#elizabeth bitty

[kiwibirbkat]

Joey: Today I told my partner they did a good job and they broke down crying

Joey: We call that starved of affection as a child!

Katherine: Today my partner asked why I love them and I told them that I don't need a reason to love them, I just do, and they broke down crying

Katherine: We call that extreme self hatred!

Shubble: You wouldn't believe how much I've cried today-

[philibetexcerpts]

February 1961: The Queen wore a fitted gold lace evening dress re-embroidered with pearls, sequins, diamante and metal thread, which was designed by Norman Hartnell, for the State Banquet hosted by King Mahendra and Queen Ratna at the Narayanhiti Palace. 🇳🇵

As for the jewelry, she wore the Vladimir tiara in emerald setting and the Delhi Durbar parure.

[itsagentromanoff]

Wanda Maximoff is The Scarlet Witch

[gingerjargogle]

I've seen quite a handful of #artvsartist2022 posts come across my feed, so I'm jumping on the trend before I'm too late!! 😂

This year has been a crazy one! After graduating earlier this year, I finally had the time to start falling in love with drawing again, which I would never have thought would be part of my journey before going to school. I was able to make something that wasn't expected of me for a grade, I didn't have a list of criteria to meet, and I was able to get back into my process and start creating things I not only enjoyed but was proud of.

My Lil Bitties came from a doodle on an airplane, and I couldn't have thought they would be so popular or make up so much of my art style, but I love how far they've come! And even though I didn't technically finish Inktober this year, but I still want to mark it as a success. I used it as an opportunity to explore the pin-up art style and I had a BLAST!! I discovered a lot of coloring and anatomy techniques that I have since applied to the rest of my art, and it's been a change for the better 💛

Thanks so much for being a part of this journey, and I'm looking forward to the adventures headed my way in the year to come 💛💛

[readychilledwine]

Size Kink

✨️Kink Education with Elizabeth✨️

A Size Kink is a general term for being aroused by being smaller/larger than your partner. It can be height, muscle mass/weight in general, cock size, ect. This is generally a kink we associate with subs having, but in my humble 5'1" experience, I've met more Doms with this kink than subs (hence my 5'11" baby daddy who thought he'd never have someone short enough to enjoy this kink with.) This kink has several subgroups that fall into it and sex acts that fall into it, but my personal favorite to write is height difference and body frame difference. So tall muscular male, short female (curvy or lean.)

What I love about size kinks is that it's so focused on specific aspects, and ANY body type gets to play with it. Little hands? Little legs? Luscious curves? Member of the Itty bitty titty committee? There is someone out there with a size Kink who is into your body and thinks you are a piece of artwork and sexiest thing on the planet. It's so beautiful because it is a body type kink that does not discriminate, and as a sex positive and body image positive person, I think that's super important and comforting for some people.

💕Peep the Valentines Day list here💕

As always NSFW below the cut

Azriel x short!reader

Warnings - reader is VERY petite, smut, p in v, slow stretching

A/N - So, I actually have a request for a size Kink with Cassian sitting in my drafts as well from before I decided to do Valentines Day Bingo. Since I picture Cassian as an absolute unit, I used a more Megan thee Stallion vibe for that reader (tall and thick) so I decided to go very short and thinner built for this one to ensure they'd be different. I apologize if that bothers anyone. I will try to get that Cassian request finished asap to post it and make up for this 💙

Ps- with how quickly I am cranking some of these out, and how.... spicy some of them are getting, I don't have my normal outside editing all of the time. Baby daddy proof read this one. Before staring at me and going, "that wasn't fair." So, I apologize for any errors, as always, I will catch them on my fresh reread after it's posted 🫠

Azriel was slowly losing his mind as he watched you use a chair to be closer to Cassian's height and argue with him face to face.

You were just so… small. So little compared to the two Illyrian males. They towered over you. They dwarfed you. Hell, he and Cass had discussed several times how easy you'd be to manhandle, considering they were both so sure their large hands could almost touch if they were wrapped around your waist.

At 6’8” and 7’ it wasn't hard for him and Cassian to own a room or be the tallest males, but Gods when Azriel stood next to your 5’ frame, when he saw Cassian pick you up like you were no more than a doll. It did something to him. It made him feel like a God, like he was powerful, possibly invincible.

He had been further spurred on by over hearing you and Nesta yesterday. She had asked you about how, if the opportunity presented itself, you would manage to fuck an Illyrian, and you, you with your never back down attitude had told Ness, “Mountains were made to be climbed.” He did not know if you had meant that in regards to him, but his hand found his cock quickly that night.

Azriel walked over to where you and Cassian argued over cereal. The fight wasn't serious, but he just needed to remind you that even with a chair below you, you still fell a few inches short.

“Get down before you fall and hurt yourself, angel.” He put a hand to you, offering to help you down. You glared, but put your hand in his.

Offering to help you was a mistake.

He felt the blood rushing to his cock as your little hand sat in his.

He shared a knowing look with Cassian when you looked away to step down and get back on the floor. The argument resumed instantly, your hand still in his.

