Entertainment
‘The Vampire Lestat’ Episode 6 Spoilers: Stars Break Down the Episode
Editor’s Note: The following story contains spoilers for “The Vampire Lestat,” Episode 6.
Over the last few months, “The Vampire Lestat” — AMC’s latest lusty Anne Rice adaptation starring Sam Reid and Jacob Anderson as Lestat and Louis — has given fans everything from an original album of yearning ballads to a blood-splattered fashion collaboration and an extravagant watch-party at New York’s Beacon Theatre. But one thing that the rebranded, rock-centric iteration of Rolin Jones’ “Interview With the Vampire” series hasn’t delivered is a surplus of electric onscreen moments between its two stars.
On Sunday, the action-packed penultimate episode changed that fact with a cathartic reunion between Reid’s Lestat and Anderson’s Louis that features the best moments in a pleasurably chaotic Season 3. Unfurling over a whirlwind Halloween night in Montreal, Episode 6 sees the on-again, off-again lovers rendezvousing with various characters from their past, and one who could play a big part in their future, ahead of Lestat staging a performance for an unprecedented gathering of undead. And yet, they only have eyes for each other, oozing chemistry as they navigate an evening of betrayal, scandal, and supernatural occurrences — all leading up to a final, gasp-worthy moment where the two vampires literally lose their heads.
After spending much of the season apart, filming the rollercoaster episode felt like a homecoming of sorts for Reid and Anderson — who said that, even though they’ve gotten used to making large chunks of the show separately, their time as scene partners has shaped how they approach Jones and cowriter Hannah Moscovitch’s maximalist series.
“This is what the show always was, from the beginning, for us. We started together, we started with all of these insane scenes that go off in these crazy directions, and we set the tone of how we were going to work,” Reid told me via a video call with his costar, describing how they encourage each other to lean in, especially when the scenes feel particularly “mad.”
“It’s always lovely to return to that — what the show is for us and how we work in it,” he said, comparing their dynamic to the one between Lestat and Louis, whose relationship is the beating heart of the series, even when the vampires are apart.
There’s certainly no lack of “insane scenes” in the season — based on Rice’s second Vampire Chronicles book — during which Lestat narrates his life story, revealing, among other things, his incestous relationship with his now-immortal mother, Gabriella (Jennifer Ehle). But given that, up until Sunday night, most of those scenes aren’t shared by the central protagonists, I was curious whether the “Interview With the Vampire” team was apprehensive about how the new chapter might go over with fans. After all, while AMC has proved it’s willing to bet big on Rice adaptations, it’s also already canceled one Immortal Universe series. And although Reid and Anderson may be used to spending time apart on set, for many of their show’s avid viewers, seeing them together on screen has been the big draw from Season 1’s levitating sex scene.

“I think the wonderful thing in the way that Rolin and Hannah create this show is that they are aware of the fan expectation. But I don’t think people really know what they want until they see it,” Reid said when I asked him and Anderson whether they were worried fans might be put off by the overall lack of cozy moments between their characters. The actor then suggested that, this season, what viewers may not have known they wanted — but indeed did — was uncertainty about whether they’d ever get to see Lestat and Louis back in each other’s arms.
“There was a lot of colliding together in Season 2: Even if it was in a dream or just holding each other [during their] reunion, there was still a lot of crashing into each other. But now, we’re in a much wider reverberation space, where they’re kind of hovering around each other, and trying to find a way that’s potentially more healthy back to each other. And you want to be kept on the edge of your seat in that regard,” Reid said, praising Jones and Moscovitch for having the foresight to keep audiences wanting more in the first five episodes.
“Particularly with those two, you want to feel the ache of them being apart,” because it raises the stakes when they are back together “and trying to figure each other out,” Anderson added. The English charmer, previously best known for “Game of Thrones,” then contrasted the tension surrounding the characters’ romance with, let’s say, less nuanced relationships in other shows. “I feel like it’s something I see quite a lot now, but you don’t want it to feel like people just kind of mushing their action figures together,” he said, chuckling at the analogy.
