#yn.

On one hand, the sham-trial of Louis, Claudia, and Madeleine, is absolutely a mockery of the worst examples of this show’s real-world audience. But in the wider narrative, the trial enriches Louis’s own motivations in 1973 and 2022. Louis wanting to tell the story of his life has an added layer to it simply by the fact that, chronologically, Louis and Claudia, especially Claudia’s, entire lives were made mockeries of on stage first in 1949-1950. The sham-trial is a near-original product of the show, in that what was a straightforward execution in the source material is turned into a public spectacle, where vampires are food to a human audience, and Louis and Claudia are violently silenced as their lives are framed into caricatures of who they were. The rhetoric of two interviews too, are entirely original to the series, but share a common starting point.

Why does Louis, both in 1973 and 2022, choose to begin his life in the year 1910, and not when Louis was a child? Armand opens up his life story with Arun, Lestat tells Paul how he was stolen from the monastery& beaten as a child, Claudia writes in her diaries how her mother died and her father abandoned her to an abusive relative.

It is as much, because Louis truly understands his (and Claudia’s) lives to have restarted with his (their) vampiric turning, as it is the fact that this show-trial takes advantage of Louis’s self-image (and how he relates Claudia in relation to himself) by beginning the story of Louis’s life in 1910, and Claudia’s life in 1917.

Looking at the trial script, and comparing it to the interview in season 1, we see how “the vulnerability within the object” [Louis] is perused. Something to remind is that the sequences I will fixate on are on-script, and therefore, blatantly untrue. The only times we truly go off-script are transparently obvious, even twice-aided with flashbacks, and the only time Louis cedes the narrative to an off-script Lestat only enhance the existing framework of how Louis relates to Claudia.

[SANTIAGO] The accused was a troubled man. A failed sugar farmer, a brothel-keeper.

[LESTAT] Forced into corners by his race, alienated from his own desires. American puritanism mangling his very soul.

[SANTIAGO] Disreputable, cold, violent.

[LESTAT] Louis first accosted me in a pleasure house, and then everywhere I went, as if by happy accident, there was Louis, offering to be my chaperone, his eyes sliding down me. I… a vampire, was being hunted. With every breath, every heartbeat, every sidelong glance, Louis was saying, "Come to me".

In contrast to the scripted debate over Louis’s life, how does Louis relate this aspect of himself to Daniel? Almost as if he’s defending himself, but from who? Daniel who is already familiar with this? The audience of a book in its infancy? Or…The man in the room who pinpointed at the “vulnerability within the object?”.

I was, admittedly, a rougher thing then. You had to be if you wanted to survive. You couldn't look weak on Liberty Street. [ … ] Did I want to pull a knife on my brother? No. But as I alluded to before, you couldn't look weak on Liberty. You never knew who was watching.

I couldn't move. My body was seized with weakness. His gaze tied a string around my lungs, and I found myself immobilized. […] Let the tale seduce you. Just as I was seduced. […] It was a cold winter that year, and Lestat was my coal fire. And I found myself, for the very first time, to anyone other than Paul, confiding my struggles to another man. I was being hunted. And I was completely unaware it was happening.

Here’s Louis on his own race here, Lestat is the one who accosted Louis at the Fair Play Salloon.

Segwaying: This trial is not “Lestat’s point of view”, this is Lestat playing a marionette on stage to revenge himself. His revenge evolves live-on-stage into an attempt to go off-script to save Louis, and only Louis. Lestat breaks script in almost S1 fashion to berate Louis for his reticience to admit his desire, where he admits to making Claudia for Louis, and admits where he broke Louis. [Lestat says the singular “pup”, not “pups”, and this is when Claudia realizes that Lestat did not come for her.] Even bragging about Claudia being the pinnacle of his vampiric self is on-script.

This is Armand, aware of the optics of the kind of men Louis had to wrestle his own legacy from in two lifetimes, creating this script to break & re-shape Louis. “I felt like we were the only two vampires left in the world.” Armand orchestrates this so Claudia & Louis can forever be severed when trying to break Claudia into mad suicide through “My Baby Loves Windows” failed, and Louis still thinks of her even after he turned Madeleine, and Louis can channel his vengeance over his own torture & Claudia’s wrongful death to the coven. What did Armand say in E12… “Don’t you/we have enough to fear from Paris?” Anyways…

If Louis is framed as both the desperate predator and the frigid reticient lover, how does this sham-trial mock Claudia?

Through her words. We are narratively introduced to Claudia’s diaries in Dubai during Episode 4 with Louis out of the room, Armand, docent still as ‘Rashid’, introducing “an alternative perspective on the years of [this interview]’s interest”. Armand in Episode 13 in an attempt to re-gain control over the interview admits to what he and Louis did and did not cut, but to what end? Louis in Dubai has to ask Armand for the missing pages, pages we have yet to see. And chronologically speaking, through the showman Santiago, Armand was the first and last one to use Claudia’s private words to pilfer her narrative and try to break her.

The framing of Claudia as a mad, permanently infantile defect, but also the artfully manipulative entity able to assess Louis & Lestat’s fragile union pinpoints the assumption Armand makes to Louis & Madeleine both: the near inevitability Armand disregards her and treats her end with, throwing her in an infant’s dress to be a character constantly suiciding itself, and Armand calling her a manipulator in the prior episode.

Claudia’s defect caught up to her.

She harmed herself in the sun for attention and followed that up with a killing spree, corpses clogging the bayou, a penchant for human souvenirs.

And what does Louis offer us, in Dubai?

Louis can easily revenge and reclaim his own legacy through the interview, but how can Louis hope to re-pay the smearing and murder of Claudia? Through re-contextualizing the same words she wanted no one but Madeleine to read? “You can put the diaries in their proper context,” he once said. He can never be the one to truly salvage Claudia’s self, which is why the diaries cut out when Claudia finally felt fulfilled, and her last words are kept from our ears. An explanation, to who Claudia once was as a vampire, from Claudia’s own pen, without her will, just as she was turned.

It is through her diaries and Louis’s recollection of her that we realize her trophy-seeking was an evolving project. The boys she killed in New Orleans were her attempt at creating her own vampire companion, only to realize that she cannot create companions of her own bc of the same body she was trapped in, through no will of her own. There is something fascinating about “who” & “when” can make vampires, but that’s another post.

The “artful predator assessing the cracks in [Louis& Lestat’s] union” is in fact, Claudia returning to familiar captivity after being kidnapped and raped repeatedly. What’s interesting is that TdV does not have or launder the pages of the immediate aftermath of her rape, which suggests that Claudia herself tore those pages out [& certainly matches the damage], as ripe predators would see fit to find fault in Claudia for being assaulted.