It stopped as soon as Nesta walked in. Her mate and you going silent and agreeing to disagree.

Well, at least you thought you had agreed. Until Cassian turned around, Nesta in his arms waiting to fly into Velaris. He looked between you and Azriel before smirking. “You know, y/n, you might have shit taste in cereal, but at least you're the perfect height for some things.”

You didn't get it until you turned to Azriel, plush lips parted to ask what Cassian meant.

The blush that spread your cheeks was sinful.

Another image Azriel would save when he imagined it was your mouth around his cock tonight.

Azriel's room was across the hall from yours, so he knew you were being subjected to the same torture he was.

He was sure all of the Night Court could hear Cassian and Nesta. He rolled over to his back, throwing an arm over his face and sighing.

You were so small, so sneaky, he hadn't noticed you come in and shut the door until you were sitting on his bed.

And fuck being in his custom made oversized bed made you look so little. “Hello angel.”

He made room for you, welcoming you under the blanket you laid facing him, watching him. “Do you all never.. get worn out?” He chuckled. “Because humans do. Males typically finish, then they're like, done, and asleep.”

He looked towards you, laughing and smiling so hard his dimples were showing. “Is that your way of telling me you didn't enjoy rolling in the sheets while you were human?”

That blush spread your face again. “I had plenty of fun before Hybern did this to me. Thank you very much, sir.”

You had done it. Azriel shut his eyes, growling at the nickname as he did. “You cannot call me that when you're laying in my bed, y/n.”

You looked at him, snuggling closer to him. You knew what you were doing to him. You had known for a while. You always tracked his eyes when he'd watch you take your heels off, biting his lip thinking no one was looking. You noticed him hide his arousal behind a mask of indifference when you would climb things around the House of Wind. You had also noticed Azriel and Cassian taking every chance they could to lift you.

You had even know Azriel was so sneakily listening to you and Nesta the other day, and you had meant it. Azriel was a mountain you intended on climbing. “Of course, sir. Wouldn't want you to have to use those big hands to keep me quiet.”

The growl that echoed through the room had your thighs clenching. He was on you in an instant arm between your breasts, so it rested on your neck. The other hand sat on your hip, inching forward. “Do not tease me.” You could feel him pressed against your back, mind immediately lost in how that would fit.

You may have been biting off more than you could chew.

But fuck it.

You had never backed down from a challenge. Why start now?

You wiggled further into him, grazing his cock with each movement. “What if I'm not teasing? What if this is an offer, sir?”

“You're going to regret that, little one,” Azriel's hand immediately was in your shorts, his other hand squeezing your throat. A thick finger ran your soaked core, pulling a moan from you. “Going to have to go slow,” Azriel ground his hips into you, needing that friction on his aching cock. “Don't want to hurt you, angel.”

That one finger entered you without warning. It was already a stretch, but one you welcomed.

You loved how everything about Azriel was so big. His hands, his muscled chest and arms, his wings. Of course he'd be big there too. Anticipation began to replace the fear. You relaxed into him, tilting your head and pulling him into a heated sloppy kiss.

Azriel swallowed your moans and cries as his finger opened you up for him. You were tight, so damn tight. His hand moved from your throat to your breasts, loving how they weren't even a handful for him. You were so petite and slim, he reminded himself. He pulled your tank top off, maneuvering the best he could to get you fully below him. He pushed in a second finger, watching as you squirmed so helplessly below him. “So fucking little,” he moaned. “Mother above you're perfect. Just perfect.”

He leaned back, fingers increasing speed the best they could with your shorts in the way while he toyed with your breasts, pinching your nipples and smacking the tender flesh as he saw fit. “Cum for me so I can sit you on my cock, angel. You can do it, y/n. Show me how tight you'll be squeezing around me.”

You felt like you were floating as you came, whimpering Azriel's name as you watched him rut against the mattress for some friction, hazel eyes damn near lost in lust.

He pulled his fingers out of you, wasting no time ripping his sweatpants off and using those juices to coat himself. Your shorts came next, torn to shreds as he pulled you to the edge of the mattress and rested one leg on both sides of his chest.

He was as perfect as you imagined. His cock was long and thick. He was running it along your folds, soaking up at the slick he could before smacking the head of it against your clit.

Azriel could help but to stand with his hips flush against yours, admiring how it looked like his cock would be damn near in your stomach. “Gonna go slow,” he mumbled as he positioned himself at your entrance. “Can't risk hurting my little angel.”

He pushed the head in, keeping an eye on you as you moaned out a long fuck before relaxing into his bed. He sat there, only a few inches inside of you, feeling as your walls stretched out to accommodate him.

He pulled out and slowly reentered, pushing a little more inside of you. Your back arched off the bed, a whimper of pleasure ripping through your throat. The burn of it felt so good. You felt yourself drooling already, mind numb, and lost to anything that wasn't Azriel.

