#what the lack of hannibal s4 makes us do | Explore Tumblr Posts and Blogs

k-s-morgan · 4 years ago

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how likely do you think us getting a s4 will be? at first i was excited, but the more time passes, the more i doubt that i'd enjoy it based on the little we've heard from bryan. i'm really not here for the unnecessary drama & continued manipulation or whatever it is he's implying. and also will being out of his mind frightens me a bit? like if it's something that hannibal can guide him through & stay by his side, i could possibly be here for it, but if it's something that breaks them apart again

(...) then i don't want it, haha. now that it finally seems they've found a way back to each other & can be happy. obviously, you can't predict the future, but what do you think s4 could look like based on the little we've heard so far? thank you kindly for answering!

Another ask: Realistically do you think there will be a S4 of Hannibal?

Another ask: Hi, I absolutely love your metas! Since it is super unlikely that we will ever be getting s4 of Hannibal (we are not getting it) - what would be its ideal plot for you? I would obviously love to see Hannibal and Will finally show their love to each other, but what would be an overall “ideal” plot for this season for you?

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Hello! I hope you all don’t mind that I combined your asks since they are all related to S4.

The possibility of S4:

I don’t think it is likely that we are going to see S4. The strongest chances were at the very beginning, right after the cancellation, and later with Netflix revival. However, Bryan said that even after ‘Hannibal’ did well there, no one contacted him and no one showed interest. Considering that Bryan and Martha have been trying different networks for years, I think it’s safe to say that they are all aware of our show and they are just not interested.

I understand why. While ‘Hannibal’ has a very passionate fan-base, it’s still a niche show. It’s expensive, complex, and wildly misunderstood. Just look at the articles about it, read the official summaries of the show/episodes, check casual viewers’ reviews - 97% of them miss the point entirely. Reviving and marketing such a show would be a nightmare. Also, I don’t know what Bryan is pitching, exactly, but in my opinion, he doesn’t sound strong enough when he’s discussing the show’s future publicly. His ideas all seem very abstract, and it doesn’t look like he has an idea for S5 at all. Of course, he might be trying to avoid spoilers, but knowing how he works, I’m not so sure about that. He didn’t even know what kind of show he was doing after 'Hannibal’ was green-lit - he figured it out in the process. So, if he’s pitching the same abstract thing we’ve been hearing about, I’m not surprised there is a lack of interest.

Things might still change, but it doesn’t feel likely to me.

Reservations and My Ideal S4:

First anon, I agree with you entirely. When I finished watching the show, I was very excited for S4, but with years, this excitement turned into anxiety. I’m not thrilled with Bryan’s talk of Will being out of his mind, Hannibal’s grand manipulation, MP focus, absolutely every character being brought back for it, etc.

Here’s my idea of S4 based on all Bryan’s comments over the years: this is the most acceptable version I could think of.

As for my ideal version: I think one more season is the only thing we need, preferably a movie. Since there will be a time jump, Will and Hannibal should already be in pretty openly romantic relationship. They just start killing after lying low for years (Mads indicated this once). Will is figuring out his design, perhaps getting overly reckless occasionally, and Hannibal is there to guide him. They face a threat of Margot and Alana’s people going after them repeatedly, so after a while, they decide to strike back.

Honestly, I’m very vague on the ideas, I could accept pretty much everything as long as it is logical and consistent. Will being dark without any reservations and openly romantic as well as mutually devoted Hannigram are the only two major things that I definitely want to see because otherwise, S4 wouldn’t make sense to me. The remaining loose ends are Will living after his Becoming, him and Hannibal learning to be a team all the time, and Jack & Alana with Margot threat. I’d like for a potential S4 to address them and lead the characters to a satisfying conclusion. The specifics are irrelevant to me.

