The divine love triangle of “Interview with the Vampire”

leztat:

LESTAT – THE GOD:

• Offers eternal life, creates new life – The Maker.
• Immersed in light, associated with divine, godlike imagery: enchanting, described as “luminous” and “radiant”, an “overwhelming experience.” Compared by Louis to a biblical angel and Jesus, he comes like a solace to save Louis from his misery (“I’ve come to answer your prayers”) and offer this wondrous life after death. Lestat’s general love for light is often emphasized, even later in the series. His iridescent eyes “burn with an incandescence” and “convey the power to walk on water.”
• Louis dying and becoming a vampire (“afterlife”) as Heaven: Louis seeing light as Lestat’s taking his life, everything suddenly becoming more beautiful and vibrant and angelic, Lestat waiting for him all radiant and happy, his laughter like “peals of bells”, the night like “a chorus of whispering women.”

“It sounds as if it was like being in love.”
The vampire’s eyes gleamed. “That’s correct. It is like love.” He smiled.

• Perceived by Louis as unattainable, distant, emotionally inaccessible like a celestial being – wants Louis to stay and follow him, but also keeps pushing him away as far as emotional intimacy and communication are concerned. Avoids answering difficult questions or answers them vaguely, and so Louis has no choice but to secretly adore him from afar, “studying him with a detached fascination”, and the act of gazing at him is described like a self-transcendent experience, a religious one almost:

“Sometimes I’d find myself staring at his wrist from which I’d drawn my vampire life and I would fall into such a stillness that my mind seemed to leave my body or rather my body to become my mind (…)”

• Is desperate to keep Louis close and prevent him from leaving, and out of this desperation creates Claudia, the token of his love for Louis: the dark immortal child, “evil of [Lestat’s] evil.” Claudia is the actual victim of the story, an innocent sacrificed in order to stop Louis from turning his back on Lestat, her martyrdom for Louis’s “repentance.” She dies abandoned, “forsaken” by her father. (For the record, I do NOT believe Claudia’s entire purpose is martyrdom or Louis’s character development!!! Claudia is a completely separate, fascinating character, one I could write a whole other essay about. I’m pointing out the circumstances of her creation and death merely in regard to Lestat’s “godhood.”)
  

“MADELINE, the Doll Maker, resplendent in green taffeta, sitting like a Madonna with Claudia on her lap.” (‘92 movie script)

• Like a judge of a sort, Lestat mostly takes the lives of evildoers (interestingly, he’s actually the only vampire in the story who doesn’t really follow the “indiscriminate killing” rule, though it is something he teaches his fledglings/“angels”).
• Represents Louis’s dreams and aspirations, what he longs for, what he wishes he was: liberated, lively, unapologetic, self-assured and without regrets (in Louis’s eyes at least). In TTOTBT, when asked “Why do you love me?” Louis replies: “I wish I could be you.”
• Lestat’s godhood reveals itself in the duality of his personality, too. He’s cruel, vengeful and full of wrath, yet surprisingly forgiving and capable of unconditional love: doesn’t hold a grudge against Claudia, loves and is ready to take Louis back despite his rebellion. The roles are even reversed at the end of the story: it is the fallen “God” who asks for forgiveness and absolution rather than the other way around. Louis leaves, but even then, it’s like “the sorrow hadn’t left [him] suddenly, but had been near [him] all this time, hovering, saying, ‘Come.’”

“But you’ll come back… you’ll come to visit me… Louis?”

• Literally has a god and hero complex and thinks he’s Dionysus?

ARMAND – THE DEVIL:

• Takes/destroys what Lestat creates. 
• Immersed in darkness, magnetic and eerie, serious and collected in nature unlike Lestat. Associated with dark, satanic symbols and red/black colors: the edgy paintings of Hell and The Devil surrounding Armand, his dark angel aura, his deceivingly innocent appearance; eyes inscrutable, deep and dark, hair red/auburn. The contrast between him and Lestat is plain, from the way they look to the way they act: Lestat being this bright, loud, flamboyant, careless persona; Armand, on the other hand – dark, quiet, composed, distinguished.
• Théâtres des Vampires as Hell: the underground dungeons (“underworld”), Armand as the Devil, Armand’s minions as demons, the audience and tortured human “actors” as souls, even the black waters Louis crosses while traveling to Europe and fantasizing what it would be like to look into Satan’s face – like a journey to Inferno itself. Visiting the theatre, Louis immediately feels uneasy, like something’s wrong with the place and its aura, though he’s too enthralled to draw any conclusions.