He continued his motions over and over until he was flush against your hips, and you were screaming for him. You had cum just from him slowly getting inside of you, and now he could see the bulge he had created, the slight swelling inside of you as your body made room for him.

Azriel put a hand on the bulge, feeling himself inside of you as he began thrusting. You were squeezing him so tight, hand struggling to find him to hold on to something.

He felt himself losing control, pace growing faster and faster as he watched you squirming and moaning below him. His arms went behind your hips and back, lifting you off the bed and manhandling you in the air for a little while. He brought you to his chest, moving you to be against the wall that shared his room and Cassian's.

A silent brag, and message, that he could now accurrately inform Cassian how easy you were to toss around like a doll.

Your hands found purchase on his shoulders as you became a babbling mess. Your silky core was twitching and tightening around him all over again, indicating to him how close you were, how ready you were. “Az,” you panted. “So fucking big.”

“Yeah,” he kissed the top of your head. “Bet it feels so good stretching you out, doesn't it, baby?” You couldn't respond as a certain angle had you becoming pliant in his arms. “Fuck I know it does.” He was practically lifting you on and off of him, watching as you stretched around his cock. “You're close, aren't you, angel?”

You nodded, eyes glazed over and jaw fallen open to the perfect o. “Gonna cum.”

“Then cum. Squeeze my cock. You wanted to climb the mountain, right y/n? Fucking climb.”

You hit that peak on his command again, clinging to him tightly as he continued using you and stretching you out.

It took Azriel a few more moments, but he stilled inside of you, head thrown back in a loud growl as he came inside of you. He pressed you back against the wall, panting slightly as he stared into your eyes. He lifted you easily, allowing his cock to fall out of you and you to whine at the sudden emptiness that took place where he had filled you.

“This can't be a one-time thing,” his voice was almost desperate as he moved to set you on the desk, forehead finding yours. “I need more of you. All of you.”

You couldn't help but to bit your lip, nodding so quickly with a growing smile. “I like how little you make me feel. How safe you make me feel.”

Azriel's eyes almost rolled back completely as they shut. “Gods you are perfect.” He leaned in to kiss you, only to be interrupted by his door slamming open and Cassian and Nesta barging in.

A massive wing snapped between you and them, blocking your body from their view.

Cassian cleared his throat before speaking. “We want to know how exactly that worked. Show us. Please.”

“Show you?!” Your voice cracked as you turned to a smirking Azriel.

Azriel kissed your forehead. “Bend over the desk, angel. Gotta give him a show since he asked so nicely.”

General tag list:

@hnyclover @glitterypirateduck @slytherinindisguise @mischiefmanager @bloodicka @starsinyourseyes @the-sweet-psycho

@mariahoedt @rinalouu @sarawritestories @starryhiraeth

Valentines Day Taglist:

@sfhsgrad-blog @amara-moonlight @eternallyelvish @novaksangel @teenageeggscissorslawyer @thisblogisaboutabook @amygdtjhddzvb  

@justasillylittlegoofyguy

Azriel Taglist:

@elle4404

[reallyromealone]

(Hi Rome! Sorry to bother you)

But may I request part two of Ciel babysitting Elizabeth's younger brother? Perhaps this time they go out for a fun event (With Lizzie of course) when they turned around after watching a few people doing tricks the 3 didn't see (name) anymore so they panicked. What they didn't know was that the little one made friends with a new demon friend, Sebastian found him trying to carry him away from his demon friend, but his friend couldn't let him go

(Sorry for my bad grammar, and you can choose to ignore this)

Fandom: black butler

Pairing: black butler cast x male reader

Tags: child male reader - fluff

Warnings: none

None:

🌑🌒🌓🌔🌕🌖🌗🌘🌑🌒🌓🌔🌕🌖🌗🌘🌑

(Name) held his nannies hand as he, his sister, Ciel and Mr. Sebastian went to the spring fair, Balloons and games and swan boat rides amongst it all "look!" (Name) pointed to what seemed to be a pink cloud on a stick, Funtom having funded this whole event so Ciel recognized it all including the candy floss that had gotten big through out England.

(Name) was dressed in a lovely spring outfit, Lizzie making sure he was dressed in his best "Mr. Sebastian! Look, a kitty!" When (name) learned the butler likes cats, he always found something cat related to show the other.

(Name) got to lead the group around and Sebastian won him toys, the boy over the moon with his new toy. "Whoa...." He said in awe at the juggler on a unicycle and the others watched curiously, unaware (name) saw something of even more interest and wandered off.

"Alright (name)...(name)?" The group looked around to realize that there was no itty bitty to, panic flooding them (save for Sebastian who was calm at all times).

"Hi!" (Name) looked up at the other who looked at him curiously, having gone to the human realm for business and this small human clung to him "hello little one" he said softly and (name) beamed "what's your name?" The boy asked and the other tilted his head "my name is Asmodeus... But you can call me Asmo" he said softly as he lifted the boy in his arms "my name is (name)! I'm four!" He said with pride and the lust demon chuckled.

This human was his now.