#hannibal #hannibal lecter #will graham #hannigram #bryan fuller

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aparticularbandit · 6 years ago

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returning to myers-briggs discussions, i’d previously pegged rose as an intj (and hadn’t liked it because it fell into the general “your sociopath character is an intj” trope which i really don’t like - although fun fact, i don’t think hannibal is an intj. but also he’s technically not a sociopath or something that can be defined by psychology etc. whatever). but despite my efforts, it seemed to fit.

intj has the primary ni function and the secondary te function, which means the main function for self-saving is the subconscious aha! moment and the secondary function that deals with other people is graphs and bringing external order to thought.

i don’t necessarily think this is still accurate. mostly because i don’t think rose is a te. i think elena is a te, and i think the plan rose mentioned to luisa in episode fourteen was elena’s plan, not rose’s, and i think the primary reason rose decided to stop working with elena and kill her (and derek) instead was elena’s kidnapping of luisa. (if she didn’t leave her over being with emilio for five years and instead stuck to a plan that put her in a situation she hated, which may have made her want to leave but she didn’t, luisa becomes a primary factor here.)

however, i think my original reasoning for having rose be a te stemmed from s2 and her out-thinking and outmaneuvering elena, as well as keeping michael off of elena’s trail until he could put elena in prison where she wanted her, as well as allowing derek time to escape.

but this doesn’t necessarily have to be a te action.

and where we have very clear moments of luisa showing herself as an e, f, and p, we might have moments of that with rose as well. but rose, for me, is harder. ish. because we don’t see as much of rose, and as a character, that makes her more fluid and more open to interpretation, or more variable in interpretation. but there are some things that tend to stick, and that’s interesting to me, so.

first and foremost, i tend to peg rose as a t. this gives a strong conflict to luisa’s f, which is good for story-telling and if you’re into mb for relational purposes, having the opposite here tends to be beneficial (although this is one where having the same is fine - relational best match mb isn’t something i tend to get into much, but it’s fun to look at. that said, an intj’s best match is enfp or entp, neither of which is luisa, although I suppose a case could be made for enfp if you make her ne instead of se, but that’s the brainstorming function that i really don’t think she has. anyway). i also think this is where a lot of the conflict we see in rose and luisa’s reactions to their external conflicts comes from, as exemplified with eileen and everything to do with raf in s3 (which, admittedly, i haven’t seen all of. i mostly skipped s3. don’t judge me).

rose threatens eileen because, logically, this works, this has worked, this should continue to work. rose doesn’t trust raf because, logically, she has no reason to do so. she is given evidence that he might be onto her, and raf has consistently worked with the police. logically, this makes sense.

luisa doesn’t like rose threatening eileen because you don’t treat people that way. luisa trusts raf because he is her brother and she sees no reason for him to lie to her. her thoughts and decisions are based in her emotional relation to eileen and raf. emotionally, this makes sense.

but the difference creates conflict between the two of them, one which we see both catering to when the need is pressing enough. luisa relies on rose’s logic when they leave, and rose relies on luisa’s emotions when they return.

but also rose outmaneuvering characters throughout s1 and s2 (and would have in s3 if she hadn’t returned with luisa) is a very t thing.

the main discrepancy with making rose a t is her actions in regards to luisa, which are very much heart-based, not head-based. and this is the interesting thing because rose, as a sociopath, lacks empathy. not as completely as a psychopath, but that aspect is still there. when she relies on luisa, she’s relying on luisa’s overabundance of what she lacks (in the same way that luisa does with rose, not in the form of intellect (because luisa is a genius) but in the form of logical common sense (which, notably, luisa does not have much of); it’s an interesting form of conflict and resolution).

anyway.

rose also tends to be an i to luisa’s e. again, this works well for conflict and compatibility. woo! but really, that shouldn’t be how you type a character. we also see rose clearly acting as an i throughout the series, most notably the submarine, which is a huge recharge moment for her (although i suppose the caymans could be considered one as well, we just don’t see that). rose keeps very much to herself, she doesn’t talk about herself, but then most of the time she isn’t herself. (that said, i think as emilio’s wife, the rose solano mask, rose had to appear more extroverted than she truly is.)

this is interesting, though, because clara, as i’ve been writing her, feels more extroverted. she likes being with people, she likes communal things because even though she can’t connect with people on an empathy level this allows her to connect on a mob mentality level (ish, i don’t like that term), but even then, she does pull away and is by herself frequently. it also looks like the introvert aspect is something that’s fairly well accepted, so sticking with that.