“The very ceiling writhed with skeletons and moldering dead, with demons and the instruments of pain, as if this were the cathedral of death itself.”

• Very open and accessible; suspiciously, temptingly so – reaches out to Louis himself, seeks contact, answers questions, willing to actually talk – attracts Louis’s attention by giving him what Lestat couldn’t: a connection, a lesson.

“God? Or Satan? It struck me suddenly what consolation it would be to know Satan, to look upon his face, no matter how terrible that countenance was, to know that I belonged to him totally, and thus put to rest forever the torment of this ignorance.”

• Represents Louis’s dark instincts, including his inner resentment towards Claudia. Louis’s attraction to Armand might be rooted in his initial “desire to be thoroughly damned.” Armand mirrors Louis’s deepest, darkest secrets. A little push from him is all Louis needs to forsake Claudia entirely. Curious about how far down he can possibly go, he follows, distancing himself and getting rid of the only remaining element of the bond between him and Lestat at that time: the rock bottom he’s been trying so hard to hit.

LOUIS – THE FALLEN:

• The Rebel, The Angel of Death: calls himself the Grim Reaper (“Dark Angel” and “Merciful Death” also sound quite suggestive), his weapon of choice is a scythe, he takes life regardless of whether someone’s a good or a bad person, their age, identity, social status, etc. He doesn’t even mention Lestat tends to kill mostly “evildoers”, probably because it doesn’t really matter to him. The “angelic” side of Louis’s nature reveals itself in his emotionality, empathy, preference for peace and quiet and fascination with humanity.
  
• Filled with this inner rage, he rebels against God, literally and figuratively, even during his mortal life (going against his “saint” brother, beating up a priest). Lestat comes as a saviour from his faithless, pointless life, as if to give him a second chance, but Louis keeps resisting regardless, projecting his own issues and anger at God and himself onto Lestat, always shifting the blame, always fighting, disobeying and stubbornly disputing his tenets on every occasion.

“(…) I believed I was damned when I went over to [Lestat], just as Judas must have believed it when he put the noose around his neck.”

• Says he’s “damned like angels put in hell by God” and simultaneously associates his doom with Lestat. The motif of Louis’s rebellion and Lestat “damning” him/”condemning him to hell” is also apparent in the scene where Louis imagines Lestat’s face right before feeding on Claudia, then bites her almost out of spite.
  

“(…) and I saw Lestat in my mind and hated him, and I felt, yes, damned and this is hell, and in that instant I had bent down and driven hard into her soft, small neck (…)”

• Louis feels about Lestat the same way he feels about God. The indecisive, love/hate nature of his relationship with his Maker(s), the guilt, the secret adoration, the miscommunication, the detachment, the betrayal: characteristics of a God/Rebel dynamic. Louis biting, Lestat reaching out anyway. Louis reaching out, Lestat not responding. Damned and bitter and stubborn and proud, he hates. Though spellbound and intrigued, he can’t help but idealise Lestat in secret, yearning for emotional connection and contact.
  

“But aren’t angels capable of love?” asked the vampire. “Don’t angels gaze upon the face of God with complete love?” The boy thought for a moment. “Love or adoration,” he said. “What is the difference?” asked the vampire thoughtfully. “What is the difference?” It was clearly not a riddle for the boy. He was asking himself. “Angels feel love, and pride… the pride of The Fall… and hatred. The strong overpowering emotions of detached persons in whom emotion and will are one.”

• Struggling with moral doubts and repressed sexuality, confused about Lestat’s enigmatic motivations, Louis initially suspects Lestat of being the Devil that came to tempt and “damn” him. It is only after he’s met Armand that he realises he was wrong, that his accusations were misplaced and baseless, and his judgement of Lestat faulty.
  

“It seemed more than ever absurd to me that Lestat should have died, if in fact he had; and looking back on him, as it seemed I was always doing, I saw him more kindly than before.”

“I have wronged Lestat, I have hated him for the wrong reasons.”

“What right had I to be so bitterly disappointed in Lestat that I would let him die! Because he wouldn’t show me what I must find in myself? Armand’s words, what have they been? The only power that exists is inside ourselves…”

• Oblivious and blind to his Maker’s love, he insists Lestat only stayed for his wealth, though secretly wishes that wasn’t the case. His confusion about Lestat’s motives seems to parallel his religious existential crisis.
  