"Interesting"

Sebastian didn't know what to do or feel as he saw a sin hold little (name) who babbled about anything the boy could think of "there's my family!" (Name) tried to pull away but the demon clung to his new best friend "Mr. Sebastian! Do you think mama will be upset at my new friend?" (Name) asked as the demon basically claimed him as his son and after some convincing, (name) was wondering around with a "dog" much to his nannies worry.

Though Sebastian was worried on this friendship between the avatar of lust and his young masters brother in law...

[nyxcentury]

The Keys! These are based on the banners of the Emperors and i have not colored them nor have i finished each of the designs yet.

Fwhips' Key is a simple dragon wing. Black with red webbing. You might notice that the lock part of the key matches with Gem's because they are twins and if Cleo was an Emperor, they would have a similar style even though she is the oldest child and they are not triplets.

Jimmys' Key is a cod fish. Do you know how hard those are to draw? Very. His colors would be that of a cod fish with some green mixed in.

Lizzies' Key is an axolotl. Lizzies' godly influence was limited on Empires due to the Lore Magic but she decided she needed a break from her godly duties.

Geminitay of Crystal Cliffs! Like i mentioned earlier, her lock matches Fwhips since they are twins. Sometimes Gem likes to pretend its a wand.

Scotts' key is based off the Rivendell Antlers with one half "corrupted" to represent Xornoth. He and Joey don't really talk about Xornoth, as both are aware the demon was just an "oc".

Shubble! Mushrooms! Her key and Scotts were the first two keys to have locks that were not traditional and her key might be my favorite.

Pearl's key is a sunflower sword with an itty bitty duckie on the pommel because having a duck flag is pretty cool. Much like Lizzie, she took a break from ber moon goddess duties and the Lore Magic granted her sunflowers and sunshine. Some things happen and Pearl ends up becoming the goddess of eclipses.

Katherine Elizabeth's Key ~~if it would cooperate~~ is supposed to be a bouquet of Minecraft flowers that tie together into a lily blossom as it's lock.

[bazberkker]

My preferred James Potter fancast is the Indian-American guy at my university who's like 5'6" or so with these itty bitty round glasses, and always seems to be wearing a red flannel. I've seen at least three different cars almost hit him while he skateboards. Literally everyone I know knows who this man is, and I've never met a single person who has a bad thing to say about him. He went into college with enough credits to be a junior. His social media posts are always about his homemade Indian food. When someone told him I was British (I'm not), he sent me a cardboard cutout of Queen Elizabeth the day she died. Was he doing it to be funny? To be genuine? I still don't know. This man is James Potter and I will be taking no criticism.

[sondheim-girly]

@this-hopeless-war asked me for thanksgiving headcanons and I promise those are coming, but it got me thinking about mama mathews, who I’m calling Molly, so now of course I must yap

-Molly grew up on a farm in the country with an older brother and a younger sister

-their parents were very traditional and strict

-her brother was raised to take over the farm

-he was also raised to repress all his emotions other than anger!!!

-her little sister Elizabeth, nicknamed Betsy, is very close with Molly despite them being very very different

-Betsy marries her high school sweetheart and moves to his farm and they start a family together, which is everything Molly was expected to do, but she never wanted that life

-she always wanted to move to the big city in search of something more exciting

-sick of her parents nagging, she drops out of high school at the start of her senior year and moves to Tulsa

-she finds a job as a waitress and within about two weeks of having that job she meets a man named Keith

-He’s 19 years old and calls himself a ‘wild spirit’ and says that he and Molly share that

-they hit it off right away and he asks her out

-within a month they get engaged and elope

-two months after that, Molly finds out that she’s pregnant with two bit

-Kieth decides he should name their son after him, because of course they’re gonna have a son! Someone to carry on his Mathews name and effectively be his mini me

-four years later, Molly unexpectedly gets pregnant again

-she names her baby Elizabeth, after her aunt. She’s nicknamed Bitty by two bit and Beth by everyone else

-Kieth’s kinda had his foot out the door for a minute, saying that one kid is enough and he doesn’t want another one

-when Beth’s being born he shows up to the hospital clearly drunk

-when he finds out it’s a girl he explodes because what’s even the point in having a girl??

-Molly was holding her baby girl for the first time, and he was screaming at her, and she just had enough

-she told him that he wasn’t wanted here anymore, he never did anything to help her, he couldn’t keep a job, he was lazy, he considered himself a wild spirit like her, but in reality he’s just lost, living a pointless existence

-he gets super mad at her and skips town without a trace

-everyone always thinks that he left them cuz Molly doesn’t tell the story

I actually have so many thoughts on molly and keith, and Keith and two bit, but I can’t articulate them rn so I’m gonna go work on the thanksgiving headcanons.

[walmartbrandwhatever]

ok u said u thought two bits sister name should be Elizabeth last night, and I’m actually so here for that. but I think two bit at six years old decided that she should be nicknamed bitty (mainly because it sounds like a nickname for two bit) however she rejects this when she gets older and decides to go as Beth instead- but two but still calls her bitty as a special nickname only he can call her… do you see the vision here?

