#like I said I’m rewatching s1

[dudethatsmyundeaduncle]

Danny’s parents want to kill him and he’s like “f in the chat y’all dinner boutta be so awkward tonight smh”

Ok so I know everyone loves the angsty headcannons where Danny is terrified of his parents cuz they wanna kill him but we’ve had that hot take since 2005 I’m here for a source material revival, the much more entertaining “Danny’s parents want to kill him and he actively doesn’t give a fuck”

CUZ UH, IM REWATCHING THE FIRST SEASON AND I FORGOT HOW GENUINELY BLASÉ HE IS ABOUT MADDIE AND JACK TRYING TO GET HIS ASS ITS SO FUNNY.

Like mom holding a literal ghost gun to his head: eh kinda unphased he even has time to quip, his parents say they wanna tear em to pieces: meh see u guys at dinner, LIKE OUR GUY IS SO UNPHASED HE THINKS THIS SHIT IS FUNNY! (s1 ep. 14 public enemy)

And he’s unphased despite knowing his parents tech works and knowing that his mother is actually a good shot. So like I love angst Danny and y’all should keep up the good work but where is my s1 Danny ‘COULDN’T give less of a fuck about his parents’ Fenton representation?

Cuz think of this, for your DPXDC AU consideration, Danny would fit in so well with the bat gang if only because they could try to stab, shoot, capture, brainwash, and stalk him and he’d be like “oh cool villain of the week shit? Nice, what’re we having for lunch.” He. Wouldn’t. Flinch.

[randonwilmonfan]

I'd love to talk more about the locker room scene in S2 E2 of Young Royals, where Wilhelm tries to convince Simon to get back together with him, in the process (sadly) demonstrating that he believes his mother's feeble offer to "talk" about him possibly coming out when he's 18. This takes place after his almost-removal from Hillerska.

Plenty of people have already pointed out how Henry snitched on Wille and Felice’s kiss, but apparently didn’t choose to tell anyone (as far as we’re aware) about Wilhelm almost pleading with Simon to get back together with him during that post-almost-dragged-out-of-Hillerska conversation. And that's definitely an interesting thing to chew on. But there's more...

Here are a few other things that stand out to me too:

First -

I think it’s worth pointing out the obvious — Wilhelm clearly sees Simon in his future long-term (possibly for the rest of his life). The way he casually says to Simon “So, we’d only have to keep it a secret for 2 years” implies three things very clearly.

a) He immediately and easily sees himself together with Simon in 2 years and beyond. Actually, specifically, definitely beyond. Because his eye is on the prize: coming out and living openly with Simon *after* he turns 18 — implying his focus is entirely on the intended afterwards period. He doesn’t even blink at that idea; it’s obvious to him.

b) He also really doesn’t seem to think 2 years is a big deal. For a teenager who’s only lived 16 years on this planet (only approximately ~11-ish of them in a state where they’re forming conscious memories) to think 2 years is just a drop in the bucket is kind of wild. Even 6 months feels like forever to a kid. So Wilhelm — a child — viewing time from this perspective suggests he’s likely balancing 2 years out against a much longer expanse of time; hence why those 24 months would look so minuscule and shrug-worthy by comparison. In other words: he sees himself with Simon in the LONG long term. Two years is nothing if you’re imagining growing old with someone and spending the rest of your many decades on this Earth with them. (All of this is pretty much confirmed later on in S2, when Wilhelm offers to abdicate the throne for Simon.)

c) He also doesn’t seem to think Simon should be appalled by the idea of waiting for 2 years. Yes, sure, we can chalk part of that up to selfishness and lack of mentalization / empathy for Simon’s point of view. But I’m going to suggest it’s more than that. My takeaway is that he assumes Simon also sees them as endgame, and so naturally wouldn’t be bothered by waiting a bit longer in order to spend forever together. (Sadly the conversation does not play out that way for him; ouch. Though no shade to Simon: what he said in response was realistic and fair.)

Second -

I think we have to rewatch his interactions with Simon as Henry slams a door and slowly walks past them with a raised eyebrow. Because, in S1, that Wilhelm would have immediately jumped away from Simon to create distance and try to pretend there’s plausible deniability about what their relationship has been and could be again. That’s (one) part of the whole point of S1: Wilhelm is not ready to be brave enough to face a homophobic aristocratic world and take a bold stance to stand by Simon.

Instead, in S2 E2, he sits still. He stays right next to Simon. In fact, he *leaves his hand resting directly on Simon’s thigh.* And he knows someone is coming their way! He heard the door slam inside the locker room. Obviously he knows someone else is here. But he doesn’t jump. He actually doesn’t really stir much at all.

He sits there like it’s of no importance, and he doesn’t care who sees. Or, even, who overheard this very intimate, vulnerable, and pleading conversation. A conversation in which the future King of their country is almost on the verge of begging his ex to please be his again… not just for now, but for multiple years’ time. I mean we’re like 2 steps away from Wille practically offering Simon a “promise ring” (not sure if that concept holds up in Europe, but it’s basically a very pre-engagement type thing in the US; it’s not common though). (Their convo also makes it very clear Simon was the one who dumped him and that he’s having trouble accepting that and moving on.)

Yet he doesn’t seem perturbed or disturbed by Henry’s presence and overhearing and seeing them. He doesn’t seem embarrassed at all. He’s not ashamed of his love for Simon. Even more specifically, he’s not afraid of people (Henry) seeing him put his heart out on the line, and of them knowing that he wants Simon back - not for just a hook-up, but for a very long-term, serious, committed relationship. And he doesn’t make any moves to emotionally or physically distance himself from Simon, despite Henry’s clear witnessing of this private moment.

This is a subtle way to show that, even though Wille hasn't yet gone through his full S2 journey of self-awareness and self-growth, he has still already begun changing and growing after the end of S1. So he’s at least started to learn some of his lessons about what he needs to do differently.

Anyhoo, the whole point I’m trying to make is… gosh there were so many fascinating things happening in that scene. And they rush right past us in the blink of an eye! But there is so much meaning built into every small interaction and non-interaction there, and into every nonchalant assumption the characters casually voice.

I’m sure there’s more meaning and are more details I missed, too! What did you think? I’d love to learn more from others’ perspectives, too. :)

[steviesbicrisis]

Stranger Things S2 rewatch thoughts

I finally finished rewatching S2 and this is everything I've written down as I was watching lmao

KEITH USED TO WORK AT THE ARCADE?? Also the arcade is right next to family video so Keith just moved next door in season 3 lmao

Steve omg you’re so cute stop

FINALLY MAX IS HERE

Okay Billie is bad, yes? We all agree Billie is bad, right? But Dacre IS SO HOT I CANNOT HE TOOK A “PORCA TROIA” OUT OF ME LIKE IT WAS NOTHING

Honestly they’re so dope for dressing up as ghostbusters and going to school with matching outfits

Ugh Nancy and Steve are so terrible for each other

Steve’s face during the bullshit scene really broke my heart 🥺

People being annoyed at Joyce for being super protective of Will like what?? That boy was proclaimed dead, they had a funeral and he turned out to be in another dimension??? I dare you to not be at least a little paranoid

I’m getting the gayest vibes ever from this basketball + shower scene I’m not even joking, Harrington 100% felt what it is like to be a girl objectified in a nightclub

Billy calling Steve pretty boy is so fucked up like are you Eddie Munson? No so imma need you to back off ✋

Jfc no wonder Vecna chose max she’s a walking gold mine for therapists

One drive with Billy would be enough for me to become a target for Vecna I swear

A part of me will always blame Dustin for the cat’s death 🥲

Stranger things is so good I cannot fucking believe my eyes sometimes

First Nancy, now Hopper… can they like, stop going inside creepy ass portals all by themselves? FFS

OH MY GOD ERICA WAS SO SMALL HOW CUTE SINDFKJDF

Lucas telling Max “if I tell you the truth, you could be arrested or killed. Do you accept the risk?” Hits different now

FINALLY THE DUSTIN/STEVE DUO IS BORN

I was today years old when I realized Nancy broke up with Steve in S1 for a month but then she got back with him because she got tired of waiting for Jonathan

Dustin’s proud smile when Steve told him “good call dude” I CANT IM WEEK IM CRYING ON THE FLOOR

I will never get over Dustin’s pure adoration for Steve in this season

JUSTICE FOR BOB

BOB NEWBY THE SUPERHERO 😭😭😭

Everyone: it’s like the mind flyer! Steve&Max: don’t speak nerd in my presence pls

I’m sorry but Mike holding that small trophy as a weapon LOL

I CANNOT BELIEVE THE KIDS WERE AT THE WINDOW WHEN BILLY CAME ARE STUPID

I cannot believe they wanted to leave a beaten-up and concussed Steve behind, are you crazy???

I totally forgot that Steve, in a span of a couple of hours, pushed his girlfriend to be with another guy, got beaten up defending kids he barely knows and then went down - all beaten up and concussed - the upside down tunnels just for said kids?? ARE U EVEN REAL MAN?

Will turning to Mike when that girl asked him to dance 🥺

Nancy is so fucking right, those girls are so stupid turning Dustin down like fuck you who do you think you are????

Jopper at the end, I love my parents so much

Here my thoughts on S1!

[tabithatwo]

I love Yellowjackets okay it’s CLEAR if you observe my insane habits around this show but listen to me stay with me they so clearly did NOT have the 96 timeline planned out enough when writing the adults in season one. Or it got changed or added to or whatever to a Strong Degree. Maybe this is execs trying to make the show and it’s characters more palatable for mainstream success?? idk it feels possible to me.

But SHAUNA? Present Shauna was haunted by Jackie almost every scene of s1. It was so painfully clear how much Jackie’s presence was felt by her entire family CONSTANTLY. The bunnies, the conversations they had, the hallucinations all of it!! Jackie Jackie Jackie dead girl alive haunting the narrative. This season? Radio silence. And like pls don’t tell me shauna just has too much going on this season to feature any Jackie haunting like rewatch s1 she was PLENTY FUCKING BUSY having affairs and being blackmailed by her husband and doing murder!!! Jackie was so woven in to her character that NOTHING was untouched by her. So what, now we’ve seen Jackie’s death in 96 so she doesn’t haunt her anymore in present?? Now the baby is the strongest presence looming over her family? (This is said in an interview with the show runners and I’ve talked about it in another post!) When it wasn’t felt at all s1? No, you don’t want to spoil things in 96 so it is tricky, but there could’ve been hints. We always knew the baby would go poorly at the very fucking least. And the lack of Jackie haunting is a HUGE change. If you don’t think so, go back and watch s1 like I promise you it was POTENT. So does shifting the cause for her violence to being heavily based on losing the baby make a general audience more sympathetic to her? I think it might.

Misty?? Crystal???? If you watch s1 present Misty, there is no presence of crystals loss impacting her. They didn’t even have Crystal as a character. Misty was shown with a very unwavering proclivity to feel EXCITEMENT during horrible things. That continued into adulthood. Yeah, as we see characters more, we get more details. Sure. But the issue is the present timeline characters are only shifting based on the unfolding events of 96, you know what I mean? Like I’m sorry but the impact of Crystal and Misty’s panic around her and this new crushing GUILT for what she’s done was not a presence in s1 adult Misty. To make way for this crystal arc, teen Misty just doesn’t give a single FUCK about Ben anymore? Not obsessing with him or controlling him? And you might say she transferred her obsession. She got bored of her toy. Okay MAYBE yes, but in present day she doesn’t transfer. Walter would be a new option and she’s locked on natalie. Adult Misty has kept tabs on every single Yellowjacket, she has room for multiple lines of obsession. Her just dropping anything with Ben is odd and what makes her more sympathetic? Being a fucking monster to Ben? Or accidentally causing crystals death and mourning her and feeling an influx of guilt for her shitty actions?

I WORRY that we’re seeing a series of unplanned (therefore unshown in the adult versions of them that we ALREADY HAD in s1) events to increase sympathy and likability. I could probably think about this for more of them but shauna and Misty really stand out. YES you can and should develop characters as a series evolves, but the issue is if you show them in the PRESENT you can’t make them EVOLVE based on what you’re revealing in the PAST, does that make sense? It can inform their present actions, you can highlight different facets of them, all sorts of stuff. But this feels like something wayyy beyond that.

I hope I’m wrong and I hope they bring it back around <3 like so sincerely <3 and if you disagree and this makes perfect sense to you I’m happy for you <3 I wish that I did not feel this way <3 I’ve been trying to live in denial land about this all season <3 but it’s hitting hard right now <3

[cynthia39100]

Merlin rewatch -- S2E1: The Curse of Cornelius Sigan

Arthur's "reset" (regress)

(a bit of a long rant)

I still can’t believe they put in that stool scene… It made Arthur’s other actions in this ep looked even worse than they were. It’s not even practical. I’m sure Arthur can jump up a horse just fine.

What’s the point anyway? Merlin wasn’t even angry about it. He was angrier at Cedric, and the fact that Arthur didn’t know how much Merlin did for him (which Arthur couldn’t). Merlin was weirdly pliant when he bent down to be a stool as well… Did the production team not notice it was an awful thing to do?

The worst thing Arthur did in s1 was make his servant a moving target (which Merlin called him out) and get Merlin into the stock for him (in which I still think he was enchanted and stock was played for laugh from the beginning anyway). Why did the writer think it’s okay to regress Arthur’s character to this??

***

After the stool it was kind of fine… Most of Arthur’s actions were reasonable from his perspective.

