How ‘IWTV’ Season 4 Is Set-Up

Lestat Dines With His Failures

For a month, about the same time period that Lestat and Louis’ relationship was on the mend, Lestat dreamed that he lived in a cabin in a forest where he’d take nightly walks and transcribe bird song. It replaced the night terrors he’d been plagued with all season.

He’d shared that dream with Louis and Daniel (Eric Bogosian) in “Montreal,” stating he could live like that for a decade before seeking work as a hotel lounge pianist. The implication being that 10 years is about as long as he can be content before needing to be by Louis’ side once more.

“The Failures” takes that dream and makes it absurd. At first, it is simply Lestat in the daytime. He’s still a vampire, but he’s not burning in the sun. It’s just him and the birds whose music he is committing to page until he realizes that he’s hungry. Then the dream shifts as he’s led to the long table of his youth by waiters, including one that looks exactly like his drug procurer and social media manager Dee (Amaka Umeh).

The abbot sits in the Marquis’ (Peter Outerbridge) chair as he quizzes Lestat’s nine year old self (Shepherd Munroe) while his teenage self (Gage Munroe) juggles eggs. They are the amuse-bouche of the episode like Francine Lucien-LaChapelle was at Sengsue. But just as she was meant to be a romantic gesture from Louis to Lestat, these three figures serve a purpose as well.

The youngest Lestat trips over reciting a passage about being encircled by God’s love. The abbot asks about the symbolic nature of the hood, and Lestat answers that it limits their view, cutting out the world so they can gaze ahead toward God. Even the abbot’s uncharacteristic blaspheming while talking about their habits tripping them up and getting in their way sets the stage for the conversation Lestat has with Magnus and his fledglings once he sits.

The circle is Louis and Lestat’s love, the bowling ball bag Daniel is keeping Lestat’s head in is the hood, and the habit is not a piece of clothing, it’s the patterns of behavior Lestat keeps falling into. His teenage self represents Lestat’s distraction, avoidance, irreverence, and complacency.

At the table with Magnus, in the tower where Lestat was turned, are Nikki (Joseph Potter), NOLA Louis in his red suit, 2026’s Gabriella (Jennifer Ehle), Antoinette (Maura Grace Athari) in the tuxedo she was burned in, and TC (Sarah Swire).

Claudia is not present and the excuse given is that she said all she needed to say. That’s highly unlikely considering Lestat and Louis were steps away from getting back together before they were beheaded and had spared only a small moment to reckon with her spending an eternity stuck in purgatory without Madeleine (Roxane Duran).

But this is Lestat’s dream and between “Stained Glass Eyes” and the séance, he has confronted his role in her pain as much as he’s going to outside of how it parallels with his at this time because he is not yet able to see past himself in that regard. That will come later.

TC sets a timer on a phone. Though, notably, it does not create a sense of urgency in “The Failures.” It is solely a marker of how long Lestat has before he dies. But death is not the point. A forced period of reflection is. He is with the “failure finders” to discuss his soul. It is, after all, All Saints Day. A time honoring the spiritual bond between the living and the dead.

Confronting How Lestat Failed

The first failure the long table examines is that of Lestat’s leadership. He is held accountable by Magnus for the destruction of the children of darkness and the abandonment of the Paris coven that started the Theatre de Vampires. NOLA Louis is critical of the former, calling it both impulsive and reckless. Gabriella says it was overdue. Nikki is critical of the latter, calling it selfish and cowardly. Gabriella says he was generous to a fault.

She doesn’t hold Lestat responsible for his actions even after he makes excuses for them by saying he did what his maker taught him. He threw money at the problem and ran away. Magnus accuses Lestat of giving the players in the theatre meaning before absconding with it, and Gabriella responds that the place ran for a century and a half.

An inability to take accountability is a trait Gabriella and Magnus share. When Lestat questions why Magnus is the chair of the finders, it’s coming from a place of irritation that someone who didn’t know him is leading this group. Magnus didn’t bother with consent because it’s a “20^th century concern.” He abandoned Lestat because he could and felt leaving him with the dark gift Lestat refused, and money to last an existence, was enough to carry Lestat forward stumbling into eternity.

It’s in this moment that Lestat states he has two makers. He puts Gabriella forward as the chair, which Magnus remarks is yet another failure. But Gabriella is pleased and the setting shifts to Lestat’s Paris home with his mother bedecked in her Auvergne attire.