I see the vision and I'm running with it. Like I fear Teo and Elisabeth used to be super close when they were super young(mostly two-bit being super protective and close with her since she was far to young to even remember it) and so he started calling her bitty because a) she was super small(cause she's just a baby) and b) he thought it was cute. I feel like two-bit when he got older stopped calling her by the nickname since he forgot it(kinda showing how he forgot about his family after getting lost with alcohol do you see what I'm saying). I feel like after he gets with marcia and all of that and realizes how much he's fucked up he starts calling her that again which she hated at first but learned to love it a lot actually and that helps build their relationship back up 💔 she definitely goes by Beth or Eliza with everyone else.

[valewright67]

HELLO, ITS BEEN A LONG ACCIDENTAL HIATUS, BUT I RETURN TO YOU WITH A NEW MELIZABETH HEADCANON

I have just realized that my boyfriend can tell apart the Itty bitty differences between my blinks, and what they means.

"I'm processing, give me a second."

"What the fuck are you on about?"

"Keep talking, I'm listening."

"The fuck are they on about?"

"Woah, no shit?"

"Fuck, that's awful."

"I'm losing my patience, stfu."

He can TELL now. And it is honestly probably the most romantic thing I find about him right now, that he pays enough attention to know them all.

Now with that stated, I'd like to give a headcanon.

When Meliodas first joins STIGMA, he's not exactly expressive or conversational beyond the bare minimum to convey information.

But Elizabeth can read him like a book. Which means that she'll translate for him in conversations, glancing at him, and then conveying his opinion

"He thinks that's fucking adorable"

"He knows what you're feeling, and he's sorry."

"Meliodas believes that's a terrible strategy."

He learns to be more expressive as time goes on, but sometimes when he's upset or stressed, he still goes blank to the average eye.

Her ability to read him carries on into her reincarnations. Meliodas is caught off guard by this at first, and takes very careful measures to conceal his inner thoughts, sometimes suppressing them altogether, so she doesn't catch that little twitch of his brows and figure out some little thing she's done caused him grief. (Usually, a little habit of hers that carries over as well, like that tendency to nibble her lip when she's thinking that goes back to the very first.)

It triggered her memories once. Never again.

But the sins are having a conversation, and Princess Elizabeth glances out of the corner of her eye at Meliodas, and frowns. Trying to be as polite as possible, she requests that King "please stop using your daggers as darts so close to the taverns main door, as it's making Sir Meliodas a bit anxious." And he stills, giving her a startled look, then glancing at his captain who - shockingly - gains a slight flush of pink to the tops of his cheeks. He clears his throat. "I'm just concerned someone might walk in at the wrong time is all. Wouldn't want you scaring away my customers!" He brushes off with a joke.

It becomes a habit, Elizabeth glancing at their Captain and - completely unaware of the fact she's telling the sins his carefully concealed thoughts - makes his opinions knowledge to the team.

They eventually get over their startled reactions, brushing it off as human royalty being trained to read their court and nobles or... something, and just start to look to her to translate him when he's being stubbornly silent. The only one who can read him half as well when he's like that is Merlin, who they all know has a lengthy past with him, though not what that past is.

The one time she'd been asked if she knew how Elizabeth could do that - maybe she had a dormant empathy or telepathy magic? - she just got this secret little smile, put a finger against her lips, and teleportated away.

[sihaya74]

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

Lessons of Bryan Fuller’s Hannibal

S1:E6 – HOPE IS THE THING WITH SURGICAL TROPHIES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

            But, once again, I digress…

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

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

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

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

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

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

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

(Wu and Fuller 6)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JACK CRAWFORD: You talk to me about Will Graham.

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

JACK CRAWFORD: What do you consider this?

HANNIBAL: Desperate coping.

                                                                                    (Wu and Fuller 17)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And then the line goes dead.

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

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

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

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

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

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

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

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

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

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

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

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

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

            JACK CRAWFORD: What am I here to talk about?

            DR. GIDEON: Your trainee. Miriam something.

                                                                                                (Wu and Fuller 34)

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

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

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

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

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

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

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

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

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

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

            JACK CRAWFORD: In my experience.

                                                                                                (Wu and Fuller 38).

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

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

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

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

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

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

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

            The script describes the scene as follows:

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

                                                                                    (Wu and Fuller 48).

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

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

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

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

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

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

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

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

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

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

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

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

            It is brave. Let yourself have it.

            ALLOW YOURSELF HOPE. BE BRAVE.

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

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

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

            Here endeth the lesson…

References:

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

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

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

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

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

Judges-8-27.

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

[steele-soulmate]

Tattooed Wings, CHAPTER 616, Peter Steele & OFC, Soulmate AU

SUMMARY: Mary Claire Bradley meets her soulmate- literally- the famous Peter Steele of metal group Type O Negative. But will obstacles including trauma, stalkers, and toxic family members get in the way of their life?