Although we spoke well ahead of Season 3’s splashy climax, the stars of “Interview With the Vampire” and “The Vampire Lestat” were unwaveringly confident about how the new season’s trajectory would go down with fans — and the network. At one point, Reid said that the arc of Lestat and Louis’ relationship “has got a long way to go,” referring to how the immortal soulmates weave in and out of each other’s lives for lifetimes in Rice’s books, but also seeming to allude to the longevity of the show. And if indeed the stars are certain that there are more chapters in store for the megalomaniacal blonde vampire and his morbid Louisianan, it makes sense that they would want to string fans along a bit.
While not all viewers may appreciate the delayed gratification, based on online reactions, there are plenty who agree with Reid’s assessment that what makes Lestat and Louis’ relationship one for the ages, on the page or screen, is that there are such extreme obstacles in their way — never more true than in the final episodes of Season 3. On Sunday night, the pair faced Lestat and Gabriella’s incest being broadcast online by Daniel Molloy (Eric Bogosian), the vindictive ghost of Claudia (Delainey Hayles) cursing their names, and a spurned Armand (Assad Zaman) exacting his revenge with a very large sword. And after a season of following Lestat across the centuries with different romantic interests, including the groupies he picks up in the near-present, the dizzying reunion made for a thoroughly engrossing watch.
Given Jones’ flair for the dramatic, this week’s upcoming finale should deliver even more attention-grabbing moments, even after the last episode ended with the main characters getting decapitated. Following a now well-established formula, the series creator has managed to keep audiences guessing this season by pulling in threads from various Vampire Chronicles books, in addition to delivering the big moments from 1985’s “The Vampire Lestat.” (In Episode 6 alone, in addition to a major storyline from the seventh novel, “Merrick,” there are plot points and Easter eggs from “Queen of the Damned,” “The Tale of the Body Thief,” “The Vampire Armand,” and on and on.) And while that sometimes makes for more story than one can reasonably keep up with, it’s also a big reason for the show’s popularity and for its stars’ enthusiasm.
“I totally trust Roland and Hannah in their ability to adapt, like, nearly impossible books,” said Reid, referring to Rice’s dense vampire novels, which he’s somewhat of an authority on. “It’s a very rare skill set to be able to encapsulate the emotions of a book onscreen and still be very, very truthful to those storylines.”

Using as an example the incestuous relationship between Lestat and Gabriella — which is merely subtext in Rice’s series, since her immortals don’t have sex — Reid praised Jones and Moscovitch’s adeptness at drawing from the books and then making certain elements more explicit or diving in deeper to character analysis when needed.
“The two of us just feel so blessed to be able to be working with this level of writers on [what] is fundamentally a genre vampire show. They are using the metaphor to the most extreme degree to explore all of these amazing aspects of humanity, while honoring the source material that has a built-in fanbase and giving them this iconography that they want to see,” he said of the show’s creative team.
“They take us to some crazy, crazy, and sometimes terrifying places. Sometimes, [I’m] like, ‘Are you sure you want to do that?’” Reid added, laughing to himself as he thought about occasions when he’s told Jones, “This is so full on.” “And, you know, Rolin always says to me, ‘Don’t worry about making people angry now. You’ll look back at this in 10 years and be proud.’”
Anderson then added his praise for the writing, which the actors said they follow to the word, and the fact that every decision made by Jones and his collaborators is meticulously thought out. “People that really know the books and know the characters in the books, [can see] how something is taken from one era or from one character and put into a new era or into a different character,” Anderson said, adding that it’s just a matter of time before other viewers will catch on to the brilliance of the show’s amalgamated plot. “With Louis, for instance, there are pieces of adaptation that have already happened that might not be immediately recognizable, but will all come together.”
Reid and Anderson have been thirsted over on Reddit, regularly attended Comic Cons, and signed on for junket after junket for nearly four years now, but they somehow sound more enthusiastic about Jones’ “Interview With the Vampire” project than ever. The way they talk about working on the series and with each other, it’s clear that they see both as a long-term commitment — which is welcome news for viewers expecting an exciting “Queen of the Damned” adaptation starring series newcomer Sheila Atim, who appears briefly in Season 3 as the queen herself.
With this “The Vampire Lestat” nearly put to rest, I couldn’t help but ask the stars whether they’d discussed how many seasons they might actually be up for, but they just smiled knowingly and said that they “discuss most things.” They revealed that they’ve talked “in length” about Season 4, though they wouldn’t offer up any specific details. When asked before it was time to sign off if they were fans of Michael Rymer’s “Queen of the Damned” — the 2002 feature adaptation known for Aaliyah’s head-turning performance as Queen Akasha — Reid did roundaboutly provide some insight into just how far into the conversation they may be.
