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strangesmallbard · 2 years ago

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i totally understand frustration with this episode’s pacing—many elements did feel abrupt—but i had a totally different take on lottie’s decision i’d love to share. (no discoursing, all friendly!)

adult!lottie spent the past 10+ years building up her autonomy re: mental health after forcible institution and gaslighting from “regular society.” she devised her own healing methods, dropped all the cannibalism, and appeared to be taking her medications. during this time, she also stops believing in the supernatural stuff. then, travis died in front of her.

lottie is likely an unreliable narrator when she recounts these events to nat, but we plainly see how they affected her. she’s terrified and suddenly unsure of her own memories. she also starts having the visions again. this adds a critical context for kidnapping nat—she wants to save her life and she needs nat to save them all. according to travis’ note, only nat can help her figure out what the hell is going on.

during lottie’s hallucinated therapy sessions, we see her address an inner conflict between the Wilderness and the “real world.” it’s also interesting that lottie uses this framework to unpack everything—she helped lisa get off psych meds and seems to implicitly reject traditional therapy methods, but takes medication herself and hallucinates a traditional therapist.)

then, a bunch of stuff happens that confirms the Wilderness Was Real for lottie. nat tells her they “brought it back with them” during their memory recollection session. then, the girlies all arrive at the same time, almost serendipitously. just like before, each woman is also suffering intensely.in the past, we see lottie literally offer herself up as a sacrifice so shauna can heal; in the current timeline, we see lottie offer the tools she’s built and relied on for agency and safety.

we then see lottie talk to the therapist one more time—who she finally recognizes as a hallucination. “a hunt that does not have violence cannot feed” is a raw line, but it does not invigorate lottie. once again, lottie is completely terrified. we talk a lot in the yj fandom about how they’re all stuck in the woods metaphorically, but i think this becomes more literal when they’re all together again, in the woods. ptsd flashbacks compress time. we know logically that no one is starving in the woods anymore, but ptsd doesn’t operate logically.

in this context, it makes sense that lottie offers the sacrifice as a solution. time has compressed for her. this saved their lives before and all of lottie’s wilderness instincts are saying this will save their lives again. but it’s pretty clear she doesn’t want to—after all, she’s spent the last 20 years believing it wasn’t true. by confronting the yellowjackets with their current circumstances, lottie is saying look. we tried healing their way and didn’t work. we know a way that does. let me help you again. let’s save ourselves again.

(the yellowjackets aren’t quite There yet with lottie, but i think they will be. each character’s arc involves the struggle to reconcile their current identities with the roles they played in the wilderness cult, and i think they’re going to meet in the middle very soon.)

however, i do agree the decision feels jarring for adult lottie, regardless of everything i just wrote. i think tonal dissonance explains my own reaction; while i love the humor in yellowjackets, i feel the adult timeline can veer a little too strongly into slapstick and tragicomedy. as a result introducing the past timeline’s dramatic tragedy elements into the current day timeline feels a joke landing wrong. (there’s also visual storytelling to consider, but this is already so long haha.) i’m curious to see how the finale wraps everything up, though—it’s hard to analyze the larger storytelling elements without seeing the full picture.

i've sat with the episode for two days now, and i'm still just genuinely so disappointed and bewildered by lottie's suggestion that they sacrifice one of the survivors. as presented, lottie's reasoning for the need to offer one of them to the wilderness is because they're all struggling as adults. just struggling, not facing any real and true dangers like the threat of starvation they were facing in the wilderness. she wants one of them to die - the very thing she wanted to prevent natalie from doing A WEEK AGO! - so that the other 5 survivors' lives get a little happier.

sacrificing one of them so they can all eat in the wilderness makes sense. it's an ugly and brutal choice, but it's understandable. lottie's plan is not. and the thing is, they did have an opportunity in this episode to justify lottie's 2021 suggestion, and they just...didn't. because, presumably, the reason for lottie making the suggestion in 2021 falls under the reason the ritual began in 1997. but we didn't get to see that ritual discussion.

understanding their motivation for the sacrifice is crucial. it's been crucial for the past two seasons, it's been what we were building to, and it's the bedrock of their new religion. we know they needed to eat, and that the sacrifice was a practical one. but how did they decide that one life was worth more than another? that a group of lives were more valuable than one? philosophy nerd misty was in that room; did she explain the different schools of thought? did they decide that the overall health of the group was more important than a single life? did they decide that the group as an entity needed to survive? and what does "survive" mean? physical satiation? emotional stability, making a choice they could all live with? did they discuss their possible future selves? the idea of happiness, since that's essentially what lottie is pitching in 2021?

lottie's whole pitch is that they need to do this - LITERALLY DIE - to survive, so that is exactly what they needed to define in the ritual discussion for this episode to make sense. and they didn't.

#lottie matthews #yellowjackets

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azzehkarla · 3 years ago

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#Raw (2016) very short review just to cut out of the stigma surrounding it.

It's a very powerful movie visually,the story is presented in an isolating and spiteful setting,Raw provides a repulsive, relentless but rich serving of psychological gore, all complemented by it’s toxic score, enticing editing and captivating cinematography. There are wonderful brief shots of the surreal and the intense. Clinical, stationary images slot in between the narrative,a visceral experience and an artistic sensory-invasion.

It’s a crossover between comedy,drama and body horror about a young opressed girl giving in to all raw carnal desires from sex and other pleasures to cannibalism. It shows her journey of growing and discovering herself and above all finding humanity. Realising and deciding she can control her primitive urges (eg her finding out she can kill,but deciding not to) and choosing to be above them,becoming human.

Few more things to add,I love the irony of the movie happening mostly in a veterinary university. Also is quite a fictional world where there are cannibals and apparently it is hereditary.

I think the movie also tries to focus on beating up the absurdity of certain taboo subjects,showing how wrong opression and ignorance can be. It aims against the fear of unknown,by taking such a horrid and scandalous act and using it as a metaphor for something much more profound.

It portrais many types of cannibalism: of interpersonal devouring,too much love,where we devour and consume each other,the way people treat each other,in society,this ritual magnifies this kind of violence that we feel everyday,so it's used in a metaphorical aspect and political aspect.