WARNING: mentions of child rape (nothing graphic) PTSD, milk kink, soft smut, grinding, assault, fingering, hand jobs, blow jobs, 69, P in V sex, blood, noncon rape, violence, death, vandalism, graffiti, attempted kidnapping, break-ins, wild animal attacks, terrorist attack (sabotage) consensual impregnation, bareback, impregnation kink, creampies, terrorist attacks (shootings) hit and run pedestrian accident, precipitous labor, neonatal death, abandoned baby, child intoxication, death of a minor character, injured baby, kidnapped child

WORDS: 1112

“Hihi there mo stór,” I crooned softly as Katie was bought into the room, her bed being locked into place and a nurse adjusting her hanging bags of fluids. “Mommy is here, mommy loves you.”

“And mesies babies!” little girl chirped, toddling up to me and climbing to perch in my lap with a quiet babble. “You cannot forget about mesies babies Mama Wen Wen!”

“Oh you are right!” I frowned at her before enveloping my arms tightly around her and placing my chin on top of her little head. “Mama Wen Wen cannot forget about little girl’s army of babies!”

At that very moment, a quiet knock at the door turned out to be Peter, leading the way for Elizabeth to be brought into the hospital room on a bed.

“Hey there,” Peter greeted me softly, obeying little girl when she threw her arms up with a quiet grumble. “A softball hit Bitty in the jaw, collapsed her teeth in. She had to have the braces surgically removed and have her teeth reassembled back into their proper place and have her jaw wired shut.”

“Poor baby…” I winced at the clear picture that Peter had painted as he took a seat into an uncomfortable hospital chair and was swarmed by the little clan of Ratajczyk babies, all demanding to be picked up and cuddled.

Once Peter had all the babies squished in tightly to his chest, Ryley knocked on the doorframe before entering the room, grabbing the girls’ files from the door.

“Hihi Uncle Pete, Hihi Mary Claire, hihi little girl, hihi Baby Tommy, hihi Baby Noah, hihi Baby Eve, hihi Baby Mattie, hihi Baby Teddy, hihi Baby Jojo, hihi Elizabeth, hihi Elle, hihi Katie, hihi Jing,” Ryley greeted everyone with a smile. “How is everyone doing?”

All the babies gave her double thumbs up, to everyone’s amusement as Ryley pulled up a chair to talk to us.

“Katie’s surgery hit a little snag by the way of her break being more severe than what the X-rays initially said,” she started off with. “Dr. Xi had to use a bigger piece of metal to infuse to help her foot heal itself.”

“Ah,” Peter hummed as Baby Mattie climbed up onto his daddy’s shoulders.

“Elizabeth had to undergo oral surgery for her knocked back teeth and have her jaw wired shut,” she continued speaking. “The oral surgeon on call was able to fix her teeth and she may or may not need to have braces again, depending on how she heals up.”

“Owwie ow ow,” said Baby Tommy as he crammed her hand into his mouth for a good chew.

“But they both will be alright?” Peter demanded to know.

But before Ryley could answer, a groan sounded out from Katie’s bed.

“Mo stór,” I sighed, crossing over to stroke her gentle with gentle fingers. “Mommy is here, mommy loves you.”

Katie dry heaved before rolling over and puking violently over the side of her bed. I was quick to grab Jing and held her out of the danger zone with concerned eyes.

“Ew,” bemoaned Baby Teddy, wrinkling his little nose in disgust.

“I’ll go grab housecleaning,” Ryley announced as Peter brought the trash can over for her to continue being sick into.

“Little girl, can you please go and take the babies outside?” I requested, pointing my lips over to the door that led outside into a little patio. I watched as the five year old ringleader unlocked and opened the door before herding everyone outside.

“Just let it out, just let it all out now,” Peter rumbled gently as a woman came in with a cart of cleaning supplies at the ready.

The woman quickly go to work with cleaning Katie’s sick up from the floor and set a fresh set of bedsheets onto my chair for me to change once she was done being heads over heels sick. I just gently rubbed the puking girl’s back as Peter stood holding the trash can for her.

Katie finished puking and fell backwards into her pillows with a pathetic little groan.

Little girl poked her head in, racing in to stand up on her tiptoes and patting Katie’s hand.

“There, there,” she bubbled adorably with her little dollie tucked in firmly into the crook of her elbow. “There, there.”

Peter burst out into chortles at the little dear being kind to her older sister, who could only let out a soft moan as I came out of the bathroom with a fresh toothbrush and a bottle of water.

“Hey there now mo stór,” I crooned. “Do you want me to brush your teeth or do you want to do it yourself?”

Katie made grabby hands for her toothbrush, which I handed to her after she took a swig of water and spat out into the trash can.

“I’m sorry,” she mumbled before rinsing and spitting into the trash can. “Where is Jing?”

“Right here!” I handed her American Girl dollie back over to her. “Do you want anything to eat?”

“I wan’ sleep…” she mumbled before leaning back into her pillows and conking out almost at once.

“Alright now Katie,” I hummed as Peter collected little girl into his muscular arms. “You go get some sleep now.”