Next to air his grievance is Nikki who is upset that Lestat gave him the gift rather than tell him that he loves him. Nikki didn’t feel that Lestat loved him as much as he loved Lestat, which Lestat knew. While Lestat didn’t withhold his love and actually expressed it a lot, Nikki didn’t feel it and that’s the guilt Lestat carries.

Gabriella had warned him before turning Nikki that their relationship had run its course, but Lestat couldn’t let go of him. He couldn’t let go of his first love, his mortal love and so he brought him into eternity with him despite fearing the consequences of a gift he had yet to fully understand. A gift he had given to his mother without hesitation because he feared a life without her more than he feared what changing her might do.

NOLA Louis inserts himself into Nikki’s moment by juxtaposing Nikki’s grief over not having been loved the way he wanted with Lestat’s response to Louis’ rejection of his love. How he’d dropped Louis after begging him to say that he would never love Lestat the way Lestat loves him. The brief interjection, with Lestat out of focus in the background, illuminates why this Louis is here and not a Louis from a different time or his modern self.

This is the Louis before the drop, before Claudia. Before the reality of the gift fully began to settle into Louis’ understanding of how his existence would be over time as his family and the world around him changed while he appeared the same. He’s a representation of the first time Lestat failed Louis.

The third failure is Lestat’s music career, which seems to be TC’s gripe. There isn’t a positive review in sight as the finders rip through strongly worded and insulting critiques from major music publications. The opera singer Lestat and Louis killed for his failure as a tenor also gets his moment to tear Lestat apart by critiquing his performance of “When I Call Out Your Name.”

It’s the first time at the long table that a moment of true depth appears as the cacophony of Lestat screaming his mother’s name over the studio speakers triggers a flood of memories of the two of them together until Lestat is transported to the night the witches burned. He’s finally able to ask Gabriella the question that’s plagued him since he was nine years old. Why did she take him to see the witches? Her answer was that she wanted Lestat to escape Auvergne.

The two women and the two girls that burned weren’t witches. Marguerite Doree’s mother was jealous that her husband “favored” their daughter and so she framed her for murder. Jean Bodin was the victim of her schoolmaster’s attention who covered up his “transgressions” by accusing her of witchery. Marthe and Aimée Roulet’s supposed crimes against God aren’t mentioned, but they were nine years old. Aimée was Lestat’s friend, she played in their home.

Gabriella made him watch them burn thinking that it would make Lestat run from their small-minded community. Instead, she traumatized him. He developed a stutter. Then he stayed until he was 30 years old. She calls him a cabbage for it, but he is stuck thinking about how he did the same thing to Claudia. He forced his daughter to watch a boy she loved burn to teach her a lesson about their world.

But Claudia ran, and he let her hate him the way Gabriella never let him hate her. Like his mother, Lestat failed as a parent. However, unlike her, it actually weighs on him. He’s proud of Claudia for doing what he never could. She stood up to him, she outsmarted him, and she got out.

Marius (Christopher Heyerdahl) takes Lestat to task for being a failed maker. He calls turning Gabriella noble since she’s Lestat’s mother. But he describes turning Nikki as stupid and wasteful since he was a tailor’s son. Nikki adds that he was mentally ill. Lestat is treated as unworthy of Akasha’s (Sheila Atim) blood and his choice to turn Louis is belittled by the table because Louis was a pimp.

All of this is described negatively as the finders state their opinions of his choices while exclaiming, “The soul.” The more they talk, the more Lestat flashes through memories. They are a mix of his triumphs and failures. He speeds through them, with more and more turning to flashes of Louis.

Gabriella mocks him for waiting for Louis. For falling into a fog of what he thinks is love when it is not. But all of these claims that are being lobbed at Lestat as he laughs are the equivalent of intrusive thoughts.

They’re every horrible opinion he has lodged against himself and they’re being drowned out by the images and music that’s filling his head that transitions to cathedral bells because what he wants is to see Louis again. The real Louis, the one who dreamed of a life with him, the one who can’t say he loves him but whose love he has felt.

The timer runs out. Lestat hits snooze on death and takes back control of the narrative.

Lestat Stops Performing And Lets Himself Be Real

Now that he controls the volume, Lestat has staged a concert at the place where music first grabbed hold of him. It’s where he reunited with Nikki. The event is for the people he’s killed, turned, or traumatized.