“You have to accept some parts of us that are hard to watch, hard to acknowledge because it’s in us, because it’s scary. I do think you need that to grow up, as a human and as a society.”-Julia Dcournau(direct of the movie)

#raw movie #raw 2016 #movie review #cinemetography #cinephile #gore #gore movies #psychological horror #best movies #cannibalism #blood

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alwaysthinkingoutloud · 4 years ago

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Hannibal Episode-by-Episode Meta/Analysis: Episode 3, Season 1 (Potage)

The first scene of the episode takes us back to Abigail’s memories of hunting with her dad. That whole memory provides us with a brand-new aspect to who Abigail is what Hannibal might see in her. Suddenly, it makes us question if Hannibal saw her as something more than a tool to draw Will in. Afterall, Hannibal’s philosophy would not sound too strange or bizarre to Abigail than what she already is accustomed to. She grew up being taught to normalize killing and eating what she kills with maybe different reasons than Hannibal, but obviously she still is the most fitting instrument to whatever he is planning.

Alana comes to Will’s house to talk about Abigail’s waking up from the coma and when Will expresses his concerns for Abigail’s being left alone, she says “Dogs keep a promise a person can’t”. And Will replies it with “I am not collecting another stray”. While she is trying to warn Will before he makes a huge commitment he probably cannot keep, because of guilt; she compares Will to a dog and Will compares Abigail to one. In the previous episode’s article I had already expressed my thoughts about Will’s relationship with dogs and how I think it represents his animalistic, urge-full side. So I find this set of metaphors to be a touch-on to Abigail’s yet-hidden killer side and Will’s subconscious recognition and acceptance of that, along with his own.

The conversation of Alana and Abigail is pretty informing about who Abigail is. When Alana walks into room and says that she is a psychiatrist, Abigail’s curious, if not tactical, question of what kind? and Alana’s saying family trauma (and not, for example, criminal something), ends up Abigail’s facial expressions to suddenly change into one that looks victimized. I do not believe it was an emotional transaction, I think it was one on purpose. As Alana later will say, Abigail shows enough-to-be-considered-healthy emotion about her parents’ deaths but also enough detachment from what happened to falsely suggest a lack of connection on her behalf. Her jumping from the topic of her parents’ being dead and her dad being a serial killer to making plans about college is not a mere denial caused by being traumatized but also a strategical move that someone of guilt would do. Her lying to nurses and trying to analyze Dr. Bloom is not a very victim-like behavior, she manipulates and tries to establish a position of dominance. I am this close to almost suggesting that this is something Hannibal would do. Hannibal made a fantastic move, bringing Abigail into the equation. (Abigail’s yet-to-come talk with Freddie is another example to what this paragraph is telling too.)

When Jack, Alana and Hannibal come into the same room together; everybody’s priority is different. Jack wants the case to resolve at all costs (at the cost of Will’s or Abigail’s stability), Alana wants the best for Abigail and Will, protecting their mental health and Hannibal wants neither. He wants the case to stay unresolved or resolved in a way he is pleased, and he wants both Will and Abigail in a position that is furthest from being stable. Actually in his thinking, he does want the best for them. Afterall, that is how Hannibal operates. He wants people pushed to their darkest potential, to unleash their beast, in whatever form it may come. He does that by increasing chaos around him and he feeds on that chaos. He sets things into motion to ends that even he sometimes does not know what of. So of course, he will agree with anything that stirs up the pot, which is right now Will and Abigail coming together.

Hannibal and Jack walks into classroom when Will is giving a lecture about the Copycat Killer. While doing so, he describes the killer in detail and to our knowledge, quite accurately so too. Hannibal seems to be listening to him intrigued and almost fascinated at Will’s deductions about the killer since they are so right and his smile reaches its max (well… max at Hannibal standards) when Will points out that the unidentified caller is in fact, the Copycat Killer. He is not just enjoying the thrill to be discussed as a killer in the same classroom he is standing in, without a soul knowing; what he enjoys the most is Will’s closing in. His spot-on deductions on what kind of person the killer is. Maybe this is the first time Hannibal hears someone speaking about the real version of him who is not wearing a person suit and doing that quite accurately too. Will is getting to know him, real him, and Hannibal enjoys it.

Will and Hannibal take Abigail for a walk in the greenhouse, Will supporting Abigail’s arm with his own. There is a one-second scene where Hannibal also touches Abigail’s arm (but that is all it is, a very no purpose-serving touch) to try and help her sit just like Will does and looks at Will, almost hoping to find appreciation or approval, which makes me smile.

During the conversation of Will and Abigail, the camera focuses on Hannibal only right after Abigail says, “That’s not all I brought out in him”. Up until then, Hannibal seems almost bored with their conversation about her mom. But that sentence makes something in him move, suggesting that he may be hoping Abigail to bring out something in Will too. Maybe that something being protective feelings against her which can be manipulated to familiarize Will with normalization of crime. Abigail continues to express her concerns about being messed up and having nightmares. But Hannibal only says “We will help with the nightmares.”, so they will not with her being messed up part? Well, why on earth would he? That is exactly how Hannibal wants her, messed up as others would say, or perfect as Hannibal would. Then, Abigail finally asks a question to Will that intrigues Hannibal the most, “Does killing somebody…feel that bad?”. Hannibal almost holds his breath waiting for Will’s reply. In return, Will gives a very interesting answer. He does not say yes it does, he does not confirm. He says, instead, that it is the ugliest thing in the world. He maybe right, but ugliness is not equal to badness, is it? Ugliness is a measure of visual taste, not a measure of morality. He almost suggests, killing may be an ugly act, but does not necessarily feel bad.

“It is not very smart to piss off a guy who thinks of killing people for a living.”

says Will to Freddie, in response to her threats about badmouthing him to Abigail. Obviously, Abigail already became family for Will. He protects her and shows a very different face of his when his relationship with Abigail is threatened to get compromised. A face that Hannibal loves seeing Will with. So when Jack asks Hannibal why he let Will say those words, Hannibal gives some Hannibalistic answer while smirking in a very non-subtle way. Of course, he would not stop Will in one of those rare times that he reveals his inner demons, Hannibal counts on it, even.

The second time Alana and Hannibal have different opinions (the first time was about Will going to see Abigail) is about if it is right for Abigail to visit her home where all the crime happened. While Alana disagrees with the idea on an attempt of saving Abigail from possible trauma, Jack chooses to go with Hannibal’s idea which is that confronting everything that happened in her home could be healing for Abigail. Jack is so blinded by his professional ambition to figure out everything hastily that he does not even realize how much damage he is causing unknowingly by each time not taking Alana’s professional opinion over Hannibal’s, whose motive actually is the opposite of Jack’s.

