Television audiences have long demonstrated a willingness to forgive a fictional character for almost any transgression, provided they are portrayed as a sharp-fanged, velvet-clad vampire. This trend is currently exemplified by the musical drama The Vampire Lestat, which gained a cult following in the United States earlier this year and has now premiered in the UK. Sam Reid’s portrayal of the title character has drawn significant attention, marking a shift from the show’s initial two seasons, which were titled Interview With the Vampire.
While the earlier seasons focused on the interview process where Louis, played by Jacob Anderson, recounted his volatile relationship with Lestat, the narrative has now pivoted to center on Lestat himself. In this new iteration, the character transitions from centuries of reclusive secrecy into the spotlight of glam-rock stardom. To prepare for the role, Reid studied bootlegs of David Bowie’s 1974 Cracked Actor tour to capture the necessary showmanship, magic, and mystery required to command an arena. The result is a performance that embodies a “dandy of the underworld” aesthetic, complete with glittery eyeshadow, ribboned pigtails, and a permanent lack of shirts that highlights his scarred chest.
Lestat’s on-stage persona is defined by campy musical numbers, where he sings lyrics like “Don’t wanna learn another TikTok dance/Wanna stay in bed, eating black liquorice” and “You can’t fuck away the loneliness / It’ll wait til you’re done / Til you come / Like a vampire.” His off-stage life is equally provocative, involving a sexual relationship with his mother, Gabriella—played by Jennifer Ehle—and the consumption of LSD-laced blood. He is known for delivering lines such as, “I carry with me an immortal erection,” cementing his status as a symbol of uninhibited sexual freedom.
The appeal of the vampire on screen is a well-documented phenomenon. Alexander Skarsgård’s turn as Eric Northman in True Blood and Lady Gaga’s portrayal of The Countess in American Horror Story are notable examples of this allure. Other instances include the cast of What We Do in the Shadows, the vampires in The Vampire Diaries and Supernatural, Claes Bang’s performance in the BBC’s Dracula, and a brief appearance by Jeff in the “Horror Fiction in Seven Spooky Steps” episode of Community, where Annie expresses admiration for his character.
The enduring fascination with these figures stems from their representation of absolute freedom, immortality, and beauty. They often serve as a canvas for exploring toxic romantic tropes, such as the “I can fix him” narrative, which mirrors societal conditioning to pursue romantic leads who are persistent despite rejection, as seen in films like You’ve Got Mail or the series You. Characters like Spike in Buffy the Vampire Slayer exemplify the “bad boy” archetype transformed by love, while Angel’s narrative explores the catastrophic consequences of intimacy on his moral compass.
Beyond the surface-level tropes of leather jackets and intense magnetism, the vampire figure holds deeper historical significance. In her 2024 book, Vampires: A Handbook of History & Lore of the Undead, Agnes Hollyhock argues that gothic fiction utilized the vampire to challenge Victorian moral panic. By operating outside of conventional family structures, gender roles, and linear time, vampires represent a rejection of polite society and a symbol of forbidden intimacy. Lestat’s unapologetic queerness and his complex, often violent, history with Louis and Gabriella highlight why these characters remain such potent, intoxicating fixtures in modern television. The report also notes that (Think about it: pop culture has long conditioned us to desire the romcom hero who relentlessly pursues a female lead despite being told no until he wears her down, such as Joe Fox (Tom Hanks) in You’ve Got Mail or Joe G. The report also notes that just sharpen his fangs and stick him in velvet, i f you want TV audiences to forgive a fictional man for absolutely anything. The report also notes that he writhes, growls and grinds on stage as he plays the fiddle and belts out ridiculously campy songs. The report also notes that too, in The Vampire Diaries, Supernatural and the entire cast of What We Do in the Shadows, who are somehow ridiculously hot despite being total buffoons (Matt Berry has ruined normal men for me), endlessly seductive vamps show up. The report also notes that and even Jeff’s fleeting stint as a vampire in Community’s Horror Fiction in Seven Spooky Steps episode sees Annie swoon over her tame bloodsucker, breathlessly sighing, “Look how much I’ve changed you!” when he begins quoting literature at her, claes Bang in the BBC’s otherwise chaotic Dracula was undeniably easy on the eye. The report also notes that serving as the ultimate canvas for the toxic romantic tropes we secretly indulge in on screen, they can also tap directly into our shadow selves. The report also notes that (Think about it: pop culture has long conditioned us to desire the romcom hero who relentlessly pursues a female lead despite being told no until he wears her down, such as Joe Fox (Tom Hanks) in You’ve Got Mail or Joe Goldberg (Penn Badgeley) in You.) When it comes to vampires as romantic figures, we’re leaning heavily into the ultimate “I can fix him” trope. The report also notes that yet kneels at your feet, what is more intoxicating than a dangerous immortal who wipes out entire towns.