He spots a man in the crowd named Enzo who he’d killed at a Christmas market in Vienna in 1953. Lestat says he was in a foul mood that evening and that Enzo deserved better. Then he moves on to others he knows in the audience including the train conductor who he’d beheaded the night he brought Claudia back home to Louis and the teen who inspired “Black Licorice.”

Back on stage, Lestat confronts the finders. But only the ones he loves most, along with his nine year old self. Louis, TC, Gabriella, and Marius are present. Nikki is in the audience playing the violin. Antoinette and Magnus are nowhere to be seen

Lestat is upset that they have deemed his life a failure as the crowd boos their findings. He feels that he did his vampiric duty, bringing death and spreading superstition. Lestat disagrees with Gabriella that retaining parts of his humanity equates to failure.

He thinks that in the end he was “pretty f—king great” because he is not the sum of all his failures. He believes himself to be the sum of all his attempts to do something with his life. Even when he lashes out by telling the finders that’s more than most of the people he loves can say, he takes it back in an expression of growth because he doesn’t know if he means that. What he knows is that it’s performative.

What’s not performative is his love, which he expresses to NOLA Louis. Affirming that he loved him. He acknowledges that Gabriella saw his love as grotesque but that he loved her as well. Checking the timer, he thanks them for coming and tries to go back to his concert. He tells the crowd that the band has a new song to play them tonight, but his mind is still on Louis. On the possibility of a life together.

Lestat thinks on his blood. He says he did his best with it, but then corrects himself. Lestat knows he didn’t. He acknowledges he let too much of it spill, that he didn’t honor it. As Louis said, “It’s not the blood. It’s what you do with the blood.” Lestat had laughed it off but Louis was right.

He wants to apologize to Enzo. The man had a package with the most beautiful wrapping, and he hopes it got to who it was meant for. Lestat’s remorse and growing understanding of his actions, leads to the appearance of Paul’s (Steven G. Norfleet) spirit. An unexpected but welcome return as two of the people that Louis loves the most sit side-by-side.

Lestat has been adamant since season 1 that he didn’t kill Paul. He would never do that but that doesn’t mean he doesn’t hold guilt over his outburst at the table the first and only time he shared a meal with the Du Lacs. Paul had asked him if he was one with Christ. Lestat knew Paul was mentally ill and that he sought refuge in scripture, but his temper got away from him.

His story about the happiness he’d found learning at the monastery twisted as he told of how his father and brothers pulled him out of that happiness, starved, and beat him with God nowhere to be found. As Lestat spoke, he’d used his gift on Paul. Presumably to show him exactly how he had suffered. But there’s no excuse for what Lestat did to Louis’ brother, and he likely believes he traumatized Paul with his own trauma. The same way he did Claudia.

But Paul is not here to find failure in Lestat. He comes to give him context about Louis. Paul knows his brother has a hard time saying, “I love you,” and that it’s a trait he picked up from their father. He tells Lestat it doesn’t mean that Louis doesn’t feel it. Surprisingly, Paul thanks Lestat for loving Louis the way that he needs to be loved.

Paul knew why Lestat was at their table. The whole family did. Louis’ sexuality went unacknowledged but was understood. Paul would have preferred Lestat was a woman, but Louis had never brought anyone to their table before and it can be inferred that Paul knew the gravity of that moment. That he knew his brother would only introduce them to a man he loved, and if Louis did that then Lestat must have loved him the way he needed.

As Lestat begins to die, a light shines over him and Paul. Birds chirp as Paul asks if She is sure about saving Lestat, and Paul takes the phone with the timer from Lestat’s hand. He pauses it and Lestat wakes up in his coffin.

Louis Comes Face-to-Face With Armand

Compared to Louis’ time beheaded, Lestat’s is as breezy as his dream of the forest. While the horrors Lestat faced are more tempered by time and his own pacing, Louis’ are immediate and based on Armand’s whims in the butcher shop. He has not been skipped on his former companion’s “apology tour,” only delayed as Armand wanted Louis at his mercy and unable to leave like he’d done in Dubai.

His letter to Louis, detailing “two grievous lies” he describes as “gross betrayals,” further affirms the narrative parallel between Loumand and Loustat established in the first two seasons of Interview with the Vampire and reiterated in this one. But it does so through a contrast that’s at its starkest as the exes admit the truth about their relationship to one another for the first time in 80 years.