Falling from the horse was seriously dangerous so he was angry. (it seemed like it was the one genuine mistake on Merlin’s part? Although Arthur should have checked it himself before mounting the horse)

He pulled a good face on Cedric just to irritate Merlin, not actually falling for the bootlicking. He didn’t give Cedric that important of a job either.

Merlin did get to be Arthur’s manservant after saving Arthur’s life, so awarding Cedric with a position in the royal household after he saved the hunting party was fair enough. He didn’t make Cedric his manservant though.

After the stable incident Arthur thought Merlin was exhausted and kept making mistakes, so he gave him a night off.

Merlin was too angry with Cedric to talk like a sane person so I get why Arthur didn’t believe him. He tossed Merlin to the dungeon because he suddenly attacked another person for no good reason (from Arthur’s perspective).

It would be fine if I weren’t so infuriated by how stupid they made Arthur for the plot to work…

First, somehow Arthur believed that skinny Cedric could throw a lance and kill a boar when Camelot’s best warrior (Arthur) couldn’t. (He even grabbed Cedric's arm for examination...)

He allowed a strange man to take on the duties of his personal manservant (which Arthur didn’t order him to) and have access to all the important keys.

And he believed Merlin let loose the horses?? Arthur wasn’t that stupid. Even if Merlin did fall asleep there was still someone else who let go of the horses. They were tied up! They didn’t escape by themselves. Not to mention no one would just sleep on shit on purpose.

If Merlin and Gaius could figure out Cedric’s the thief Arthur certainly should. Catching criminals was his job for god’s sake. I’m so mad.

It’s even more infuriating than the bully-bordering-abuse ooc action since the latter could totally be cut out without affecting the plot. ARTHUR ISN’T STUPID!!

***

It seemed that Arthur’s “spoiled prat” aspect would be more and more prominent from this point on. He would get better, I think, but S1 Arthur was actually pretty nice. Take the last scene in this ep, for example, it was almost the same situation as in Valiant i.e. Arthur (sort of) apologise for his mistakes. In Valiant, he didn’t dump things on Merlin, he actually said ‘sorry’, and his voice was soft.

[S2E1] [other episodes]

[comradekatara]

hello! I’m rewatching atla atm, and I’m on the s1 finale. I was wondering if you’ve ever imagined what an extra northern water tribe ep could look like? personally I feel like they could’ve easily scrapped the great divide and added another ep to this mini arc, after the ep where katara slays paku. I’m just not sure what the conflict would be. a sokka ep would be great, maybe some of his warrior training & socializing with the average nwt man. the way this could contribute to sokka & masculinity & protection I would Die. ofc more time with yue. but anyway, I’m interested in your thoughts

oh this SUCH a good question!! the nwt is my favorite mini-arc in the show (yue being the absolute scene-stealer that she is) and i have always secretly wanted an extra episode set there, whether by removing “the great divide” (objectively bad episode apart from the aang lying stuff which is great) or by simply adding one extra episode to s1 at no cost.

if i could rework those episodes as self indulgently as possible, i would make “the waterbending master” more katara (and kanna) focused and then make the extra episode more sokka (and yue) focused. yue could still be introduced to us and sokka in that episode, but time spent on sokka’s subplot could instead be afforded to flashbacks of kanna in the nwt. we only get very limited glimpses of kanna, in flashbacks or otherwise, and i think seeing more of her, especially in an episode that sheds so much illuminating light onto her character & thematic role as she informs katara, would have been really cool to see. kanna as a child, giggling with baby yugoda as she would later do with hama. kanna at age 16, looking like a slightly older katara, hesitating over her marriage to a younger pakku, ultimately making a difficult choice. katara’s arc in that episode wouldn’t change (i mean, it’s already so perfect), but for the audience, seeing kanna would help contextualize that chiasmus and further move us.

a common criticism i see from detractors of sokka/yue’s relationship is that it feels too rushed, and i agree to an extent, but we also know that they did develop a sincere friendship during the timeskip between “the waterbending master” and “the siege of the north.” we simply do not know for how long that timeskip actually lasted. we can assume that it was a not insignificant amount of time, considering that katara basically mastered waterbending in that interim, but we never actually see that friendship develop, so to some, it can feel cliched and insincere (because they simply do not understand the power of uhaul lesbianism). so on a very self-indulgent level, i would love to see more of sokka and yue’s relationship development, since we are only privy to the most essential beats (which, granted, we can extrapolate from, but im being selfish rn shut up).

an episode where sokka and yue (both separately and together) comprise the a and b plots (and the c plot can be katara and aang adorable training montage) would be really nice to see, especially, as you said, wrt the gender politics of the nwt. it would be cool to see yue directly interact with arnook and/or hahn to provide a starker contrast between the burdens placed on her as a girl/daughter/wife/princess versus how sokka treats her (because that implication is already crucial, but framing it more overtly would be nice). and then seeing sokka in the throes of his “warrior training” being like “i don’t think any of these dudes have ever actually seen battle…” and having to deal with the tension of being denigrated and disrespected as a southerner, but also clearly having more experience than them and being frustrated by their myopia (realizing that not too long ago, he also had no experience, and oh god is that what he sounded like??????? yes.) .. and then of course sokka and yue together, flirting as “just friends” (over pai sho perhaps????) and being in their own little totally platonic rom com world. but sokka and yue’s relationship is obviously very thematically significant on top of just being lovely and adorable, so using that extra space to explore their parallel commitments to their (patriarchal) Duty, the burdens and expectations placed on them, and how it reflects their societies and the role colonialism plays in shaping them. would love to see it!!!!

[ctinalk]

Season two isn’t (fully) real, it’s a peaceful, fragile existence

The more I rewatch the show and read different theories, the more convinced I get that S2 is some sort of elaborate dream sequence or a distraction or memory alteration attempt (Neil’s chaotic angsty ineffable husbands fanfic?). But not all of it.

(This gets kind of rambly so if you want my true hook, scroll down to the Michael Sheen Staged gif.)

Let me make this perfectly clear on the outset: I don’t think all of it is a dream, and I certainly don’t think the final 15/kiss is or is going to be discounted (and not only because there would be literal riots in the street, because there absolutely would be, but also I’m putting trust in Neil and the team wholeheartedly). I think that could actually be the domino that brings them out of it. I read somewhere recently something along the lines of “something loved can never be truly forgotten” and I think that fits my theory perfectly. I’m also making no claims (yet) as to what I think is real and what I think is “enhanced”.

Also I apparently am either too far deep or cannot work the tumblr search function with any modicum of usefulness, so please link me to the posts I’m alluding to if you think it’s the right one. I will edit them in and sincerely apologize to the brilliant minds that exist outside the confines of the search function.

Now, On with the show:

You can be in charge of the biscuits

Maggie and Nina: Look, I get that recasts happen, they change the actor playing the character because of scheduling conflicts, etc. But to cast the actor/actress that is immediately recognizable from a prior interaction (whether with the characters or the audience) is not something you see. FFS Maggie DIED in S1, and Nina was pivotal (maybe too strong a word, but enough to be memorable surely) to the storyline. It’s like someone said “Hey, they’ll work, bring em in, no I don’t care that they were in S1. It’ll be a test of how well our facade is working. If they (A&C) notice, then the gig is up and we’ll know it.”

Also why in the world is the owner of a coffee shop offering Eccles cakes to calm down, when camomile tea is right there? (Resists the urge to go off on a tangent on how Eccles cakes were used to celebrate the “Eccles wakes” at the feast of St. Mary (yes that Mary) and how that ties into the second coming plot.) Do Eccles cakes count as biscuits? Ugh another thought for another day I suppose.

It has come to my attention during writing that Shax is the same actress as Madame Tracy. I have less of an affront to this knowledge since I’m 2 months deep and countless rewatches in and only just noticed. But I’m going to pop it in this header anyway. Are you really trying to tell me that a show that apparently has demon entrances happening precisely on the 6s really didn’t think these choices out very deliberately? (Edit 3: https://www.tumblr.com/noneorother/735823422626709504/the-secret-timeline-inside-of-good-omens-season-2 JFC why can I never find the blogs when I want to insert them? It was a breakdown about how all of the demon entrances happen at a 00:00 that ends in a 6.)

Yours very faithfully, Maggie

Text to mail disconnect: There’s been a theory pop up (at the time one writing this at least (edit 2: https://www.tumblr.com/azariah-z-fell/743434274903048192/it-is-extra-weird-because-it-is-on-the-record) that Maggie actually texted Aziraphale her request to talk, and it was magically translated into a physical form, and the spelling error (that so many people are shouting DEMON at) was just an autocorrect typo. But, surely Maggie would know he doesn’t text if she knew him for several years at least. We’ve never seen either of our boys text, only call. Seems like someone doesn’t know how phones work, but wanted to get the message received? See also: currency, below.

You ever think, what’s the point?

Numerous people have pointed out the same obvious background people. There are theories about the guy in the Hawaiian shirt being the second coming or something similar. I wonder if it’s some sort of play on a badly executed attempt to make Wickber Street seem “normal” in an alternate reality, an elaborate distraction, but they have to keep using the same character models because their imagination is just slightly better than Shadwells’ (Oh gfdi how did I miss Mrs. sandwich right there). I’m not saying we haven’t done a “oh oops silly me I forgot something” but that isn’t usually done in the middle of a sidewalk. When Aziraphale is initially talking to Jim with the blanket, there’s a guy just chugging his arms outside the window, not walking. Another one in E3 when Shax show up outside the shop, a guy in an orange sweatshirt passes in the background, then passes again, and not close enough in time/area to just be the continuation of the walk. Especially in the early episodes, there are veritable conveyer belts of people, straight lines, no trying to pass, etc. I’m trying to look at the background in S1 and while there are still tons of people, the background is… livelier. People passing, shoving past, actually going places.

“I’m looking at the statue of Gabriel.” “Oh, good job?”

Aziraphale basically learns fuck-all when he makes the trip to Edinburgh. Granted, I do believe most of that was to make the Bentley “our car”, but so many things are out of character. The no drink, the over-the-top “investigation” (as awkward as he is, Aziraphale knows how to act more normally than that with humans), the background on the drive up there…

All the others were taken (random collective thoughts)

Somehow ALL the businesses on the street are different from Season 1?

A normal person would have moved out of the rain instead of just lolling there letting raid splatter their glasses, yeah? (As a person with glasses I can confirm).

“We have all the hosts of hell searching for him” cue Crowley looking around like then why the fuck are there still demons around me?

The cross disappearing from the Gabriel statue between shots.

“I’m a bit out of miracles” and “that’s not how miracles work” from the guy who got written up for too many frivolous miracles.

I have here a sixpence and a farthing There’s always money in the banana stand

The lack of (accurate?) paid transactions seems like whoever is pulling the strings has no concept of earthly money and how it’s supposed to work, just that it exists. Crowley and Aziraphale talk bluntly about poverty and know that money is needed and used in current society (“Give her the money, Angel”, Rome, Globe Theatre, 1941 magic shop, etc.). Could be a “let’s not get lost in the trivialities” thing but it does strike me as odd. Caveat: Aziraphale forgiving the rent doesn’t quite fit, but cost of the record is obscenely low.

But this does give me hope about the 3rd 1941 flashback, because they were using money accurately there, which hopefully means the flashbacks and memories aren’t being altered, just “present day”.

We’re real people

One of the overarching themes in Season 2 (and S1 now I think of it) is “stop interfering in the lives of other people”. Maggie and Nina, Job, Elspeth, the entire dance party, Warlock, the book of prophecy. It would be a shame if someone were to make sure I failed to be messing about in their own lives.

I had brothers, you don’t scare me

Something happened just before Maggie told them to “Come in here and say that to my face.” Another demonic turn potential here, but also kind of like someone’s saying “FFS get on with the plot”.

The book of love has music in it

This post https://www.tumblr.com/noneorother/731977308306636800/all-the-music-you-didnt-hear-the-good-omens (finally, one I can find!) popped up, and there’s another one that purports to have noticed that there’s music lines missing from the opening sequence (edit 1: Found it!: https://www.tumblr.com/dadesu/726651737165938688/anyone-noticed-the-missing-half-bar-in-good-omens ). Possibly Clueing us in that there’s something that’s missing elsewhere (I mean obviously, that’s the whole point of this season, is it not?).

So where do we go from here?

As much as I’d love to say “Alright so the kiss breaks the spell whoever was put over them because of ✨the power of love✨, the ruse will be revealed, and they’re not talking because they don’t have to”

I don’t know, my thoughts are just the overarching patterns I’ve noticed over many, many rewatches and probably reading a few too many magic trick theories and/or fanfics. I don’t intentionally make my theory posts open-ended, but in the end that’s the fun of it. Nothing has to be mutually exclusive (yes I’m referencing my “Is Crowley already the new Supreme Archangel” post, I think I’m allowed that much). I’m happy to be proven wrong, and probably will be.

Lots of things are wrong right now

But I will leave you with one parting thought: Crowley knows. He knows there’s furniture missing. (That’s why he keeps just tossing things everywhere, because he know it doesn’t matter.)

And he. Does not. Care. For it.

How many theories that I myself hate can I dig into?

I’m a demon, I lied:

[justhereforthemeta]

The Second Coming...of Agnes Nutter?

Come with me, and you’ll be In a world of GO speculation…

This is a meta-flavored GO Season 3 speculation post. Not to sound overconfident - I’m no Agnes, and these stray thoughts are decidedly not reminiscent of Nostradamus at his best - but DO NOT TAG NEIL, please and thank you kindly.