rose is definitely a j (again, conflict/compatibility bonus). i don’t think she’s a strong j, because her organization and scheduling (and keeping to the timeline)—

hm.

see, and this is interesting because although i do think rose is more of a j than luisa is (and fandom seems to also paint her as a j), i can see an ambivalence here. rose mentions a timeline and is organized, but that feels like elena’s influence more than natural rose. we see rose most in the moments where she steps out of that - when she kills emilio, when she sends luisa to the mental institute, when she kills tom the bellhop - all of which are antithesis to the timeline itself. this is even more poignant in relation to sleeping with heidi prior to the series (or even going to the girl bar where she met luisa), which were likely impulsive decisions made that could potentially have jeopardized whatever elena wanted her to do (particularly in regards to their argument overheard by heidi).

but perhaps that is more rebelliousness and a need to be herself than an indication of a p vibe. rose’s actions in s2 (and in s4, to some extent) show a very organized vibe (particularly in regards to having an escape plan provided luisa deposits the funds - this is a very j thing to do).

so still on the side of j vs. p.

now, this is more interesting, because in the side of n vs. s, i think rose might actually be an s, and it’s part of what makes her so interesting as a villain and as an opponent to elena (even though we don’t really see that). as i mentioned in luisa’s analysis, s is more concrete and n is more abstract, but s is also more little details and n is more big picture, and Rose excels at the small details. it’s the little details that cause her actions mentioned in the j vs. p discussion (killing emilio and tom, sending luisa to the mental institute), and it’s the little details she can catch that elena can’t that lead to her success. rose is able to set things up under elena’s nose - with derek, no less! - and get away with it because elena trusts her to take care of those details. and rose does until she doesn’t anymore. it’s the little details that make her suspicious of raf, the little things adding up to a bigger picture.

but it’s also a lack of the little details with susanna that get her caught by michael (and also a complete ignorance of them by buying powdered donuts when she left with luisa like seriously rose - but even then, that’s a little detail for luisa that she wanted, so).

the problem here is this: istj still leaves the te that i don’t think fits with rose, and the above examples of s that i give fit more with se than they do with si, which would be the istj function. further, if you read the description for the ti function, that fits fairly well with the s and t descriptions given - the actions rose takes during s1 are ones meant to make the least changes to their overall system.

but se/ti leads to istp or estp - in which case, i’d argue rose as an istp (ti to help herself (because making the smallest changes to keep the system in place would protect her from elena) and se to help others (very grounded in the present moment, etc.)) which leads to something interesting:

rose and luisa both have a crossover essential function, and that is that se function, that being grounded in the present. while comparatively rose is definitely more j than luisa is, she can be flexible and impulsive and spontaneous, and that’s complementary to luisa. but their main conflict, then, is that ti/fi conflict - the internal logic vs the internal feelings. (and where luisa uses her se to help herself, rose is using it to help others - interestingly enough they would both be using it for luisa and this grounding her.)

#rose solano #musings #bandit brainstorms #luisa alver #roisa #and while yes rose could be ne and have the brainstorming function #and that would also work well with her because she could be more abstract #ish #i don’t think necessarily that’s a thing i think she’s more concrete than abstract #making rose ne and introvert would make her an intp #and as an intp #her mind doesn’t work like mine does

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miss-musings · 7 years ago

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My Top 10 Lizzington Moments

In lieu of my recent appearance on a local TV/movies podcast, where I defended Lizzington, I started mentally preparing a list of reasons why the romantic pairing is legitimate and why the father/daughter reading of Spader and Boone’s characters is wrong.

Granted, this isn’t to say that there can’t and hasn’t been some aspects of their relationship that have felt more like a father/daughter, uncle/niece, teacher/student, mentor/mentee relationship than it does a romantic coupling… but that doesn’t prevent the relationship from evolving into something romantic later on, or from Lizzington being the endgame.

Among the bigger reasons I could think of were:

In-show evidence (which we will get into more in a second), including the original pilot script

Comments from the actors, producers, writers, showrunners, etc.