Armand did plot to kill Louis, just as Louis had plotted to kill Lestat. He chose his coven like Louis chose Claudia. Armand expresses guilt over what he’d done, including their “heady lovemaking” throughout that period of betrayal in Paris. However, he also shares that he took aesthetic pleasure in making Louis’ death visually exhilarating.

Louis took no pleasure in conspiring to kill Lestat. He told him he wasn’t sure if part of the reason he was seeing Dreamstat was the guilt he felt over his actions, including sharing a coffin, which is the height of intimacy in their relationship.

The second lie was Armand taking credit for Lestat saving Louis. There isn’t a direct parallel between them with this action, but an adjacent one becomes apparent when Armand calls the lie “a corpse in the boiler room of their companionship.”

Lestat was the corpse that kept Louis from committing to his companionship with Claudia. They argued about him in a boiler room in Interview with the Vampire season 2, episode 1, “What Can the Damned Really Say to the Damned,” when Louis was uninterested in going to look for the vampire Claudia found.

She told Louis that she forgave him for messing up her plan to ensure Lestat’s death by burning his body. But she didn’t forgive him for carrying Lestat in his heart despite leaving him in a landfill five years prior in New Orleans.

Armand had tried to convince himself that the second lie didn’t matter because the love he and Louis built together as “a bunker against time” was more consequential. But he knew that wasn’t true because “the corpse” was calling up the facts. As in the ghost of Lestat’s love, the memory of him, sat in the middle of their relationship just as it had Louis and Claudia’s.

Louis had tried to convince himself that Claudia was enough. She was not, and she knew it. Just as Armand knew he wasn’t. Everything circles back to Lestat for Louis. Armand said it in Interview with the Vampire season 2, episode 5, “Don’t Be Afraid, Just Start the Tape,” when Lestat’s name fell from Louis’ mouth in a torrent that had been held back for 23 years.

He’d wanted to use Daniel in 1973 to bring Lestat back to him, to confront the past. To explain the unexplainable to him. How Lestat could have been in Paris to kill him and Claudia when that didn’t match up with the man he knew. The man who loved him.

Armand is unsure if he ever loved Louis. He says this as he turns Louis’ decapitated head to look at his body reaching to put himself to rights. The older vampire wanted his former companion bound to him.

It’s why he lied about saving him; it’s why he feigned resentment over Louis drugging, draining, and laying with other men. For Armand, if he couldn’t have Louis’ love, he’d settle for Louis cleaving to him out of desperation and guilt.

After admitting to purposefully messing with Louis’ head by putting the Fred Stein photos in Louis’ collection, Armand completes his “heartfelt Armends.” Then he lets Louis know that it’s now his turn to commit his apologies to paper.

Armand Forces An Apology Out Of Louis

The first thing Louis writes is “F—K YOU,” which irks Armand because he was hoping time and perspective would make Louis eager to repent his own actions. Louis’ response is to say he doesn’t care to everything Armand is laying out for him about his situation until he’s shown Lestat’s body.

Armand assures him that Lestat’s not dead and simply resting before the concert, though Louis has no reason to believe this. He shares that he enjoyed ruining The Vampire Lestat for the sake of ruining it, all while touching Lestat because it’s the only time where he can. Louis says, “No,” and asks where Lestat’s head is, to which Armand responds that it’s with his companion aka Daniel.

When that doesn’t provoke a response from Louis, and he’s still unwilling to “own” how he has wronged Armand, his former companion pulls out another inducement. Regina (Delainey Hayles). It turns out, Louis did not come across her by chance. The universe didn’t throw them together because Louis needed to grieve, and Regina needed saving. Their connection was born from Armand’s malice.

He used a photograph of Claudia dressed as Baby Lou and facial recognition software to find a look-alike. Scared, guilty, and crying, Regina tries to explain that Armand told her he had a friend that was grieving his daughter. She had no idea that he was going to go to such extremes. He signed her work visa and got her out of East London, so she did what he wanted.

According to Armand, Regina had walked in front of Louis 19 times before he finally noticed her. They played him. He coached Regina on how to lure Louis into their web, but she was more skilled than he realized. Regina knew exactly how to push Louis, and it allowed Armand to carry out the rest of his dealings with Lestat and Daniel as Louis was preoccupied.

