Season one of AMC’s Interview With The Vampire (2022) from AMC just dropped on Netflix US, allowing a new plethora of fans to sink their teeth into this gothic-horror romantic drama. Amidst the high praise, critical acclaim, and occasional thirst tweets, there is one common question uniting viewers: where is Jacob Anderson’s Emmy nomination? 

Anderson portrays Louis De Pointe Du Lac – the titular vampire being interviewed – in this adaptation of the Anne Rice book series. Season one focuses on Louis’ relationship with Lestat De Lioncourt (Sam Reid) and his transformation into a vampire. Their tumultuous relationship is complicated even more by the turning of Claudia (Bailey Bass), a surrogate daughter to the couple. 

In contrast to its source material and previous adaptations, the show crafts a more nuanced version of Louis. Historically, Louis is a white plantation owner who struggles with becoming a vampire, and by proxy, a killer. In contrast, this Louis is a closeted Black man in the 1900’s American South. Self-acceptance is not solely based on accepting one’s vampire nature but instead on confronting one’s sexuality, race, gender, and societal expectations.

The writing for the show is superb, but Anderson’s performance as Louis De Pointe Du Lac elevates the story to new heights. Anderson is tasked with portraying Louis throughout various periods of his life. Louis begins the show as a human hunted by Lestat, transformed into a conflicted vampire balancing his humanity with his thirst for blood, and finally emerging as the modern-day Louis regaling his story via interview. Each version of Louis feels like an entirely different character. Anderson seems as if he has aged through the centuries despite physically remaining the same. 

The younger, human Louis is dangerous and somewhat cruel. We first meet him as he pulls a knife on his brother for disrupting his business. Louis wears masculinity like a mask, hiding behind veiled threats and sly smiles. He oozes confidence and has a swagger to how he acts that dares you to either fall in love with him or stay far, far away. Anderson’s perfection of the New Orleans accent should be studied in acting classes as the words drip like honey – or warm blood – from his mouth. 

Still, Louis is a Black man navigating a white man’s world. His perceived power shrinks to “yes, sirs” as he is cast aside by the wealthy white men in power. With each moment, we see the frustration and self-doubt on Louis’ face rise through the surface. It would be so easy to hate Louis, but Anderson brings a silent misery to him, alerting you that there is much more to the character than it seems. 

Once Louis accepts Lestat’s offer to become a vampire and “be all the beautiful things you are and be them without apology,” he is still forced into a role that does not come naturally to him and must continue the charade. He refuses to kill. When he does allow this indulgence, Anderson plays these moments with a chaotic brutality that enamors rather than disgusts. It’s thrilling to see him completely unhinged and acting on impulse. It leaves you selfishly wishing he’d kill more – that is until you see his remorseful eyes full of regret and wish you could take his pain away. 

In contrast, modern-day Louis is eerily stoic with a perfect posture. His New Orleans accent is gone. His tone always remains neutral, even when attempting to intimidate the interviewer. This version of Louis is not seeking validation or respect from others – he knows he already has it. His eyes are wise and impenetrable, albeit a bit creepy due to the colored contacts he wears. Still, there is something off about the way he presents himself. Anderson is too rigid in his seat. His words are too calculated as he speaks. It is unsettling and slightly terrifying.

The moments when Louis is thrown off by the interview lead the audience to sigh in relief. It’s cathartic to see this side of Louis and realize there is something real behind his carefully constructed demeanor. This detached version of Louis is a performance as well, a trait that he’s carried with him through the years. 

The layers to this character make Anderson’s portrayal of Louis so exceptional. Unlike other characters on the show, Anderson is forced to navigate the passage of time by portraying a character at multiple ages, depicting the human and vampire versions of said character. The show’s ensemble is phenomenal, but none are tasked with the same levels of intricacy as Anderson. Louis is a challenge in a league of its own, but Anderson never falters.

It is, unfortunately, not surprising that the Emmys would snub a performance as daring as this. It may be difficult for some critics to engage with a story that, at first glance, seems solely focused on a Black gay man’s experience as a vampire. However, to categorize Anderson’s performance as simply that misses the nuances of both the show and the character. Anderson is subtly giving one of television’s best performances, and I feel blessed to be able to witness it. Let’s hope that with the Netflix buzz around the show, the television awards bodies can’t ignore it any longer. 

Article Courtesy of Kamryn Ryan

Feature Image Courtesy of Image Credit to Alfonso Bresciani/AMC via Collider