I’m rewatching season one, and couldn’t help but notice some interesting details about the depiction of Agnes Nutter and her death in S1E2. While a common line of speculation is that Jesus’ Second Coming in S3 will somehow mirror Adam Young’s story as the Antichrist, there are enough potential parallels, mirroring, and inversions in elements of Agnes’ story that I’m now wondering if we should instead be looking to her for clues about what Season 3 will hold.

I’ll also note that, unlike many wonderful meta authors on this site, my knowledge of Christian theology is limited to what I’ve picked up culturally. That said, I beg the reader’s forgiveness in advance for any errors or mischaracterizations in the commentary below.

@aprilodite and others have written about a possible chiastic story structure at work in S2, and potentially over both S1 and S2. So as I run though these points, I’m also looking for things that might have mirrors over the course of S3.

The S1E2 ‘flashback’ to 1656 ends with Agnes’ daughter Virtue and her husband John receiving their bequest: a box (later revealed to Anathema and Newt to contain the second book of prophecy) and a book (The Nice and Accurate Prophecies themselves). Working backwards within a presumed chiastic storytelling structure, we could have already been introduced to the mirrors of these items over the course of S2. There are two candidates for the box: the first, obviously, is Jimbriel’s box, which may or may not have been heavier when he started carrying it than when it arrived at the bookshop containing nothing but a fly. The other candidate might be Aziraphale’s briefcase, contents unknown, which he appears to leave behind to Edinburgh in S2E3. And of course, S2 introduces us to the Book of Life, which seems to contain information pertaining to the past (possibly names, or memories, or events relating to beings’ having never existed), mirroring Agnes’ book of obscure knowledge about the future.

Agnes is accused of witchcraft partly as a consequence of helping her neighbors (curing their poxes, dispensing health advice, and so forth). Watching the crucifixion in S1E3, Crowley notes that execution is a characteristically human reaction to Jesus’ injunction: “Be kind to each other.”

Like the Biblical Jesus, Agnes knows about her death in advance and goes to meet it willingly. In doing so:

She brings death-by-explosion-and-roofing-nails to those around her (inverting a promise of eternal life).

She uses her execution as a teachable moment: “And let my death be a message to the world. Come. Come, gather thee close I say, and mark ye well the fate of those who meddle with such as they do not understand.” Her words can be read as: in killing me, you meddle with the ineffable, and in so doing you doom yourselves. This could be a potential mirror to, or inversion of, something a returned Jesus might say in S3: you (humanity) killed me, thus meddling with the ineffable (or doing what She had planned all along?), but you have been forgiven.

[thefinalcinderella]

Tsurune Book 3 Afterword

Full list of translations here

Time for my unsolicited book review!

Tsurune Book 3 is one of the books of all time.

I'm not trying to be funny, that is my true opinion about this book.

I've said before that it feels like the author was forced to write this book in a hurry, and after finishing it, I can only say that those feelings have only grown stronger. I think the author was going for an abstract and spiritual feeling but it didn't really work out. It only made the story hard to follow, and the tendency for the novel to jump from topic to topic seemingly at random didn't help. It's probably super obvious in the author's head, but that doesn't matter if the reader can't follow their thinking. I really do question what the editors are doing because I'm not sure if they're giving the author proper feedback.

The novel also suffers from trying to do a lot but not doing any of it satisfactorily. It introduced a lot of new characters and plot points but never really did anything with them?? The new first-years faded out of the story after the beginning and idek what's going on with Kuon. As for the new school Haneina...the author just gave them one """quirky""" trait each and called it a day. It kinda happened with Tsujimine too but it was more subtle with them, and I think the central relationship of Nikaidou and Fuwa was compelling and well-written. Asahina and Eddie, on the other hand, are just really weird?? I honestly don't understand what their narrative role is supposed to be??

This might be a controversial opinion but I feel like the anime tells a more coherent, polished version of the story. I was rewatching it the other day and I was kind of blown away by how the visual quality improved between the seasons. S1 was definitely not bad looking but S2 is just *chef's kiss*. Idk if there's going be an S3 but it will be interesting to see how (or if) they adapt book 3

Anyways i don't want to say that book 3 is kinda pointless since it did give us some reveals (perhaps unnecessarily) but on the other hand...i feel like book 2 had a nice ending for the series as a whole as well? idk. if there is going to be a book 4, i hope it will be all about Kazemai hunting down Masa-san's bio dad

Thanks for following along with me! I know I've been really slow with this so im glad people are still interested haha

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This happened when I was reading a certain foreign novel’s translated version. As I was reading through the point of view of a character whose first-person pronoun was “私” (watashi), I came across a surprising description. To my surprise, the character I thought was a woman suddenly started to shave their beard. Later, I learned that there was an unspoken rule that men used “watashi” written in kanji, and women used “watashi” written in katakana.

Minato’s personal pronoun is “ore” in hiragana. It encompasses the meaning of “undifferentiated,” someone of unknown gender who is neither male or female, although his physical body is that of a boy. Nanao’s pronoun is “ore” written in katakana, a person of unknown nationality who can’t be classified as either Japanese or foreign, a person who wavers between the two, a hybrid existence that crosses that line. Takigawa Masaki is also someone who hovers between “human” and “not human,” so his name is written as “Masa-san” (マサさん) in the text. Shuu is also a character who is in between.

I’m attracted to such “fluctuating” and “swaying” things. Things that can’t fixed or distinguished in form or state, as changeable as “water.” Kaleidoscopic freedom and loneliness are two sides of the same coin. People who fluctuate cannot stay in one place, and instability follows. Because they can’t be classified, they do not belong anywhere, nor can they be emphasized with. I wanted to somehow hold back those who can’t stop walking. I wrote this story because I wanted them by my side.

Changing the topic, I was on my way home from a domestic trip. After spending a relaxing time listening to the chirping of birds on an isolated island, I heard a large explosion sound when I got off at a certain station in Tokyo. The warning signal of a train entering the station continued to sound, and announcements reverberated from all over. I forgot to bring my earphones, so I was unable to plug my ears and ran all the way to the edge of the platform. Glowing neon lights reflected diffusely, and the words on billboards and other signs crowded in my field of vision like a herd of horses. I almost thought that I had time travelled back to wartime. We had become so accustomed to the flood of sound, light, and text that we don’t realize we’re on the verge of drowning.

Tsurune is the story of masters and disciples and bow friends with the theme of rebirth, and it began as the story of seven archers. The theme of Volume 3 is “Meigen, that is the sound of the dawn,” and I wrote about shari kenshou (seeing true nature through the shot).

I would like to express my sincere gratitude to everyone involved in the making of this book: Koyama Kyugu-sama, who I’ve interviewed, T-sama of the KA Esuma Bunko Editorial Department, Kyoto Animation-sama who was in charge of illustrations, the proofreaders, the novel’s official website, the printing company, and the distributors. The letters I’ve received are my treasures, and I have displayed them in my tokonoma alcove. I would like to thank my beloved kyudo teachers and bow friends, my precious friends, and my supportive family.

Last but not least, I would like to express my deepest gratitude to all the readers who have read this far.

I hope for the day when the beautiful tsurune of the archers will resound.

Ayano Kotoko

Spring 2022

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[raincitygirl76]

A few weeks ago Lisa Ambjorn confirmed that Edvin Ryding would NOT be the voice actor for Wilhelm in the English dub of Young Royals S3, owing to a scheduling conflict. Now, part of why I love the English dub is Edvin’s voice acting, just like I love the English voice acting of Omar, Nikita, Frida, Malte, etc. the idea of watching S3 dubbed, with someone else’s voice saying Edvin’s lines did not sit well with me.

So I’m going to watch it in Swedish with English closed captions. Apparently there are two different translations into English. The translation they used for the English subtitles, and the translation they used for the English closed captions. Just about every Swede on Tumblr has said the CC translation has fewer errors. Not zero errors, but fewer.

Anyway, I’m rewatching S1 and S2 now, to refresh my memory before March 11. And I’m watching those seasons in Swedish with the English CC, to get used to it ahead of time. I actually think the Swedish with subtitles is better than the dub. Even WiTH Edvin.

[erikiara80]

Theory: Jancy’s first lie scene is also about Jopper and the curse

I was rewatching Murray scenes in S2 and S3 and I noticed something in this one I never did before. This could be a big evidence that young Jopper, or at least Hop, are really cursed and that they probably were together in the og timeline.

I talk about the possible hints that they were married and are Will and El’s parents here

So, I think the first parallel/connection is when Nancy and Jon mention the theory that El is russian (later they also drink vodka)

This is foreshadowing of Jopper’s storyline in S4, not Jancy’s. Hopper is in Russia, Joyce gets a doll from him but Murray suspects it might be pregnant with an explosive device. Something Owens compares El to a few episodes later. And interestingly the doll is actually “pregnant” with the message that Hopper is alive.

Then the first lie scene. If the vodka and the mention of Russia are foreshadowing of Jopper’s storyline in S4, this could be about their past

After Nancy and Jon say that they're just friends, Murray laughs. "You told me a lot of shockers today but that... that is the first lie.”

That reminded me of the First Shadow. In my defence, I couldn’t make the connection before they announced the prequel, lol.

And @chirpsythismorning noticed something very interesting. The song that plays when Hopper is stuck in the tunnels in S2 is Shadow in the tunnel. That doesn’t mean that he is the shadow, but that he is associated with it. 

Nancy insists: "It's not a lie." Murray: "No? You're young, attractive, you've got chemistry, history. Plus, the real shit. Shared trauma." This could be about young Jopper too. Because we know that something bad happened way before 1983. In 1959, the year Hopper said he started to feel cursed.

Murray continues and tells Jon (our Hopper here): "Trust issues, am I right? Something to do with your dad." 

"No, I mean, my dad is..." 

Nancy: "An asshole." This is about Lonnie, but it could also be about Hopper's father, who thought his son was a piece of shit.

@shippingfangirl013​ I have to quote you here:  And the “my dad is…” “An asshole” Paired with the “well they must have gotten married for some reason” in S1. “I wasn’t around for that part” = Jonathan’s parents being in love.

Yep.

And then Murray mentions a curse: “It's a curse to see so clearly."

First lie, First Shadow, and a curse...

Hopper is the only character who’s been saying since S1 that he feels like he’s cursed. In S4 he even says that HE is the curse. And Jo pointed out that episode 4x02, Vecna’s curse, starts with Hopper apparently dying, only to reveal that he’s actually alive. Hm, stuck in a loop, maybe? I’m working on a post about Hopper and the curse, but I’ll just say that after he wakes up in 4x02, we see Max wake up too, from a Vecna nightmare, we see the poster of The Endless Summer and hear the clock-bike sound effect. Here the video.

But back to Murray and the first lie. It’s Nancy’s turn. Murray tells her that she wants safety (like Joyce)

Then another big parallel with Jopper. The We like Steve (Bob) But we don’t love Steve (Bob) 

Murray calls Nancy out. Saying that she loves Steve (Bob) is the second lie of the evening (and so is Joyce not being with Jim, the man she loves)

As Kayla says: Safety = Bob = MK Ultra manipulation, because of the flashbacks she has in S3 after being around Hopper.

Then THIS poster. It never made much sense to me when I thought about Jancy. But it makes a lot of sense if the scene is not just about them, but a parallel with Jopper and Hopper, the cursed one.

Here another parallel. Murray tells Nancy and Jon to have sex. The same thing he tells Joyce and Hopper in S3.

(red and yellow here, El and Will’s colors)

And I think this is important. That night Nancy and Jonathan GET together, and we don’t see the poster when they kiss, because they're not the ones that are cursed. Hopper and Joyce Maldonado are. The part with Murray is the parallel with Jopper’s past. Someone has been watching them for a very long time.

Note: The poster is a Big Brother poster. Brother, The lost brother, the original title of The Lost sister, an episode with tons of references to One and the lab (here, here and here)

Kayla also made another great connection with the song at the end of S2, Every breath you take. Maybe it’s not just about Will or El. It’s about their family. They’re all there. Will, El, Jonathan, Hopper and Joyce.

And the last words we hear before the last shot, the Mind Flayer looming over the school: Oh don’t you see? You belong to me

(Water is always involved too, right? Sorry, just wanted to point it out)

So, in conclusion I think that this Jancy scene is Jopper coded and maybe it tells us what happened to them. 

The question is: why is Hopper cursed? Were he and the others there, Joyce, Bob, maybe Scott Clarke, when the exorcism happened and something went wrong? Or maybe they stopped Betty, who wanted to help Henry, because they wanted to protect her (if she's really Bob's sister it makes sense) But without her help, something horrible happened. Or maybe something bad happened to her.

I feel like Hopper did something that changed everything. Maybe he thought he was doing the right thing but he was wrong and made things worse. We’ll see!

Anyway, I really like this theory. Tagging you too @lilitblaukatz​ 

[sihaya74]

NEW The Lessons of Bryan Fuller's Hannibal S1: E6 -- HOPE IS THE THING WITH SURGICAL TROPHIES

Lessons of Bryan Fuller’s Hannibal

S1:E6 – HOPE IS THE THING WITH SURGICAL TROPHIES

Hello readers and #FannibalFamily! Yes, it’s been a hot minute since I have updated this blog. What can I say? Life has a tendency to intervene. A few real-life events knocked me out of my daily writing pattern and I am just now beginning to regain my balance. This blog is, however, something I am committed to finishing no matter how long it takes, and so, I am digging back into the scripts of Bryan Fuller’s Hannibal and prepared to create my next installment – an analysis of the theme, the message, the universal lesson in the happenings of Season 1, Episode 6: “Entrée.”

