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Hotel Porch, Saratoga Springs, Photo by Walker Evans, 1930

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‘Before the people’ , Peck Lake, Algonquin Park - Marten Visser , 2025.
Dutch , b. 1968 -
Acrylic gouache/acrylic pen on birch panel , 30 x 40 cm.
Innovative food for astronauts to eat in space. Protecting our food. Yearbook of Agriculture. 1966.
Blooming chamomile at night - Cor van Loenen
Dutch, b. 1942 -
Oil on canvas, 85 x 100 cm.
Blood farms and custom guitars: TVL production designer Andres Cubillan shares insights into the season’s most memorable setpieces.
As Lestat’s childhood flashbacks move through his adolescence to young adulthood, we’re given hint after hint that the family has fallen on hard times, mirrored by his father’s increasing infirmity, and the rest of his family succumbing to various illnesses. “We see less staff in the house,” production designer Andres Cubillan explains. “We see the food getting simpler. Even the china on the table. We go from a very sort of elaborate multi-piece setting, you know, crystal glassware, silverware, and that starts getting reduced. So you start feeling like they’re really impoverished in their sort of ridiculous aristocracy.”
“They’re not going to give [Lestat] some large bedroom. It’s going to be sort of awkward in size. I’ve spoken about the tile floor and the fact that it’s a material that would have been used for servants’ quarters or kitchens.” Lestat is a second-class citizen in his own home, and the images decorating his walls make a further statement about the violent undercurrents of his childhood. “The mural work on the walls, it was a play on the tropes of little boys’ rooms—the trains and the boats, and that heteronormative ideal for a little boys’ room in that era.” But instead of boats or scenes of boyhood adventures, Lestat’s bed is surrounded by “images of war and massacres and conquests,” creating a nightmarish backdrop to the only private space he has in the house.

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His lawyer says he's a fan and would appreciate an exclusive fan experience.
Albany, NY, Photo by Lee Friedlander, 1967
At this rate, I might just become a full time grackle photographer. The purple and blue interference color on their feathers is so magical.
THE VAMPIRE LESTAT episode posters
Crossing America in a 1964 station wagon. Photo, Art Shay. More here: https://www.chicagomag.com/chicago-magazine/january-2014/life-through-a-leica/

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Omaha, Nebraska, Photo attributed to John Vachon, 1938
Blood farms and custom guitars: TVL production designer Andres Cubillan shares insights into the season’s most memorable setpieces.
You've read @hellotailor's Vampire Lestat recaps. Now that the season has wrapped up, she's going deep behind the scenes, talking to production designer Andres Cubillan about a range of setpieces, from the tour bus to Lestat's childhood home to the Fang Gang's hideout:
One of the many recurring compliments paid to Interview with the Vampire and The Vampire Lestat is the sheer volume of information this show can pack into every episode. This season in particular is full of clever creative choices that may only become apparent on repeat viewings, so it was a true pleasure to speak with Andres Cubillan after the finale, sharing his thoughts on some of the show’s most compelling design choices. And yes, that obviously includes Lestat’s blood shower—which turned out to have a rather unexpected origin story.
Read the piece or listen to an audio version via the link above! 🩸✨
This isn't to put any individual on blast—I'm aware that by writing this, you can just look at the notes and see what inspired this, but it's not remotely the first time we've gotten comments like this, and I'm really not trying to pin it one commenter—but it's a bit demoralizing to post our articles and be met with a "boo paywall" response.
One thing I've learned since launching a subscriber-driven publication is a lot of folks outside the media are totally unaware of the current economics of the industry. The era of ad-supported pubs is long gone; this post from TPM founder Josh Marshall a few years ago shows the dramatic drop over the past decade, and this is a huge established pub.
Many of the things you read for free online are subsidized by something else: with big pubs, it's not ads or subscribers, but often stuff like games, events festivals, or paid ~insights for specific industries; if a publication seems to have zero paywall/subscriber options, look into which ultra-wealthy person or corporation is funding it. With Substack, you're reading for free via Silicon Valley VC money (and subscriber revenue that comes via the horrible high-profile people they platform). On video platforms like YT, TikTok, and Instagram, folks can share their content for free because [insert a massive data-collection, audience-is-the-product spiel that I'm sure I don't need to spell out at this point].
Fansplaining the podcast had a Patreon, which gave Flourish and I a bit of compensation for our labor, but it was very much a side project. Fansplaining the indie pub, on the other hand, has writers: professional journalists that need to be paid for their writing. We began with a fairly loose paywall, but when most people were able to read most of our stuff for free, the initial wave of subscriptions died pretty quickly. That meant we plateaued at enough money to pay writers (modestly) each month, and nothing more; I have been working for free for months, and my editors have been working for a very small amount of money.
With a piece like this, the writer spends hours writing, multiple editors spend hours editing, and then we put it online and ask for...$1. That's how much we sell article access it in a one-off capacity. 4,500 words, including an audio version?? A good deal imo! It's $7 a month to read our multiple articles published a week (and half that if you get in touch for the affordable-tier discount). I know $1 isn't nothing; a lot of folks literally can't afford it. And I certainly don't begrudge anyone who doesn't want to pay it. I hit hard paywalls all the time and close the tab. There are only so many subscriptions one person can spring for.
But every day I see folks complaining about media paywalls on Tumblr in particular and I just wonder how many people are aware, at least for indie pubs like ours, that there is basically no other funding model we can implement internally. We make it clear on the site that we are open to outside investors; if the right partner wanted to underwrite this project, we'd more than welcome it, and we'd be able to offer way more stuff for free because there'd be another way to pay contributors, our various hosting/software tool bills, and—ideally!!—ourselves as editors. But right now, we are operating at a major loss.
Again, I really don't mean to pin this frustration on individuals—and to reiterate, these complaints are widespread, to put it mildly—but I just wanted to offer a little transparency about what publications like ours are struggling with. We are so, so grateful to our subscribers, and to everyone purchasing our articles in a one-off capacity, too. I really hope we can keep Fansplaining going in the long-term; I'm trying to think of this as an investment period. But hopefully letting folks know exactly why we lock our articles gives a little insight into how all of this works.
Wassily Kandinsky, Black Circle, 1924
“I think he is no longer trying to assimilate into society,” notes Cubillan when discussing Lestat’s mindset at the start of season 3. “He’s no longer hiding himself, his sexuality. I think at the beginning, there’s still some hiding of being a vampire, but barely.” It’s hard to imagine Lestat ever being truly inhibited or repressed, but during their time in New Orleans, Louis and Lestat had to hide in plain sight—both in the sense that they were vampires living among humans, and in that they were a semi-closeted queer couple. In Montreal, Cubillan wanted to set the scene for a bold new era of Lestat’s story—which is absolutely what we get once his band goes on tour.
In our latest, @hellotailor sits down with Andres Cubillan, The Vampire Lestat's production designer, to talk about the team's work on a variety of the season's sets, from Lestat's Montreal apartment to the double-decker tour bus to the Fang Gang's hideout.
Read or listen to an audio version of the (lengthy!) interview: https://fansplaining.com/inside-the-vampire-lestats-brilliant-production-design/
After the Rain - Lisa Benson
New Zealand , b. 1966 -
Linocut print , 27 x 35 cm. Ed. 8.

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Cloud high in dreams, but heavy in the air - Lossapardo , 2024.
French-Senegalese , b. 1996 -
Acrylic on paper , 18 x 22.5 cm.
Nelson Algren | Art Shay