I think right about here is a good place to express my thoughts about Hannibal’s effect vs Jack’s effect on Will/Abigail. Although Hannibal is supposed to be the so-called ‘villian’ in this show, the serial killer, the cannibal, the person who drives people’s minds off the edge, the person standing opposite of law enforcement; he has a moral code. A code that is very different from the consensus but nevertheless, a code. And all the mind games he plays with Will and Abigail are meant to serve a purpose of helping them achieving their highest selves. Not forcefully making them into someone they are not, not harming them of out nowhere, but watering the seed of whatever it is inside them. To his thinking, he is elevating them. Helping them. On the contrary, Jack being one of the good guys in the show, the FBI director, the voice of justice; he manipulates and uses Will and Abigail never having their best interest in his mind. The only thing he cares about is the crimes and criminals; and everyone else’s stability and sanity, if lost on the way, is considered collateral damage. Unlike Hannibal, he does what he does to Will and Abigail knowing that it might end up harming them. So it is open to discussion, if Jack’s morality is any better than Hannibal’s. Or if his even is half consistent as Hannibal’s. I will come back to that in the coming episodes.

While still in the office and the four are talking, we learn that Jack’s motivation to take Abigail home is about gaining information about the Copycat. That is probably when the wheels started turning in Hannibal’s head about diverting FBI. Hannibal’s acts are never well-planned or calculated until the moment of actually killing someone. Although he is spotless on his murders, he rolls the dice and works with the material he is given on the events that lead up to those murders. Yes, he has one great big plan that consists of bloodshed, severed limps and a few people on specific positions; but he does not have one definite way to reach that. He goes with the flow placing the pieces into their places, which is what makes him that exciting: His unpredictability.

The short conversation happening between Will and Abigail about Will’s empathizing and his putting himself in her father’s shoes are seemingly pleasing for Hannibal. Afterall, more bonded they become, greater the chance of Will protecting her on all costs and consequently that cost being slipping away from the light side into Hannibal’s lap (sigh). When the topic of why they came there (to find out about the man who called the house that morning) comes up and Will asks her about the caller, she throws a very quick glance at Hannibal while saying that she did not recognize the caller’s voice, which suggests that it is a lie. Hannibal looks a little surprised, either for the fact that she remembered his voice, or that she did and did not blurt it out. Considering Hannibal’s thick accent, it is unlikely that someone would not recognize it after hearing it. So the second option weighs more heavily, just as her suggesting Hannibal being the man on the phone on a reenactment proves it so.

“One cannot be delusional if the belief in question is accepted as ordinary by others in that person’s culture or subculture. Or family.”

says Hannibal and it says a lot. Is not this the very thing Hannibal is trying to do? Putting together a family where his beliefs will be accepted as ordinary? Providing the same freedom to other members of his family as well? Making a family to set them all free, along with himself?

When Marissa shows up and somewhere in between the events calls her mom a bitch, considering the look Hannibal gave her (a very similar look he had given to Franklyn after he blew his nose and placed the dirty napkin on the table), her death was expected. The combination of that and finding the stone stained with Nicholas Boyle’s blood would be an obvious one-stone-two-bird solution to Hannibal’s diverting FBI from the Copycat Killer plan.

The second time Will dreams about the stag is at least as illuminating as the first one. He dreams about the stag right after the Copycat Killer kills someone. The first time, he saw it after Hannibal killed Cassie Boyle. And this time, we will learn that he sees it after Marissa was killed. I do not think that is a coincidence. This time though, as a difference, Will sees himself as the stag getting into a defensive position against Abigail’s throat being cut, again by himself. So he has no way out, either he is the guy killing Abigail or he is the stag who we already know is a killer, although is in defense right now. This almost suggests that deep down he knows regardless of the path chosen, there is no escape from blood. There is only a lesser evil, maybe, and that is killing to save. And the stag is the representative of this lesser evil in the dream, which is interesting because well, we know the stag will turn into Hannibal. Almost to suggest that, Hannibal’s true evil self without the person suit and Will’s maybe acceptable lesser evil sides will be one, to complete one another. (I may be reaching with that one…)

When Alana, Abigail, Will and Hannibal reach to cabin; the look on Hannibal’s face when Will asks Abigail if there is anyone else beside her and her dad who has been to the cabin and she says no, suggests that it is not true, although she is not aware of it and it also suggests that the plan of Hannibal is put into motion. In a little while, he also loudly accuses of Nicholas to kill his sister and Marissa, suggesting he is the Copycat Killer.

While Hannibal is making remarks about this killer not being Garret Jacob Hobbs because of leaving a body behind and not eating all of it, Will gives him a little disturbed look. Either because Hannibal looks too certain speaking, or because deep down, Will is smelling something suspicious. He actually gave a very similar look to Hannibal when he came into his classroom in between his lecture about the Copycat Killer. I do not think it is a coincidence, but it is very arguable to what degree Will’s awareness was at that point, even on a subconscious level. (There is another possibility that Will’s looks at Hannibal are just/also because he finds Hannibal glamorous with the way he thinks and everything ;)) )

Hannibal, hearing Freddie talk about someone else lurking around the house, asks her if she saw Nicholas. So we conclude that by putting the blame on Nicholas, what Hannibal hopes to achieve is to draw him out to the house to talk to Abigail to clear his name and… Well, there is no “and”. That is probably as far as his plan went and Hannibal did not know that Abigail would kill Nicholas but we can say he hoped she would. Creating a bond (preferably) and/or leverage (that can be used if Abigail did not turn out to be compliant) between them perfectly.

After Abigail escapes from the hospital and comes to Hannibal’s office, in between the conversation Hannibal says, you climbed over the wall, which means, apart from its literal meaning, that after she killed Nicholas, she is now free. By killing him, she broke her restraints and now in new territory. Then, he tells her to come down from there, suggesting after climbing over the wall, what you do is to come down, where Hannibal is also standing. Meaning, Hannibal also had climbed over the wall and now they are at the same side, so she can relax. This is the family where the belief is accepted as ordinary.

While Hannibal convinced her that if she did not hide the body, nobody would believe her innocence right after she killed Nicholas, insinuating she had no choice but to ask for Hannibal’s help; now that it is all over, he tells her that most people actually would believe that she was innocent. Abigail who understands that she has been manipulated, puts the pieces together and reveals that she did know Hannibal was the one who called the house. Not trusting her enough yet, Hannibal does not deny what she is saying so that she would feel let in, but not so much to let her in all the way either, creating a balanced relationship dynamic (of course, in the eyes of Abigail) between them. Then, by saying “No more climbing walls, Abigail, he makes sure she understands they are in the same side now, as equals (he lets she thinks) and there is no going back.