“‘I want to die. You have it in your power to kill me. Let me die.’ I refused to look at him, to be spellbound by the sheer beauty of his appearance. He spoke my name to me softly, laughing. As I said, he was determined to have the plantation.”

“Why, if God exists, does He suffer me to exist! (…) Why does He suffer me to live!”

• “(…) why, Louis, you know…” says Lestat in their last scene together. And when he despairingly tries to Tell Him Something once again, Louis “speaks of it with great reluctance”, and when Lestat fails to speak the words again, Louis feels “a profound, undeniable relief.” It’s less about him not knowing or failing to see the real reasons, and more about denial, the fact that it scared and overwhelmed him at the time, challenging him to question things about himself and his beliefs. Maybe there is no God. Maybe he loves Lestat back.
  

Louis presents his story as an allegorical journey to eternal damnation: first death, Heaven and becoming one of “God’s angels”, then rebellion, Fall, Hell and eternal damnation. Finishing the book, the reader is left with this intense feeling of emptiness, this profound sadness and regret, a yearning for something irrevocably lost. Indecisive and conflicted, torn between Heaven and Hell and not really belonging to either in the end, Louis is sort of stuck in this gray area between the two, behind the “veil that hangs between [him] and the world feeling”, through which – even when he joins Armand “in Hell” – he still perceives Lestat, like a damned angel who in spite of himself keeps looking up, wishing to get rid of that insufferable numbness, to reascend and step through “the veil” to see the face of his Creator once again, as clearly as he used to.

charlesanderik2016:

Hannibal folding the Vitruvian Man, the “perfect man,” into a heart. 

And these scenes are played alongside the shots of the “body” heart in the Capella Palatina, which Hannibal made for Will:

Will is Hannibal’s perfect man, his heart. The Beatrice to his Dante. 

But, look at that heart there in the Norman Chapel. It’s being held up by three swords. The thrice pierced heart is a tarot card, one frequently used in readings about romantic relationships/lovers. Tarot has a rich history in Italy.

This are all things of which Hannibal would definitely be aware. Symbolism is never lost on him, and always intentional. 

This is the Three of Swords. In it’s upright position, as we see above, it means “Painful separation, sorrow, heartbreak, grief, and rejection.” 

S2 finale, anyone?

But, notice how the Norman Chapel heart is actually in the reversed position? Like this:

In the reversed position, the Three of Swords means “releasing pain, optimism, and forgiveness.” 

Will understands. 

“Betrayal and forgiveness are best seen as something akin to falling in love.”

---

**This was all INTENTIONAL. The cast and crew knew what they were building towards. Hannibal’s entire existance is layered with subtext and symbolism, and so is this show. I’ve never see a story more beautiful in my life. Hannigram is canon, and WE NEED S4!**

bigmamag:

charlesanderik2016:

HANNIGRAM WAS THE PLAN FROM THE WORD GO:

The video link above is from the film version of Hannibal (a Dino De Laurentiis production, as is the NBC show Hannibal). This scene is where the *gorgeous* aria by Patrick Cassidy- which was written specifically for the Hannibal film- is performed. 

The lyrics are from Dante’s La Vita Nuova, Chapter 3 of Sonnet “A ciascun'alma presa.” This is also the SAME sonnet Hannibal recounts to the Florentines in the beginning of S3. La Vita Nuova is an absolutely beautiful love story about Dante’s passionate and reverent love for Beatrice, and it uses the heart as the potent, burning symbol for love- the heart also plays a vital role in the show.

The aria, in the NBC version of Hannibal, was used in this scene:

Hannibal conjures this aria in his mind as he’s on his way to see Will. This was intentional, and made a very specific connection between the love story of Beatice and Dante to Hannibal and Will. 

But, even CRAZIER, when you watch the Hannibal film scene linked above, you’ll notice some very familiar dialogue happen towards the end of the scene between Hannibal (who is posing as Dr. Fell) and Allegra Pazzi, as they discuss the love story of Beatrice and Dante. They are specifically discussing the lyrics to Vide Cor Meum:

Allegra Pazzi: “Dr. Fell, do you believe a man could become so obsessed with a woman from a single encounter?”

