#like being interviewed lol

[hermit-frog]

no one: cats under my window at 3am:

[feyyyd]

[iampikachuhearmeroar]

"nobody wants to work anymore" but a low paying casual retail job wants you to travel to a capital city you don't live in, which is a considerable distance and time travelled from you (when you actively have a branch of this shop in your LOCAL shopping centre, 15mins down the road); for a group interview assessment centre. they then make you CONGA LINE into the said group interview with party poppers and streamers. like ma'am. I don't care how "ironic hipster millennial and 90s nostalgia" and "life of the party" this brand is supposed to be. but I ain't conga lining into this interview like a fucking clown. fuck some hiring managers and HR depts, honestly.

[ldpdluvr]

one night, freshly turned louis feeds from lestat and he drinks so much that lestat carefully cradles his head in both of his big palms and gently pulls him away from his neck "mon cher, i have no more to give", he doesn't want to stop him but he's feeling faint and hungry again "I will go feed and come back home to you, saint louis"

in response louis looks up at him with big round eyes that hold so much hurt in them, lestat said he would take care of him, so why is he stopping him from feeding from him? he promised that he would give him the world so why can't he give him this? and now he wants to leave louis alone to go hunt..?

lestat obviously isn't privy to louis' thoughts anymore but he can see the glassiness that covers his eyes, he can see the sad frown on his face, he notices the way louis is looking at him but not really seeing him and decides that he won't can't leave him alone in this state

so he gathers louis further into his arms, pulls him onto his lap and holds him throughout the rest of the night, occasionally rubbing a hand down his back as if he's comforting a frightened puppy, and peppers kisses on his forehead, nose and cheeks because louis' makes a cute lil sound every single time that he does

When louis eventually comes back to himself he's a bit embarrassed by his actions and tries to pull away but lestat doesn't let him ofc, he holds him tighter and tells louis how sweet he was for him "louis you never told me just how much you liked my blood" he says, his smile evident in his voice

by the time sunrise comes, they have made their way to the coffin and louis is snuggled up to lestat with his face once again in his neck (this is louis comfort place), lestat has his arms wrapped tightly around him and just like that, completely surrounded by each other they fall into a deep sleep.

[kaitcake1289]

IMPLIED TVC SPOILERS !!

"[...] so she could stay in the same flat-chested, hairless-crotched 14-year-old baby doll body as her mind and spirit turn 19, 20, 25, 63, 358..."

[ell-begins]

Okay but imagine being lou ferrigno jr and getting the episode 6 script and realising you'd be leaving the show only to get the episode 5 script and realise that you have to then act out what was literally the cutest mushiest episode ever - that also conveniently happens to focus on your relationship,,the one that literally breaks up next episode

[yardsards]

i needed to express a sentiment in the creative stylings of @dunmeshiminimumwage

[lionfission]

Happy one year Anne-iversary to the end of Amphibia!

A fantastic finale to an unforgettable show. I'll always remember watching "The Hardest Thing" at 2 am with my siblings and crying my eyes out :'))

[your-ace-cousin-clover]

the chestappen version dropped..

[xxplastic-cubexx]

need a hardened respectful fujo to sit down with james mcavoy and discuss cherik with him insteada this peanut gallery cause if i have to hear people laugh about a gay ship one more time i just might eat rocks

[in-kyblogs]

Devil’s Minion hints - Part II // link to Part I

Part II Ep 8

- what to say of the whole ‘disregard’ debacle, well. Why do you have such an antagonistic relationship to the former house servant Daniel? What is it about him that makes you even more uncomfortable than Louis, the vampire you actually remember attacking you and almost killing you, does? Arguing as foreplay, as you say. Also clearly the memory wipe doesn’t totally erase feelings: he is angry at him even if he doesn’t remember the psychological torture, but at the same time there’s no fear. Only a need to rile Armand up. (Also Armand are you trying to look extra slutty for Daniel sitting like that? What are you doing with the unbuttoned shirts, really.)

- Mr. Molloy count: 3

- Armand is so sick and twisted btw for that little smirk when Daniel says he’s ‘a bright young reporter with a point of view’. No remorse in sight none. He’s like ‘yes you are. Do you remember who said that to you? Because I do’. My favourite sicko

- When Armand says that journalism is Daniel’s drug, wow he did really clock him. Have you seen that post about Daniel chasing an high from the adrenaline of interviewing dangerous people? Yeah. Armand really does understand him on an intimate level, like the comment in the season 2 finale also reveals. Probably too good an understanding for a superficial-I tortured you once-acquaintance. On the other hand torture sure is an intimate experience to share with someo[gunshot]

- the little wistful smile he has when he talks about ‘the boy we met in sf’.