The types of roles James Spader takes interest in (ie, romantic leads, not fatherly figures)

Parallels to other couples in literature/history/pop culture, including but not limited to: Edmond Dantes/Haydee from The Count of Monte Cristo; Bill/The Bride from Kill Bill; Hannibal/Clarice from The Silence of the Lambs universe; and real-life Whitey Bulger, who had at least one long-term relationship with a woman 16 years his junior

While talking with the two guys on the podcast who had seen the show, they argued that they hadn’t seen any evidence of Red’s romantic love for Liz or the Lizzington endgame possibility, citing their age gap and Red’s paternal type relationship with Liz as their reasoning.

I, in turn, mentioned a few scenes on the show where Red acts less than fatherly, such as when he surrenders himself on bent knee in 1x21, and when he narrates the tango milonga very sexily to Liz in 2x11.

Either they didn’t recall these instances at all, or didn’t see them as being romantic/sexual.

Thus, long after the podcast recording was over, I started mentally forming a list of the Top 10 Lizzington moments on the show that scream romance rather than father/daughter. Like, moments where if my dad or fatherly figures ever acted like that around me, I’d be freaking the fuck out. Or, moments where if I were writing a father/daughter pair (whether biological or honorary), I would completely avoid such moments for the squick factor, etc.

Granted, there are plenty of moments to choose from, but I wanted to pick big, meaningful moments, rather than just things like Red’s casual reference to the G-spot in front of Liz, etc.

And, really, each individual entry on this list doesn’t prove in and of itself that Lizzington will happen, but it’s really more a combination of all these moments PLUS all the ones I didn’t list (along with all the other stuff I mentioned above). One or two squicky moments can be waved off, but all of these, and as iconic and important as they are in the show… yeah, Lizzington is legit.

I tried to pick out single, individual moments, but there are two exceptions on the list. And, I only went up to the end of S4. I haven’t found any really strong Lizzington moments in S5 thus far, mostly because Liz believes Red is her dad.

And, again, these aren’t my favorite Lizzington moments; rather, the ones that I feel like most “prove” or support the idea of a Lizzington endgame/coupling. Once the series is over, I might do a full list of my favorite moments between Red and Liz.

(It wasn’t until after I’d made this list that I remembered the scene in 4x22 where Liz confronts Red about being her dad and he neither confirms nor denies that he is. Instead, he has this look on his face that I’ve seen on the faces of other TV/movie characters when they’ve been “friend-zoned” or, in Red’s case, “father-zoned.” Eh. Whatever. I’m going with the list as I already wrote it.)

But, now, starting at Number 10 and work our way up to Number 1:

#10: The Fulcrum memory extraction scene in 2x10

I put this one pretty low on the list, because it’s mostly the cinematography that implies the lack of personal space and physical closeness between Red and Liz. Like, he never actually does anything untoward or inappropriate to her, but he definitely gets super close to her face, and holding her, and some of the angles on those shots make it look so close between them.

And, granted, I’m not technically including the fall-out of this sequence, but I absolutely love the scene after when Liz accuses Red of only being in her life because he’s using her to find the Fulcrum. Like, all of his attention and affection toward her has been a manipulation, and as he reaches out to give her a reassuring touch, she recoils and spits venom at him. And he looks absolutely devastated. I feel like that scene is one of my favorites in the whole series, but, as far as the entry on this list goes… the closeness between them in that memory extraction… it’s low down on the list, but, it deserves a spot.

#9: Waiting for her outside the courthouse in 3x10

Again, this is also pretty low on the list, because – in and of itself – it doesn’t scream Lizzington. Not the actual action of the scene itself. I can imagine plenty of dads or father figures waiting patiently outside courthouses for their daughters.

But, it wasn’t really WHAT happened in the scene, but HOW it happened. The music, the fact that the had the bus move, and he was there behind it… a notable romantic trope. The fact that he was waiting OUTSIDE. My dad would absolutely be right inside the door, wanting to see me as soon as possible. Granted, other dads are different, but the music and the staging with the bus were strong factors for this scene being where it is. The looks on their faces when they embrace; the fact that they don’t say anything… again, low down, but it deserves a spot.