Their time together, created a soft spot for Regina in Louis that Armand is looking to exploit by threatening to lop off her head and sew Louis’ onto her body unless he makes amends. He doesn’t want to kill Louis, though that’s what Louis tells him to do. Armand wants an apology so that they can both move on with their lives.

Armand’s understanding of himself shifts in the butcher shop more than once. He first thinks that he may be a room without walls, floors, and a ceiling. An infinite nothing. It sounds like he’s describing a black hole.

Then as he weaponizes Louis’ grief over Claudia and obsessive need to be forgiven for her death and the ways in which he failed her, he calls Louis his Claudia. That he understood how Louis was feeling because he felt it, too, over what he’d done to Louis.

But Louis left him, leaving Armand to realize that he’d wasted a near century in a companionship that seemingly meant nothing to Louis. That still seems to mean so little to him that Lestat’s headless body, the threat of Regina being decapitated, and his own imminent death has not moved Louis to make amends.

Neither does the killing of Nelson, Armand’s follower who thought he was helping to stop the Great Conversion, but was actually there to stuff Louis’ head in a cooler.

Armand is not preoccupied by the archaic Great Laws as the season had lead us to believe. Though his dismissal of the Great Conversion is yet another smokescreen considering he’s livestreaming their talk. As Fareed (Gopal Divan) monitors Louis’ vitals, there is a group of people in Budapest that Armand has invited to witness Louis’ ability to survive hours after being beheaded. It’s only possible because Lestat is his maker.

But this exhibition is second to what Armand wants. He tells Nelson to rest to showcase he’s not bluffing. His follower slits his throat. Armand tells Regina the same and makes her hover a butcher knife over her wrist. As she pleads for her life and tells Louis that she liked him, Louis finally gives in and asks for paper.

What he writes isn’t what Armand wants. Louis apologizes for kissing him in front of Lestat, for never being able to be pinned as his companion, and once again kissing him in front of Lestat because it was always for Lestat and never for Armand.

Louis used Armand to punish Lestat. He admits to never forgiving Armand for Paris and the loss of Claudia. He still hasn’t because he can’t and he won’t. He’s sorry for lying about who the love of his life was. Louis had held Armand’s hand and told Daniel that Armand occupied that space in his heart, but it wasn’t true. Lestat does.

Still, it’s not enough for Armand, so he again tells Regina to rest and she slices her wrist open. Even as Louis is starting to die, he tells Armand that he’s sorry. That it’s always been about Lestat. Including now, in this moment, he is thinking about Lestat.

Armand directs him to use his telepathy and that he’ll repeat for posterity. Louis recounts the lies he told himself and others. That he was straight, a good Negro, an artist. Things he wasn’t. He acknowledges that Armand has a reason to be dark-sided.

Louis also broaches a topic they barely brushed in their time together. That Armand was sold into sexual slavery at the age of 12. How he was used in a manner that Louis knew because he’d seen it in New Orleans. They didn’t talk about it because Louis didn’t want to think on his own business in the sex trade or how young Armand was when he was forced into it centuries ago.

They were opposite sides of the same coin. Familiar with the dynamics that come with that reality and yet unable to discuss the way it played into their relationship. How they fell into the use of Maître, without examination or negotiation. What it meant to exchange dominance and control back and forth, consensually, forcefully, and through coercion.

Armand decides the vulnerability of Louis’ acknowledgment and his own past isn’t for consumption by those sitting on the livestream. He flicks his wrist, cutting off the mic and closing the laptop Fareed had been gathering data on. Armand also stops repeating what Louis is saying through telepathy, keeping it for himself.

Louis knows that Armand needs a love that will cradle him, and he apologizes for not being that for Armand. He tells him that he recognizes that it was his own coldness and denial has led Armand to take these measures. Louis shares that he saw good in Armand for awhile. It’s this confession that’s enough for Armand to let Regina go with a warning that bad things happen to girls who talk.

He departs himself as well, but he carves an ‘A’ over Louis’ heart before he goes, and leaves Fareed to reattach Louis’ head.

Armand’s Failure

The end of this horrific tableau draws a distinct difference between Loustat and Loumand. Louis made what he thought would be a death bed apology. It was forced out of him and the depth of its sincerity is questionable as it focused on what Armand needed to hear, not necessarily what Louis felt.