#hannibal #hannibal lecter #will #will graham #hannibal and will #hannigram #brian fuller #nbc hannibal #hannibal meta #hannibal analysis #will and hannibal #mads mikkelsen #hugh dancy #murder husbands #abigail hobbs #will loves hannibal #hannibal loves will #potage

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revchainsaw · 4 years ago

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Nausicaa and the Valley of the Wind (1984)

Prayers and Salutations Cult Members! I am your mysterious minister Reverend Chainsaw and this is another nights revival service at the Cult Film Tent Revival. I bring you a special word tonight. Tonight's word is about a person who roamed the earth, in a time where people were backward and warlike. A leader emerged into a kingdom full of eschatological expectation. This leader came preaching peace, and was killed for the sins of the world, but was resurrected. In that resurrection a new hope was brought to the planet, and true healing through the power of love in the face of violence is made possible. I am talking of course about Princess Nausicaa from the Valley of the Wind.

The Message

Nausicaa and the Valley of the Wind is the film that put studio Ghibli and Hayoa Miyazaki on the map. No animated feature this grandiose and epic had been achieved by 1984, as much as Disney may beg to differ. The tale may be simple, and it may feel super 80s to us today, but Nausicaa is a masterpiece, and the fact that Howl's Moving Castle is brought up alongside Princess Mononoke and Spirited Away more often than Nausicaa is a farce and a tragedy.

The film takes place on a fantastic planet that seems to have suffered the ravages of an apocalyptic war. A war that involved gigantic warriors with powers so devastating they about made the entire planet inhospitable if not uninhabitable; save for a few areas. The fall out of this ancient war has left the earth in a state of repair, where the natural processes of a planet healing has creating giant toxic jungles.

Beyond these jungles lie two imperialistic factions, they seem almost to be city-states but it's not terribly clear. The Kingdom of Tolmekia, a militaristic proto-fascist society of almost Spartan sensibilities. Tolmekia is governed by the ambitious and cynical Princess Kushana, But I like to call her Furiosa. Just like Furiosa, Kushana is physically missing parts of herself, a visual metaphor for her metaphysical lacking and the parts of her humanity she has cut away. Kushana's world view is one of fear, a fear that can only be quelled by waging a genocidal campaign against her enemies.

Speaking of enemies, the Athens to Tolmekias Sparta would be the Pejite Kingdom. The Pejites might like to view themselves as simply responding to Tolmekian aggression, but the narrative of the film, and the story told quite visibly on the body of Kushana, is quite different. The Pejites are just as bloodthirsty if not more palettable in their approach, but like the Tolmekians, they believe only their own lives have any value. And thus, in this theatre of war, a Giant Warrior from the ages before is unearthed by the Pejite Kingdom, Stolen by the Tolmekians, before the forces of nature themselves, seem to conspire to drop the Giant Warriors "egg" right into the Valley of the Wind.

The Valley of the Wind is populated like the world of Avatar the Last Airbender, that is mostly of children and the elderly. The people of the Valley have been able to remain untouched by the ravages of war and the toxic jungles of the damaged world primarily due to geographic luck that's explained in minor exposition in the film. They are ruled by a King, and they are all deeply enamored by their beloved Princess Nausicaa.

Nausicaa is a gentle soul. She is kind to animals, she is empathetic, unreasonably patient, and bears pain and grief inflicted on her out of cruelty with a saintly understanding. She really is a thinly veiled Christ figure, scratch that. There is no veil. But she's also my favorite Christ figure. She does not preach a message, as much as she tries to save everyone from their own short sighted goals. She is not perfect, she does lash out and do some fantasy sword fight murder, but she regrets her actions so deeply that it seems to have played a part in motivating her to become even more compassionate and patient with the evils of the world.

Nausicaa discovers yet another plot by the Pejites, who are afraid of the possibility of the Tolmekians awakening the Giant Warrior, to use animal cruelty to enrage a group of almost invincible giant insects known as the Ohm. By luring the Ohm into the Valley of the Wind where the Tolmekians have become an occupying force, they hope to completely wipe out everything that threatens them. The Tolmekians DO awaken the Giant Warrior and pure pandemonium ensues. Nausicaa manages to save the Baby Ohm and calm the rage of the bloodthirsty Ohm swarm, and to defeat the warlike tendencies of both the Pejites and the Tolmekians. All the while fulfilling a prophecy fortold about a messianic savior figure called the Man in Blue.

Now that you have heard the Gospel of Nausicaa, please stand to receive The Benediction.

Best Character: Half a Person

Now that I've spent the better part of this review gushing about our Lord and savior Nausicaa. I have to admit, she's at times a bit too perfect, a bit too saccharin. Even her flaw, or her one weakness and her failing to be perfect, just adds to the perfection. I can't even say she never makes mistakes cuz she made one, and that's infuriating. It's even more infuriating that I still think she's a great character. Normally this kind of thing really kills a hero. Most Chosen Ones are the most boring and least likeable characters in their narratives. I don't know how Nausicaa avoids this trap, but she does. I'll have to do some meditating on that.

However, just like in your typical Chosen One fantasy narrative, the hero is a lot less fun than the villain. I'm going to say the best character in Nausicaa is Kushana. I want to be like Nausicaa, but I don't understand her. She's almost alien, even though we learn all about her. Kushana is mysterious, secretive, and enigmatic, yet I understand her. She barely has an arc, she doesn't really change. She's cold and cynical to the bone, but I don't need to see much of her situation to completely understand why she is the way she is. I usually hate totalitarian bad guys, but Kushana I like. Sue Me.

Also fun fact, did you that Nausicaa means 'Sinker of Ships'. That's kinda fun.

Best Scene: Spoiled for Choice

I'm going to be lazy and say take your pick. There is really not a bad seen in this movie. If the action isn't going, then there's intriguing dialogue. If there's no dialogue then you may be about to get hit with a forceful burst of whimsy. There's horror, there's swordfights and aerial dogfights. The only thing in Nausicaa I don't like to see, is the bloody tortured Ohm Baby. It's like a god damned Sarah Mclachlan commercial.

Best Creature: Foxy Shazam!

