sadclowncentral:

seething about the fact that i will never experience photosynthesis in my own useless cells. i bet it feels so good when the light of the sun both warms you and fuels you at the same time. a bone-deep satisfaction mixed with a heated sugar-rush and endless brightness. not that i would fucking know

(via opportunityarose)

romansmartini:

ever since i was a little girl i knew i wanted to speculate about the sexual and romantic undertones of celebrities’ professional relationships

(via danlous)

roxyandelsewhere:

“samuel beckett was a vampire and is still alive as half of daft punk” is an idea of such intellect and culture you’d think it was from riverdale but it’s actually from amc’s interview with the vampire

(via scullysflannel)

digitalcarcrash:

rocky horror was ahead of its time Not because of the blatant queerness but because frank n furter’s castle was wheelchair accessible

(via sonofcelluloid)

realpersonfacts:

iwtv || louis, claudia || runs in the family

(via grendelsmilf)

slaygentford:

daniel is already a great vampire bc he’s feeling himself so much in a way that dates him too profoundly for words. leather jacket aviators and an ac/dc t shirt is lestats silk cravats 20 years out of style is armands rotting tunic from 1600

(via annevbonny)

lamphous:

ohhhh he knocks armand into the blank wall. really waited for revelation to enter that room huh. twirling my hair kicking my feet louuuiiiiis 🤩🤩🤩

nicelytousled:

If my deadbeat dad miraculously recovered from his parkinson’s and started wearing sunglasses and leather jackets and stiletto nails and then went on the news to talk about how he met a real vampire I would lose my absolute mind

is-the-post-reliable:

intrigue-posthaste-please:

I’m watching that documentary “Before Stonewall” about gay history pre-1969, and uncovered something which I think is interesting.

The documentary includes a brief clip of a 1954 televised newscast about the rise of homosexuality. The host of the program interviewed psychologists, a police officer, and one “known homosexual”. The “known homosexual” is 22 years old. He identifies himself as Curtis White, which is a pseudonym; his name is actually Dale Olson.

So I tracked down the newscast. According to what I can find, Dale Olson may have been the first gay man to appear openly on television and defend his sexual orientation. He explains that there’s nothing wrong with him mentally and he’s never been arrested. When asked whether he’d take a cure if it existed, he says no. When asked whether his family knows he’s gay, he says that they didn’t up until tonight, but he guesses they’re going to find out, and he’ll probably be fired from his job as well. So of course the host is like …why are you doing this interview then? and Dale Olson, cool as cucumber pie, says “I think that this way I can be a little useful to someone besides myself.”

1954. 22 years old. Balls of pure titanium.

Despite the pseudonym, Dale’s boss did indeed recognize him from the TV program, and he was promptly fired the next day. He wrote into ONE magazine six months later to reassure readers that he had gotten a new job at a higher salary.

Curious about what became of him, I looked into his life a little further. It turns out that he ultimately became a very successful publicity agent. He promoted the Rocky movies and Superman. Not only that, but get this: Dale represented Rock Hudson, and he was the person who convinced him to disclose that he had AIDS! He wrote the statement Rock read. And as we know, Rock Hudson’s disclosure had a very significant effect on the national conversation about AIDS in the U.S.

It appears that no one has made the connection between Dale Olson the publicity agent instrumental in the AIDS debate and Dale Olson the 22-year-old first openly gay man on TV. So I thought I’d make it. For Pride month, an unsung gay hero.

RATING: RELIABLE

you can listen to the clip of the 1954 interview here and find him on wikipedia here

(via psychotic-gerard)

torturelabyrinth:

Interview with the vampire television show is really one of those pieces of media where i’m like clearly everyone involved here saw the vision and was popping their metaphorical pussy on every level. Literally all the ingredients of it are so good like the legendary fujoshism of the anne rice source material, cast of classically trained british actors + 2 americans who both had bit parts on succession, writers room made up of apparently crazed gay people with playwriting degrees who have been mandated to make at least half a dozen modernist art and philosophy references per episode, etc

(via annefraid)

nealcassatiel:

absolutely unhinged and hilarious official quotation to attach to a season renewal trades announcement  😂  😂  😂

(via sheisraging)

notkatniss:

(via cuntylestat)

glitchclub:

glitchclub:

yall realize you can criticize religion without like. making fun of people for having things that are sacred and holy to them right.

not to be that guy but theres a huge difference between “this religion and it’s practitioners has aspects that warrant criticism” and “lmao look at them believing in things” . its one thing to call out the toxicity and spread of dangerous information in, as an example, pagan communities. it is an entirely separate thing to make fun of pagans for what they find sacred and important to their lives, even if it doesnt make sense to you.