Armand did the very thing Lestat said one shouldn’t do in Interview with the Vampire season 2, episode 7, “I Could Not Prevent It.” He crushed what he could not own.

The three years Armand spent ruminating on the end of his companionship with Louis made him angry and vengeful. He didn’t conclude that Louis deserved a sincere and heartfelt apology. He never actually used the words ‘I’m sorry’ or ‘I apologize,’ when he spoke of his betrayals. He merely listed them and spoke on his guilt. His “apology” was simply meant to prompt Louis’. Armand beheaded Louis because Louis didn’t love him, and he wanted an apology for not being loved.

The years Lestat spent ruminating on the end of his companionship with Louis made him regretful and immeasurably sorry for dropping him from the sky as a response to not feeling loved. It’s a regret he will live with for the rest of his life, one that he will never fully move on from because of how deeply he hurt Louis, not just physically but emotionally. And he doesn’t believe he’s worthy of the forgiveness Louis gave him in the years after the drop happened.

Armand could not see past himself and his own hurt to sit with or acknowledge how Louis felt and instead he used it to his own advantage. He does not see Louis, just like Louis doesn’t see him. Not fully, not the way Armand needs. He was only in Louis’ life because of Lestat. As impermanent as the ‘A’ he carved over Louis’ heart. While Lestat lives there and always will.

How ‘The Vampire Lestat’ Finale Sets Up ‘Interview With The Vampire’ Season 4

Lestat wakes up on his tour bus because Gabriella had him brought to the venue where he’s supposed to sing the song, “Make More,” for 45,000 vampires and 10,000 human beautifully unwell. She, along with Raglan James (Justin Kirk) who’d gotten his head back from Daniel, want him to perform. But as he’s pushed to get on stage, Lestat thinks once again of Louis and in a panic asks after him.

Louis is fine. Rashid (Bally Gill) collected him from the butcher shop. He’s on the first floor of the tour bus, and Lestat’s reunion with him is understated. They slip back into the moment they had on the bench. Caught in each other’s orbit, tenderly touching their matching neck scars, lovingly attuned to one another.

Until Gabriella interrupts and Lestat finally stands up to her the way he’s wanted to for two centuries. As they yell at one another, he refuses to go on stage, questions who brought her back into his life, and calls her a monster as Louis bears witness to it all. It’s here Lestat the narrator of The Failures pulls the audience out of the tale and ponders over who has bought the recordings. On whether he failed at auction and if he’s talking to himself with no one listening on the other end.

Opening the door to his Montreal home, he shows the desolation of the outside world and takes full responsibility for how the city has been destroyed. It was caused by the concert he has yet to tell the story of and the unleashing of Akasha (Sheila Atim), the mother of vampires.

The concert is alluded to as the planned trigger for an extinction level event that the Talamasca has been urging on in the background. Raglan told Daniel that there was a breakout room at the G7 conference called “May the Vamps Safely Graze.” His organization was behind “make more.” They want the amount of deaths to outnumber births to save the planet.

It’s a bizarre environmentalist agenda seemingly sanctioned by world leaders interested in stopping the over-consumption of Earth’s resources by humanity. It likens vampires to wolves being released in conservation reserves to control the deer population. The idea is absurd but paired with Armand’s shadowy Budapest group and Fareed’s research, this revelation expands Interview with the Vampire’s world even more.

The season’s ending also presents an urgent question. Who purchases Lestat’s music box and blood at the auction? Louis and Armand are both bidding in the premiere, but The Vampire Lestat doesn’t provide an answer.

What the audience knows is that Louis owns the night. He’s rich as sin and is always finding new ways to make more money. Louis’ also Lestat’s love and would know what he wants done with The Failures and his blood. Armand doesn’t see or truly know either of them. He’s tied to a group interested in what Lestat’s blood can do and is unconcerned with how it can be used outside of what he wants.

Louis is the only one who has concerned himself with the power of that blood and how it should be used. The only one who understands that it’s not the blood but what’s done with it that matters. Lestat learned that from him, and Louis is the only person Lestat trusts. What happens to the world after Lestat concludes his failures depends on who wins the auction.

All seven episodes of The Vampire Lestat are available to stream on AMC+. Follow Sabrina Reed on Forbes for more coverage of Interview with the Vampire and news about the business of TV.