The Ohm are so simplistic yet so detailed. The number of eyes is alien, but the way they are used is expertly expressive. Who'd think you could get me to love what basically amounts to a silverfish with the intensity that I love a kitten. How did Miyazaki pull an Okja with a creature that should be haunting our dreams? I don't know.

And what about the Giant Warrior! If you are an Evangelion fan then you probably already know that Hideaki Anno designed and animated the melting goopy biomechanical beast. Surely a sight that would make both H.R. Giger and Clive Barker giddy with excitement. Just the image of the silhouettes marching amidst the desolation of the old world is burned into my brain.

So which of these is the best creature from Ghibli's first outing? It's fucking Teto. It was always gonna be Teto you idiot. Just look at Teto, he's adorable. He's too cute to exist. I'm so alone. I need a pet.

Best Character Design: Tolmekian Regalia

I originally included this category to talk some about Kushana, however, at that time I also thought I was going to say Nausicaa was the best character. I thought hard about deleting it, but I think it's a different category and you can't accuse me of playing favorites because my favorite character is clearly Teto. Just to keep it simple. It's the two costume shift from full military regalia in white and gold, to the one metal arm, warrior princess get up. It's a great costume and a great look. Get on this shit cosplay nerds. It's great for Cons in Canada, you have to think about layers, and you can't keep going as Mr. Plow. It's lazy.

Best Excuse to Talk About Patrick Stewart's Character: Lord Yupa

I just realized that I was about to write this whole review without talking about Lord Yupa. Lord Yupa is a sword saint and all around badass I think a lot of entertainment, especially in the west is lacking bad ass old men. Lord Yupa particularly shines in the early half of the film as a warrior and as a wise council to Nausicaa. If she's Jesus then Yupa is John the Baptist. He is also voiced by the elegant and eloquent Patrick Stewart. He also comes with 2 chocobos!

Worst Character: For Whom Asbel Tolls

This might also be the worst actor category as well. Actual Cannibal (haha meme) and actual monster (haha real life) Shia Labeouf doesn't so much act in the role as he read the lines and it was recorded. The good news it doesn't effect the film too much because Asbel is completely forgettable. He is a catalyst to some of the action, but besides that I don't really care for him.

Worst Aspect: To Be Fair ...

It would be unfair to completely ignore anything negative about Nausicaa. I have already mentioned in many places that there are some pretty corny, or pretty predictable tropes to this movie. But what I can't capture in words is exactly why it feels fresh when it's done in this movie. I suppose that's what makes it good. It's just so good that it's weak points are lifted up by it's strengths. Some people may bored of Nausicaa's unyielding goodness, or that she very rarely chooses to take action as much as she chases and pleads with her surroundings, but I mean, she does pay for that eventually. It's a fantasy story and it hits a lot of timeless themes that have been hit in stories for as long as human beings have been telling stories. Some people may feel that it doesn't do enough to stand out.

Summary

I have defined the S tier for myself as "near perfect and personal favorite" films. I like to think that Nausicaa and the Valley of the Wind is near perfect. Some may say that it looks like it might just be a personal favorite. In the case of Nausicaa, I'm having a very hard time telling the difference. I think it would be overly simple to claim that Nausicaa is just an ancient archetypal heroes journey with an 80s anime coat of paint. I think it's doing quite a few new and interesting things with that formula, those things are just playing out all around that narrative as opposed to being at it's center. For a first full length outing by the studio, you can really see Miyazaki's heart and the values he holds close to. I'll repeat myself so that we are completely clear on the matter. I think Nausicaa and the Valley of the Wind is a near perfect movie.

Overall Grade: S

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seraphfilm · 1 year ago

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REVIEW: well… visually striking, yet contextually tepid. i love cannibalism as a metaphor for desire but the execution of that metaphor in this film feels as though it is being used merely for shock factor, and to pique curiosity of the viewers. this story has no flesh, merely a poorly reconstructed skeleton desperately attempting an image of depth, passion, and the grotesque as an exploration of the neuroses of a doomed lovers archetype. very little occurred within this film that couldn’t have been condensed into a short film, which is what it ultimately amounts to with regards to any character exploration that actually feeds the story. there are about 35 minutes of TROUBLE EVERY DAY that fooled me into believing there would be any emotionally provocative progression of the characters. quite frankly, this comes across as nothing more than a failed attempt at making something complex out of a bare bones concept, and no additional expounding. in summation, a filmmaker who presents a film that seems to ask a question of viewers, cannot expect answers when we are merely presented with a slate with stick figures on it

TROUBLE EVERY DAY (2002), dir. Claire Denis

#film #trouble every day #film review #criterion #claire denis

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nyx-9com · 5 years ago

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(: Thank you all for your patience, I’ll be trying to get caught up on these now. I feel a part of me may have been aware of just how long this response would turn out to be and procrastinated quite a bit.

A note: You may notice that I use Mars for primary rulership of Scorpio. I do in fact regard traditional rulers of the signs (Mars-Scorpio, Saturn-Aquarius, Jupiter-Pisces) based in the inner, more personal nature of those planets. I do consider Pluto, Uranus, and Neptune if they are prominent by angle, conjunction, or aspect, especially the traditional ruler is not. This may indicate more public bent to the way that individual expresses the signs energy. The energy may not be used in a personal sense. Otherwise I consider their influence over a sign minimal; largely contained to house placement and activations by transits/progressions/solar arcs.

Scorpio ASC + Virgo Sun + Capricorn Moon

1H Mars/Pluto + 11H Sun + 3H Moon

Wow, wow what a beautiful chart. I hardly know where to start, so forgive me if I jump around. There are a couple of things aside from your ASC + SUN + MOON components that I think are important for me to point out. First off, your 1H Scorpio Chiron is at the anaretic degree: 29. This indicates a crisis around the themes and lessons represented by your Chiron. You are expected to integrate these lessons this lifetime—in fact, you must. More and more intense situations will arise until you are forced to confront and learn these lessons. Some would say that this is your most mature energy, in this lifetime you must pass the exam to show your mastery of it. What a wonderful individual you must be, Wounded Healer.

Chiron in the first house deals with a wound to the personal identity or sense of self, and in Scorpio this may have come through loss or death. There can develop and unhealthy obsession with death, loss, lack. Don’t focus on these thoughts- you will attract more of the same. This is because the universe doesn’t seem to recognize negatives in focus- that is to say: focusing on how much you don’t want to lose someone can produce loss. The universe just feels you focusing on ‘losing something’, it doesn’t seem to be receptive to the “I don’t” in “I don’t want this to happen”. A more positive way to attract would be focusing on how much you DO want something or someone in your life. Ie; visualizing your grandmother being in your future childrens’ lives rather than focusing on not losing her before they are born. (Random example!) The difference seems like nuance, but the effect on your psyche and your life in general will be large.