- the way Armand can’t help but smile at Daniel’s sassy comments directed against him. Like he should want to kill him for the disrespect alone why does he seem almost fond of this insufferable human?

- I am so impressed with this episode by the way. Before seeing this season I was like ‘one hour of ww II Europe? Grim.’ I though I wouldn’t like this one and in the end it ended up being one of my favourite episodes. It’s really a character study and I loved that. Also great job at woveing in European politics (the soldiers saying ‘speak Russian’ and Emilia refusing and speaking romanian, the complex intermixing of cultures in Eastern Europe with the whole urss situation is a big thing we still see the effects of today). Usually I don’t trust at all US shows to talk about eu politics and history without making it usa centric in some way but they proved me wrong here. 9/10 episode all in all

[dxxtruction]

So in replies to this I've made I think some big brain connections?? The constant associations with the sun and Louis is really working and gelling in my brain especially with the finale moments of s2.

The 'sun king' thing is very reminiscent of the actual sun king of history Louis xiv, and the way he constructed his daily life like it was theatre. The way meals are served the way they are, and everything feels very rehearsed and scheduled. The fact said historical figure lived for 77 years, as did his relationship with Armand. He's not this historical figure though - hint budge wink nod, he cant be the ones Armand wants him to be, including the same Louis he used to love - he's our Louis. And he's not been allowed to fully be himself in this environment where it's been largely fake and manipulative. (Again to the point of Louis XIV, the theatrics were established to protect him and make it plainly aware of his position as king. But there was a common conception that whoever was closest to the king - typically the king's mistress. Controlled the king. You can probably catch what I'm laying down here.)

Just also the way that when he fully has himself he has the sun, because he just is the sun in a metaphorical sense. Arriving to himself he now the light at the end of this tunnel of darkness. The literal sun still holds a deadliness to him, but it holds no power over him to walk into anymore. He doesn't miss it. If he feels an inclination to it at all it's only to prove a point. He's at a place by the end of this that he doesn't need anyone but himself, and knows it, and can finally be free from control over his person.

There's other associations with it too, like taking up photography. A medium reliant on light to do. How that doesn't pan out for him, but what does is documenting. Him, taking on a path to document, to bring about the light - the truth - hidden in the image of his memories. It's through light that he can be destroyed but it's through light that he reconciles with himself and becomes whole.

The night is all his, because he's mastered the light. He owns it.

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[gunsatthaphan]

#okay then 🤷🏼‍♀️

[thus-spoke-lo]

Man I do not miss being fat in office culture.

Retail seemed easier somehow, especially because I worked at a store that carried my size (well, except for the time an employee referred to Miss Piggy when she didn’t know I was in the immediate area and then another manager physically threatened her over it but anyway). But office culture was so obsessive over weight. So so obsessive. Everyone was gaining weight or losing weight and everyone was on a diet and if I had to hear about keto one more time I was going to shit myself.

Now working from home my only coworkers (my partner and my cat) either enjoy or have no opinion on my size depending on the day, and I can be fat and not worry about saying no to a piece of a donut because my god what if they think I, a fat person, eats?

[anthony-crowleys-left-nut]

as much as i love amc iwtv, i have to admit that as a book reader (haven't finished the series yet tho and i restarted cause it'd been ages).... i feel like i can say now that i really hate the lestat dropping louis from the sky thing. and fucking dragging him prior to that with his nails in his neck. it's been about a year i think since i reread iwtv, but am i alone in thinking that book lestat just wouldn't have done that to louis? he's a cunt very often, i know, and iirc they did have at least one physical altercation. but it didn't end Like That. that was SO fucking hard to watch. and i get it, that's the point. but oof. first of all i really did not enjoy watching a white man abuse his black husband. that was A Lot, for obvious reasons. like the situation is bad enough but when you consider things like race and privilege it becomes even more sinister and stomach-turning. and secondly it just felt Too Far even for lestat, specifically with regards to louis. that said, none of this is in any way meant to criticize sam reid's performance, which was amazing. it was just a part of the show's characterization of lestat that i didn't like. (i do prefer the way the show portrayed louis to the book though honestly. he was more likable to me.)