Hannibal: “Could he daily feel a stab of hunger for her, and find nourishment in the very sight of her? I think so. But would she see through the bars of his plight, and ache for him?” 

WELL, WELL.

That’s the exact same thing Bedelia tells Will in S3:

I mean, WOW. Just WOW. 

And YES, yes he does ache for him. The original line from the film uses the words “could she see through the bars of his plight,” alluding to bars of a prison cell. When this scene immediately switches to Hannibal in his cell, that connection is made clear:

The lyrics to the aria, Vide Cor Meum, are:

“And thinking of her, 

Sweet sleep overcame me.

I am your master,

Behold your heart,

And of this burning heart,

 Your heart.

(Chorus: She trembling) 

Obediently eats,

Weeping,

I saw him then depart from me,

Joy is converted to bitterest tears,

I am in peace,

My heart, I am in peace.

Here’s my Heart.

The specific lyrics that play over the scene of Hannibal visiting Will in the asylum are:

“And thinking of her, sweet sleep overcame me…” (this is where Hannibal closes his eyes before he walks to Will’s cell):

“I am your master…Here’s my heart:”

How UNBELIEVABLY GORGEOUS is that?! The showrunners KNEW what they were doing, and they KNEW Hannigram was going to be canon from the word go. There’s no other way to interpret all that. They knew. And all the fans who saw this? Guess what: YOU WERE RIGHT. 

They knew they were going to make these two canon. This show is amazing, a true work of art. How symbolism is used is reminiscent of paintings in the Renaissance and Medieval Eras. 

And if that’s not enough, check THIS out:

That S2 finale that had everyone sobbing and clawing at their screens? (Myself included.) Also uses the music from Vide Cor Meum. The composer for Hannibal, Brian Reitzell, blended the music from what is arguably Will and Hannibal’s song “Bach’s Aria Da Capo from the Goldberg Variations,” (Hannibal’s love for this composition is a nod to canon) with the music from Vide Cor Meum. And it results in some of the most *SUBLIME* music I’ve heard in ages. 

This is their song:

(as a side note, I’ve never been more grateful for my education in music than I have been while analyzing this show) 

The amount of love and work and research that went into the love story of Hannibal and Will is astounding. They used the long standing tradition of gay subtext, blended it with the medieval/Renaissance style of symbolism, reused canon love stories for Will and Hannibal, and updated it for modern audiences. 

HANNIGRAM WAS THE PLAN FROM THE START. 

It’s an astounding achievment. And this is, like, the tip of the iceberg when it comes to the layers in this show.

Hannibal showrunners and cast: ***You all are my fucking heroes.***

First off, BEST HANNIBAL META EVER. Secondly, that is so Hannibal and Will’s song because the slowed down version of Bloodfest Aria is what plays when Hannibal and Will reunite at the art museum AND the scene in Digestivo where Will tells Hannibal he never wants to see them again. HOW ARE WE SO LUCKY THAT WE HAVE TWO CANON SONGS FOR HANNIGRAM?

tinsnip:

Here’s something to think about: Odo is self-taught.

No mentor. No tracks to follow. Just plunked into an office by himself on a chaotic station. And he went, in a matter of years, from ‘guy randomly assigned to investigate a murder who borks it up’ to ‘single-handed enforcer of justice with a network of contacts that stretches from Starfleet to Cardassia Prime’.

He doesn’t just keep a lid on station shenanigans. He interrupts smuggling rings that are entirely off station. His tendrils are everywhere. And he’s always watching.

And this is our Odo. Who means well.

I can very easily see how the Dominion came to be.

thispopcultureblog:

redonyellow:

This scene pretty much summarizes why DS9 is, IMHO, the best Trek series. It took Roddenberry’s dream and flipped it on its head—which you may or may not like—but I adored it.

TNG presented a world where humanity had surpassed its ills. The Federation’s values made humans the good guys, compared to species like the Romulans and the Cardassians. Principles and ethics, are what set us apart. As Picard said, “The first duty of every Starfleet officer is to the truth… It is the guiding principle on which Starfleet is based. And if you can’t find it within yourself to stand up and tell the truth…you don’t deserve to wear that uniform!“ It’s all very idealistic.