(via danlous)

b0nkcreat:

unfortunately i do believe posthaste is one of the funniest words out there. how quick am i doing something? fast as fuck my good sir

(via danlous)

hermit-frog asked:

obsessed with your tag

#he is the same play over and over again every night for a century. forcing louis to watch just to watch

grendelsmilf:

well…yes! the discourse of theatricality is a very obvious lens through which to read this show, especially now in s2 that the premise of staging, performance, dramatic embodiment, wrt narrativization, has been made even more overt with the everything going on at the théâtre des vampires. what it means to inhabit a role, to exist on and/or offstage, to write your own story, to be a good performer (confined to playing the same role for eternity) or a bad performer (get eaten for it) constitute very basic elements of what this show is exploring thematically.

lestat is quite literally an actor, and he’s also very obvious as a performer. he’s outwardly manipulative, doing the dance of seduction to ensnare louis into his cage, but when that doesn’t work, he bares his teeth to keep him in line. lestat has never once employed subtlety in his life, he is very obvious about what he wants and what he is willing to do to get it. on the other hand, armand isn’t lying when he calls himself a black hole, in the sense that he is an actual void. you could also call him a method actor. not so much a conscious performer as someone who sinks into his assigned roles, and clings to them with all he has, because he has no stable sense of self outside of the roles he has been forced to inhabit. he remembers attempting to escape slavers, and nothing after that. he is ridiculously, terrifyingly powerful, and yet he is still enslaved, despite ostensibly answering to no one.

of course louis is bored by him almost immediately. he’s a chameleon who assumes various shapes at will (sidenote: assad zaman is so perfectly cast) but once you peel back the layers of his performance you’ll quickly tire by the realization that there is truly nothing underneath. louis says he’s bored of watching the same play every night 100 times in a row: it’s armand’s play, and he stands there, on that balcony, every single night for centuries, waiting for approval, waiting for someone to tell him that he’s getting a good grade in vampirism, something that is both normal to want and possible to achieve. he’s insanely pathetic considering that he really shouldn’t be.

louis also plays roles, of course, attempts to assume a facade of masculinity as a hollow mode of superficial empowerment and agency. he’s lacked agency all his life, both before and after vampirism (before primarily due to racism, after primarily due to being trapped in back to back abusive marriages) and the only mechanism he has in his arsenal that he can employ is an empty and almost laughably obvious embodiment of masculine domination; trying to assume the role of louis the pimp businessman capitalist (maître) top is such a clumsy grasp for power that it’s almost painful to watch. louis resigns himself to this dishonest role specifically when he feels cornered. when armand traps him in paris, louis decides that he will no longer attempt to be an artist, or someone who is at all honest with his desires (how could he, when he’s with armand) and instead be someone who’s “good at running shit” again, because that persona was his default mode of survival his entire mortal life, and how dissimilar is a theater to a brothel anyway?

the play is about abuse. the abuse is happening on that stage even if the actors change between scenes. lestat prances around onstage, making him difficult to ignore, but easier to dismiss. armand does not, as he cannot distinguish between his performance and his “true” self so easily. but either way, they are co-founders of this theater, each informing the other in the ways in which they exercise authority and control their narratives within their respective marriages to louis. armand takes the foundation lestat has already laid to escalate that control, to fortify the cage. but beyond the power he wields, there is nothing truly fascinating about him, and they both know it. louis has seen this play before.

the theater of cruelty, the mistreatment of claudia, the tedium of watching the same performance every single night. armand runs the company, but it was lestat’s idea. by the time louis meets armand, he’s wondering whether lestat didn’t at least provide something original (which is obviously easier considering he came first in louis’s story, was his literal maker), whether at least he had flair. armand has been running a theater company for 200 years and yet he still quotes the balcony scene, which louis knows is deeply embarrassing, and knows that lestat also knows. and armand knows it too, if his reaction to being called a dull, beige pillow is anything to go by. they live in dubai for crying out loud. if nothing else demonstrates what it means to lead a vampiric, cultivated, violent existence, it’s the very stage upon which their interview is set.