There can be a tendency to sublimate the self, almost as if to control the ‘death’ of the self before uncertain circumstances can take that control from you. Frequently, people with Chiron in the first house have a rough start in life. They learn they can rely on themselves though they don’t always necessarily like themselves or have a healthy portrait of who they really are. Sometimes out of a misdirected loathing for the things that made them, they mistakenly come to hate the who they have become. Interestingly, they are often the greatest healers of people. They give others the right to forgive themselves their darkness but they deny themselves that same right. Perhaps this is because a sign like Scorpio comes with killer survival instincts and the grit to claw oneself tooth and nail through situations that would rend most limb from limb. Scorpio will gnaw off its own leg to free the rest of the body, kill with bare hands to survive, Scorpio will cannibalize to avoid starvation. If that seems graphic, I apologize, but I mean to illustrate that Scorpio will go to extremes that other signs don’t have the guts to tolerate, Scorpio is self-protective, Scorpio is “at all costs”. (And to be clear, I am speaking strictly in metaphorical terms of the energy of the sign Scorpio- not calling Scorpio people cannibals or anything. :P ) The thing is, when you “survive at all costs” you reach the light at the end of the tunnel. And when you get to that point and normalcy begins to resume, you can look back and be horrified at the individual you became to traverse that inferno. The fact that we have such darkness in us can be frightening, “at all costs” is never a pretty situation to look at. These types of behaviors might still exist in you long past their use-by date, making one feel dangerous and perhaps ugly. This is where the self-denial and self-hatred can come from.

I can only hope that you don’t need to hear any of this, that this placement didn’t manifest this way for you. But in case you need to hear it: forgive yourself. You are who you are, a complete person, and you have a right to love everything about yourself, even the parts that are frightening or messy. If you seek the positive expression of this sign (any sign really), then you will know that you are everything you could be and everything you should be. You won’t have to worry and wonder. Subconsciously negatively expressing the traits of this sign can become a way to confirm self-hatred which becomes a vicious cycle. The more you bash yourself, the more depressed you become, the less likely you are to seek positive expression, the more you reaffirm yourself to be a negative person. Be careful you are not setting yourself up to behave in ways you don’t approve of, always choose your personal high-road.

With that aside, let me continue on to the rest of your chart. You have this lovely Virgo Sun in the 11th house, a very public house and one tied with large associations. It’s also the house of hopes and dreams and greater fortune. While you likely display the regular logic and organization of a Virgo outwardly, I can see that you’re an emotional and compassionate individual. You keep that largely to yourself, in fact I don’t think most people realize what high ideals you hold for society. Now I wouldn’t call you outgoing by any stretch, but I would bet that you have plenty association with people. Probably through work. You’re a highly capable and very structured individual, so I wouldn’t be surprised to find you in leadership. You’re still young so it’s possible you are not involved with your career just yet. Your Sun rules the 10th house cusp and is placed in the 11th, or 2nd from the 10th – earnings from career – so at some point in your life, your career will be prominent and I don’t doubt that you’ll earn a pleasant living. With your Sun owning that 10th cusp, I don’t doubt that career has always been an important focus for you, even when young.

That Capricorn Moon. Now Moon is in detriment in Capricorn, describing how uncomfortable you can feel expressing your emotions or even having them. Moon gets a little boost from being a triplicity ruler of Capricorn, it’s a fertile sign that likes to provide. So while emotions and expression may feel somewhat uncomfortable for the native to have, Moon typically compensates by quietly caring for others, in a way, cultivating life. You might enjoy caring for plants more than people. You may fuss over the health of those you care about. Sometimes others think you’re picking at them or criticizing them, but you wouldn’t do that if you didn’t care. You’d just let them get on with their dumb lives and their dumb mistakes. Note that the Moon joys in the 3rd house, so that helps your Moon feel a little comfier too. A lot of your care could be fraught with worry, if you have siblings you may be close, probably with a more unspoken bond. You may have been the one to take care of them growing up. You’re probably known as a kind but serious and reserved individual when it comes to your neighbors. The trine to your Sun should help you to be aware of your emotional needs a bit more than some Cap Moons, but this trine is part of a Grand Trine formation which includes your retrograde Saturn on the Taurus 7th cusp. Frequently this indicates a lack of a father figure, you may have had to be your own dad. This is probably linked with the themes of your first house Chiron. You might lock up emotionally in romantic relationships because of this. It’s perhaps something that you inwardly berate yourself for and can become rather depressed about, feeling hopeless to change the pattern. Perhaps you know when you should open up or should be warmer, but you feel like you can’t. It’s especially unfortunate because you are very, very loving and so very serious about commitment. You want your relationships to stand the test of time. I will point out the mutual reception of your Moon with this Saturn- you can solve this, these planets want to help each other, it’s just hard work. The blockage comes from being so very, very cautious and careful that sometimes you paralyze yourself. You may also allow yourself to miss worldly opportunities due to a lack of a sure outcome. Change is not something you are comfortable with; in fact, you can be a very rigid individual. This structure will take you far in life but make sure you don’t completely box in your soul during the process. Sometimes you must keep in mind that you can’t plan everything (and you are probably thinking ‘yes I can’ right now), because of the uncontrollable element of surprise. Which I’m sure you hate. Looking at this chart, I can see how sometimes this extremely rigid way of public/romantic behavior can actually create obstacles for you in the area of your career. Sometimes you need to let go a little- not only will you feel better, but it can be helpful to your success, which is what really matters to you. It causes problems in your home life as well; sometimes you might just flip out uncharacteristically because you’ve been repressing and controlling yourself so hard. This is a very visible part of your personality, people see you as a sober, reliable individual, withdrawn with a depressive streak but loving.

