![]() ![]() And then, in 1937, Louis receives a record. “We burned more gifts than bodies that decade,” Louis recounts. We learn that this continues for six years, and every gift, entreaty, and visit is met with silence. He does not tell Lestat to fuck off, and so Lestat stays hanging on like a shadow. Claudia breaks the moment, tossing the keys back at Lestat and leading Louis away. ![]() There’s so much pain there, so much anger and hatred, and, at the same time, a twisted kind of love. It’s only when Lestat says that he would leave Louis’ life forever if only he’d ask that Louis looks at him. He tosses Louis keys to a car, and Louis can’t even look at him as Lestat almost apologizes for the attack. Lestat continues to appear with apologies. ![]() I don’t know how this show got to be so funny, but I can assure you that this is absolutely a comedy. Louis responds by throwing Lestat’s coffin out of the second-story window, smashing it on the ground below. When Claudia attempts to turn him away, Lestat says that Louis should decide whether he wants to see him or not. And then, as they play games in the living room, Lestat appears at their door with a gift. Claudia tends to Louis, reading the poems of Emily Dickinson, reflecting her growing sense of isolationism. Louis and Claudia remain in the house alone as Louis recovers. Besides the fact that Louis is sitting here reading queer rights lit after being beaten by his husband I am simply stunned all over again by the level of detail that has gone into this production. That’s when I realise that this is, actually, an essay from Love’s Coming-of-Age by Edward Carpenter, a nonfiction publication from 1906 that explicitly argues for the queering of social norms, gender equality, and a relaxing of sexual mores. We go back to New Orleans, and Louis is squinting out of mismatched, swollen eyes, attempting to read a chapter in a book entitled Marriage: A Retrospect, which normally I wouldn’t think twice about except as a clever little detail. Daniel continues to interrogate Louis, who eventually asks if “we are the sum of our worst moments.” While I would generally agree with him, I think that we can probably all agree that vampires, in general, are the sum of their worst moments. Fareed Bensali, who repeatedly iterates that he is not here into the mic.Īnd then, Louis asks him “Are you still dreaming about our first meeting, Daniel?” and Daniel responds, “I keep waking up just before you ask me back to your shitty apartment,” and reader, I fully exited my body. Louis tries to describe it, but Daniel is currently being treated by Dr. Daniel interrupts, asking about the whole flight thing. He’s broken and blinded, but he’s recovering, even sleeping during the day to do so. “Like Angels Put in Hell by God” starts with a gruesome exploration of Louis’ body after the fight. ![]()
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