Interview With the Vampire Season 2 Episode 4 Recap: ‘I Want You More Than Anything In The World’

We’ve hit the halfway mark of this thrilling new season of Anne Rice’s Interview With the Vampire, and episode 4, I Want You More Than Anything In The World, is nothing short of an emotional roller coaster. 

In the past, we’re taken on a whirlwind journey with Claudia’s (Delainey Hayles) dazzling debut on stage, only to witness a heartbreaking punishment that follows when her passion for acting wanes. The repercussions of Armand’s (Assad Zaman) denial to eliminate Louis (Jacob Anderson) as the coven demanded start to unravel, and mutiny seems to be brewing in the Paris Coven. 

We also learn Armand’s backstory and how he came to be who he is both in the past and present, adding depth to his character. Santiago (Ben Daniels) edges closer to uncovering the truth about Claudia and Louis’ lives before Paris, while Louis makes the gut-wrenching decision to finally move on from Lestat (Sam Reid).

Meanwhile, in the present, the tension between Armand and Louis starts to show. What at first seemed like a very solid and united front now starts to show signs of cracks. Not everything is as it seems, and it appears that Louis and Armand aren’t on the same page anymore. 

As Daniel’s (Eric Bogosian) memories from 1973 continue to resurface, we get more glimpses into the mysterious events of that first interview. So buckle up, folks, because I Want You More Than Anything In The World is packed with lots and lots of drama and revelations. 

But anygays, if you missed our recap of Episode 3, No Pain, you can catch up here. Also, don’t forget to check out our spoiler-free review of the first six episodes of Anne Rice’s Interview with the Vampire Season 2 here.

Just like in our previous recaps, we’re keeping it simple. We’ll start with the recount of the past before jumping into all the juicy details of the present-day interview. So let’s dive into the recap!

PSA: If you haven’t caught up on the fourth episode of the second season of Anne Rice’s Interview With The Vampire titled I Want You More Than Anything in the World, you might want to hit pause on this recap and come back once you’re ready. From this point forward there will be a lot of spoilers for the episode. You’ve been warned, so tread carefully.

In the Past: I Want You More Than Anything in the World

I Want You More Than Anything in the World, kicks off in the past with Claudia’s grand debut on stage in “My Baby Loves Windows.” She’s playing Baby Lulu, and despite the play’s silliness, she nails it with her rendition of “I Don’t Like Windows When They’re Closed,” captivating the audience. Backstage, Santiago wastes no time expressing his hatred for the song (and honestly, we can’t blame him—it is kinda annoying but so damn catchy). Louis watches, bemused but proud, as Claudia shines in her debut. The play might be silly, but she’s got the audience in stitches.

As time passes, though, Claudia grows tired of it all. The fanatics who used to dress as vampires now show up as Baby Lulu—the little girl Claudia plays. So after yet another tedious performance, Armand confronts Claudia about her apathy. Claudia, calling Armand maître (French for master), explains she’s a fierce vampire trapped in a child’s body, reminded of it every night by the costume and the mocking audience. She relives every condescending look and comment she’s ever endured. Naturally, her passion for the stage has faded, and she asks to work backstage again.

Armand isn’t having it. He points out that working backstage is humiliating and it is an honor to be on stage. And so to reignite her passion, Armand decrees that Claudia will no longer remove her costume; she’ll live as Lulu off-stage until Lulu returns to Claudia on stage.

Santiago defends Claudia, noting that despite her lack of enthusiasm, the audience still sang in full voice. Armand retorts that the applause of mere mortals isn’t the measure of the Théâtre des Vampires. Santiago, however, questions why Claudia is singled out for her waning passion when the entire company feels it. The rest of the coven agrees, suggesting Armand might not have noticed since now he’s been sporadically attending the theater. They believe everything has been off since Louis was granted dispensation from coven membership.