People feel Scorpio ascendants intensely. With your ascendant ruler and co-ruler in your first house, you come off as extremely intense to others. In fact, while in public you can seem withdrawn, people are surprised when dealing with you one-on-one that you come on strongly with single-minded purpose. You create your own images and slip between them as needed, in the typical manner of Scorpionic transformation. You know how to present yourself to get what you want. For this reason, your appearance is very important to you. When people use the term “commanding an appearance” they’re talking about you. You select your clothing, hairstyles, mannerisms for a specific effect. Nothing is trivial. You are not to be trifled with, a formidable opponent, and people do sense that about you. This danger forms part of your innate sex appeal; you are a black widow. Do they want you to fuck them or kill them? They don’ t know…maybe both? You are truly a creative force though, and people see readily the huge amounts of energy you encompass and the countless irons in the fire that you so innately maintain. You have a great deal of power over others, even in a social sense- people are commanded by you. You are a highly passionate person, the fires that burn within you sizzle through that famous Scorpion stare. You are such a brave person. A born leader. Because of all this, it can be challenging for you to stand aside and share power with others. In fact, you may have literally no desire to do this. You are a very capable leader and most probably the one who should be in charge in a given situation, just make sure you take charge in a non-despotic sort of way. Express your energy and enthusiasm for success rather than your control and natural power. See where others operate from and seek to unite them with their goals and they will happily follow their brave, benevolent leader and they will praise you while they do. Oh, a last note that I forgot to point out. Your North Node sits smack on your Leo MC. Leadership in your career is simply a part of your destiny in this life. Strive and go towards it- do not lock yourself at home and deprive the world of your power.

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genrefilmstoday · 5 years ago

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“If Get Out reminds folks that you can smuggle intelligent social commentary and timely conversation-starters into theaters via explosive genre packages, then Ducournau’s feature debut doubles down on the notion” (David Fear, in Rolling Stone magazine).

Raw (the english title) is the story of Justine, a bright young student who has just entered veterinary school, like her sister and her parents before her. She has just arrived on campus and has to endure the traditional hazing of newcomers. Although she is a committed vegetarian, Justine finds herself forced to eat raw meat for the first time. This seemingly innocuous event upsets her and causes her to undergo a strange mutation that manifests itself in a desire for cannibalism. Grave is a small "metaphorical bomb that speaks of love, identity, maturity and sexuality, of the so-called pleasures of the flesh, of death drive, phobia and transgression; of all blood ties" (Cécile Mury, Télérama). It is clearly a genre film that can be assimilated to body-horror. But it is also a very personal and original auteur film with several levels of reading.

Grave can first of all be considered as a pure horror film, strongly inspired by the work of the masters of the genre (Cronenberg in particular). Julia Ducournau skillfully plays with the motifs of the horror genre. The context in which the characters evolve presents characteristics specific to "classic" horror films. The veterinary school evokes an apocalyptic setting. The heroine finds herself trapped in this closed world, with no way out. The atmosphere is quickly oppressive for the spectators. Some scenes are frankly gory: cannibalism is filmed in a very realistic way. This creates a feeling of repulsion and disgust among the spectators (some even fainted during the first projection of the film). This taste for excess and obscenity is finally quite common among horror filmmakers. Grave can thus be assimilated to many films of this genre. We also find in this film monstrous figures that regularly appear in horror films: the students look like vampires on the prowl and when the end of the hazing rings, they spread haggardly on the campus like the undead. Flesh is the main motif of this film and it is in the exploration of this theme that we find the influence of David Cronenberg. Flesh is what Justine and her sister consume in their cannibalistic outbursts. It's also the discovery of sexuality, the object of Justine's desires, which makes her first time with a boy in the film. It is what constitutes blood ties, filiation, the relationship between parents and their children, the flesh of their flesh. Like Cronenberg, Julia Ducourneau uses the bodies of these characters as a field for experimentation. The body is a formidable tool for filmmakers because it allows the emotions of the characters to be conveyed in a very visual way. Thus, in Grave, Justine's psychological suffering manifests itself very concretely through an allergic reaction that causes her to have terrible itching. Her sexual appetite for others manifests itself through cannibalism. In this respect, Grave resembles films such as Shivers or The Fly, which seek to provoke a form of organic terror. There is even a category, a subgenre for this type of film: body horror. Grave can also be assimilated to another genre in several respects: the teen movie. This refers to films about adolescence and whose audiences are mostly composed of teenagers. The title "Grave" itself refers to a word that is regularly used by young people today. It is a polysemic term that can mean important, serious, dramatic or stupid. It corresponds to a state of mind specific to teenagers: the search for intensity. Julia Ducourneau plays on different registers to tackle a variety of themes and lead a deep reflection on the human condition. She uses the codes of genre films as analogies to convey ideas and philosophical questions. Everything is metaphorical in this film, which can be read like a parable. The heroine's initiatory journey allows the director to shed light on the major issues of the passage to adulthood. This transition takes place in stages, through rites (such as hazing) that are transmitted from generation to generation.

We see the integration of a new promotion within a veterinary school. This integration goes through a long hazing process that the newcomers have to go through when they arrive at the school. Julia Ducourneau takes this opportunity to highlight the violence that this collective initiation ritual can represent for individuals. Justine and her classmates are brutalized and humiliated, they are sprayed with blood, they are forced to eat a raw rabbit kidney. This is unbearable for Justine who is normally a vegetarian. But she resigns herself and agrees to play along. These first sequences bring us back to a reality that is often criticized in our society: hazing is very widespread, especially at the entrance of the French Grandes Ecoles. The director is interested in the possible excesses of these group phenomena which can lead to unexpected behaviour in individuals who allow themselves to be dragged along. In this case, the situation degenerates completely. Julia Ducourneau pushes logic to its logical conclusion in a radical way. The "horror film" genre acts here as a distorting mirror, a magnifying filter that reveals the mechanics at work in human relationships. By exaggerating the negative aspect of the situation, one magnifies the line and makes visible elements that seemed insignificant until then. Grave is also a film about learning identity. Justine's evolving relationship with cannibalism symbolizes her slow maturation. It is a fairly obvious metaphor for self-discovery. Indeed, if Justine appears in the beginning as an innocent young girl, wise and good student, she seems to discover gradually the dark side of herself. it's no coincidence that her name is taken from the work of the Marquis de Sade : this appearance of frightened virgin doesn’t last too long. Justine sees all the desires of the flesh growing in her. Hazing as a rite of passage echoes her own emotional and physical transformation. Grave is about this critical time of life when everything seems possible : “College is when you try on numerous identities and experiment with new ideas before your in-flux personality calcifies into an adult-shaped mold – so, the film suggests tongue-in-chomped-cheek, why wouldn’t anthropophagy be on the docket as well? Nor is she potentially the only cannibal on campus.” (David Fear, Rolling Stone)

Some will see in it the feminist affirmation of a woman who reappropriates her body. “Justine also discovers a sense of empowerment in this taboo line-crossing. She begins to take ownership of her body by consuming others’”

The conclusion of the film bears the germ of an idea that raises many questions. Justine returns home and her father makes a strange confession: he himself is said to have had a similar adventure with his wife (Justine's mother) when they were students. He reveals her mutilated torso, covered with scars, suggesting that they too may have engaged in acts of cannibalism. This final scene falls like a knife and leaves us in a state of astonishment. It could be given different interpretations, but the one that seems most obvious is the idea that one cannot escape one's family, or more generally one's destiny. In other words, a character, whose mother and sister are cannibals, will inevitably end up a cannibal as well, even if she struggles with all her might. This brings us back to a very important theory in sociology (notably in Pierre Bourdieu): the trajectory of individuals is determined by their education, their socio-cultural heritage, the influence of their family and their environment of origin.