#8: Red’s explanation of Tom’s betrayal in 2x19

This is another instance where WHAT is happening in the scene isn’t as important as HOW it’s happening. In this instance: HOW Red explains Tom’s betrayal, how he emphasizes that Tom betrayed him because he wanted a life of intimacy and commitment to Liz… and the look that Spader has on his face when he says it. He’s absolutely shattered. It’s something that’s beyond jealousy, I feel like. It’s this sense of complete heartbreak that, not only did Tom achieve something Red now longs for (intimacy with Liz), but that Liz was happy in that life with Tom, even if it was built on a lie. That Red’s loss was Tom and Liz’s gain.

Granted, I don’t think Red was in love with Liz whenever he found out about Tom’s betrayal. He absolutely cared for her and wanted her to be safe. Hence why he felt he had to turn himself in. But, now that Red has met Liz and presumably fallen in love with her, he completely hates Tom for what he did to both Liz and himself; and I think that his obvious devastation over Liz’s discovery that Red initially hired Tom is more because he feels guilty himself, not because Liz now thinks badly of him (again).

This one is low on the list, but I felt like it deserved a spot because I can’t imagine a father or father-figure speaking to his daughter (figure) the way Red does here. I imagine it’d be more like, “Hey, I may have hired your ex-husband, but he was an asshole and betrayed me to save himself and needle his way into your life.” Not the way Spader delivers it… with that emphasis on Tom’s desire to be intimate and committed to Liz.

#7: The dinner date in 1x02

You know, because if I were a dad and I reunited with my long-lost now-adult daughter after years and years, I’d tell her to get dressed up, because I want to take her out to dinner. And then while we’re on said fancy dinner-date, I’ll bring up out of nowhere, and with little to no need, that if anyone asks she’s MY GIRLFRIEND. Squick indeed.

And for those of you who might be saying/thinking, “Yeah, but THEN, he says she can be his daughter.” To which I reply, “THEN WHY EVEN BRING UP THE GIRLFRIEND THING IN THE FIRST PLACE!!!”

When coupled with everything else that happens in that scene: how he whispers, orders her a drink in French (showing off), asks her to profile him, etc., … what father acts like that while on a dinner date with his daughter? Ew.

#6: The May/September reference in 3x05 (and other Blacklisters’ references to Lizzington)

“Some say it’s a daddy/daughter thing; others swear it’s May/September. I prefer to believe it’s a little of both.” –Matias Solomon

This is one of those entries where I’m going to cheat, because while I think Solomon’s quote is the most pro-Lizzington thing a Blacklister has ever said, he’s not the only one to point out Lizzington. From Anslo Garrick to Luther Braxton to Berlin to that lady in the all-woman thief squad to The Director to Madeline Pratt to that annoying FBI agent in S4c to Naomi Hyland.

Liz is Red’s girlfriend, princess, prima ballerina … someone he chose through fate; someone he cares for as much as he care for his wife; someone who blinds him to his passion; someone with whom Red “still has the touch”; someone Red makes feel like she’s the center of the world; someone whose relationship with Red is described as “still the in honeymoon phase”; someone who charmed Liz.

Again, if you’re writing a father/daughter-type relationship: WHY EVEN FUCKING BRING IT UP IN THE FIRST PLACE!!!!

If you’re just trying to throw red herrings at the audience, why do it in that way? And, if anyone points back to Solomon’s quote and says that it’s both, I say: EXACTLY. Red can definitely have a mentoring relationship with Liz and be overly protective of her, while also still being in love with her.

#5: “My life, My heart” in 3x19

What dad, upon watching his daughter die, would describe her as “a woman… who was my life, my heart”? The fact that Red is talking to his own imagination, or at least to a complete stranger makes me wonder why the hell he would ever phrase it so vaguely – instead of saying something more straight-forward, like, “My daughter was my life. My heart is broken now that she’s dead.”

Also, if Red is her dad, why does he feel like killing himself? Yes, his daughter died, but he still has Agnes. Tom be damned; if Red’s her grandfather, he deserves an opportunity to be in her life. No, Red feeling like the love of his life is gone makes more sense. As much as he wants to be, he has no right to be in Agnes’ life if that’s the case, and Tom (as Agnes’ dad) has every right to tell Red to leave them alone.