Armand defends Louis, saying he takes all the proper precautions, but the coven disagrees. They argue that Louis still endangers them by exposing himself in public places. Claudia tries to defend Louis, but Santiago interrupts, questioning Armand’s decisions. Why discipline Claudia but let Louis run wild? Santiago bluntly asks if Armand and Louis are companions now. Armand says yes, but Louis disagrees. It seems someone is unable to fully commit.

But anyway, later, as Louis and Armand spend the night together, Armand asks about their situationship. Louis is evasive, saying it’s whatever Armand wants to call it, but “companion” isn’t the word he’d use. Armand is visibly unhappy. Louis tries to make a point by asking Armand about Louis’ family, but Armand doesn’t have the answers. Louis reassures him it’s okay; they don’t talk much about family. Still, Armand remains upset. Just then, Dreamstat pops up, asking Louis how he manages Armand (lol).

Louis explains to Armand that they see each other when they want and are alone when they want. It’s good, it’s easy. Armand disagrees, pointing out the dangers he faces nightly for Louis, exacerbated by Louis’s attitude. Armand points out Louis’ absence from hunts and performances and the burden of keeping Louis’ secret. Dreamstat, ever the comic relief, asks about the secret but quickly realizes that HE is the secret. Dreamstat’s timing is impeccable, folks; we love every second he’s on screen.

But moving on…Dreamstat teases Louis about how the room heats up whenever he is mentioned. Louis, irritated, lights a candle with his mind. Armand congratulates him on mastering his abilities, but Louis admits it only works when he’s thinking of things that piss him off. Armand doesn’t know it, but Louis was thinking of Lestat, so yeah. 

But anyway, Louis offers to spend more time at the theater, and the two seem to reach an understanding. When they exchange sweet “I love yous,” Dreamstat bursts into mocking laughter, mimicking Louis’ words. And honestly? We could watch Dreamstat all day, every day. This conjured version of the vampire is our favorite thing this season.

Meanwhile, in the theater, Claudia heads to the wet room and retrieves one of her diaries from a cold locker. Just as she begins to write, Santiago appears, asking what she’s writing. Claudia asks why he’s lurking, and he says he’s honoring the blood—their latest victim moved him, so he wanted to hear the heartbeat one last time. 

Santiago reminds Claudia that no vampire should write their history, but Claudia insists it’s just her random thoughts—a habit. Santiago asks her to read some of them. The things Claudia reads don’t really surprise Santiago, who is expecting something juicier. She says there are a few things about him and throws her diary at him.

Santiago tells her that Armand has a grave attachment to the laws and that while Claudia may feel protected by Armand’s tender attachment to Louis, she’s still at risk. Claudia throws her diary to the rats so it’s destroyed. Santiago tells her not to be so melodramatic, saying he’s bent the law with the girls at Le Chanabais but is rigorous when he does it. He retrieves Claudia’s diary and gives it back to her. We can see Santiago setting up a trap from a mile away, but we digress.

As part of her punishment, Claudia has to promote the show dressed as Baby Lulu, walking the streets of Paris with a sign attached to her body. It’s plain obvious she’s over it. While trudging along, she encounters Madeleine (Roxane Duran), the tailor who sold her the dress back in Episode 2. They bicker for a bit, but Claudia proudly tells her that she’s an actress now. Their bickering has a playful edge, and Claudia leaves Madeleine a flyer for the show, hinting at an unexpected friendship in the making.

Meanwhile, the coven enjoys a night out at a restaurant. Louis is enthusiastically telling Claudia about a place where artists, poets, and photographers gather. Santiago, unimpressed, wonders what Armand sees in him, not finding Louis particularly attractive. As Louis waxes poetic about Paris birthing modernity itself, Santiago mockingly echoes his words, turning Louis’s enthusiasm into a parody.