Honesty and ethics are what Starfleet is based on, yet Starfleet gives Sisko authorization to forge evidence in order to trick Romulus into joining the war. Because of our principles, humans always thought we were above our enemies — who had the Obsidian Order/Tal Shiar — only to find out we have our own version, Section 31. As Admiral Ross put it, ”Inter Arma Enim Silent Leges.” In other words, we can stay clean as long as things are going our way. If not, we’ll think nothing of getting our hands dirty.

The underlying message of DS9 was, although we like to think—maybe even deceive ourselves into thinking that we’ve evolved, when the chips are down, we are just as ruthless as the cultures we purport to have progressed beyond. And, if you stop and look at our own culture, you will see how absolutely true that is.

We all like to think of ourseles as good, moral people. That’s the easy part. DS9 challenged us to question how good we really are.

This.

Further, I feel that Deep Space 9 can be read as a meditation on the concept of humanity, and that of “human”. (This is, of course, true for much of fiction but the above readings suggests some of the shape particular to Star Trek).

The Next Generation - similarly to Star Trek - presented a post-capitalist American imperialist utopia (freedom is the worship word). Deep Space 9 turned this idea outside out and examined its implications. Most overtly by placing its utopian hew-mons next to the capitalist and patriarchal Ferengi, but also by placing the imperialist federation in Bajor just as the Cardassian occupation is lifting.

The position of Bajor is particularly instructing as it presents us with humanity’s past (and present): empire and colonialism. We are meant to sympathize with the bajorans, instructed to loathe the cardassians, but - and this is of greater importance - we are told again and again that the federation is hardly better, and that inclusion would ultimately be bad for Bajor (by the man tasked with facilitating just such an inclusion).

Previous series has led us to believe that the federation is ultimately good, and not merely preferable. As the federation is depicted as the epitome of humanity and human achievement - and the honorable Starfleet officer as the (close to) perfect human - the reading offered by Deep Space 9 subverts both of these concepts. It exposes the metaphor of Star Trek - that aliens, strange as they may seem, are people too - and shows us that not only are they “other” people (as in, other than “American” - such as the Kohms in the above linked Omega Glory), they are us. We are all, underneath, capable of being “…as nasty and violent as the most blood-thirsty Klingon.”

Hew-mons are, after all, only human.

Meanwhile (and sadly, somewhat less successfully) Deep Space 9 simultaneously constructs (or reinforces) racial stereotypes along alien lines, while subverting these by showing their cultural - as opposed to biological - basis. This is important because it places qualities that are undesirable to humans – such as the Ferengi greed, or the Bajoran “superstition” – in cultural contexts, and crucially that qualities admired by humans are contextual too. Quark’s line above can be read as suggesting that those qualities are, in fact, the happy result of human privilege. The reason this works is because it is simultaneously clear that while humans have worked to construct these privileges thus allowing them to become admirable in their own eyes, they do so at certain expense. Something not everyone - much like Bajor, and the Maquis - are willing to pay.

torchwoodgifs:

If we’re not including S4, most of the time the first and last lines of the team is the most accurate representation of them.

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NBC Dracula - The Most Accurate LGBTQ Show On Television?

octoberland:

I have just finished watching episode 1x6 (Of Monsters and Men) of NBC’s Dracula and find myself moved to speak about it. Initially I had my reservations about this show. The costumes were garish, the liberties with myth and story abundant, and the only saving grace at the time seemed to be the eye candy that is Jonathan Rhys Meyers. But was that enough? As it turns out this show is a delight for the senses that never seems to fail to push the boundaries of sex and violence and has an uncanny awareness of its own cheekiness to boot. Not to mention the multitude of “shipping” opportunities for those of that ilk. But that’s not what I want to talk about today.

Today I want to talk about how this show has broken my heart time and again and done so with grace and tact and insight into the lives of gays/lesbians/bisexuals. In episode 1x2 (A Whiff of Sulfur) we are introduced to Daniel Davenport and Lord Laurent who are secretly in love with each other. It is a secret by necessity due to the culture and times they live in. By the third episode Lord Laurent is killed in furtherance of the story (ie, Dracula’s greed via blackmail), and at the end of the episode his lover, Daniel, takes his own life because he is so heartbroken over the loss of the man he loves. He leaves this note for his father to find:

Dearest Father, I have decided that I cannot go on this life without my beloved. Stephen. After the the humiliation and destruction Alexander Grayson has caused. The whole of my world has been taken away from me. I hope that you will see me in the next life. Your Loving Son, Daniel.

