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Mild spoilers ahead…
AMC’s 2022 Interview with the Vampire TV series took a fresh approach to the beloved 1994 classic film — starring Tom Cruise, Brad Pitt, Christian Slater, and Antonio Banderas — and offered a new perspective on the life, death, and un-life of Louis de Pointe du Lac, as well as a whole new take on Anne Rice’s Vampire Chronicles. Season 1 was a masterpiece of storytelling; the recasting of Louis — portrayed by Jacob Anderson — brought a different dynamic to the narrative that offered a creative approach to the ennui of this classic vampire tale.
This is particularly true when it comes to the Season 1 finale, which was bloody — pun intended — miraculous . Besides a Mardi Gras blood feast in which plenty of plump bodies were exsanguinated, Louis and Claudia (portrayed by Bailey Bass) killed their maker Lestat — which coincidentally occurs halfway through the original Anne Rice novel — thus making it a fitting point to bookend Season 1’s narrative. However, all the gory violence and immortal-relationship woes aren’t the only things that left fans parched for more, as the narrative revealed that Rashid, Louis’ manservant, is actually the ancient vampire Armand.
But who is this mysterious vampire, and what makes his appearance in the series so exciting? Well, while Armand plays a crucial role in Anne Rice’s The Vampire Chronicles, Daniel, the reporter interviewing Louis de Pointe du Lac, doesn’t actually meet Armand in the Interview with the Vampire novel. The meeting between Daniel and Armand was made specifically for the this new reimagining.
AMC’s televised take on Louis and coterie has been a somewhat faithful adaptation that, in many ways, is truer to the book than the 1994 film ever was. Still, some liberties have been taken, like the change in setting and smaller changes in the chronology of certain events. The introduction of the vampire Armand to Daniel this early in the narrative is a significant deviation from the source material, especially when we take into consideration that the two haven’t met in the Interview with the Vampire novel but in a subsequent 1985 book titled The Vampire Lestat.
From what we know from the novels, following the apparent murder of Lestat at the hands of his own creations, the murderous duo, Louis and Claudia, depart New Orleans and set course for Europe, all under the seemingly watchful eye of Armand and an actually none-dead, un-dead, Lestat, as confirmed at the end of the Season 1 finale.
The narrative sees Louis and Claudia travel through Bulgaria, Romania, and Paris — with the latter being the city where Armand carved out his place in vampire society. Here, Armand, the oldest among those vampires, built his Theatre des Vampires, a theatre in which a coven of vampires perform horrific acts for live human audiences, who believed that the performances were mere theatrical spectacle and not a display of supernatural showmanship.
Louis and Claudia encounter the coven, which then captures Louis and executes Claudia because vampire law prohibits turning children and she’s seen as an abomination. Armand, who has developed a deep emotional connection to Louis, seeing him as a kindred spirit, frees Louis from captivity, motivated largely by his own desire for companionship. Fueled by rage and grief, Louis doesn’t leave the coven with Armand, as the latter hoped. Instead, he sets the theatre on fire and kills most of the vampires in the coven.
The two cross paths in subsequent novels, but they have the most significant amount of interaction in The Tale of the Body Thief, which is the fourth novel in the series and the one in which they develop a romantic relationship. However, in the new version developed for the television show, Armand’s story has been seamlessly woven into Louis’ narrative, and the strategic reveal of his identity provided not just a shocking twist in the series but also showcased some very clever storytelling and a deep psychological understanding of dynamics in co-dependent relationships.
This new version of Armand is a powerful 514-year-old vampire, posing as an unsuspecting Rashid, Louis’ faithful manservant. His ability to withstand the sunlight gained through the ages allows Armand to merge and blend with the human world. This contrasts Louis’ struggles with his own vampiric nature while also allowing Armand to protect Louis when he’s most vulnerable. This retouching of the original source materials gives the fandom a unique taste of familiarity complemented with an authentic twist that not many saw coming.
The upcoming season will likely adhere to the source material to a large degree, so we’re bound to see Louis and Claudia going to Europe, where they will inevitably come into contact with Armand and the Theatre des Vampires. All the events described above, including Claudia’s death, Lestat’s resurrection, and the burning of the Theatre des Vampires, are likely to transpire in the upcoming season, though it’s also safe to assume that the narrative might suffer some minor changes.
We can also expect Armand and Louis’ relationship to be put under the microscope as the narrative dives deeper into their intertwined histories recounted by Louis de Pointe du Lac, with Armand’s relationship with Daniel being nothing short of a fascinating subplot in the upcoming season. In Rice’s chronicles, Armand eventually gives the Dark Gift to Daniel in The Queen of the Damned novel — loosely adapted into a 2002 film of the same name, with a very good soundtrack.
