#is this what being a vampire is like

[seventeenthya]

fem!Armand (i want them)

i did something i'm really proud of because making digital art is still challenging for me! anyway

I present you with

A Vampire Who Discovered Being Non-Binary on the 515th Year of Their Life (and it wasn't really the same since)

they don't really consider older versions of their name to be deadnames (people who know them are allowed to use them occasionally - except for the name associated with m*rius)

so

aarna - the name her parents gave her - she barely remembers anything of it. louise uses it in their dom/sub dynamic

amalia - the name marius de p*dophilius gave her

amelie - the name french coven started using. because yk they're french

armande - the name they chose themselves - at first they used this one occasionally to conceal identity or escape vulnerability they associated with femininity, but then got used to it

"Rekha" - the name they stole from real Rekha (who REALLY didn't appreciated the cosplay)

they're mostly feminine presenting because non-binary people do not owe you androgyny (they learned it from Dani)

Let me know if you like it! I plan on making these for Louis, Lestat and Daniel too.

[wanologic]

sorry danny, sam will never think you’re cool

[recny]

what's the musical inspiration for the vampire lestat?

[petrowriting]

the revelation that claudia’s rebirth was such a twisted and horrible moment, with louis dragging her like she was a thing, a stranger who neither of them knew but he kept saying over and over “our daughter, our beautiful little daughter” to lestat, really solidified the way she was never the main character of her own story. she was always an accessory to some or the other of louis’ whims: his guilt, his loneliness, his conflict of being a killer, his rocky relationship with lestat. there was love there, love from both her fathers, but it was never enough. lestat saw her too much as a wretched mirror held up to his own self, and louis was always too steeped in his own feelings to care enough about hers. claudia’s story truly was the greatest tragedy in this tale, treated horribly by every man around her, even her fathers, relentlessly exploited and brutally ignored, always second and never first. the only one who loved her the way she deserved to be loved was madeleine, and the moment she truly had her, her happiness was torn from her. and just before she died, she got to see someone actually choose her in her entirety, not for what she can be but for who she is, and it still wasn’t enough. she still burned alive in the sunlight. the love was there, but it wasn’t enough to save her.

[barren-heart]

The Yas Sean shirt returns

[vvanillavveins]

Is she Lucy Westenra, or is she just a vessel for the writer's barely disguised fantasy of a women being punished for her promiscuity? Is she really"Bram Stoker's" Lucy Westenra: a naive, innocent 19 year old, with a cheery personality and a bright future ahead of her? Or has the writer instead just slapped her name on an OC that behaves nothing like her, and- with none of the grace or decorum that Lucy's tragically short story deserves- sexualized her slow and agonising death as much as possible, whilst very unsubtly doing their best to blame her for being murdered, so that we won't object to her being killed again later in an even more gruesome and sexual manner?

[naturecalls111]

unorthodox murder mystery

[platoapproved]

armand + being annoyed with the coven

[edwardsdeathcabcd]

i've said it before but it will forever and always make me insane that jacob's ending is to join the cullens for the sake of bella not having to give anything up. they find out jake will be immortal & tied to renesmee forever, so bella gets to smile & say "my family is finally complete! ^-^" but jake already HAS a family. he has a father and 2 sisters. quil, embry, seth and sam are like his brothers. jacob and leah were planning to run away together. he's always been welcome in emily's home, sue has been a family friend since before his birth. bella abandons her mortality by choice because she feels no connection to the people around her, but jacob has really strong bonds. it's clear that every character we meet in la push is like family to him, he's an active member of the community. jake would've graduated high school and been a mechanic, would've grown into a young man. a good friend, a fun uncle, a present son. he's set up to have such a rich life. and he's just magically compelled to give that up. beyond his control, he loses sight of everything, because his high school crush's baby is now the singular most important thing to him. he's perpetually 18 with his perpetually 18 year old girlfriend, running around vancouver or alaska or wherever with the girl who friendzoned him at 16 & her in-laws (who were antagonistic to him for months). and i'm just supposed to say omg yay now he doesn't have to let go of bella! everyone is happy! it's complete madness

[shatouto]

i've seen a poll about gale and anders but i feel like this one is a more difficult one to answer

[fascinationstreetmp3]

i need daniel to be overcompensating for his insecurities so bad. 100 times more cocky and rude and aggressive and insensitive than he was as a human, falling back into old dangerous habits and vices, not just because now he has new energy and power and wealth to flaunt but because it's ALL he has, and he needs to cling onto it. play it up and revel in it so no one sees that underneath, he feels like a botched fledgling in the body of a sick, faded old man who maybe has no real idea why he was even made. that armand might think he failed in making him. that his maker didn't even really want him.