“I have a nostalgic love of that film. That’s what got me into reading the [Vampire Chronicles] books in the first place, because they shot it in Australia,” the New South Wales native said of Rymer’s take on the third book in Rice’s series. “I was a kid at the time, and I was always interested in what they were shooting in Australia. So I read the books, and I ended up loving them because of that.”
Clarifying that he was also a fan of the title because of its lead, he said, “And I love Aaliyah. I think she was amazing. But Sheila Atim is incredible, and she’s very much the Akasha of our show, and I’m really excited about that.” Then, laughing, he added, “And yeah, that’s all I have to say about that film.”
“The Vampire Lestat” finale airs Sunday, July 19.
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movies
Vietnam’s Skyline Sets North America, Int’l Rollout For ‘Mr. Hero’
EXCLUSIVE: Vietnamese comedy drama Mr. Hero, produced by three Vietnamese production outfits and Fremantle’s Singapore-based Beach House Pictures, is set for a wide international rollout following its premiere yesterday at New York Asian Film Festival.
Directed by Vo Thach Thao (hit series The Apple Tree Blossoms) and produced by Timothy Linh Bui (Sister Sister), the film is being handled internationally by Vietnam’s Skyline Media, which is collaborating with Eastern Edge Films on an August 7 release in North America.
Beyond North America, Skyline has also secured theatrical releases for Mr. Hero in Australia and New Zealand through Infinity Entertainment, from July 23, while a further deal has been concluded with J Cineplex for a Myanmar theatrical release in the third quarter of 2026.
Produced by Vietnam’s Happy Canvas, HK Film and V Pictures, along with Singapore’s Beach House Pictures, the film was released in Vietnam in late April for the Reunification Day holidays.
Vietnam’s “box office king” Thai Hoa (Hijacked, Tunnel: Sun In The Dark) heads the cast of the film, which also stars Vo Tan Phat (Money Kisses), Hong Anh (Blood Moon Party), Le Thien (Goodbye Mother) and Doan The Vinh (Face Off 8: Embrace Of Light).
Inspired by the increasingly sensitive social issue of online charity fraud, the family drama follows a struggling taxi driver and single father who sets up a risky plan that turns him into a viral “street hero” in order to raise money for his critically ill daughter. However he discovers how quickly public sympathy can turn into outrage when the truth begins to emerge.
The film received its international premiere at the ongoing NYAFF as part of the festival’s Country in Focus: Vietnam section.
New Jersey-based Eastern Edge Films, founded by Jawahar Sharma, specializes in theatrical and non-theatrical distribution of Asian and Arabic-language films across North America. The company previously collaborated with Skyline on Vietnamese titles The Real Sister, The Ancestral Home and Leaving Mom.
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movies
Paramount’s David Ellison Meets With House Members On Tax Incentive
Paramount CEO David Ellison was meeting on Monday with members of the House Ways & Means Committee to promote a federal film tax incentive, sources said.
Ellison and Chief Legal Officer Makan Delrahim were among those meeting with the lawmakers. The idea of establishing a more robust federal incentive has drawn support from members on both sides of the aisle, amid concerns over the flight of productions overseas.
The Ellison meeting is taking place on the same day that California’s attorney general, Rob Bonta, led 11 other states in suing to block Paramount’s proposed merger with Warner Bros. Discovery. Paramount has said that the combination actually would boost a needed rival to Netflix, but the lawsuit claims that it will give the company more market power to extract favorable terms from theatrical exhibitors and cable distributors.
Sen. Adam Schiff (D-CA) has been working on legislation, but has not yet introduced a bill. He said in March that “state programs simply cannot substitute for the kind of globally competitive federal tax incentive that is needed to bring production back to American soil and stop its offshoring.”
Representatives from guilds and unions also have been lobbying for a federal incentive, along with figures like Noah Wyle and producer Chris Fenton. Politico first reported on Ellison’s meeting.
A challenge for any incentive bill would be the legislative calendar this year, as lawmakers have just a couple of weeks before summer recess, then return to face another end-of-fiscal year government funding deadline on Sept. 30. Congress is expected to be out of session in October for midterm campaigns.