So, there are actually plenty of exciting things in store for Season 2 of Interview with the Vampire, and Armand’s unexpected but not unappreciated appearance in the narrative has the fandom chomping at the bit to sink its fangs into the new but still captivating universe of Anne Rice’s The Vampire Chronicles. AMC had commissioned the making of Season 2 even before Season 1 premiered, but the exact release date remains hidden amongst the shadows, with the nearest possible release date poised for early-to-mid 2024.
Mild spoilers ahead…
AMC’s 2022 Interview with the Vampire TV series took a fresh approach to the beloved 1994 classic film — starring Tom Cruise, Brad Pitt, Christian Slater, and Antonio Banderas — and offered a new perspective on the life, death, and un-life of Louis de Pointe du Lac, as well as a whole new take on Anne Rice’s Vampire Chronicles. Season 1 was a masterpiece of storytelling; the recasting of Louis — portrayed by Jacob Anderson — brought a different dynamic to the narrative that offered a creative approach to the ennui of this classic vampire tale.
This is particularly true when it comes to the Season 1 finale, which was bloody — pun intended — miraculous . Besides a Mardi Gras blood feast in which plenty of plump bodies were exsanguinated, Louis and Claudia (portrayed by Bailey Bass) killed their maker Lestat — which coincidentally occurs halfway through the original Anne Rice novel — thus making it a fitting point to bookend Season 1’s narrative. However, all the gory violence and immortal-relationship woes aren’t the only things that left fans parched for more, as the narrative revealed that Rashid, Louis’ manservant, is actually the ancient vampire Armand.
But who is this mysterious vampire, and what makes his appearance in the series so exciting? Well, while Armand plays a crucial role in Anne Rice’s The Vampire Chronicles, Daniel, the reporter interviewing Louis de Pointe du Lac, doesn’t actually meet Armand in the Interview with the Vampire novel. The meeting between Daniel and Armand was made specifically for the this new reimagining.
AMC’s televised take on Louis and coterie has been a somewhat faithful adaptation that, in many ways, is truer to the book than the 1994 film ever was. Still, some liberties have been taken, like the change in setting and smaller changes in the chronology of certain events. The introduction of the vampire Armand to Daniel this early in the narrative is a significant deviation from the source material, especially when we take into consideration that the two haven’t met in the Interview with the Vampire novel but in a subsequent 1985 book titled The Vampire Lestat.
From what we know from the novels, following the apparent murder of Lestat at the hands of his own creations, the murderous duo, Louis and Claudia, depart New Orleans and set course for Europe, all under the seemingly watchful eye of Armand and an actually none-dead, un-dead, Lestat, as confirmed at the end of the Season 1 finale.
The narrative sees Louis and Claudia travel through Bulgaria, Romania, and Paris — with the latter being the city where Armand carved out his place in vampire society. Here, Armand, the oldest among those vampires, built his Theatre des Vampires, a theatre in which a coven of vampires perform horrific acts for live human audiences, who believed that the performances were mere theatrical spectacle and not a display of supernatural showmanship.
Louis and Claudia encounter the coven, which then captures Louis and executes Claudia because vampire law prohibits turning children and she’s seen as an abomination. Armand, who has developed a deep emotional connection to Louis, seeing him as a kindred spirit, frees Louis from captivity, motivated largely by his own desire for companionship. Fueled by rage and grief, Louis doesn’t leave the coven with Armand, as the latter hoped. Instead, he sets the theatre on fire and kills most of the vampires in the coven.
The two cross paths in subsequent novels, but they have the most significant amount of interaction in The Tale of the Body Thief, which is the fourth novel in the series and the one in which they develop a romantic relationship. However, in the new version developed for the television show, Armand’s story has been seamlessly woven into Louis’ narrative, and the strategic reveal of his identity provided not just a shocking twist in the series but also showcased some very clever storytelling and a deep psychological understanding of dynamics in co-dependent relationships.
This new version of Armand is a powerful 514-year-old vampire, posing as an unsuspecting Rashid, Louis’ faithful manservant. His ability to withstand the sunlight gained through the ages allows Armand to merge and blend with the human world. This contrasts Louis’ struggles with his own vampiric nature while also allowing Armand to protect Louis when he’s most vulnerable. This retouching of the original source materials gives the fandom a unique taste of familiarity complemented with an authentic twist that not many saw coming.