I must make an important note that at this point, I have rewatched the show some five or six times. But this is my first time delving into the scripts for all the episodes. I have to occasionally remind myself about scenes in these episodes or lines of dialogue that wound up being cut or moved to a different episode. But since I am approaching this project as an English major and analyzing both the show and the scripts as a TEXT – (my literary theory professor, Dr. Hogue, always said that everything in life is a TEXT and he was damn sure right about that) – then I see no issue with the fact that sometimes the words I am analyzing didn’t always make it to the screen in the exact form they started out in. Hannibal is a series that is a feast for all the senses – its visual beauty, its soundtrack and score and sound effects, the effort put in to rendering the most beautiful depictions of food on the screen and so perhaps the viewer can imagine their taste – (I have dreamed feverishly about those High Life Eggs more than once, I can tell you) – but all of it begins where good stories start – on the page. And so, it is to the page and the words that I remain loyal.

This episode of Hannibal, “Entrée,” had two authors. Kai Yu Wu conceived the story and Wu and Bryan wrote it together. The episode was directed by Michael Rymer.

In the order of our French dishes, by which each episode of the first season is named, at this point in the series, we have partaken of the following: a pre-dinner drink, a little bitty appetizer, a bowl of hearty soup, some eggs, and a chicken or fish dish baked in a sauce and served in a scallop shell or scallop-shaped dish. And so now, a viewer must ask, “What’s next?” That or: “I need to take a break because I’m full.” At which, Bryan Fuller points at the viewer’s plate and says, “You’ll clean your plate and you’ll like it. You’ll love it. You’ll beg me for another season when we’re done.” Just trust him. He’s the chef. You always trust the chef. They know what they’re doing.

In a classic French meal, the entrée is not necessarily the main dish and it is not always served – sometimes they skip courses. When it does appear, it is usually a meat dish, in a sauce (GOTTA HAVE A SAUCE), and with sides. In American cuisine, entrée has come to mean a MAIN COURSE always. And what an entrée is in American cuisine varies wildly by what is on the menu, who is eating it, and how many fried cheese sticks and jalapeno poppers the person had prior to the entrée arriving at their table. Still, the idea holds. When you say the word “entrée,” people expect a main course – something substantial, something that sticks to your ribs. And in this episode, there is definitely a lot of meat – meat that has been rubbed and aged over the last five episodes and is now sliced and steaming from the oven. This episode is mostly about advancing the MAIN storyline – that of the Chesapeake Ripper and the FBI’s and namely, Jack Crawford’s, attempts to catch the seasoned killer. (Seasoned… see what I did there? YOU GOT PUNNED!)

And on a thirsty side note: After viewing the scene in which Will Graham reenacts the murder of nurse Elizabeth Shell, the fact that the episode is named “Entrée,” makes complete sense. Hugh Dancy in that scene is an entire meal with ample meat for leftovers. (Seriously – JFC – if you haven’t seen it, or seen it lately, do yourself a favor and have some GOOD FOOD.)

We start the episode with our introduction to one of the series’ completely original characters, Dr. Abel Gideon, a former transplant surgeon, who after being convicted of the murders of his wife and her family, has been incarcerated in the Baltimore State Hospital for the Criminally Insane, for the last two years. The character is portrayed with amazing skill, subtlety, and awesomeness, by Suzy Eddie Izzard. I have been a longtime fan of Izzard’s work and was insanely pleased to see the actor amongst the cast members.

I must point out the literary significance of the character’s name – Abel Gideon, a smorgasbord of Biblical allusion. The import of the Doctor’s first name is obvious – Abel, in the Biblical version of things, was the first murder VICTIM, slain by the hands of his jealous brother, Cain, who was angry that God liked Abel better and had a right fit about it. The character of Gideon is slightly more complex, but basically it goes as follows: Gideon was a prophet in the Old Testament. He destroyed the idols of Baal and others in his town’s temple because the townspeople were worshipping false gods. An angel told him to. Then, Gideon led the Israelites against other “heathen” tribes and won. They wanted to make him king, but he told them their only king was God. Still, he had them melt down the golden earrings of all their enemies who had fallen in battle and they wove the golden thread into an ephod, a priestly garment that is worn under the breastplate. Gideon put it in the temple and the people started worshipping it as an idol, because I guess, it was gold. Old Testament people always seem really impressed by gold. The Scripture is unclear, but it does say that the ephod was “a snare unto Gideon, and to his house” (Judges 8: 27).

You could say Gideon was a hypocrite, or more accurately, a terrible fool because he tried to stop the people from worshipping false idols and then he just led them into doing it again by creating something they would see as a sacred object. At best, Gideon was naïve. At worst, he was a fraud.

Dr. Abel Gideon’s name therefore could translate into something like: Dr. VICTIM FRAUD – or Dr. VICTIM FOOL. Despite his intelligence, he is lured directly into Dr. Chilton’s trap to believe and admit he is the Chesapeake Ripper solely because of Frederick’s needy ego – Frederick wants more feathers in his cap – he doesn’t have near enough and Hannibal Lecter’s are brighter and bespoke and where the fuck did he even find a custom featherer in Baltimore?

Then, later in the series, Gideon is led directly into the trap of the true Chesapeake Ripper and probably desperately wishes he had stayed in the BSHCI and eaten his stewed apricots and minded his own business.

Poor Abel is nothing but a puppet for two different egotistical psychiatrists. Unfortunately for him, one of them happens to be Hannibal Lecter.

And so, we begin the episode with the scene of Gideon passed out on the floor of his cell in the BSHCI and a team of prison guards approaching his limp form very cautiously and eventually shackling him, hand and foot, to a gurney, and wheeling him into the hospital infirmary, where he is treated by the aptly named Nurse Shell.

As evidenced by my previous discussion of Gideon’s name, I have come to realize the significance of character names in Bryan Fuller’s work. They are often allusions or tributes – homages to the work of other writers, directors, artists, scientists, and so on, that Bryan admires. For example, one has to assume that the surname of Bryan’s beloved Bedelia (another original character), Du Maurier, is a tribute to author Daphne du Maurier, author of many books and film adaptations of suspense – such as Rebecca, which Bryan and many of his horror colleagues discuss in the fabulous AMC/Shudder series Queer For Fear, on which Bryan was an executive producer and director. Basically, Mrs. Danvers was either literally or only metaphorically all up in Rebecca de Winter’s undergarments and when the woman died, Mrs. Danvers decided to make it everyone’s problem. The movie is awesome. Go watch it if you haven’t already. And then watch Queer For Fear. I believe they discuss Rebecca in both episodes two and four.

Anyway, Nurse Shell is correctly and tragically named because a shell of her former self is what she winds up as when the deluded Gideon is done with her.

As Nurse Shell turns her back, Gideon extricates the broken-off tine of a fork he has hidden in an incision in his palm. I believe this scene is an homage to the scene in The Silence of the Lambs when Dr. Lecter unearths a metal fragment from the back of his jaw, the inner workings of a ballpoint pen that has fallen into his hands. He uses this makeshift lockpick on his own handcuffs, much to the chagrin of Lieutenant Boyle and Sargeant Pembry. Classic scene.

Anyway, Gideon uses this tine to pick the lock on his handcuffs and when Nurse Shell turns around upon hearing the heart monitor hit a flatline, it’s lights out for the poor woman. We do not see Gideon kill her, but we see the results of his work soon.

Next, we see Jack Crawford and Will Graham vaulting up the front steps of the hospital, Jack explaining that based on the method of Nurse Shell’s murder, Freddie Lounds has run an unconfirmed story suggesting that Abel Gideon is the Chesapeake Ripper, which would explain the lull in murders for the last two years. Will is indignant that he is “fact-checking for Freddie Lounds,” but Jack coddles him with the statement, “You’re fact-checking for me” (Wu and Fuller 2).

There is heavy foreshadowing in the following exchange between Jack and Will before they enter the hospital:

WILL GRAHAM: I’m always a little nervous going into one of these places. Afraid they’ll never let me out again.

JACK CRAWFORD: Don’t worry. I’m not going to leave you here.

WILL GRAHAM: Not today                         (Wu and Fuller 3).

I really do recommend you watch the series more than once so this dramatic irony is not lost.

            Once Jack and Will enter the hospital, we see the first appearance of another of our main characters and one of the most important in the Hannibal canon: Dr. Frederick Chilton.

            In Fuller’s series, Chilton is rendered flawlessly by actor Raul Esparza, a deep daddy of mine (see ADA Rafael Barba of Law and Order: SVU fame). Esparza is another Fuller Favorite, having appeared in one of Bryan’s previous masterpiece shows, Pushing Daisies.

            There have been three actors who have portrayed the petty and obsequious Dr. Chilton, starting with Benjamin Hendrickson in 1986’s Manhunter. The second actor, and perhaps the most well-known portrayal, is that of Anthony Heald who took on the role in both 1991’s The Silence of the Lambs and reprised the role in 2002’s Red Dragon.

            Heald’s portrayal of Chilton is masterful – the Doctor is intelligent, but smarmy – officious and gladhanding – his pass at Clarice in the early moments of the film immediately puts the viewer off on him. Hannibal only seals the audience’s hatred of the Doctor by regaling Clarice with Chilton’s petty tortures of him, which are effectively contrasted by the treatment Hannibal receives from the ever-present orderly, Barney Matthews, played by awesome Frankie Faison, who treats Hannibal with a cautious respect, as a zookeeper might treat a venomous reptile. Barney never forgets what Hannibal is capable of. Chilton supposedly knows as evidenced by his relation of Hannibal’s biting attack on a nurse – he left only one of her eyes, ate her tongue without his pulse getting above 85 – but still, Chilton prods and humiliates Hannibal in unnecessary ways that LITERALLY come back to bite him in the end.

            Esparza’s Chilton is as intelligent as Heald’s, but slightly more savvy, ounces more petty, a bit more of a drama queen, and as opposed to Heald’s Chilton, who is ostensibly tortured and eaten by Hannibal at the end of The Silence of the Lambs, Esparza’s Chilton, in Fuller’s hands, is the favorite whipping post of killers and law enforcement alike – being practically disemboweled by one murderer, shot in the face by a traumatized Ripper victim, and later suffers the fate that Harris’ original Freddy Lounds suffers, a lip-ectomy and burning at the hands of Francis Dolarhyde. Freddy Lounds dies in both Manhunter/Red Dragon from this attack, but in Fuller’s Hannibal, no matter what, Frederick Chilton continues to survive, almost Fuller’s own version of the endlessly respawning Kenny of South Park fame.

            By my calculation, at the end of Season 3, Chilton is down 3 lives, so logic dictates that he has 6 left. If Fuller ever gets to make the full 7 seasons of Hannibal he imagines, if Chilton averages a death per season, he should survive the completed series with 2 lives left over, proving him to be the true winner of The Hannibal Games.

            But, once again, I digress…

            As Jack and Will sit in Chilton’s office, Chilton can barely seem to contain his curiosity about Will. Chilton’s open is clunky and obtuse; he says, “Doctor Bloom just called me about you, Mister Graham. Or should I call you Doctor Graham?” (Wu and Fuller 3). From his first line, Chilton seems to embody his later Season 2 remark, a gem from Harris’ canon, that attempting to analyze Will “makes [him] feel…like a freshman pulling at a panty girdle” (Fuller and Lightfoot 20). Chilton’s questions are telegraphed from a mile away – his overtures for more information are blunt and tasteless. Chilton’s questioning of Will, throughout the series, is contrasted with that of Hannibal – the difference is like watching a skilled surgeon with a scalpel as compared to a poorly trained medical student with a plastic spoon. Chilton can’t cut it, in any fashion. Will seems to understand this from the beginning – he sizes Chilton up correctly from their very first meeting.

            In their conversation, Chilton betrays himself a little, saying of Nurse Shell, “I can’t help feeling responsible for what happened. I had sessions with Gideon for years…I had no idea what he was hiding. And now one of our staff is dead” (Wu and Fuller 4). Of course, this is foreshadowing of Hannibal ascertaining later in the episode that Chilton is indeed COMPLETELY at fault. However, the most interesting thing about this exchange is Jack Crawford’s reaction. The script indicates that after Chilton’s remark here, it “strikes a chord with Jack…who can relate” (Wu and Fuller 4). Undoubtedly this “relation” is about Miriam Lass, Crawford’s lost trainee, who is first introduced in this episode.

            This is all important because of our lesson in this episode and because it highlights one of the driving motives of Jack’s character. In Episode 1, Jack and Alana agree that one of Will’s deepest motives is fear. If that is the case, then we can say that one of, perhaps the most, significant of Jack’s driving motivations is GUILT. Jack’s guilt is so present, so prevalent, so real, it is almost tangible. He feels guilt about Bella, about Miriam, later about Beverly, about Will, about Pazzi. His guilt is so weighty, so integral to his being, that often it overwhelms him, wobbles his sense of reason and the health of his psyche. Our lesson is not about guilt, but it is about an emotion Jack Crawford will not allow himself. In his position as Special Agent Jack Crawford, head of the FBI’s storied Behavioral Analysis Unit at Quantico, Jack does not allow himself much in the way of the easier emotions in life – laughter, joy, wonder – these are not things he can traffic in. Jack Crawford lives in a chapel of death. He is a chronicler of pain.