Santiago continues to taunt Louis, questioning his claim of being from Chicago and suggesting his accent sounds too French. Louis snaps back, accusing Santiago of being a parrot, good only at mimicry. Pushing further, Santiago asks Louis to say “New Orleans,” which makes Louis lose his temper. He lunges at Santiago, grabbing his tongue and calling him a buffoon. Armand intervenes, freezing time to keep the humans from noticing the chaos and sternly telling Louis and Santiago to act their age—if they want to behave like fledglings, they should do it in darkness.

Louis, making sure Claudia is alright, leaves despite Armand’s pleas to stay and avoid further trouble. He heads to a gallery to see if he can showcase his photography. The gallery owner, from whom Louis bought a painting in the past, isn’t impressed with Louis’ nighttime shots. However, a picture of Armand catches his eye, noting it shows a hidden fragility. Louis insists the man in the picture isn’t fragile, but the owner says then the photo was a lucky shot since it reveals what’s hidden beneath the surface. 

He then shows Louis a picture taken by another young American photographer, remarking that this other man “has the eye.” Louis, feeling insecure about his skills, asks if that means he doesn’t have it. The gallery owner clarifies that Louis does have the eye because he can see it in others’ work but questions Louis’ ability to project it into his own work. Disappointed and frustrated, Louis storms out, cursing the gallery owner.

Meanwhile, Madeleine attends Claudia’s play. After the show, she and Claudia exchange words, and Claudia offers to walk her home. Back at home, Louis rants to Dreamstat about the gallery owner’s critique, frustrated by the limitations of nighttime photography. Dreamstat listens, amused, and advises Louis to be more patient with lighting, especially when the moon is his only source. We gotta be honest, Louis and Lestat’s bond is so palpable in this scene that Dreamstat feels almost real.

But anygays, their moment is interrupted by Armand, who, reciting poetry, invites Louis on a romantic walk. Armand ends up taking Louis to his favorite walking spot: the museum. And of course, Dreamstat tags along, observing everything from behind. Meanwhile, Claudia and Madeleine bond at the boutique. Madeleine shares her struggles, including the fact that people draw Nazi signs on her windows every night because her previous partner was German.

At the museum, Louis seizes the opportunity to tell Armand that he doesn’t need him to intervene with Santiago and mentions that he also disapproves of Claudia being punished by wearing the doll dress. Armand says he’s not Lestat, to which both Louis and Dreamstat respond with “Okay.” Louis then asks Armand who he really is. 

In a vulnerable moment, Armand shares with Louis a painting, “The Adoration of the Shepherds with a Donor,” by Palma Vecchio, a contemporary of his maker, Marius de Romanus. Marius, also a fine painter though of lesser skill, is the donor in the title. The painting was created in Marius’s studio, and in this case, the donation was in kind—a boy named Amadeo. 

Armand reveals he was this boy, rescued from a brothel when he was 15 and named Arun at the time. The abuse in the brothel left his memories fragmented, and he’s not sure if that was even his real name. His parents had sent him to work on a merchant boat to Delhi, but in reality, they had sold him into slavery to the ship’s captain.

For Armand, memories are pieces of a harsh puzzle: being cuffed on the boat, enduring the brothel, and then being purchased and renamed by Marius. His maker was reluctant to share the Dark Gift, knowing the burden it would bring. Despite this, Armand, then Amadeo, served Marius with all his heart, basking in his maker’s mercy. Amadeo had a skill, and if a friend wandered into town, he was occasionally “donated.” But that was seven years before he was stricken with illness and turned into a vampire.

Armand continues, sharing how the coven in Rome gave him his current name after they set fire to the studio and his maker, sending him to lead the Paris coven that had been abandoned by Magnus. Magnus, who begat Lestat. Lestat, who begat Louis. Such a tiny vampire world. But anyways, Armand then turns to Louis, inviting him to answer his original question. Who is Armand? His own history, the job he didn’t want?

In the boutique, Madeleine starts questioning Claudia about her nature since they met two years ago and she hasn’t changed a bit. Claudia blames the war, briefly summarizing her life as a series of dark events. She confesses that she might be drawn to this darkness, believing there’s something broken within her. Just as they begin to connect more deeply, Claudia realizes Madeleine has bled through her period and has to restrain herself as her fangs come out. Madeleine excuses herself to clean up, and at that moment, Armand arrives, dragging Claudia back to the theater.

