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female characters with masculine names r great but i need them to be named stuff like craig and harold and philip i feel like too often their names are too cool. women named kevin
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like. i don't think any of the women in the odyssey are treated well by nolan (penelope and circe in particular have their characters ruined to make odysseus seem smarter and more honourable) but there's something so nasty about casting a black woman as athena, goddess of wisdom, war, and handicraft, the character who arguably drives most of the post ogygia plot in the poem, and choosing to ignore all of that in favour of a mute hallucination of a girl who was raped and murdered whose only function in the film is to add to the guilt the white male lead feels over the atrocities he committed. or casting a dark skinned black woman as the most beautiful woman in the world, and then having her husband carve up her face to disfigure her as punishment for being so beautiful that she was kidnapped
You know it's a Gothic Horror show, and you're supposed to feel uncomfortable, right? I do. But do you? Do you, Rolin, and Hannah understand that? Because from where I stand, only the Black characters seem to be trapped in a horror story. The others appear to be in a completely different genre.
The issue isn't that viewers like myself don't want to feel uncomfortable. The issue is that, in this Gothic Horror show, Black characters disproportionately bear the brunt of the violence.
Take this season finale as an example.
At the end of Episode 6, two characters are beheaded. Yet in Episode 7, we are shown the severed head and mutilated body of the black character in explicit details, while the white character's mutilated body is shown only briefly and out of focus, and his severed head is hidden from us.
Louis's arc is presented as a parallel to Lestat's. Both characters are placed in situations where they must confront people they have wronged, or at least people the narrative insists they have wronged, as well as their pasts, relationships, and mistakes. (Personally, I don't believe Louis owes Armand anything, but the narrative clearly wants the audience to think otherwise.πππ)
Yet the way these parallel journeys are depicted are drastically different.
Lestat's reckoning unfolds in beautiful rooms, elegant spaces, and dreamlike settings. He sits comfortably while listening to the grievances of the people in his life. He argues back. He reflects. He moves through beautiful environments, from grand rooms to forests and back again. Even when he is forced to confront painful memories, the experience is framed as introspection. The focus remains on his emotional and psychological journey.
Meanwhile, Louis is placed in what looks like a torture room straight out of a Saw movie. His severed head sits on a table, hooked up to a machine. His body is positioned across from him, forcing him to stare at it. His suffering is not just physical; it is public and humiliating. His torture is broadcast for others to watch and study. His pain becomes both spectacle and data. He is joined by Regina, another Black character, whose torture is used as leverage against him.
The man torturing Louis demands an apology, not for any genuine wrongdoing, but because Louis failed to love him the way he believed he deserved to be loved, and failed to show enough empathy for his trauma. This is the same man who murdered Louis's daughter in a lynching and attempted to murder Louis in that same lynching, and who, only minutes earlier, boasted that he took aesthetic pleasure in making Louis's death visually exhilarating as part of that lynching.
And so the torture continues. Louis is pushed to the brink of death. Regina is slicing her wrist. Eventually, Louis gives in. He apologizes. He accepts responsibility not only for hurting his torturer's feelings but for the torture itself. He tells his torturer that his coldness and denial drove him (the torturer) to these actions (the torture). The torturer receives the apology he wants, ends the torture, heals and frees Regina, and leaves, but not before carving the letter "A" onto Louis's mutilated body.
Meanwhile, Lestat is still moving through beautiful settings, confronting his past, and listening to others condemn him for the failures of his life. His story reaches its climax in the final act, when he is surrounded by the people in his life and the people he has wronged, some of whom are cheering him on. Rather than being subjected to physical degradation, he is given space for self-reflection. The focus remains on his memories, his relationships, his mistakes, the horrors he has committed, and his regrets. He eventually acknowledges some of his mistakes and even apologizes to one of his victims. Instead of fleeing from his past, he chooses to face it. His reckoning culminates in understanding, and the arc ultimately ends with imagery that evokes transcendence, as though he is ascending to heaven.
Both Louis and Lestat are given parallel narrative arcs centered on confronting their pasts, their relationships, and the harm they have caused. Yet the show presents those reckonings through vastly different visual and narrative lenses. Lestat's journey is psychological, reflective, and aesthetically beautiful. Louis's journey is a sustained ordeal of physical and psychological torture, humiliation, and degradation. One character is invited to examine himself; the other is turned into a spectacle of suffering. While Lestat is afforded reflection, Louis is afforded degradation.
And I'm supposed to look at that contrast and just shrug and say, "Well, that's Gothic horror for you"? Really? Take the blinders off. Look at what is being asked of Louis and compare it to what is being asked of Lestat. One is granted introspection, reflection, and, ultimately, transcendence. The other is subjected to torture, humiliation, and spectacle. The genre does not erase that disparity. If anything, it makes it more obvious.
My issue is not the horror. My issue is who is repeatedly asked to embody that horror, whose pain is treated as spectacle, and whose pain is afforded dignity, nuance, and care.
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I think what many don't get about Armand and submission is that it's not manipulative, or a lie, in that he's using it as some kind of act to have his upper hand of control go unnoticed. Submission is a deep part of who he is, and what he desires, and this is true to him, and so a part of him does want to not have so much power or say or control. To not submit in the same manner as he was made to be coven leader, right. It is just that he can't articulate he has any other kind of want, does not believe he can have, or think he has them, doesn't know what those are. And so then because he believes he's not to have control of want for anything, or doesn't believe, or know, he has any other wants, that articulating them is bad for love - and so can't - it makes this a situation where he cleverly works around having said wants which exist outside this, often still under a premise of submitting as to be good, and often under the perception of him doing the right thing, a service as to revere them, of being what the other wants of him, of what's expected. Or, in other instances, it's a resentment in having all these unnamed wants unmet building to a point he gets angry, and this anger fights in inappropriate ways for what is lacking. Because again, how he perceives submission, it is totalizing, he can't articulate his own needs, his needs need to be articulated for him. But that's not how that works, he can't expect himself or another to give it 100 all the time, and it's not what he really needs or wants either all the time. It's not therefore manipulative, per se, even if he manipulates within this framework, its core is it being a mental trap he is in - rooted in trauma. He also doesn't know exactly what he wants more than this, because this is all he's ever had, and all he's ever known to be what is good, and expected, and what is to be in love. It's just easier to see Armand as submitting through the lens of it being for Marius, than it is to think he thinks he's ever in a position to have this control, unless control is something he is expected to have, is something he's been articulated by someone else he needs to do, or which can only make sense for survival of himself or the other or both. The way he has been able to survive is rendered abusive from the cruelty of what it meant to be able to do so.
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