediately cares for Louis, worries about him, and tries to comfort him, only for Louis, Saint Louis, to reject the gesture of comfort because he thinks in his self-hatred that he doesn't deserve it? And also notice how pretty a crier Jacob is. Ahem. Who said that.

[Lestat] "'If you love your family, as I know you do, spare them all the pain that you are causing them.' [Louis] 'I ain't gon' have a family of my own, am I? No sons, no daughters.' [Lestat] 'I'm your family, Louis.' [Louis] 'You should just throw me in the incinerator and make another one.' [Lestat] 'And what a waste that would be. I have two centuries walked this Earth and can report: you have no twin. No one as angry, as stubborn, as unaccommodating, as maddening...' [Louis] 'Sounds like trash to me.' [Lestat] '... as loving, as dedicated, as thoughtful, as imperfectly perfect as you've become. You're a challenge every sunset, Saint Louis, and I'd have it no other way.'"

HI EXCUSE ME WHAT GIVES YOU THE RIGHT TO PLAY WITH MY HEART LIKE THAT. No because it's Louis' dream of having a family (Claudiaaaaaaa - also give Lestat like a century or two more and he'll give you exactly that) meeting Louis' depression and self-hatred, meeting Lestat's need to be love, meeting Lestat's absolute, deep love for Louis. They're not speaking the same language still, but they've found a middle ground, and when they do strike the middle ground, it's sparks and magic. Aaaah, it is maddening! They are maddening. I don't even remember what I wanted to say, I'm just sobbing in my cup of tea.

Wait, no I remember. EXCUSE ME. Louis' hopelessly fond smile when Lestat shows the tuxedos and says "I've been neglectful of our romance" (currently sobbing even more) reminded me. Awards for Jacob to go that soft after being that down. Back to the previous exchange. It's about how soft Lestat's voice goes when he tells Louis he'd have him no other way, and it's about how Louis finally lets Lestat comforts him and how he softens, relaxes and calms down gradually as Lestat keeps talking and petting him. *screams* Need I add more? No? Carrying on.

- [Louis] "He had a way about him, those first few years, Lestat. Preternaturally charming, occasionally thoughtful. He was my murdered, my mentor, my lover, and my maker... all of those things at once. He didn't choose me to be his doormat. I knew he enjoyed it when I fought back, but there was present a kind of worship on my part. The earth beneath me always felt liquid."

*screams some more* Was the romantic background music really necessary? We get it. You loved him, you still love him but this time with both eyes open even though you're still in denial, he's the love of your life, we get iiiiiiiiiit. Daniel's fond but amused little smirk gets me. Boy knows vampire's pining. Boy knows vampire's dumb. Boy knows story's not that simple. Changing subject, petition to get the word "preternatural" BANNED please. That's one word I'm not happy to have learned. Even in French we just stick to "surnaturel" (supernatural). Also according to Collins Dictionary, the use of the word "preternatural" was kinda low until the late 70s- early 80s when it exploded. Wonder what happened then to change the trend. What a mystery. Guess we'll never know.

- ghghhghe THE OPERA SCENE. I had forgotten the opera scene. The scheme to get Louis into the room (role-playing as Lestat's valet, hello social commentary). Louis sitting there "simmering in his indignation", and Jacob's masterful acting with the jaw and fists clenching, the steely eyes fixed straight ahead. And then Lestat coming in with the hammer, voice soft and gaze downcasted, timid and apprehensive:

[Lestat] "There is one thing about being a vampire that I most fear above all else... and that is loneliness. You can't imagine the emptiness... a void stretching out for decades at a time. You take this feeling away from me, Louis. We must stay together and take precaution and never part."

I NEED A MINUTE, GEEZ. To comment again on the timeline change from late 18th century to 1910s, it actually adds to Lestat's character. In the books, when Lestat meets Louis, he hasn't been a vampire for more than 15 years, iirc he was brought into the Blood in 1780 and arrived in New Orleans in 1791, after spending some years traveling with Gabrielle, a few months at best sleeping in the sand and then a few days with Marius (dates are vague at best). So he hasn't known true loneliness so far when he turns Louis. Whereas here, he's gone through the entire 19th century alone. He actually knows loneliness, both the human kind that he knew in the book, and the vampire kind. It adds weight to his fear of being alone, and to how he clings to Louis even to the point of doing horrifying things to keep him with him. Is it emotional manipulation? Yeah, def. Mais on n'en est plus à ça prés avec eux (best translation I can come up with is: but we're already way past that with them; the French expression is much more evocative, it kind of means "yeah, but, with them, emotional abuse is the least of our worries, something like that).