On their way there, Claudia defies Armand, but he uses his knowledge of what happened to Lestat to reassert his control over her. Meanwhile, Louis is at home, burning his photographs, believing he’s wasted time. Dreamstat appears, reassuring him that time is irrelevant to them as immortals. At that moment, Claudia storms into the apartment, furious, and tells Louis that Armand knows everything about Lestat. 

She demands to know how long Armand has known, and Louis admits he knew all along since the old vampire read their minds on the first day. Claudia, feeling betrayed, asks why he kept it from her. Louis explains that she was unhappy everywhere except Paris, where she was finally beaming. Claudia reveals that Armand just threatened her with this secret, but Louis refuses to believe it. Frustrated, Claudia accuses Louis of being blinded by love, choosing Armand over her. Louis counters that she chose the coven over him first. Still furious, Claudia storms out.

Louis starts to burn Armand’s picture but stops himself, deciding instead to ask Dreamstat on a hunt date. As Louis leaves to hunt, Santiago and the rest of the coven break into his home. During their stroll, Dreamstat asks Louis what they’re hunting for, and Louis replies with whatever Lestat wants. Dreamstat, feeling Armand’s presence, realizes Louis has summoned him. Dreamstat thinks Louis is breaking up with Armand and says it was always doomed to happen. Louis reveals that Dreamstat is just a figment of his imagination and that he is actually breaking up with him. 

Dreamstat, heartbroken, asks why Louis pictured him in that specific suit, and Louis confesses that it’s his favorite on him. In a heartbreaking moment, Louis lets the rain wash away his version of Lestat. But Dreamstat, refusing to leave without a fight, mentions that he had the tailor inscribe Louis’ initials on the backside of his suit’s ticket pocket, right over his heart. But the memory fades before he can say more.

Armand arrives and takes Dreamstat’s place. Louis tells him he felt his panic. Armand confesses that the coven is unraveling, with mutiny brewing and members doing as they please. Louis suggests that Armand should make Santiago believe he will be the leader one day, once Armand is gone. Meanwhile, back at Louis and Claudia’s apartment, Santiago finds Claudia’s diaries, including the one detailing what she and Louis did to Lestat.

As Armand tells Louis that he wants him more than anything in the world, Santiago, already treated as the leader by the coven, instructs them to meet back at the theater, staggering their arrivals so Armand doesn’t notice. He takes Claudia’s diary with him, setting the stage for further conflict in the near future. The tension!

In the Present: What the hell happened in 1973? 

In the present-day section of I Want You More Than Anything in the World, Daniel asks Armand how Claudia liked being infantilized for the play. Armand’s response is simple, “Coven life requires a letting go of the self.” Louis, however, seems to disagree, creating a noticeable tension between him and Armand that wasn’t there before.

Armand and Louis share with Daniel that Claudia’s show was a hit; they added extra performances and even sold souvenirs. They also introduced a French performance on Wednesdays, despite the Théâtre des Vampires company traditionally presenting plays only in English. When Daniel inquires about the rest of the coven’s reaction to Claudia’s success, Armand and Louis again seem to disagree, hinting that there’s more beneath the surface. 

Daniel brings up a note Armand put on Claudia’s script, inviting her to “find Baby Lulu’s inner childlike wonder again,” but also asks her to at least enunciate if she won’t do anything else. Louis defends Claudia, saying that by the 500th performance, she was beyond bored. Armand counters that it wasn’t boredom but sabotage.

As the conversation shifts to the night Louis and Armand discussed the status of their relationship while Dreamstat was present, Daniel wonders aloud if Louis is schizophrenic. Louis denies this, joking that perhaps once Daniel’s book is published, physiotherapists will write papers on his condition. Armand joins in the mockery, adding, “Until then you have Daniel Molloy.” This exchange triggers a memory in Daniel, who once again clearly sees Armand’s face in his recollections from the interview in 1973.