            As Chilton continues to prod Will for information, Jack finally states, “Graham isn’t here to be analyzed” (Wu and Fuller 5). It’s funny to me how people in the show, including Will, keep insisting that he’s NOT THE ONE to be analyzed, but since the very first moments of Episode 1, even the murders seem secondary to everyone else’s analysis of Will. It’s ironic, but I imagine purposefully so. Chilton retorts that “perhaps” Will “should be” analyzed; Chilton wants Will to speak to his colleagues in the hospital, but then he stops himself, saying, “no, no, not this trip. Dr. Bloom was very severe with me on that point” (Wu and Fuller 5). I also find it quite ironic how no one listens to Alana’s advice about handling Will. It speaks to the usual patriarchal pooh-poohing of women, even when they are extremely accomplished members of professional fields. Thankfully, Bryan saw to it that everyone who discounts Alana’s advice winds up paying for it.

            Just before escorting Jack and Will to the infirmary where Will can view the crime scene, Chilton says, “Next to a battle lost, the saddest thing is a battle won” (Wu and Fuller 6). This sentiment is attributed to the Duke of Wellington, and later to writer Robert Jordan, but to me the importance of it here is how it so perfectly illustrates the difference between Harris’ Chilton and Fuller’s Chilton. Every once in a while, especially in Season 3, Chilton seems to disinter these gems of wisdom from the muddy bottom of his intelligence. Often, lines like these, coming from Frederick are like an icepick of truth stabbed into the temple of the scene. A viewer who is familiar with all of the Hannibal canon can see – Fuller’s Chilton is smarter and more poetic than Harris’ Chilton, who is a slick, sad functionary who is both out of his depth with Hannibal Lecter and out of his league with Clarice Starling. Fuller’s Chilton is never in Hannibal’s league, but at times, real insight flashes up from the shallows of his brain, and it makes his character more sympathetic to the viewer. We feel sorry for Fuller’s Chilton. Harris’ Chilton never arouses such pity.

            When Will and Jack finally view the nurse’s body, it is described as follows:

She’s IMPALED on the BROKEN FRAMES of several PRIVACY CURTAINS that have been fashioned into SPEARS. They PROTRUDE from wounds over the entire canvas of her body. Additional shards of wood and metal prop her organs above her corpse, giving them the appearance of floating outside her body.                              

(Wu and Fuller 6)

The visual of this tableaux is important, as it will contrast with the Chesapeake Ripper’s actual rendering of the famous medieval Wound Man shown later in the episode in a flashback. Later, Will calls this murder “plagiarism.” The viewer, especially one who has watched the entire series at least once, can understand Will’s assessment easily. The Chesapeake Ripper is an artist – even when his tableaux are deconstructionist in nature, like Beverly Katz’s murder scene in Season 2, there is still a lingering sense of the whole that once was. The essence of the thing that has been taken apart is still suggested by the Ripper’s composition. Gideon’s attempt at mimicry is just that – a sad parody. He merely skewered organs like Nurse Kabob. He merely jabbed implements in her like Nurse Pincushion. There is no whole left to be had.             In Act One, we see the replaying of the gurney scene at the beginning of the episode, except this time with Will in Gideon’s place. This time, we see the attack on Nurse Shell; this time at the hands of Will, who is doing his mental recreation (pendulum swingy – this is my design-y) of the scene.

            Will’s recreation here is filed very lovingly by the #FannibalFamily under the title, “THINGS THAT HAVE NO BUSINESS BEING INSANELY HOT,” but Goddamn it… it is.

It’s not just Will’s torn open shirt – it’s not just the visible sweat on his muscled chest and furrowed brow (although those things REALLY HELP) – it’s the power and the confidence Will exudes when he is in the mental guise of the killer. In truth, every time Will does a mental recreation of a crime, he becomes inordinately hotter because he is not the unsure, confused, flinchy Will Graham of outside-his-mind – he is the take-charge, aggressive, Will Graham with some goddamned agency, that he only seems to be able to muster when he slips into the minds of other people – that is until the end of Season 1, anyway. Will’s agency gets a glow up in “Savoureux,” just wait.

            I will say that when Will gouges Nurse Shell’s eyes out with his thumbs, that’s a major ick for me. Eye stuff always deeply bothers me. I had two very invasive eye surgeries as a child and I think it makes me sensitive. The needle in the eye scene in Fire In the Sky is a trauma from which I will never recover.

            After Will’s recreation is finished, the viewer is then treated to a flashback three years earlier when the character of Miriam Lass enters the series. It is well known that Miriam Lass, played astonishingly by Anna Chlumsky, is Bryan’s substitute for/homage to the character of Clarice Starling, who, because of copyright issues, Bryan could not use in Hannibal. This, of course, is a damn shame, because Clarice is a god-level character and I would love, love, love to see what Bryan could do with her. (I would also like – if we ever get future seasons – to see Ardelia Mapp, Barney Matthews, and Multiple Miggs show up, but I digress…)

            Miriam and Clarice share similar backgrounds – they were both FBI Forensic Fellows – Clarice had the great distinction of studying under fingerprint examiner par excellence, Jimmy Price – but they both came through the same program there and at the FBI Academy. Their university degrees differ a little – Clarice is the daughter of a lawman, which Miriam does not seem to be – but both women are the same with regards to their stunning intellects, dogged determination, and their fascinations with and devotions to “the Guru,” Jack Crawford. It reminds me of a passage from The Silence of the Lambs. At the end of the chapter, (I tell you, Thomas Harris knows how to end a fucking chapter) – after Starling and Crawford return from the Potter Funeral Home in West Virginia, Harris writes, “She watched him walk away, a middle-aged man laden with cases and rumpled from flying, his cuffs muddy from the riverbank, going home to what he did at home. She would have killed for him then. That was one of Crawford’s great talents” (96).

            Jack tells Miriam that he has culled her from the herd of FBI hopefuls to work for him in the Violent Criminal Apprehension Program (VICAP) because she is at the top of her class, has impressive credentials, and wrote him a fan letter when she was accepted into the Academy. When Jack brings up the Ripper, he says, “The Ripper is very hot right now” (Wu and Fuller 10). Jack is, of course, indicating that the Ripper is on a spree, having taken “his last two victims in six days” (Wu and Fuller 10). But I can’t help but think of Zoolander every time I hear Jack make this remark. “Ooooh, that Ripper – he’s so hot right now…” And let’s be honest, if there’s anyone who could pull off a perfect “Blue Steel,” it’s Mads Mikkelsen.

Miriam impresses Jack with her assessment of the Ripper – not a “true sociopath,” but a killer with “some of the characteristics of what they call a sociopath,” but that in truth, “they don’t know what else to label him” (Wu and Fuller 10). Jack then begins briefing Miriam on the case and we are flashed back to the present and find ourselves sitting with Alana and Will in Frederick Chilton’s office.

Alana and Will are both there to interview Gideon – they will be conducting their interviews separately and then comparing notes. Chilton is “convinced” Gideon is the Ripper (when he knows damned well he’s not), Will is convinced Gideon is NOT the Ripper – Alana is unsure. Chilton informs Alana that even though she only had two sessions with Gideon when he was first admitted to the BSHCI, Gideon has “given [her] a lot of thought” since then (Wu and Fuller 12). It ups the creep factor and of course mirrors the novel Red Dragon, like much of this scene does, except that the inmate is Hannibal Lecter and the person he’s “given a lot of thought to” is Will Graham. Hannibal thinking a lot about Will is deep canon. Always has been. Always will be.

Alana goes into interview Gideon first – when she does, the script indicates, “The STEEL DOOR of the maximum security section closed behind Alana Bloom. She hears the bolt slide home” (Wu and Fuller 13).

I’m always deeply thrilled at how often the writers of Hannibal return to the “Forward to a Fatal Interview” from Harris’ Red Dragon and snatch little phrases from it they leave like glistening Easter eggs for fans to find. This is one such bejeweled egg – a Faberge of one, in fact. This forward is about how Thomas Harris came to create the characters of Will Graham, Clarice Starling, and most importantly, Hannibal Lecter. In the final paragraph, he says, “When in the winter of 1979 I entered the Baltimore State Hospital for the Criminally Insane and the great metal door crashed closed behind me, little did I know what waited at the end of the corridor; how seldom we recognize the sound when the bolt of our fate slides home” (XIII).

An adaptation is a beautiful thing when you have such beautiful source material to work with. I am forever fascinated by what different filmmakers and actors have done with the Hannibal canon, but we cannot, should not, ever forget the mind that created it and created such compelling characters that withstand the test of time and are enriched every time a new generation of writers and viewers return to them.

The interviews between Alana and Gideon and Will and Gideon are now intercut with each other, a wonderful technique that allows the viewers to compare and contrast for themselves, the differences and similarities between Alana and Will in their questioning, the differences between Gideon’s reactions to Alana and to Will. The most important fact that seems to arise from the interview is when Will says to Gideon about the death of Nurse Shell, “Brutalization of the body was done posthumously. The Chesapeake Ripper usually does that sort of thing during, not after” (Wu and Fuller 15). Will never buys Gideon as the Ripper. His other murders were spontaneous, not planned. Gideon is not an artist; he’s a plagiarist. What Will can’t figure out is why Gideon is copping to murders he didn’t commit.

We begin Act Two with Jack Crawford arriving unannounced at Hannibal’s office, just as the Doctor is about to leave for the day. Hannibal asks if Jack was just “in the neighborhood?” – Jack answers, “Something like that” (Wu and Fuller 16). This line is one of those TV/film chestnuts that you hear over and over and it never actually happens in real life. I have never in my life had someone show up at my door saying they were “just in the neighborhood.” Just like I have never had a cat suddenly jump on me from some unseen elevated position when I am in a darkened alleyway or corridor and things feel all spooky. It’s film logic. It’s kooky, but it works.

Bella is out of town and Jack has come to Hannibal to pry some sort of information out of him about Bella’s cancer – how she’s feeling, what she’s saying, what she thinks – all of which she is not telling Jack and all of which Hannibal cannot tell Jack due to doctor-patient confidentiality. Jack becomes angry. Their conversation is enlightening with regards to Hannibal’s character:

JACK CRAWFORD: You talk to me about Will Graham.

HANNIBAL: Will Graham isn’t officially my patient. We have conversations.

JACK CRAWFORD: What do you consider this?

HANNIBAL: Desperate coping.

                                                                                    (Wu and Fuller 17)

The line here – “desperate coping” – is such a wonderful illustration of how accurately Hannibal is portrayed as having some sociopathic tendencies or at least the tendencies of a narcissist. Throughout the series, Hannibal shows how he can go cold at a moment’s notice – how he can so easily shift from a seemingly caring, compassionate individual to a nightmare of stone-faced, murder-eyed calm. It’s terrifying. I was once very much in love with a man who could do this – he was not a murderer, but he could go dead-eyed and cold on you like this in seconds – and you never knew when it was coming. It scared the shit out of me.

            Some might say that Hannibal’s line here is compassionate, that he feels for Jack and his attempts to handle the imminent death of his wife – but I think the line is meant to cut Jack to the quick – he slices right into the meat of Jack’s pain here – as if to say, “Yeah, your wife’s dying. Pull it together, wimp.”

            It is canon that Hannibal prods people to cause pain – it is entirely for his own pleasure. A good example is from The Silence of the Lambs. When Hannibal meets with Senator Martin, supposedly to tell her the “real name” of Buffalo Bill (ha ha), he makes a cutting remark about the Senator breastfeeding her daughter when she was a baby. Then this happens: “When her pupils darkened, Dr. Lecter took a single sip of her pain and found it exquisite. That was enough for today” (201).

            The man drinks pain. What else is there to say?

            Then Hannibal immediately “salves” the wound he has created (“Salve” is the word used in the script directions) – saying “I’ll offer this one insight: she thinks she married the right guy” (Wu and Fuller 17). See Hannibal playing with Jack? Always playing.

            Jack then says, “I look at her side of the bed and wonder if she’s going to die there or where she’ll die and I feel myself going uncomfortably numb” (Wu and Fuller 18). I believe this to be a reference to Jack’s actual, canon death that Thomas Harris wrote for him in the novel, Hannibal. It is a death that I completely understand but hate like fire because I think a character like Jack deserved a lot better. I feel that Bryan was writing a better end for Jack.

            The end in question is as follows. Clarice Starling has already been drugged and hypnotized, pulled into a strange “relationship” with Hannibal – they live in Buenos Aires together under assumed names. Clarice finds out that Jack has died from the FBI website. Apparently, “after Crawford was home for a month from the hospital, the chest pains came again in the night. Instead of calling an ambulance and going through it all again, he chose simply to roll over to the solace of his late wife’s side of the bed” (483).

            I understand it, but dammit Jack deserves better. I believe Bryan was going to give him better. At least he gets to go to Italy and kick Hannibal’s ass. At least he gets another chance.

            Jack and Hannibal have a conversation about loss, which leads Hannibal to ask, “Who else couldn’t you save, Jack?” (Wu and Fuller 18). Once again, Hannibal pokes at the wound, tugs at the scab. We know full well that Hannibal has Miriam Lass hidden in a damp, darkened oubliette of a well in a secret farmhouse – all wet and cold with a missing arm in a dirty nightgown and in desperate need of some wet wipes and dry shampoo. We know this – which means all of this questioning about “the lost trainee” is just Hannibal enjoying himself, just Hannibal savoring Jack’s pain. I really do think he lets Miriam live because he likes her – (the same reason book/film Hannibal lets Clarice live – she’s a “deep roller”) – but I also think he lets Miriam live solely to give her back to Jack – just like he gives Bella back to Jack when he thwarts her suicide attempt. Just as he takes Abigail away from Will, then gives her back, then takes her away again – Lucy and the football. Hannibal is “curious” what will happen, but also because he loves the pain. Pain is so much more than hum-drum everyday life – and Hannibal doesn’t like mundane pain – like the worries and neurotic spoutings of Franklyn Froidveaux or Neal Frank, no. Hannibal wants Greek tragedy level pain – a boy who wants to be a killing monster, a girl who wants to kill the brother who has been raping her all her life, a man watching his wife die, a man torturing himself with guilt because he lost another girl, and Will Graham, whose pain is beautiful in its kaleidoscopic, ever-changing qualities – it is always the pain of the killer he is profiling, the victim he is investigating, and sometimes, Will’s own deeply buried pain, abandoned by mom, distant from dad, outcast at school, outcast among colleagues, always alone and beautiful, always alone and confused – in terms of pain, Will is 31 Flavors.