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laharberlin · 6 years ago

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#4 CANNIBAL call for submissions

“I ate his liver with some fava beans and a nice Chianti” is one of the most iconic lines from The Silence of the Lambs. This film introduced us to the character of Hannibal Lecter, a cannibalistic serial killer who turns his victims’ body parts into exquisite meals. Hannibal Lecter has become a pop culture figure and, to this day, his name is still one of the first things to come to mind upon hearing the word cannibal.

Whereas cannibalism is nothing too unusual in the animal kingdom (certain types of spiders and insects are known to practice sexual cannibalism), it's an absolute taboo in nearly all human societies. Even though people tend to be disgusted by it, it may also trigger great fascination, best detected when cannibalistic crimes dominate media coverage – as with the so-called Cannibal of Rotenburg in Germany.

Despite the perceived immorality of the act, cannibalism has been part of the human experience for quite a long time, as a way to weave agriculture and fertility, guarantee eternal afterlife, cure illnesses or even punish the spirit of an enemy. At its core, the consumption of human fat, flesh, bones and blood bridges the worlds of the living and the dead, the sanctity of the holy and the uncleanness of the profane.

Cannibalism may also metaphorically speak to the predatory and exploitative nature of humankind or to some odd behaviors, such as eating your own fingernails or hair out of stress or chewing the dead skin on your lips and fingertips. Couldn’t these also be considered self-cannibalism acts?

The verb to eat alone also has its twists, for example the way it can describe a fire that ate away an entire house or how trying to keep up with the latest technologies eats money; an inexperienced professional might be eaten alive in a competitive environment and if you’ve ever been young and in love, you’ve probably already had jealousy eat your heart out.

If the topic speaks to you somehow, get creative and send us your work! Your own interpretation of the theme is what really matters to us. We are looking for prose and poetry, fiction and nonfiction, illustration, collage work, photos and visual experiments in general. Our favorite pieces will be posted on our website and the ones that particularly stand out will be part of the print issue of Lahar Berlin #4, to be launched in June 2019.

#cannibal #4

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spaceywaffles · 8 years ago

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Yet another Yuri on Ice vs Hannibal analysis

So @lottitheunicorn and I were talking about all those people who compare the anime series Yuri on Ice with NBC‘s Hannibal and at first, I was laughing but then I realized that there are actually quite a few similarities. Don’t expect an in-depth analysis and don‘t take it too seriously ;). Here it comes!

1. The fluffy brunette cinnamon bun with glasses

It‘s not only visually, tho. Both of them appear to be rather introvert and socially awkward at first, Will more so than Yuri. Both of them are professionals in what they do but they do not really acknowledge it themselves. A lot of self-esteem issues yada yada BUt: Taking off glasses = instant sex appeal

and the cinnamon bun turns out to actually be quite the sinnamon bun. Both of them have a “secret” side they show rarely but tend to show it in front of:

2. The silver fox mentor who is the BEST at what he does

Honestly... both of them are so ridiculously extra. They love speaking in metaphors, being the sly sarcastic little fuckers they are. They will make fun of you while smiling. Also, both of them want their sinnamon brunettes to be the “best” version of themselves. “The best” being a successful and confident skater in Yuri's case, and a sincere murderer (and cannibal) in Will‘s case.

Both Hanni-bunny and Victor resort to manipulative tactics. Now, I’m not saying Victor goes all “I‘m tricking you into believing you have lost your mind and killed and ate someone” on Yuri but he tries to pressure Yuri by threatening him with resigning as his coach. We all know how that went...

Both of them have a very obscure past. We actually know more about Hannibal‘s past than about Victor‘s. Both of them love classical music. And last but not least: Everyone seems to be smitten with them but deep down they were lonely until they met certain brunettes with glasses. *le gasp*

Dramatic tears of hurt feelings, everyone.

3. Common themes

FOOD

Now, I believe I don‘t have to explain the Hannibal side of this. Yuri on Ice also offers a fair amount of food- shots. There is the katsudon, of course, but also traditional dishes corresponding to the places Yuri and Victor visit on their journey towards the Grand Prix Final.

DOGS

I‘m not explaining that one. DOGS ARE IMPORTANT!!! (and what they eat)

“I‘m in love with you but it took me to long to open my mouth and now it‘s never gonna happen!”

Oh, look! It‘s the female love interest! Only that she is married now, quite happily at that, and has at least one child! :D

The angry teenage prodigy and family dynamics

Good at murder. Good at skating. Full of anger. Our child.

Weird character with waaaaaay too much imagination

I don‘t know what just happened but I‘ll accept it.

4. The gay

It gay. It canon. We love it.

Both shows have been a huge step towards the representation of the queer community in media. One of the most redefining aspects of both Yuri on Ice and Hannibal is that neither show uses sexuality as a decisive factor for the genre. The romance plotline is just that, a plotline. I’m not going into detail with this because sooo many people have done a better job at that =D.

5. Doing the act together in the season finale

isn‘t it beautiful? They‘re meeting each other on the same level...finally! I‘m not crying! These are tears of joy! Why is this over? What will become of them? When is the wedding? Am I invited? I need answers!!

Hannibal and Will can‘t live happily ever after without any problems whatsoever! They‘re criminals! Neither can Victor and Yuri! They’re competitors!

Now I just miss these shows...

#Wow i‘m great at that #lol nope #nbc hannibal #yuri on ice #sorry for people late to the party #yuri on ice spoilers #hannibal spoilers #fannibals #analysis #camparison #hannigram #victuri #otp #I am not insane

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