Mo stór, my dear, Irish Gaelic

TAGLISTS ARE OPEN/ ASK BOX IS OPEN/ REQUESTS ARE OPEN/ PLOT BUNNIES ARE WELCOMED

If you liked this, then please consider buying me a coffee HERE It only costs $3!!!

PETER STEELE TAGLIST

@rock-a-noodle

@elianafilthyrose

@ch3rry-c01a

@rockstarslutt

@angelxfuckk

[rusakkowrites]

Feedback Fest 2024 Fic Recs

To celebrate International Fanworks Day on February 15th, here’s a list of ten fanfiction recommendations! (It was so hard to pick just ten…) The recs are from various fandoms and in no particular order.

Further Up and Further In by hedda62

Fandom: Vorkosigan Saga, Chronicles of Narnia

Summary: To fill the prompt: You know all those Betan survey ships that go into wormholes and don’t come out? They go to Narnia. That... says it all.

A Glass Darkly by DaisyNinjaGirl

Fandom: North and South

Summary: “I suppose I wondered,” John said, his voice a little too light, “I wondered if anyone had taken the time to tell you—to explain—what happens between a man and a woman when they are married?” “Mama left a letter for me.” Her eyes flickered to her dressing table, where some pages lay open. Her chin lifted. “I hope I am not a coward.”

More Likely To Want Time Than Courage by EllynNeverSweet

Fandom: Pride and Prejudice

Summary: Elizabeth Bennet and Fitzwilliam Darcy plan a quiet country wedding. Darcy’s aristocratic relatives interfere.

Hold It All At Bay by psocoptera

Fandom: Check Please!

Summary: The theory of extrapolative synchronization of the mirror neurons was debunked back when he was still in his teens, so Jack is reluctant to mention that he can smell Bitty's pies baking from across campus.

Definitions of Intimacy by AMarguerite

Fandom: Pride and Prejudice

Summary: There are many definitions of intimacy. Elizabeth explores some of them in the early days of her marriage to Darcy.

Everingham by katharhino

Fandom: Mansfield Park

Summary: A chance remark reminds Henry Crawford to do the right thing, and ride to Everingham instead of staying in London to flirt with Maria Rushworth. As a result, there is nothing to prevent Edmund from marrying Mary Crawford, or Henry from continuing his pursuit of Fanny with more determination than ever.

shield you from the waves by rain_sleet_snow

Fandom: Persuasion

Summary: In 1808, Frederick wrote to Anne. In 1814, Captain and Mrs Wentworth came to Kellynch as the guests of Admiral and Mrs Croft.

Sea-Change by Rosie J (darthmelyanna)

Fandom: Pride and Prejudice, Emma

Summary: In the summer of 1815, Elizabeth Bennet visits Weymouth with the Bingleys. There she crosses paths with Captain Fitzwilliam Darcy, newly retired from the Royal Navy and visiting his cousins at the seaside.

Righteousness and Respectability by Beatrice_Otter

Fandom: Sense and Sensibility

Summary: The Dashwood ladies are mixed race. Some things change, but others do not.

The Practice of Barrayaran Sex by Philomytha

Fandom: Vorkosigan Saga

Summary: Aral and Cordelia's wedding. And wedding night.

[roisinkellyart]

About Me

My name is Róisín Kelly and I am a professional illustrator, background and storyboard artist from Auckland New Zealand.

I have a Bachelors in Digital Design majoring in 3D animation, but I've mostly worked in preproduction for 2D animation. I have eight years industry experience in a wide range of studios on an even wider range of projects and additional experience in medical illustration and animation.

My passion lies in background and concept art, storyboarding and illustration. Shoot me a message and let me help you bring your big ideas to life!

Current Position: 2D Background artist at Mukpuddy Studios, Auckland NZ.

Shows I've worked on at Mukpuddy include; Badjelly, Maia, Quimbo, Pipi Mā, The Drawing Show, Jandal Burn, Barefoot Bandits, Tales of Nai Nai, Tumeke Space, Dead Sea Squirrels, Taiohi Gods, Inutai, Kiwi Mobile, Nighteyes, Juju Brain, Snapdragon, Itty Bittys, Real Ones, Drunk Santa, Ahikaa, MiruMiru...and more!

Resume Highlights

2024

Mukpuddy - Full time Background artist on 2D animated kids show Badjelly, based off the Spike Milligan book of the same name.

2023

Mukpuddy - Full time Background artist on 2D animated kids show Badjelly, based off the Spike Milligan book of the same name.

HUIA - Education illustration for the Ministry of Education via the publisher HUIA.

2022

Mukpuddy - Full time Storyboard artist.

Matt Pitt - Storyboarding for 3D animated kids show Island of Mystery. See HERE.

Rascality - Storyboarding for animated shorts Seedlings and Layla.

Dr Maurice Curtis- Medical design and Illustration for Dr Maurice Curtis.

Puawaitahi - Commissioned acrylic paintings for a medical office. See HERE.