            At this point, Jack refuses to tell Hannibal about Miriam Lass – but later on he breaks. The breaking is always Hannibal’s favorite part.

            We are now flashed back again to three years earlier; we see Miriam and Jack surveying the Wound Man tableaux rendered by the authentic Chesapeake Ripper. The victim is lashed to his worktable, and all of his tools from the peg board on which they once hung are dug into the man’s body in varying places all over the corpse.

            This is not an unfamiliar moment. Jack with a whip-smart profiler assessing the carnage of a crime scene; he has also cleared the way for that profiler by sending all “the others” – the crime scene techs and photographers and forensic creatures -- away. Jack seems to understand that the brilliant ones need to be unfettered by noise and stimuli, even before Will Graham joins his pack. Miriam concludes several important things about both the murder and the murderer, namely that the victim was awake during the attack, and that the Ripper was selective about the organs he harvested. Miriam calls these organs “surgical trophies” – in this way, she is half right (Wu and Fuller 19). It is Will who will determine that the Ripper’s trophies are edible and et. The Ripper is a medical doctor, male, and – and I love this line – “exotic somehow” (Wu and Fuller 19). I believe the “exotic somehow” is meant to refer to the fact that Hannibal Lecter is European. I assume Europeans do not consider themselves “exotic,” but most Americans are flabbergasted by anyone with an accent different than theirs, so… If “exotic” is referring to the fact that the Ripper is being played by masterful and devastatingly beautiful actor Mads Mikkelsen, then yes, he's EXOTIC AS FUCK. Point is, he’s not your run-of-the-mill American. He owns a cravat – more than one probably. He probably has a bidet – he calls sedans “saloons” – and he buys all his table linens and china at Christofle. Miriam compliments Jack’s “peculiar cleverness” and we move out of the scene back into the morgue at the BAU, where Team Sassy Science is examining Nurse Shell’s body and Will is observing (Wu and Fuller 20).

            The team is discussing the similarities between Nurse Shell’s murder and the Wound Man murder. They are attempting to rule Abel Gideon IN or OUT. They are unsure how Gideon could have known about the wound patterns the Ripper inflicted on his victims because those details were kept away from the press. Will says, “I see the Ripper but I don’t… feel the Ripper. He’s an artist. This is… plagiarism” (Wu and Fuller 21). Will has his finger on Hannibal’s pulse from the very beginning of the show – whether it be Hannibal as the Copy Cat or Hannibal as the Ripper – when Will finally realizes the two are one and the same, it seems like something that has been on the tip of his tongue since the very beginning. And Will is also very correct in assessing that the real Chesapeake Ripper is not going to let Gideon take credit for his work.

            We end Act Two with Jack Crawford at home, asleep in his bed alone, his wife still out of town at a NATO summit. The phone rings. Jack shakes awake and picks up the phone. The clock reads 2:47 A.M. Clocks are an important motif in Hannibal, especially in Season 1. I will address what I think the motif means when I get deeper into Season 1, when Will’s encephalitis begins to worsen, but needless to say – clocks are humankind’s desperate attempt to not only measure but control time – and quite frankly, time rarely cooperates.

            When Jack answers the phone, he doesn’t recognize the voice at first – or perhaps he doesn’t believe what he is hearing. The words said by the caller are important because it is these words used to torment Jack for the rest of the episode:

MIRIAM LASS’S VOICE: Jack… Jack… Jack… It’s Miriam. I don’t know where I am. I can’t see anything. I was so wrong. I was so wrong. Please… Jack… I don’t want to die like this.                                                            (Wu and Fuller 20).

And then the line goes dead.

            We start Act Three back at the BAU. Beverly Katz has checked all the online databases for telecom systems and says she cannot find a trace of any call to Jack’s home at 2:47 AM. As Brian Zeller continues to question Jack’s skills of perception and memory (that maybe Jack dreamed it, that he doesn’t remember what Miriam sounds like), Jimmy Price points out, “whoever called could have tapped in from that little box outside your house. Or the junction in your neighborhood. There would be no trace signal to track” (Wu and Fuller 23). We, the viewer, know this is exactly what the Ripper – Hannibal Lecter – has done, solely because he is Hannibal Lecter, the James Bond/MacGyver of serial killers. He is a psychiatrist, a medical doctor and a surgeon; he speaks/reads/writes at least four languages that we know of. He is a world-class chef, butcher, snail cultivator, beer brewer – he can tie knots, sew, handle a variety of weapons. He can fist-fight – he can ballroom dance. He can give lectures on Dante in the medieval Italian. Obviously, he knows how to tap a phone line. I also feel very certain that Hannibal can fly a plane, hack into any computer (although he finds it distasteful), make his own soap (Fight Club style), and he knows at least one martial art, if not more.

            Incidentally, tapping into phone lines is also something Francis Dolarhyde can do – both later in Season 3 when he taps into the phone line at Hannibal’s office and calls Hannibal in the BSHCI with the call masked as Hannibal’s lawyer. But, according to Bryan, the Marlow murder in “Apéritif” is one of Francis’ early murders, and he had to tap into the Marlow phone line to record Mrs. Marlow’s call to the security company. It occurs to me that being a serial killer must create endless hobbies, solely based on things you have to learn, like phone tapping, lock picking, glass cutting, tree-climbing, and “this-is-my-designing.”

            Will points out that the 2:47 call obviously didn’t come from the BSHCI, and therefore, could not have been Abel Gideon. When Brian Zeller again suggests that perhaps Jack dreamed the call, Jack shouts at him, “I know when I’m awake” (Wu and Fuller 24). The script then indicates, “Will reacts to that, not always sure he knows the same” (Wu and Fuller 24). Poor Will’s encephalitis is worsening. It only serves to isolate him from others who might possibly help him. And the only person he thinks can help him is actively worsening his condition. I forgive him later, but from this point through the end of Season 1, I am mad as hell at Hannibal. My loyalty is to Will. Hannibal not only doesn’t help my poor baby, he purposely alienates Will from the people who could help him. Grrrrrrr…

            Next, we see Will in his classroom at Quantico. Soon, he hears the clacking of hooves on the floor of the corridor. When he looks up, he sees the Black Stag sidling toward him – then this vision morphs into the reality of the circumstance, Alana Bloom and Jack Crawford walking into the room. Jack floats the idea of baiting the Ripper with a well-placed story in the media, a story that will anger the Ripper because the reporter will heavily suggest that Abel Gideon is the REAL Chesapeake Ripper. Will thinks the scheme is dangerous. He says, “You might push the Ripper to kill again just to prove he isn’t in a hospital for the criminally insane;” to which Jack replies, “I have to push, Will” (Wu and Fuller 26). Jack’s statement is very telling – not just about his relentless pursuit of the Ripper, but of himself as a person. Jack does indeed “push.” He pushes everyone. He pushes Will so hard he practically has a nervous breakdown. He pushes him into the hands of the Ripper himself. He pushes Miriam so hard, he pushes her into that same man’s hands. He pushes his wife so hard, she flees to that same man for advice.

            Considering that Hannibal and Jack don’t officially meet until Episode 1, Hannibal is already WAAAY involved in Jack’s life and already deeply embedded in Jack’s head. It’s funny upon their first meeting in “Apéritif,” that Jack is meeting his nemesis and doesn’t know it. The man who took Miriam from him, who will take Will from him, who will take Beverly from him, who will almost take Jack’s own life. Talk about “a bolt of fate sliding home.”

            Will is disgusted with the idea that Jack is going to cahoot with Freddie Lounds, but you know how Jack has to push, so the next scene reveals Freddie Lounds entering a conference room at Quantico to meet with Jack, Will, and Alana. Jack and Alana are amiable and friendly to Freddie; Will is cold and bitchy (and insanely hot…) Jack tells Freddie he wants her to confirm her story about Gideon being the Ripper. Alana promises to talk to Chilton to get Freddie an interview with Gideon. In one of my favorite of Freddie’s lines, she says, “Not to snap bubblegum and crack wise, but what’s my angle? Is he the Chesapeake Ripper or you just want me to tell everybody he is” (Wu and Fuller 28). Jack suggests he could be because Gideon is a surgeon. The three then discuss the fabled list of professions which psychopaths most favor – journalists and law enforcement being two more. I often wonder if there is also a list of professions that psychos LEAST inhabit. Like, in the bowels of the BAU, a criminal profiler is saying, “Well, we know he’s not a pet psychic, a cupcake baker, or a crossword puzzle author, so we can rule those out! Thank God!”

            We are then transported to the high security sector of the Baltimore Hospital for the Criminally Insane and see stylishly dressed and coiffed Freddie Lounds entering the prison and introducing herself to Abel Gideon.

            When Freddie’s story is finished and published to Tattlecrime.com, we then see Hannibal at his desk with his little tablet reading it – his face as close to “bothered” as you ever see Hannibal come. This is the same face he makes when Franklyn leaves a soiled tissue on his end table, when Mason Verger stabs his chair. I like to call it Hannibal’s “I’m About To Cut a Bitch” face. This is one thing I will say for Mads Mikkelsen over and over again – he acts with every part of his body, including his beautiful face. Fannibals love to discuss Mads’ microexpressions – the little twitches at the corners of his eyes, the dead-eyed, yet sarcastic stares, the tears that appear from nowhere, the minute turnings of his lips into wry smiles – and the most prized being the MIKKELSNARL, the King of All Expressions. The look on his face when reading Freddie Lounds’ story makes you fear for her. Amazingly, she survives. It’s actually insane.

            We then see Dr. Chilton and Alana dining with Hannibal at his home. Hannibal says that the dish is a lamb tongue served with Duxelle sauce and mushrooms, created by famous French chef Auguste Escoffier. After some tongue wagging amongst the diners, Hannibal says to Chilton, “Don’t give me ideas. Your tongue is very feisty and as this evening has already proven, it’s nice to have an old friend for dinner” (Wu and Fuller 30). This line is, of course, a tribute to the ending scene of The Silence of the Lambs, Hannibal’s phone call to Clarice in which he implies he will be soon killing and eating the bumbling Dr. Chilton. As previously stated, Fuller’s Chilton stubbornly survives every season.

            Alana, Frederick, and Hannibal begin discussing Abel Gideon. Frederick proudly claims Gideon to be the Ripper. Alana begins questioning Frederick and asks, “Is it possible that you inadvertently planted the suggestion in Gideon’s mind that he was the Ripper?” (Wu and Fuller 31). Frederick replies, “Psychic driving is unethical” (Wu and Fuller 32).

            I have to admit that I NEVER heard the term “psychic driving” before Hannibal. Truly, it sounds like a Cronenberg video game for the Atari 2600. Hannibal says that psychic driving is allowable “in certain circumstances” and actually seems to arouse some gentle suspicion from both Alana and Frederick (Wu and Fuller 32). They don’t seem suspicious that Hannibal is the Ripper – we are a looooong way from that – but they both seem a little shocked that Hannibal might condone the practice, even in narrow cases. Hannibal so desperately wants to play, I think he actually overplays his hand here. He so rarely gives anything away and usually only does so on purpose – perhaps Hannibal’s admission is just to facilitate the conversation Hannibal has in the kitchen with Frederick, in which he states that he believes Frederick already has “psychically driven” Gideon, but it seems a little haphazard to me. Perhaps he’s still amped up because Freddie Lounds has landed a hit on him.

            Speaking of Gideon, we now see him in his cell at the BSHCI, this time being questioned by Jack, who states point blank to the prisoner, “You’re not the Chesapeake Ripper” (Wu and Fuller 33). Gideon tries to convince Jack, tries weakly to explain why he, supposedly as the Ripper, takes surgical trophies, why he didn’t display the bodies of his wife and her family, and so on. Gideon ascertains that Jack is not concerned with those prior crimes.

            DR. GIDEON: But you’re not here to talk about my wife or even the night nurse.

            JACK CRAWFORD: What am I here to talk about?

            DR. GIDEON: Your trainee. Miriam something.

                                                                                                (Wu and Fuller 34)

This minor detail, the fact that Gideon does not know Miriam’s last name, proves beyond the shadow of a doubt that Gideon is not, cannot be the Chesapeake Ripper. The real Ripper, Hannibal Lecter, has a meticulous memory palace built in his mind. Thomas Harris explains the grandiose proportions of the Doctor’s psychic estate in both Hannibal and Hannibal Rising. In Hannibal, Harris even treats us to a description of the palace’s interior. It has a “Great Hall of the Seasons… [a] hall of looms and textiles…[and a] Hall of Addresses,” just to name a few wings (252-254). Hannibal actually retrieves Clarice Starling’s address from this cognitive library, buried in a mental construction that Harris says, “is vast, even by medieval standards” (252).