As you may or may not know, gay men are six times more likely to commit suicide than their heterosexual peers are, and this show, this silly, inaccurate show, managed to illustrate in just two short episodes the pain and fear of being gay in a society that is not accepting of such things. 

Then we have Lucy, Mina’s best friend, who just happens to have more than friendly feelings for Mina. In a show rife with on screen sex acts this attraction could have been played as something paltry and meaningless. It would have been so easy for the show runners to exploit the male gaze and make it about heaving bosoms and heavy petting between two women. Instead they chose to make it about love, about a young girl confused by her feelings as she watches the object of her affection become betrothed to a man and drift ever further away from her. In episode 1x5 (The Devil’s Waltz) there is an absolutely gut wrenching scene where Lucy collapses on her stairs in tears as it hits her that she is truly losing Mina, that she never really had a chance at all with her. I am not going to lie. I cried with Lucy because I have been Lucy.

The dynamic between Lucy and Mina, which comes to a head in the most recent episode, is one I can relate to on a deeply personal level. As an openly bisexual woman I have been Lucy numerous times in my life. In Of Monsters and Men Lucy is encouraged by Lady Jayne (for nefarious reasons) to admit her feelings to Mina, an action that may yet prove fatal to Lucy and Mina’s friendship. Emboldened by Lady Jayne’s words, Lucy makes her move and confesses her love to Mina who rebuffs her with much disappointment and disgust.

The thing about being bisexual (and I imagine this is true for lesbians and gays as well) is that people don’t wear signs over their heads stating what their sexuality is. So unless you have completely immersed yourself in gay culture and only ever meet gay people (which some people do for this very reason) you will at some point in your life develop feelings for someone whose sexuality does not mirror your own. It is also extremely likely that if you are gay or lesbian or bisexual you have also experienced hatred and bullying and harassment for being that way. And thus creates a sort of vicious cycle of fear. Not just fear of rejection but fear of being hit or raped or murdered or of having your secret revealed if you aren’t out.

NBC’s Dracula has beautifully portrayed all of the confusion and fear that’s part and parcel of not being straight. Whether you’re bi or gay or lesbian there’s a strong chance you had that moment in your life where you realized you weren’t like other people and then, even once you’ve come to terms with that, you have the first time you actually fall for someone of your gender. For many of us it’s a terrifying feeling, especially if you don’t know the person’s orientation. You have to decide whether to suffer in silence or to speak up and potentially be rejected or worse, physically or emotionally harmed. 

Watching the character of Lucy come to terms with her feelings for Mina has been a gut wrenching and heartbreaking journey and it’s not over yet. We’ve seen her struggle with her feelings, finally accept them, and then bare her heart to Mina. Mina’s disgusted rejection of her is something the LGBTQ community has to face every day of their lives, not just from potential partners but from friends and family and coworkers. Lucy stands not only to lose her friendship with Mina but her standing in society and potentially her life as well, consequences that are far too real for many of us even now, after all the advancements we’ve seen in gay rights.

I say kudos to NBC’s Dracula for actually portraying these characters with heart, for showing the spectrum of emotion within same sex relationships instead of resorting to the fetishizing of same sex intimacy, and for tackling the very real and all too often very dire consequences of falling outside the heterosexual paradigm. 

If you aren’t already watching this show I urge you to give it a chance. In addition to being highly entertaining it is also highly moving and, so far, a boon to queer representation in television. I sincerely hope, pun fully intended, that they continue in this vein.

blinkpinkinc:

The below head canon fanwank about Elim Garak has the following content warnings:
cissexism, rape, binarism and the discussion of intersexuality by a trans* but dyadic person

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Doctor Bashir’s “Sexual” Conquests

tinsnip:

kiddywonkus:

For my science fiction blog, Loving the Alien. You can read it properly formatted there.

And before I begin, let me say, let no one accuse of me hate. I’ve seen DS9 a gazillion times, and wrote my Master’s dissertation on it. I just love to take the piss out of things I love.

—————-

Every Star Trek needs a ladies’ man, right? TOS had Kirk, TNG sort of had Riker (though I think they may have made it Picard mid-series, and that sort of disturbs me), ENT had Tripp, and DS9 had …

it had…  well….

Sisko? No. O’Brien? No, unless leading on clueless Cardassians count… Worf? Noooo. Odo? As much as I imagine he’d be great in bed… no. Is it.. really…

It can’t be…

Bashir?

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