The upcoming season will likely adhere to the source material to a large degree, so we’re bound to see Louis and Claudia going to Europe, where they will inevitably come into contact with Armand and the Theatre des Vampires. All the events described above, including Claudia’s death, Lestat’s resurrection, and the burning of the Theatre des Vampires, are likely to transpire in the upcoming season, though it’s also safe to assume that the narrative might suffer some minor changes.
We can also expect Armand and Louis’ relationship to be put under the microscope as the narrative dives deeper into their intertwined histories recounted by Louis de Pointe du Lac, with Armand’s relationship with Daniel being nothing short of a fascinating subplot in the upcoming season. In Rice’s chronicles, Armand eventually gives the Dark Gift to Daniel in The Queen of the Damned novel — loosely adapted into a 2002 film of the same name, with a very good soundtrack.
So, there are actually plenty of exciting things in store for Season 2 of Interview with the Vampire, and Armand’s unexpected but not unappreciated appearance in the narrative has the fandom chomping at the bit to sink its fangs into the new but still captivating universe of Anne Rice’s The Vampire Chronicles. AMC had commissioned the making of Season 2 even before Season 1 premiered, but the exact release date remains hidden amongst the shadows, with the nearest possible release date poised for early-to-mid 2024.
Whether you fell for his charm as the popular kid on Degrassi or became a fan once he dropped his first album, Drake, also known as Aubrey Drake Graham, is undoubtedly a talented individual.
Drake switched from television sets to recording studios in 2006 with the release of his mixtape Room for Improvement. Since then, his career has been on an upward trajectory. With numerous singles and albums reaching the top of the charts in addition to winning five Grammys, it’s clear that Drake has made a wise career move.
Often considered alternative hip hop or emo rap, his music is filled with catchy and honest lyrics that have helped him gross over $450 million.
The Canadian rapper has built a strong fan base through his music, and before pleasing his fans with a new album, he teased his fan base with the release of a poetry book.
While this might seem like an out-of-the-blue move for Drizzy, it’s not too odd that he’s released a book of poems. After all, “rap” has been defined as “rhyme and poetry.” But does the talent of a platinum rapper translate well when his words are written in short poetic phrases instead of being attached to a beat and played over a stereo system?
About Drake’s poetry book
Rappers such as Mos Def, Common, and Lauryn Hill are known to have poetic flows that have audiences grooving while they contemplate the meaning of life. Thus it’s not too much of a surprise that another rapper, such as Drake, would try to exercise their poetry muscles. But does this actor-turned-rapper have the skills to take on this literary endeavor?
Drake’s poetry book Titles Ruin Everything: A Stream of Conscious, is a collaboration between himself and Kenza Samir. The book is supposed to accompany an album release, which can make one believe that this release of new material may be a simple marketing tactic. How serious is Drake about poetry? Or has his hip-hop exterior hidden away his more artistic and literary side?
Regardless of his intentions for putting out this book, Drake appeared excited upon its release. According to a caption on his Instagram, he wrote: “I don’t know if I have ever wanted people to buy or support something more in my life.”
Evidently, this book is meaningful to Drake, but what can fans, readers, and other poetry enthusiasts expect from this blue-covered 168-page book?
Opinions and critics of the book
According to critics and summaries of the book, it seems that, similar to Drake’s lyrics, his book of poems is meant to be silly but sprinkled with some deep one-liners.
Poet Aris Kian wrote to Complex magazine and shared over emails that the book is “a goldmine of mediocre mic drops.” Sama’an Ashrawi wrote in the article that the poems “mostly alter between bitter, jaded, and braggadocious, yet they seem to be…funny?”
Despite some critics, Drake has received support from his fellow hip-hop artists. DJ Khaled, perhaps one of Drizzy’s biggest fans, was seen on social media reading aloud passages from the book. Khaled also boasted about how Drake did the unexpected and came out with a book.
While it’s nice to see rappers supporting each other, and Drake does deserve recognition for doing something different, it is also important to promote quality over novelty.
Riddled with one-liners such as “Charged it to the game and paid the bill,” “Life isn’t fair, but karma helps,” and “Some days I got it all figured out, but most days I never learn,” the book seems to imitate Drake’s lyrical style.
For fans, it makes the book an enjoyable read. For serious poetry fans, you might agree with Kian, who was quoted in the Complex article saying, “Where he could push himself to indulge in the silliness and sentimentality that even the purest of poets would forgive, he disintegrates into petty abstractions and instead gives us lines like, ‘You were in my dream last night / They call that a nightmare, right?’”
Is Drake’s poetry book right for you?
All in all, I wouldn’t say Drake pushed any boundaries or grew to another level of artistry when writing this book — no offense to his process. However, in my humble opinion, Drake took words he would have used for a song and simplified them to appear as poems. The quality of the poetry is debatable. However, I do believe Drake fans will enjoy the book. It’s more of Drake but in a slightly different form.