2021

Mukpuddy - Full time Storyboard artist.

Dr Jennifer Brenton-Peters - Medical design and Illustration for Dr Jennifer Brenton-Peters. See HERE.

Dr Aidan Messenger - Medical design and Illustration for Dr Aidan Messenger. See HERE.

Dr Maurice Curtis- Medical design and Illustration for Dr Maurice Curtis.

2020

Mukpuddy - Full time Storyboard artist.

Matt Pitt - Storyboarding for 3D animated kids show Island of Mystery. See HERE.

Dr Mohsen Alyami - Medical illustration and animation for a diabetes health intervention by Dr Mohsen Alyami.

Dr Elizabeth Broadbent - Medical design and Illustration for Dr Elizabeth Broadbent.

2019

Mukpuddy - Full time Storyboard artist.

Dr Hussein Alyami - Medical design and Illustration of diagrams and figures for a thesis by Dr Hussain Alyami.

2018

DSAC - Design and Illustration of diagrams and figures for a course run by Dr Patrick Kelly FRACP.

Dr Hussein Alyami - Medical design and Illustration of diagrams and figures for a thesis by Dr Hussain Alyami.

2017

Halfway to Tomorrow - Concept art for NZ stop motion short film 'Halfway to Tomorrow.'

Matthew Dawson - Storyboarding and concept art for the short film ‘Anzac,’ directed by Matthew Dawson.

Thievery Studios - Storyboarding for a Pandora Commercial.

Yukfoo - Background art for an animated short.

TOYBOX - Storyboarding on 3D animated show Sherwood for Youtube Prime.

Dr Hussein Alyami - Medical design and Illustration of diagrams and figures for a thesis by Dr Hussain Alyami

Dr Ozge Karakale - Medical design for a thesis by Dr Ozge Karakale.

DSAC - Design and Illustration of diagrams and figures for a course run by Dr Patrick Kelly FRACP.

Dr Peter Charlesworth - Medical illustration for Director of the Advanced Clinical Skills Centre at the Auckland University Department of Surgery. See HERE.

DELSKE Creative - Character concept design and graphic design.

Pead PR - Motion graphics and animation

Cinco Cine - motion graphics for the TV show Tākaro Tribe.

2016

Flux Animation Studio - Two months concept art, background art and animation.

Imersia - Concept art, character design, 3D modelling and 3D texturing for game development.

What's The Story - Graphic design and illustration.

Land of the Taniwha - Storyboarding, graphic design and art department work for NZ short film ‘Land of the Taniwha’ by Aidan Dickens.

2015

Sunny Turner and the Deadly Bite - Jacket illustration for the YA fantasy novel ‘Sunny Turner and the Deadly Bite’ by Libby Whittaker.

Water for Gold - Storyboarding and concept art for stop motion short ‘Water for Gold.’

2014

Girl Viking Productions - Title sequence, storyboarding and animation for a NZ children’s TV show ‘Reset,’ (Girl Viking Productions). I also worked on the set as part of the Art Department.

[roblox-yaoi]

*record scratch* so you may be wondering how we got into this situation-

Let’s take it back to April 22nd of 2023… man things sure were great back then: with such events as the death of queen Elizabeth II, the Hindenburg disaster, 9/11, the invention of the wheel and popsicles in just 2 week time frame and even the Cambrian explosion! Well, erm, let’s just say that more than just the Permian extinction happened that day…

That day we stumbled upon a itty bitty games called “Forgotten Memories” on Roblox. A fnaf fan game that cultivated a community of dedicated players due to its unusually high quality and babygirlification potential of its characters. Shorty after beating the 5th night, my “friend” challenged me and themself to draw our mains in the so-called “baby girl” pose. Little did we know this would send us down a rabbit hole of mental illness that neither one of us would recover from.

Where did we go from here? Too. Far.

Hours, literal HOURS of drawing these Roblox characters. Do you know what I could’ve been doing with my life? What meaningful cause that could have been dedicated too? Probably preventing the Permian extinction or inventing the wheel!

Countless hours of Aggie.io left us shells of the people once were- and what didn’t help was the invention of gay people. Because it gets worse from here. Two words for you my friends: Roblox. Yaoi. This blog’s namesake. One joke about a character being a homophobic homosexual derailed into an epic love story for the ages. Rivalry, friendship, heartbreak, magic, repression, love. And after we drew our first fan art, we couldn’t stop… we had to go farther.

Joining the discord server of the game confirmed our worst fears: no one else here is as insane as us. We sought comfort in each other, when there was none from the outside world. Slowly, we lost strength and we began to fade into nothingness as the horrors of touching grass started to become all too real…

But 8 months later, finally- the maze update was released… even with no character content we rushed to the scene and reignited our passion for Roblox. We beat every level, on each difficulty.

Today, we own every badge and are waiting in hope for the Asylum update to release (we are going either way)…

Anyways, yeah this blog is where we’re going to post fanart for this stupid fnaf Roblox game we found bc anywhere else we’d be called slurs.