[pretty-weird-ideas]

Episode Seven and White Tears

The trial's allegory is not just a lynching, it is a lynching for a Black person entering a relationship with a respected White man, and proceeding to leave him. It's not a murder case, as seen through the show, there's actually very little emphasis on the murder in the episode in regards to Louis. The emphasis is on his "seduction", his "ungiving nature", and "refusing to give his body". It is a public humiliation and lynching for turning a respected white man down. The crime isn't hurting Lestat, it's hurting his feelings.

Lestat doesn't speak to the audience about the pain of his throat being slit. He speaks of loneliness, the audience chants and jeers about how cheating was justified if Louis isn't putting out. Santiago isn't talking about the murder, he's talking about how much of a sexual deviant Louis is the second he is introduced. The show is telling us what's important to the case, and what language hurt and stuck out to Louis the most. The deciding factor in the eyes of the audience, the story that Sam and Santiago are trying to tell, is that the crime is heinous because Louis turned down Lestat.

The audience isn't mad about the murder, they're mad about Lestat's emotions, they're mad about the betrayal, and they are mad that Louis and Claudia didn't put up with things. The case built against the two of them isn't based on violence, it's based on white tears. Louis isn't called a monster for slitting Lestat's throat, the audience member calls him a monster for turning down Lestat's advances.

The show is clear that the trial isn't really about the murder, it is about Louis not "giving enough" for Lestat. It's about Louis asking Lestat to turn Claudia and literally bargaining his happiness where he literally gets on his knees and says "I'll be happy for you, I will never leave you if you do this for me". It's never been about the murder, it's quite literally just shaming Louis for not "loving a good man who might be abusive".

At the end of the day, the trial as framed and written by Sam is building a case off of Lestat's tears, not actual physical harm.

Like my skin is crawling but also the show is so chilling with how it portrayed the "He's a good man so hold your tongue and endure! Lest you read as ungrateful".

Anyways someone take the laptop from me before this becomes my life.

[the-woman-upstairs]

It is driving me…cuckoo bananas that Daniel uses his job as a socially acceptable way to chase the high he used to get from drugs and Armand not only is fully aware of this, but he himself then PROVIDES that very high when Daniel beats him and exposes his lies to Louis.

[spuffybot]

It will never not be super ridiculous that Buffy had to single-handedly protect the world from demons, raise her teenage sister, manage a household, and work a full time job, all at the age of 22 and everyone around her is like “god Buffy just grow up and deal with it, stop acting like it’s hard.”

[e-vasong]

Interview With the Vampire (2022-) is one of the best adaptations of anything ever because it is clearly made with so much love for the original text but it also is very open about critiquing the books while also existing in perfect, constant conversation with it. every change made is a strong writing choice on its own, but it is also made 10x stronger when viewed not just as an alteration of the original but an evolution.

louis being black and a brothel owner rather than a plantation owner is a really fucking smart idea all by itself. but it also directly furthers the differences in worldview between louis and lestat from the books. daniel being older, smarter, keener - much more obsessed with the truth - is an excellent conceit on its own, but its even better when we know that this is round 2 of the interview. he's learned from the awful way the interview went in the books, and now hes here for the truth. devils minion being a dance that arguably stretches decades (even if there wasnt a chase arc in the 70s!) only heightens their game of cat and mouse. armand being an adult physically and also being a POC is fucking inspired, both for how it places him in contrast to louis, and also because it allows them to avoid casting a minor in a very sexual role while still keeping the same dynamic (i.e. the frequent infantilization/fetishization of POC, especially asians).

The fact that some people are mad about its adaptation style boggles my mind, because I honestly think this set a new fucking standard for what adaptations should be. I'm insane about it. If they aren't changing the game like IWTV 2022 who even cares anymore.

[marypsue]

Man, it's cool and all if you see a metaphor for marginalisation in the monstrous, and if you want the power fantasy of 'what if you could just eat anybody who threatened you/pissed you off'. Me too.

However, as soon as you start saying 'no, these monsters are a 1:1 on Specific Marginalised Group, and you have to treat them in the fiction like they are directly representative of real human members of the marginalised group', BUT you also, in the fiction, make them hurt/kill/eat humans? And then try to shame me, your audience, for noticing or engaging with the bit where they kill people, because you made them directly representative of a real-world marginalised group? You have lost me, and also, I think, the plot.