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movies
Nansun Shi Dead: ‘Infernal Affairs’ Producer Was 75
Nansun Shi, the pioneering Hong Kong producer and executive who helped shape the territory’s cinematic golden age as the co-founder of Film Workshop, and who later produced Infernal Affairs — the cult crime thriller Martin Scorsese would remake as the Oscar-winning The Departed — died Monday at Hong Kong Sanatorium & Hospital. She was 75.
Film Workshop, the production house Shi launched with director Tsui Hark in 1984, said in a statement that she had been in declining health since 2022 due to complications affecting her immune system, and that recurrent infections in recent months had resulted in “multiple organ dysfunction.” Shi died peacefully at 8:51 p.m. local time with family and loved ones at her side, the company said, adding that memorial and funeral arrangements would be announced at a later date.
Across a career spanning more than four decades, Shi ranked among the most influential figures in Hong Kong film — a key contributor to its glorious 1980s heyday, an architect of its early-2000s revival and one of the first local producers to construct genuine international distribution pipelines for Chinese-language cinema, at a time when few of her peers looked beyond the region. She was also among the earliest Hong Kong producers to shoot in mainland China, in an era when the two industries barely collaborated.
Born and educated in Hong Kong, Shi studied statistics and computing at the Polytechnic of North London before returning home to begin her career in television, working for broadcasters including TVB and Rediffusion in the mid-1970s.
Her movie career began in 1981, when she joined the upstart commercial comedy banner Cinema City as executive director, overseeing administration, financing and — crucially — overseas sales and festival strategy while Shaw Brothers and Golden Harvest still ruled the local business. Colleagues affectionately nicknamed her “Housekeeper” for the way she kept the young company’s sprawling operations in efficient order. Her credits from the period include the hit comedies Aces Go Places II and Till Death Do We Scare.
In 1984, she departed alongside Cinema City’s most ambitious young talent, Tsui Hark, to establish Film Workshop — a home for projects too idiosyncratic for their former employer’s commercial pipeline, and, in time, one of the most storied banners in Hong Kong film history. Beginning with Tsui’s Shanghai Blues (1984), its output grew to include Peking Opera Blues, A Chinese Ghost Story, the Once Upon a Time in China series and John Woo’s A Better Tomorrow (1986) and The Killer — key titles in the action canon that powered Hong Kong cinema across the globe. Shi married Tsui in 1996 and the couple divorced in 2014, but never stopped making films together.
In 2002, Media Asia chairman Peter Lam recruited Shi as vice president, and alongside Andrew Lau and John Chong, she produced Infernal Affairs, the rigorously inventive undercover-cop thriller directed by Lau and Alan Mak and starring Andy Lau and Tony Leung Chiu-wai. The film helped revitalize a then-flagging Hong Kong industry, spawned two sequels and was remade by Scorsese in 2006 as The Departed, which went on to win the best picture Oscar.
Shi’s later producing work with Beijing-based Bona Film Group included the Overheard thrillers, Derek Yee’s The Great Magician and Ann Hui’s A Simple Life, which won Venice’s 2011 best actress prize for star Deanie Ip. In 2007, she co-founded the international sales agency Distribution Workshop with Jeffrey Chan, which she ran until her death. Her later festival contenders included Flora Lau’s Bends, which bowed in Cannes’ Un Certain Regard in 2013.
Through it all, Shi kept Film Workshop running as an independent banner, producing Tsui titles including the Detective Dee films, Flying Swords of Dragon Gate and The Taking of Tiger Mountain. Her final credit came on Tsui’s Legends of the Condor Heroes: The Gallants, the Lunar New Year box office hit from 2025.
Shi served on the main competition juries of both Cannes and Berlin, and she received regular recognition from across the international film world. France named her an Officier de l’Ordre des Arts et des Lettres in 2013; Locarno presented her its Premio Raimondo Rezzonico for best independent producer in 2014; Italy’s Far East Film Festival in Udine gave her its lifetime achievement honor in 2015; the Berlinale bestowed its Berlinale Camera in 2017; and China’s Pingyao festival honored her contribution to Chinese cinema in 2019. She was also a perennial presence on The Hollywood Reporter‘s annual Most Influential Women in Global Film list.
In 2025, the Hong Kong Film Awards presented Shi and Tsui with a joint lifetime achievement award — a final shared bow for a partnership that helped define the city’s cinema across more than 40 years.
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