The hand caress, be right back, need to set myself on fire.

[Louis] "And music, that was where Lestat separated man from food" - music is the language of the soul. (Rockstar Lestat wheeeeeeeen)

[Louis] "Music pierced his damned soul. And any humans who were involved with the creation of it existed on an elevated plane in his eyes. I was moved to see he too had his human attachments. And this woman sang for us, it seemed, articulating the difficult love we often had trouble expressing ourselves."

No but it's the way Louis' voice is just so full of love here, so soft and fond and reminiscing, as if he doesn't even realise how tenderly he's speaking of Lestat a century later, while 1917's Louis' face is equally as soft and fond and gazing tenderly at Lestat as Lestat's singing to himself. *scream cont'd*

Lestat reacting to the tenor's false notes: absolute ear Lestat. (tho tbh even I can hear how horrendous the tenor sounds, and I know next to nothing about music technicality - but I did went to the opera last week for the first time in several years and the tenor was fantastic)

[Louis] "The hunt was on" - yes please.

[Louis] "This poor soul was someone's son, someone's brother, and he was to be slaughtered for what? A false note?" - aw, Louis' humanity. Baby you're too good.

Hi, excuse me again, Lestat speaking Italian? Sam speaking Italian???? SO FUCKING GOOD. Petition to have Sam speak Italian again in season 3, and even more languages. Wanna hear him speak Greek and Arabic please oh my vampire gods make it happen.

[Louis] "'Why do you do this, Lestat?' [Lestat] 'Well, I like to do it. I enjoy it.' [Louis] 'Well, I don't. You don't have to humiliate him.' [Lestat] 'Well I don't say that you have to enjoy it! Kill them swiftly if you have to, but DO IT! Embrace what you are! You are a killer, Louis!'"

Was tempted to put all of Lestat's line in all caps, because man the shift from gallant speaking Lestat to losing-his-shit-ROARING Lestat was something. Oh, and here's the main current issues as of 1917 between them. And while they're having their little domestic squabble, a man's bleeding on the poor rug that didn't ask for it. The rug, that is. Not the man.

[Louis] "I was in denial. For in bringing death, Lestat was an artist. He had cut the man tenderly so that he could not call for help, but also so that his death was slow, meditative. And I felt a charge, witnessing it."

Listen, Lestat's an artist, period. A diva and a drama queen with several truckloads of issues, but a true artist. And again Louis' voice go soft, contemplative, tender, reminiscing about Lestat. Also, Louis, mate, the denial has been going on for more than a century at this point and not just about the subject of death and killing. Sorry to burst your bubble. Oh, and Daniel looking down, a bit disappointed I feel? as Louis describes Lestat killing, shows that Daniel's in on it too.

- [Louis] "I try to have a human dish once a week" - sorry, what? Big canon change, as far as I understood from the books, vampires can't eat or drink human food, their system isn't designed for it anymore.

Alright, do we think Alice is a construct of Daniel's mind through Armand's mind games, or do we think she's real? Haven't entirely followed the fandom's theories on this own. Do we think that Armand did stalk and traumatise Daniel for a decade after the botched '73 interview but didn't go full Devil's Minion? Or do we think he left him alone after the six days of torture? Guess season 3 will tell us. But the fact that this important little scene, of the dessert and the first proposal, happens in Paris, a city that's important to Armand... Sus, I say. Aw, Danny's a sad boy. Love Louis' face as Daniel finished talking, gives cred to the idea that these are fabricated memories. The face says "man, I'm reading your thoughts as you're speaking, and something here's fishy, something doesn't make sense, but you know what, right now I have enough on my plate with my own bullshit, can't deal with yours". Let's table it for now (that's my own "disregard", lmao). Should add screencaps to these reviews, the final image here, the long dinner table, the grey and brown coloring, the two men sitting on opposite side, that's right out of a painting. Someone who did Art History, analyse that final image.

Ooooh, I think next episode was one of my favorite, with Antoinette, Jonah, and almoooost Claudia.

episode 1 | part 1 | part 2 | episode 3 | episode 4 | episode 5 | episode 6 | episode 7