Louis asks Daniel if he would like to know what it felt like to have Dreamstat there in those moments. He describes feeling the movement of air with Lestat’s movements, his breath on the back of his neck, and that if he reached out to touch Lestat’s hand, it wouldn’t be his hand, but it wouldn’t not be his hand either. Armand appears shocked, mad, and even jealous of the depth of Louis and Lestat’s connection, having seemingly been unaware of its extent.

Daniel questions Armand if he felt Lestat in the room too, to which Armand bitterly replies that he didn’t and wasn’t aware of how present Lestat seemed to be. Trying to play it cool, Armand says that looking back, he can understand it. Despite this, both Louis and Armand appear uncomfortable. Louis remarks that he was severing one bond while knitting another. 

Daniel, trying to regain control of the interview, opens a file from his computer that shows a newspaper article about a fire at the theater and boldly asks Louis and Armand if they were the only ones who survived the fire. Armand, somewhat evasively, tells Daniel that he was not provided with any information regarding the fire in their archives. As Daniel and Armand exchange words, more memories from 1973 resurface in Daniel’s mind, including a moment where Armand spoke to him with a TV on in the background. 

Daniel snaps out of the memory and quickly claims that one of his researchers found the information about the theater in a library. He claims his researcher thinks they’re working on a book about the post-war reconstruction of Paris. Armand, unconvinced, listens as Daniel deflects by bringing up Claudia again, noting her violation of the third Great Law by continuing to journal.

Later, Daniel is reviewing Louis’s photography, commenting that early work is always challenging but noting that some shots aren’t bad. Louis insists the photos are merely documentation. Daniel singles out a picture of a fountain and a couple, believing he’s seen it before. Louis explains that the photo isn’t his work but Fred Stain’s.

This revelation leads Louis to realize that among his photos are works by other photographers like Elsa Triolet and Model. When Louis asks Armand about it, Armand feigns innocence, suggesting Rashid (Bally Gill) might have mixed them up. While this happens, Daniel experiences another flashback, recalling a memory of Armand telling him about a high school incident and seeing a body wrapped in plastic.

Louis, embarrassed by the photo mix-up, doesn’t want Daniel to think he was trying to pass off others’ work as his own. He asks Daniel to make it clear in the book that he was just an amateur photographer, nothing more. Daniel, feeling unwell, requests some pills. 

As Armand and Louis go to bed, they argue about the pictures. Armand accuses Louis of assuming he was responsible for the mix-up, while Louis angrily denies needing to be coddled or lied to. Their indistinguishable arguing continues in the background as Daniel explores the files Raglan (Justin Kirk)  gave him, looking up the Roman coven and Marius de Romanus—Armand’s maker. 

The arguing intensifies, and Daniel, still browsing, finds surveillance pictures of his younger self with Louis and then with both Louis and Armand, as well as an enhanced audio file of the last tape from the original interview. The audio captures Armand and Louis arguing after Louis attacked Daniel, with Armand telling Louis it’s morning and Louis responding that he lost track of time as things got heated with the boy, implying Daniel.

Listen, folks, I Want You More Than Anything in the World left us spiraling into a sea of questions. Things in both the past and present are so intense we can barely keep up. Is this the last we’ve seen of Dreamstat? How will Santiago use his newfound knowledge to his advantage? And most importantly, what really happened back in 1973? 

We’re desperate for answers and can’t wait until the next episode is available. Until then, keep your fangs sharp and your curiosity sharper.

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The fourth episode of the second season of Anne Rice’s Interview With The Vampire “I Want You More Than Anything in the World” is available to stream exclusively on AMC+. Interview With the Vampire airs every Sunday on AMC. Follow us on X and Instagram for all queer stuff!

Featured Image: Courtesy of AMC. Photo Credit: Larry Horricks.