#4: Surrendering on bent knee in 1x21

Even IF Red doesn’t know he’s related to Liz, the writers HAVE to know. What idiot writes a bajillion-dollar network show and says, “Fuck it, idk how these peeps are connected! We’ll make it up as we go along!” No, the writers absolutely know what the connection is between Red and Liz, and if they were related, there’s absolutely no way they would ever write a scene where the man GETS DOWN ON HIS KNEES after a super-moving monologue about what Liz means to him and how a kiss from a woman making nearly dying well worth it.

I don’t care if he’s just surrendering himself to the authorities. There’s less dramatic, less trope-y, less romance-hinting ways to do it. The fact that he does it so slowly, so meaningfully, never breaking eye contact with her… fucking hell, what dad does that to his daughter? Or what writers would have an unwitting dad act like that with his daughter? Either Red’s fucked up or the writers are, if they’re really and truly related.

And, even if it’s just an honorary father/daughter thing, the point still stands. I have plenty of fatherly figures in my life, and if any of them looked at me the way Red looks at Liz, gets done on his knees and surrenders (to the authorities) in front of me, I’d definitely be weirded out. Remember, that IN-SHOW, Liz already has a fatherly figure: Cooper. I know other people have pointed this out before, but these two men act very differently for both supposedly being fatherly figures in Liz’s life. By contrast, Red is much physically closer, more intimate and more “romantic” (but not like overtly) and in a way more chivalrous than Cooper would ever be. Could you imagine Cooper getting down on his knees as Red does? No, and that’s a good thing.

#3: Sexy tango narration in 2x11

This is another instance where, if you substitute Cooper into this scene in Red’s place, it becomes immediately weird. James Spader can pull it off because he’s James Spader. He’s drawn to characters who are erotic and sensual and intelligent and romantic; or, if they’re not already, he makes them so, because that’s how he is.

I think that maybe has blinded people to how weird and inappropriate this scene would feel if it was a father/daughter or father-figure and his protege (like, with Cooper and Liz). Imagine Cooper saying the same things to Liz in this scene; describing the tango in the exact same way, with the same tone of voice. It’s no wonder James Spader gets a pass. We’ve come to expect the weird and sensual from Red (like the G-spot reference in 1x03), even though it wouldn’t be accepted in everyday conversation. That’s just the guy Red is.

Or is it more that it’s how Red is around Liz? Yes, Red is plenty weird and sensual and stuff around Samar and other people on the show, but he seemingly cranks it up to 11 around Liz.

Definitely not something a father or fatherly figure should do.

#2: The Ugly Fish and North Star monologues in 2x09 and 3x02

People on Tumblr have brought up before Red’s parallels to Edmond Dantes from The Count of Monte Cristo; it makes sense: Red, our anti-hero of the story, has certain parallels to the classical Byronic hero, which Dantes falls into. You know who else is a classic Byronic hero? Mr. Rochester from “Jane Eyre.”

“Jane Eyre,” for those of you who’ve never read it or seen an adaptation of it, is about a young governess fresh out of school who eventually falls in love with her moody but intelligent employer, Mr. Rochester. He tells Jane, after she saves him from a fire, that he knew she would do him good one day, that she would revive some goodness in him. Later, he refers to her as regenerating him with a vengeance and that she would be his means/instrument of salvation, and that he believes she would help him to live in a higher and purer way.

Now, who else does that sound like?

I get that people believe their kids are their saving graces, their second chances, their fresh starts, etc. Hell, one of the reasons The Bride leaves Bill in “Kill Bill” is so she can make a fresh start with their child. But, the way Red words these little speeches, the meaning behind them, how he gazes at her with complete adoration, how frequently he tells Liz that he sees his “second chance” and saving grace, etc. … it seems a little overkill for a parent to do. A simple “I wanted to make a fresh start with you” or whatever would be just fine.