            I know for a fact that Hannibal Lecter remembers the name of every victim he ever killed, how he killed them, what organs/limbs he took, what dish he made with them, and how they tasted. There is no way he forgets a victim’s name. With the exception of the incidental goons from the Questura in Season 3 or Mason Verger’s goons, Hannibal knows the name of every victim he chooses. No way he would forget Miriam’s last name. Gideon is an amateur.

            As their conversation continues, Jack’s phone rings. He walks out of Gideon’s cell block to answer the call as the caller ID announces the number as “HOME.” Jack misses the call and redials. He believes the caller to be his wife, having returned early from her trip. Whoever answers the phone (you know who), then plays the same haunting recorded message – Miriam Lass scared, alone, and begging Jack to help her.

            Immediately, we are in Jack Crawford’s bedroom, where Team Sassy Science is pulling and processing evidence from Jack’s bedroom carpet, bedside phone, and even his wife’s pillow. Will is once again observing. Jimmy Price pulls three sets of prints from the phone – the first two sets are identified as Jack’s and his wife’s. The third set is later identified as belonging to Miriam Lass. Beverly even finds a long blonde hair on Bella’s pillow. Will, of course, asks questions: “Did Miriam Lass know where you live?... Did you know you were sending her after [the Chesapeake Ripper?]…” and then states, “Whoever made that phone call thinks you were close to Miriam Lass and feel responsible for her death;” to which Jack replies, “She was my trainee. I am responsible for her death” (Wu and Fuller 36). Jimmy Price floats the idea that Miriam may be alive since her prints are on the phone. Jack cannot accept the idea.

            This new evidence spins Jack into another flashback – the circumstance of Jack’s last meeting with Miriam – the last time he saw her alive. They are back at Quantico – Miriam has skipped a class called “Exclusionary Rules of Search and Seizure” to ask Jack’s opinion about a report she left on his desk (Wu and Fuller 37). Jack seems needlessly cruel to Miriam in this scene. He tells her “go back to class” and “Frustrated, Lass? Better start forming a callus or frustration is going to wear you through” (Wu and Fuller 37).

            This is perhaps one of the reasons Jack feels so guilty about Miriam’s death, or what he believes to be, death. In their last conversation, he wasn’t very nice. This is one of the unfortunate things about life. The last time I saw my father, the night before he died, the last thing I said to him was, “Dad, don’t eat all that ice cream.” My father was a diabetic and my mother and we children fought him tooth and nail to eat better. Towards the end of his life, he merely circumvented us – he hid Snickers bars in the clothes hamper, peanut butter crackers in the visor in his truck – he finally just broke down and started buying all the sweets he wanted himself since my mother refused to buy them. He was unstoppable. The last time I saw him, he was digging into a half-gallon of Blue Bell chocolate ice cream, and so I told him not to eat it all. All he said to me was, “Bye.”

            If I had known that was the last time I would ever see him alive, I would have told him that I loved him. I would have told him that even though he was a shitty dad, abusive and obstreperous, that I still loved him, and I always would. I have to content myself with the idea that either my dad knew that I loved him or he just didn’t care.

            Miriam’s report makes a smart but dangerous suggestion in the hunt for the Chesapeake Ripper. She explains, “If the Chesapeake Ripper is a surgeon, we should look at medical records of all the known victims” (Wu and Fuller 38). Jack points out that this search would obviously be illegal – medical records fall under very tight privacy laws. Then, the following conversation proves yet another thing to the viewer about Jack’s character:

JACK CRAWFORD: It’s one thing for a trainee to go poking around private medical records without a warrant, very much another if “The Guru” did it…

MIRIAM LASS: Better for a trainee to ask for forgiveness than an FBI agent to ask for permission?

            JACK CRAWFORD: In my experience.

                                                                                                (Wu and Fuller 38).

There is something to be said of the fact that this is exactly the way that Jack “loses” people. This strategy is how he loses Will, how he loses Beverly – sending subordinates to do things he can’t do. I suppose it is a comment on larger patriarchal culture – how men in power get little people to do their dirty work for them – everything from cleaning their toilets to fighting their wars. It is not lost on me that two of the people that Jack “loses” this way are women. Strong, stubborn, beautiful women who went off doing things Jack couldn’t do because of “rules.” I love Jack Crawford with all my heart – but he should feel guilty. The loss of Miriam Lass IS very much his fault.

            After this conversation, Miriam wanders off to begin her search of the medical records and we are flashed back into the present where we see Alana Bloom again at the BSHCI, again interviewing Dr. Gideon. Two scenes here at the end of Act Four and the beginning of Act Five, one where Will has a conversation with Chilton, and one where there is a lockdown in the prison were cut from the final episode, so I shall skip them.

            The scene we alight upon is Jack, back in the present, walking down a hallway at the Academy, and once again his phone rings. Jack accepts the grim possibility that the call might once again be the Ripper taunting him and answers it. It brings us to one of the most interesting and important locales in the series, the abandoned observatory. The real location is the David Dunlap Observatory in Richmond Hill, Ontario, Canada. We see the observatory several times in the series – it is always a place of gruesome revelations.

            We see Will, Beverly, and Jack approaching the building – Beverly explaining that the last call Jack received from the Ripper “traced here. Or within a 100 feet of here” (Wu and Fuller 42). Jack then redials the last number the Ripper called from – one that wasn’t masked or anonymous. They hear a distant ringing coming from inside the observatory.

            They enter the building, and underneath a bunch of discarded equipment, at the base of the main telescope, they find a severed arm, the hand holding the ringing cell phone. A note on a card beneath the arm says, “What do you see?” (Wu and Fuller 43). The viewer understands that this is Miriam Lass’ arm – it explains the fingerprints on the phone in Jack’s bedroom.

            I must say, I do find the image kind of funny… Hannibal in his squeaky murder suit – which I affectionately call his “garment bag” because DAMMIT that’s what it looks like – a garment bag with sleeves turned sideways – in Jack’s bedroom, opening a plastic bag and tweezing out one of Miriam’s head hairs, laying it on Bella’s pillow – making the call from Jack’s bedside phone and then laying Miriam’s decapitated hand over the receiver – pressing the finger pads down with his own to make sure the prints stick. I always imagine Hannibal waving Miriam’s arm around with a dramatic flourish when he’s done – like some morbid maestro conducting an insane symphony all of his own composition.

            The episode ends with a flashback – Miriam Lass showing up at Hannibal’s office door to question him. The Wound Man victim was a “Jeremy Olmstead” Hannibal had treated for an arrow wound in his thigh the man received while bow hunting – when Hannibal worked in the emergency room, most likely at Maryland Misericordia Hospital in Baltimore. Hannibal says he doesn’t remember the man (he totally remembers) – but under the guise of going to retrieve his notes from the years he worked in the ER, he leaves the room, removes his shoes, and then in his stocking feet creeps up behind Miriam, just as she discovers Hannibal’s own Wound Man drawing and begins to realize the trouble she is in. Hannibal begins choking Miriam – this is the episode’s second installment of “THINGS THAT HAVE NO BUSINESS BEING INSANELY HOT.”

            The script describes the scene as follows:

Hannibal is like a column of marble, motionless as Miriam twists and throws, trying in vain to knock him off balance. She reaches behind her head, clawing at Hannibal but he presses his face almost sensually against the back of her neck to protect face and eyes from her slashing fingernails. Miriam’s eyes roll, defeated, tear-filled, knowing she’s going to die. She begins to go limp in Hannibal’s arms.

                                                                                    (Wu and Fuller 48).

This scene is an homage to the same scene in Red Dragon when Hannibal attacks Will from behind, just as Will spies a medical book on Hannibal’s bookshelves that contains the Wound Man drawing. Will’s gut is slashed by Hannibal in this attack – in Fuller’s Hannibal, Will’s gut is spared until the end of Season 2.

            This is why I adore Bryan’s Hannibal so much – it is not just an adaptation; it is a remix. Scenes are moved and laid in the hands of different characters. Conversations are shifted – things Hannibal said to Clarice, he says to Will – characters are gender-swapped or their fates are interchanged. Much of Bryan’s remix remains the same – like the tiger scene between Reba and Francis in Season 3 – but so much of it is recut, reimagined, broken down and put back together. Hannibal is an artist of deconstruction and reconstruction and so is Bryan. I still say and always will that Hannibal is the best show ever on television. Good God, it is that fucking good.

            But, you ask, “JESUS CHRIST! WHEN ARE YOU GOING TO GET TO THE LESSON?” I shall now deliver.

            The lesson takes place in the scene just before Miriam’s attack. After having discovered Miriam’s decapitated arm, Jack is badly rattled and goes to see Hannibal at his office. When questioned by Hannibal as to what he believes the Ripper’s motives are for trying to convince him that Miriam is alive, Jack responds “Hope. The Ripper wanted to cloud my vision in the fog of hope;” Hannibal then says, “It can sometimes be brave to allow yourself hope” (Wu and Fuller 44).

            Hannibal then asks Jack when he gave up hope that Miriam would be found alive and then makes the leap from one woman in Jack’s life to another saying, “Don’t give up hope for your wife. Not yet” (Wu and Fuller 44). At the end of the scene, Hannibal coaxes Jack into telling him about Miriam, even asking what her name was. I have to say it, but making Jack tell him, as if he is absolutely unknowing of the details, about Miriam Lass and her disappearance seems almost masturbatory to me – Jack is talking dirty to Hannibal and doesn’t even know it. Hannibal sits there, absorbing every minutiae, every crease of pain in Jack’s face, every flutter of guilt in his eyes, enjoying every moment knowing exactly where Miriam is, and how she disappeared. Perhaps it is in this discussion with Jack that Hannibal decides to spare Miriam’s life. Perhaps that was always his plan. Hannibal couldn’t have known he would be called in to consult with Jack on his beautiful, but twitchy profiler, so who knows how long he was willing to wait, keeping Miriam alive, bleeding her for info that would bring him directly into Jack’s domain. All of it is devious and cruel.

            It is perhaps the cruelest of things for Hannibal to talk to Jack about hope. The viewer knows that Hannibal is the one who has given Jack this “false kind” of hope (Wu and Fuller 44). It is important to remember that on a first time viewing, an audience member is not aware that Miriam is still alive. Just as on a first time viewing, the audience does not know that Abigail Hobbs is still alive after her ear turns up in Will’s gullet and then his sink. This “give the desperate loved ones a piece of their missing people and taunt them with hope” like a sadistic kidnapper, but one with no asking price, is a pattern Hannibal uses twice in the series – both times to manipulate people he cares for – to spin them in circles and watch the motion – no doubt in this spinning, Hannibal searches for weak spots, but he also delights in their pain and confusion.

            It is interesting to think that the people Hannibal seems to care most about are the ones he plays with in this way. Will, Jack, Bedelia – he offers hope; he yanks it away. He lies and lies until suddenly, at the precise moment it will make the greatest impact, he tells the truth. A colossal tease is Hannibal Lecter. But he plays with these people because they interest him enough to invest time and effort into them, into both their pain and their pleasure.

            Hannibal pokes at Jack’s hope not just about Miriam, but about Bella. As a surgeon, Hannibal knows the hope for Bella is even more of a longshot than for Miriam. But he wants Jack to hope because without hope, there is nothing to lose. It is best that Jack, Will, Bedelia, Alana – that all of them have something to hope for, something to lose. They will all become truly dangerous to Hannibal if they don’t. Which is basically what happens with most of Season 2 to Will, and for Jack and Alana in Season 3 – vengeance arcs – when Hannibal has stripped them of hope.

            Our lesson resides in Hannibal’s line: “It can sometimes be brave to allow yourself hope” (Wu and Fuller 44). Leaving aside Hannibal’s qualifying statement of “sometimes,” the most important diction in this line is of “brave” and “allow.”

            Mostly, we allow hope for others. For a sick friend, a family down on their luck, a whole group, a whole country – a sports team or a heroic dog – we can give our hope to them. That makes sense. And it feels good.

            But often, hope is not a thing we are willing to give ourselves. It seems like something only for other people, like compliments or compassion or birthday cakes. Hannibal says it’s “brave” to allow ourselves hope because when our lives are in abject turmoil, hope is the last thing we want to give ourselves because… hope hurts. When things don’t turn out as we want – when we don’t get the promotion – we lose the contest – we fail the test – we screw up the date – or worse yet, our loved one dies – when we crash and burn, utterly crash and burn – we remember the hope we had beforehand and say, “You fool. You stupid fucking fool. How did you even dare to hope?”

            And so the lesson, dear reader, is this – as he often is – Hannibal is right (the bastard…)

            It is brave. Let yourself have it.

            ALLOW YOURSELF HOPE. BE BRAVE.

            I know it seems easy for me to say. It’s not. It’s hard for me too. Some days, I just can’t do it. But you and me… we’ve got to keep trying. I deserve hope. And so do you.

            It seems impossible is this world full of pain and death and smiling villains.

            But if Jack Crawford can muster hope from a decapitated arm and a dying wife who won’t talk to him, you and I can too.

            Here endeth the lesson…

References:

Fuller, Bryan and Steve Lightfoot. Writers. “Kaiseki.” Hannibal, season 2, episode 1, Chiswick Productions, 2014.

Harris, Thomas. “Foreword to a Fatal Interview.” Red Dragon, by Harris, Berkley, 2000, pp. IX-XIII).

Harris, Thomas. Hannibal. New York, Delacorte Press, 1999.

Harris, Thomas. The Silence of the Lambs. New York, St. Martin’s Press, 1990.

“Judges 8:27.” King James Bible Online, www.kingjamesbibleonline.org/

Judges-8-27.

Wu, Kai Yu and Bryan Fuller. Writers. “Entrée.” Hannibal, season 1, episode 6, Chiswick Productions, 2012.