The book may not impact those who aren’t already Drake fans. As Ashrawi wrote in his article, what makes Drake appealing is the whole package: the lyrics, the beat, the voice, the vocals, etc. His words may not be as attractive when you take a part of Drake and only put it into black text on white paper.
Soon after the pandemic hit in 2020, a friend of mine lost her job in the service industry. Working at a high-end restaurant brought in a great income, and she had just been promoted months prior. But she found herself, along with many others, without a job and living off limited savings. Eventually, she had to move back home with her parents and became depressed.
Then, in 2022, she was hired for a remote position with a healthcare company, making nearly twice as much money, with monthly bonuses and full benefits. She was able to move into her own place and start to rebuild.
Three years after the pandemic, Black workers, women in particular, have actually benefited from a strong labor market that has created some of the most substantial opportunities for career changes in decades. Black workers have found better-paying jobs with benefits and professional and office positions that offer remote opportunities that make life better. The Black unemployment rate in the United States fell to the lowest point on record in April.
Unfortunately, these historic gains have been showing major signs of weakness. The unemployment rate increased from 4.4% in April to 5.3% in May for Black women. Although the overall rate of job losses in the Black workforce increased, Black women were the most affected. Job opportunities have diminished, including massive layoffs and exclusions in hiring pools. The stark wage gap between Black women and nearly every other demographic group means that when they lose work, they have less money saved up to sustain through a job loss, and the results from that are felt more severely. These pay disparities continue to disadvantage Black women, even with the most impressive qualifications.
The truth is, the increased availability of remote work has saved Black women. Not only can they apply to companies in any city, but also can be free of microaggressions at work. Remote work is also great for working mothers who may struggle to find child care. For companies, this is one way they can become more equitable and inclusive.
On average, Black women earn about 38 percent less than white men every year. Even those working in high-paying fields still feel the burn of pay inequality, making just 54 cents for every dollar paid to their white male counterparts.
If we take an even closer look, we’ll find that Black women are the most educated group in the United States, according to the National Center for Education Statistics. All in all, while Black women are certainly obtaining more degrees, there’s more work to be done to ensure they can make a fair living. The data may be glum but the news does show a promising sign that Black women are working diligently to close the wealth gap and build brighter futures for themselves and their families. Some are becoming the first in their family to attend college, beating the immeasurable odds.
Researchers at the Economic Policy Institute (EPI) found that employer practices and government policies have historically disadvantaged Black women compared to white women and men, leading to a disparaging labor market. Negative representations of Black womanhood have reinforced these discriminatory practices and policies. The rise in unemployment among Black women is another example of systemic inequalities that have failed to ensure equal opportunities for all in the labor market.
Companies don’t have adequate policies to protect and promote Black women, and it’s leading to report lower job satisfaction, greater challenges to career mobility, and a higher likelihood of quitting for a different job.
After we learned that affirmative action was gutted, four Black women either lost their jobs — or left on their own accord — in the diversity, equity, and inclusion space. Disney’s chief diversity officer and senior vice president Latondra Newton exited her role after more than six years, and plans to devote more time to her self-owned creative company. Karen Horne was laid off by Warner Bros. Discovery due to a reorganization of the division. Verna Myers stepped down as Netflix’s first head of inclusion after five years. She will remain an advisor, while devoting more time to her self-owned consulting company. Film Academy’s Executive Vice President of Impact and Inclusion Jeanell English also exited.
Although there are similarities with these exits — Hollywood, diversity and inclusion positions, Black women — let’s be clear that many Black women in the corporate space have had to leave a performative position once they realized they weren’t making the impact they hoped to make. Oftentimes, Black women’s labor is exploited. We don’t know what these women had to endure within their respective positions, yet we can bet money that the road had many bumps and bruises.
The affirmative action decision came despite evidence that these policies and programs increase diversity in higher education. As for its impact in workplace diversity, it helped to grow the representation of women and underrepresented racial groups among companies. Now, we will start to see them be less inclined to call out their racial disparities within their talent pool.
Whether laid-off or pushed out, Black women are losing in this labor force. Without structural changes, actionable goals on racial equity, and inclusive cultures, Black women will have to continue to transform themselves as they navigate a system that wasn’t built with them in mind anyway. More importantly, employers have to keep the promises that they made about diversity, equity, and inclusion. They need to examine their promotion process and their policies around raising pay. Also, they need to eliminate as much bias as possible, creating more transparency on obscure pay practices that contribute to the racial and gender wage gap.