The strong parallels between Red and Byronic heroes like Edmond Dantes and Mr. Rochester – both of whom end up with women who are much younger than them… young enough to be their biological daughters – absolutely make me roll my eyes any time people say that Red’s love for Liz is fatherly, and only fatherly.

Plus, with the North Star scene, that song that plays over the scene also doesn’t exactly scream “platonic” or “familial,” now does it?

I really want anyone who believes Red is Liz’s dad to watch any adaptation of Jane Eyre, or at least the scene where she saves him from the fire, and then rewatch one or both of these TBL scenes, and notice the similarities and parallels. Y’all. It’s like ridiculous how romantic these scenes are.

#1: The sexy dream (“What do you really want?”) in 2x03

Because, you know, when I have dreams about my dad or my fatherly figure withholding secrets from me, I imagine him in my hotel room while I’m somewhat scantily dressed and laying on the bed, standing over me and asking in a husky voice, “What do you really want?” This gives us a hint very early in the show that maybe Liz doesn’t see Red as quite so fatherly as some believe. All his little hints and sensual comments… all the lip-staring and meaningful looks between them… Liz’s “I feel possessive of him” and similar comments… all comes to a head here (at least at this point in the show). Already, Liz subconsciously, if nothing else, realizes Red’s love for her is not quite platonic and that he’s a very sensual man who – while he would definitely give his life for hers without a second thought – also sees her as a man sees a woman, not as a friend sees a friend (or honorary father sees an honorary daughter).

Now, I realize that might be unfair, as Liz can’t consciously control her dreams. But the writers can and do. Why write that scene like that? Why stage it in that exact way, with Liz holding onto the headboard of the bed, with Red standing over her? Why have those exact camera movements, with Red coming toward Liz’s bed, and the shot moving down to her legs and then up to her head? Him standing where he was would’ve been just fine, but, no, he comes closer to her while she looks up at him a little bit taken aback.

Also, notice how there’s no wide-shot in that whole sequence with Red standing over Liz’s bed? It’s a panning or moving shot. It’s almost like lingering on this image of Red standing next to Liz’s bed while she’s scantily dressed and asking her what she really wants would be … gasp, sensual! Or I guess even more overtly sensual.

Again, if it’s just the writers trying to throw us off… there are plenty of other ways to do that … there are plenty of other ways to write this scene without any kind of squick factor … if all you wanted was a dream where Liz imagines Red killing Tom to protect his secrets from Liz, then why write it and then SHOOT it as they did? Everything we see and hear on-screen is intentional.

#lizzington #the blacklist #nbc the blacklist #raymond reddington #elizabeth keen #liz keen #masha rostova #harold cooper

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nanakiwii · 6 months ago

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STARDEW VALLEY HANNIGRAM???

What the actual-?!

Really????

The voices won.

I regret nothing.

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Prison was boring.

Being locked up, as Hannibal expected, was all about routine and schedule. You wake up, eat, shower and shit when they tell you to. Good behavior was the key to bring back some of his old life pleasures: books and music, for example, were some of those achievements he earned.

But, Hannibal sensed he still needed something, or, someone to fill this void he called existence. After three years of isolation and intense silence, Hannibal couldn't help but to dig in every interaction he shared with his beloved.

In the time while they were apart, Will - somehow - managed to get engaged and marry a faceless woman and, as much as it hurt Hannibal, he couldn't deny he was happy to see Will as desperate as himself to try to easy the pain of their distance.

The lack of human contact didn't do great to his temperament and Hannibal knew we was becoming more "sassy" as days passed. He was bored. The bliss of the attention he received by the media was gone for ages. He found every assumption of his "diagnose" wrong and very dumb. "If this is the proof of human brightness, then we're destined to live in darkness" he thought.

It was this boredom that made him poke Alana Bloom until he discovered a way to taunt Will and to end his sickening loneliness.

Stardew Valley.

Apparently, it was farming game he could play with friends and family. And who was Will if not a friend and part of his family? Well, Hannibal guessed he had to find a way to play this exquisite video game with his precious Will.

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~ Inspired by this horrendous comic I drew on the printscreen brush tool a long time ago while I was sleep deprived and very very bored.