[pynkhues]

This may be way off base but do you think there’s something to Kendall being the one handling Logan’s medication in S2 (and as such, looped into his health and medical care) and Roman and Shiv not being aware that Logan had a UTI in S3? I’m doing a rewatch and hadn’t connected these points before when the show was airing but I can’t help but link them now. Like, I can’t help but wonder if this gets at what Logan does or doesn’t share, or is comfortable sharing, with each child but I could also just be seeing things. Any thoughts?

I don't think you're way off base at all, anon, I think Logan's really specific about the vulnerabilities that he shares with his children, and his health is absolutely one of them.

This is a slight tangent, because I don't think the intent behind them is the same, but I do always find it interesting that Connor seems to be the only one Logan actually talked to about his death. He spends so much time avoiding that topic with the Golden Trio, but Connor's the only one who knew about the family plot / tomb and the backstory to it, he's the one to handle all the funeral arrangements, he's the one who - by speaking to their father about cryogenics - was talking about the realities and un-realities of death.

That's not something Logan ever does with Kendall, Roman or Shiv, and it's interesting to think about Logan syphoning off his feelings of vulnerability to disperse among his children. I do think a part of its genuine - I think Logan's terrified of feeling ganged up on by them, and I think he really does value that feeling of individual intimacy that comes with sharing in those moments - but I also think he knows it deepens divides and insecurities between them and keeps all of them isolated in their knowledge and lack there of.

Things can, and often do, mean more than one thing after all, and I think the show always relished in that.

But yes, more to the point of your question, I think Kendall managing Logan's health in s2 meant a lot of things, but I also think it most pointedly echoes Logan's words in the s1 finale.

I think there's a lot to be said about the way health brokers this degree of intimacy regardless, but nursing and doctoring are highly gendered, and Logan's emasculation of Kendall is a real throughline of the series. Care-based roles like nursing are inherently pink-collar, they're feminine, and in saying that in this scene, Logan's deliberately emasculating Kendall, but also the very idea of 'doing good'.

Kendall taking over Logan's meds in s2 I do think is meant to indicate a degree of thematic castration, but I also think it's designed to show Kendall's attempts to atone for Doddy's death. He's being a fucking nurse, he's doing good things. Even if they are just for his dad.

I think that there's also an argument to be made that Kendall perhaps also is seen by both Logan and the siblings to 'get' the health stuff better. I think a lot of that probably comes from him being the eldest of the golden trio, but also from being in rehab and his own struggles, and from Iverson (it's been interesting reading the scripts because I think they do indicate that a] Kendall does think about Sophie and Iverson more than what makes it to screen [even though this still isn't as much as he should and he is still without doubt a terrible father, haha] and b] he's a little more across Iverson's needs than we see / it's more explicit I think in the scripts that Iverson is intended to be on the autism spectrum). He's more experienced, if nothing else, y'know? And I think in the Roy network, that counts when no one else wants to deal with something.

As for this and the UTI incident being linked - - yeah, I think they are. I think there's a space that Kendall and Logan occupy together that's just theirs, and that we as an audience are supposed to extrapolate that Kendall could've (and would've) managed that situation better or, more realistically, never would've let it get to that point in the first place.

How much that's actually true, who knows, but I do think there's a deeper read of their relationship which is its own beast really. I actually have another ask in my inbox about Kendall and Logan's particular dynamic which I've been percolating on, so I hope you don't mind me leaving this here! I'll answer the other (and link back to this ;-) ) in the morning.

[daily-crowley]

TELL ME ABT YOUR OTHER HYPERFIXATIONS!! Mine are currently Loki, ofmd, good omens, and Hozier :D

THANK YOU FOR ASKING, THIS IS GOING TO BE LONG!

There’s a few hyperfixations of mine I’m always talking about but right now there’s 3 main ones.

1. The Boys

2. Invincible

3. Peacemaker

The Boys is the main one; I loved it since it came out back in 2019. I moved on sometime after S3 ended and I found another hyperfixation but now new content is coming out with S4 so I’m back on my The Boys bullshit. I’m a Butchlander shipper, BILLY BUTCHER AND HOMELANDER CONSUME MY THOUGHTS. I AM BEYOND OBSESSED WITH THOSE TWO! I need them to kiss…. And-and more. Anthony Starr and Karl Urban are my current celebrity crushes that I’m only able to think about. If you follow me in insta it’s just been The Boys 24/7 that I’ve talked about since new content started dropping thanks to S4. HOMELANDER IS MY BABYGIRL I WILL DEFEND HIM I DON’T CARE FOR HIS CRIMES I DON’T CARE IF I’M SUPPOSE TO HATE HIM, I LOVE HIM. BILLY BUTCHER MY GOTH BOYFRIEND I WILL DIE IF YOU DIE. HE CANT DIE, HE JUST CAN’T. S4 teaser was insane, so much was going on, Black Noir is back?! And Jeffrey Dean Morgan is joining the cast! AND TEAMING UP WITH BUTCHER?! They said that trailer was just a scratch on the surface of what happens, wasn’t even a trailer just a teaser but it had so much going on WHAT DO YOU MEAN THAT’T JUST A SMALL TASTE OF S4?! I’m scared but excited. I’m nervous but excited (Billy if you fucking die on me- that’s what I’m most worried about)

Invincible is my other current hyperfixation, S1 was so good and I can’t wait for S2 to continue. They should’ve dropped all the episodes at once that way I don’t have to wait but whatever. Vigilante is my little meow meow from Peacemaker. I love Adrian so much, hate that I gotta wait till like 2025-2026 for S2 possibly.

My other interests that I talk about all the time (not currently much though thanks to The Boys) are:

• NATM/JedTavius

• Venom/SymBrock

• SamBucky/Marvel in general

• FNAF

• Who Framed Roger Rabbit

• Maleficent

• The Simpsons

Night at The Museum came out when I was 7, I’m 24 now, I haven’t moved on. It was my first hyperfixation and ship before I even knew what that all meant. I’ve written like 30 JedTavius fics. I’m a Venom fan first and a Spider-Man hater second. I will defend Venom at all times and Eddie and him are definitely in love. When the FNAF film came out it brought me back to my FNAF phase, Foxy’s my favourite with Bonnie being second. I watched the film about 20 times. Then in November I started a personal rewatch challenge on Insta where I watched it all month long. Meaning I’ve probably watched it at least 50 times and I still haven’t gotten sick of it (also I love the Josh Hutcherson whistle meme. I don’t care how much people hate it I think it’s funny.) I’m a huge Marvel fan, I literally grew up with the comics, I’m not kidding those were read to me as my bedtime stories. My favourite characters are Sam Wilson and Bucky Barnes as a result I ship them. I never shipped Stucky, that never made sense to me whilst Sam and Bucky have so much chemistry. Sam Wilson is everything to me, I adore SamCap he’s MY Captain America (still love Steve though!) Roger Rabbit is my favourite fictional character of all time, my biggest comfort character. Growing up I really tried to base my personality off of him, the world might be obsessed with Jessica Rabbit but I’m obsessed with Roger. People need to draw, edit, and cosplay him as much as they do Jessica. I’ve been a huge Simpsons fan since I was like 10 and my mother dropped me off at my aunts house and she left leaving me alone with my cousin who was watching The Simpsons and it took off from there. Nelson Muntz is my funky little son and they need to make Nelisa canon. Maleficent is my favourite Disney character (actually like quite a bit of Disney, second favourite character being Donald Duck) I based a lot of my style around her, and I have a lot of Maleficent collectibles. I absolutely love the Angelina Jolie’s Maleficent films (totally ship her with Diaval).

There’s a few other things that I really, really love. I’m also a huge horror fan my favourite being Chucky/Child’s Play as well as Killer Klowns from Outer Space, The Texas Chainsaw Massacre (not 3D), Friday the 13th, Nightmare on Elm Street, etc. Sanrio, Kuromi is my favourite second is Pochacco, I really love animated films and cartoons. IT, Monster High, and more. I’m also a collector of all these things.

So there you have it. Those are all my hyperfixation and fandom’s that I’m in. Right now especially those first 3 that I talked about (seriously can you tell I really like The Boys? Lol)

[adriengraye]

I find the whole "what makes a Loki a Loki" running theme so amazingly tragic, like.

"We’re destined to lose" "A Loki survives", etc. anyway, after rewatching Loki, reading some comics / books [the President Loki + journey into mystery series, as well as AOA and some of the immortal Thor] I’ve come to my own .. equally tragic conclusion.

What makes a Loki a *Loki* is the fact they lose everyone close to them, without fail, everytime. Sylvie’s whole timeline was ‘reset’ In journey into mystery [S1] Kid Loki says his nexus event was "Killing Thor" [total bullshit btw, they didn’t directly kill Thor, however, I digress.] , even after Kid Loki, classic Loki, boastful Loki and Ali Loki group together, they’re still split apart. [justice for Kid Loki btw, I love them so much and they’re so sad, little fella]

Boastful Loki betrays them, Classic Loki dies to Alioth for his glorious purpose, leaving only classic Loki + Alligator Loki [croki if you will], THEY. LOSE. EVERYONE. EVERY. SINGLE. TIME.

Other Lokis, the ones who were pruned clearly lost everyone because .. they’re, well, Variants.

The ending to the show with Loki leaving everyone is further proof, and im almost certain that if I look into every Loki variant, every comic, whatever, it can and will have the same outcome. Sif said it, and I’m saying it. "You are alone, and you always will be."

What makes a Loki a Loki is that they’re destined to be alone, in the end, anyway.

[dreamsandscenes]

My Ranking of TVD Seasons

*spoilers ahead*

NUMBER 8 - SEASON 8

I mean…do I need to even explain this? We all saw season 8. It was a mess. I felt like I had to drag myself through this season, just because I wanted to see how it ended. The only highlight for me was the ending.

NUMBER 7 - SEASON 5

The characters going to college was always going to be a strange transition - as it is in any tv show that starts with the characters in high school - and I just didn’t like the change. I can’t even put my finger on a specific reason why. It just felt different. This season also had the Travelers and Markos, who were just boring villains. The whole Silas/Qetsiyah plot was interesting at first, but fizzled out for me. The only highlight I could maybe pick out is Katherine’s arc. The show just didn’t fill the hole that the Mikaelsons left behind imo.

NUMBER 6 - SEASON 7

I didn’t completely hate this season. Ngl it was weird without Elena. That being said, I actually liked the time jumps in episodes. I wasn’t a fan of the Caroline pregnancy storyline, but that only happened because Candice King got pregnant irl. It just seemed to me like Caroline felt so bad for Alaric & everything he went through in S6, that she continued the pregnancy out of pity for him. The whole Alaric & Caroline “romance” (if you can call it that) was disgusting too. What were the writers thinking. I enjoyed the Damon and Bonnie moments though and Bonnie finally found a good love interest in Enzo. The Heretics weren’t all terrible either. I liked Nora. The Originals crossover ep was a highlight too.

NUMBER 5 - SEASON 6

Season 6 was a mixed bag for me. I really loved the whole prison world storyline. I thought it was unique and an interesting way to keep Bonnie and Damon alive after the S5 finale. It completely changed their relationship for the better too. Kai Parker was a great villain, one of the best in the whole series. I remember when he first told Bonnie and Damon about what he did to his family, that was the first time I was genuinely disturbed by a TVD character. Liz’s death was so emotional. Elena’s storyline this season was dull and I didn’t enjoy the whole Lily Salvatore thing. The season finale at Alaric and Jo’s wedding was crazy though.

NUMBER 4 - SEASON 4

Hope Mikaelson tutorial above 👀. Maybe it’s an unpopular opinion, but I actually liked Elena’s transition and then her no humanity arc. I seriously didn’t like the sirebond thing though. That felt icky to me. Her relationship with Rebekah from enemies to kinda friends was nice. Going to Silas island for the cure was interesting. Did I love the cure storyline? Not really, but it wasn’t the worst.

NUMBER 3 - SEASON 1

So many great moments. I just love this season. I will say, the pilot is a little rough, but most pilots are, so I don’t hold it against the season as a whole. While I’m not a Stelena shipper, I do think Stefan and Elena were very sweet in S1. Elena was also at her best in this season and season 2. When I say I like Elena, it’s this one I’m referring to. Damon was in his villain moment. The arrival of Katherine at the end was just perfect after all the talk about her throughout the season. I will say, I didn’t love S1 the first time I watched it, but when I went back and rewatched it, it became one of my favs.

NUMBER 2 - SEASON 2

This season? Oh this season keeps you on your toes. Elijah’s first appearance was so damn good. The moment at the school dance where Bonnie looks at Elena as she fakes her death with the sparks falling around her was a beautiful shot. I was so stressed the first time I saw it because I really thought Bonnie died. The build up to Klaus’ arrival and then him taking over Alaric’s body, so we kind of got a sneak peek of the character before Joseph Morgan fully entered the show was fantastic. I wish he didn’t kill Jenna, but he wouldn’t be the villain if he didn’t do horrible things.

NUMBER 1 - SEASON 3

The best of the best. The absolute pinnacle of the series. Season 3 was non stop action. It never got boring. And of course one of the main reasons why this season is number one for me is the introduction of the full Mikaelson family. The Originals brought so much to TVD. This was THEIR season tbh. They were the best villains ever in the series, and watching the Mystic Falls characters try to take them out never got old. From Stefan’s ripper arc, to the Mikaelson ball episode, to Alaric being turned by Esther, and then finally, Elena’s death and transition in the final episode; it was just simply a perfect season.