#i go Crazy for vulnerable hannibal

[craqueluring]

oh my fucking god hannibal blew on the soup in the spoon so it cooled down before he gave it to will. i am in shambles.

okay no but seriously this is literally so representative of hannibal's thought process in this episode in my opinion. he blew on the spoon for like 2 seconds, which would not have cooled it down much at all. its the principle of the gesture, and shows hannibal felt compelled to care for will. i dont think will even saw it (or registered it) because he was still super drugged up, so it couldn't have been for manipulative reasons.

i think it was because in hannibal's mind, at this point, he was equating will to mischa. he just, presumably, performed surgery on will's shoulder and took the bullet out of him, stitched him up, changed his shirt, sat him at the table, and made soup for him. so, already, he is going through the motions of actions that would be seen in this context as displays of great love, consideration, and affection. especially for someone who he both already loves (so the feeling is there in the first place) and also intends to be dead by the end of the night anyway.

at this point, i think hannibal almost regressed to the mindset of a caregiver that he had for mischa because of the parallel he drew in his mind (or bedelia manipulated him to draw in his mind, lol) between will and mischa. because he loved will in the unconditional and irrevocable way he loved mischa, and he believed that the only way he could forgive will was to do what he did to her. hannibal thought he had to eat him. despite this, or, rather, in alignment with this, he saw will as a person he loved. and so, he blew on the spoon. he felt compelled to care for will. he probably did the same thing for mischa as a child

of course, once jack gets there (and also as will starts talking and wakes up more) hannibal gets caught up in the theatrics of it and comes back to the present. but i feel like before that, even just a little bit, he felt compelled to care for will the way he cared for mischa.

what really sells this for me is that in the script, he was supposed to just raise a straw to will's lips. i think this was changed to make this scene more intimate, and also to express hannibal's genuinely caring feelings towards will in these moments.

[cloudsofbespin]

Do you what makes me go feral over this interpretation of DM? The enforced/involuntary intimacy! The ways these two are so closely tied together, and forced into being so deeply known to each other!

Armand spends days(!) investigating what makes Daniel fascinating, looking into his entire life - what’s he’s proud and ashamed of etc. He also slips, and starts telling Daniel about his early traumatic life for a moment, falling into his orbit! Then(!) we have Armand biting (leaving a permanent mark) and drinking from Daniel, even stating that he deserves this. Given that it’s been established that when someone properly drains or turns someone else they literally drink and ‘see’ their life, everything that they are! Armand literally saying that he wants to and deserves to devour Daniel. It’s a strangely intimate murder attempt. Or this is at least one interpretation, unless the TV show is limiting the ‘seeing’ of someone’s life to only be the case during a vampiric turning. Even then however we have this occur when Armand turns Daniel in Dubai. Daniel in turn has from day one wanted to find out exactly what and who Armand is, even being curious about him as Rashid in season one (‘what’s he’s endgame’ etc). Probably recognizing Armand on some unconscious level from San Francisco (cause I do think Daniel is honest if sacred when he states that he does find Armand fascinating). The Talamasca has also provided him with extensive information about Armand, which I’m sure he’s dug into. Especially now after how it all went down. Daniel also manages to expose Armand’s lies, because he comes to understand him - he reads Armand’s script notes and is in general on the look-out, spotting Armand looking over the unmarked script in episode seven. Immediately clocking it and realizing what’s he’s worried about (the script with his notes). These two have come to know each other, far more intimately than they probably really wanted to - becoming so exposed - which is going to be crazy going forward with their relationship.

I do hope the show builds on and uses this aspect. I mean they literally established that the vampiric bond makes maker and fledgling, to a certain extent, emotional open (and vulnerable) to each other. Which is crazy when we remember that these two are some of the most avoidant people on the show. Armand constantly hiding, manipulating and lying (remember AZ’s comments?) because he’s so scared to be alone, Daniel making self-deprecating jokes constantly clearly being somewhat emotionally unable to be vulnerable (also possibly dealing with some internalized homophobia, as a bisexual man). It all makes me feral and I so look forward to them interacting in season three! What do you think? What do you speculate their interactions will be like? If you had to guess? Would love to know, always enjoy reading your DM thoughts!

this ask has just brought me to my knees because a thousand times yes! allow me to borrow an expression from hannibal: they have both seen behind the veil. they know each other. daniel saw the monster within upon their first (well technically second but you know what i mean) meeting as armand pried into the darkest corners of daniel's mind. i feel daniel is the only one that makes armand completely lose his cool and makes him open raw. i just want to see more of that in season 3. i need to see raw emotions from both of them

[nathscalet]

Like Hannibal it’s dating reader, both in love till he mets will, that matches his freak, ended up cheating on reader, reader finds out, go crazy, because she thinks Hannibal only used her on her most vulnerable moment.

She finds out about his killing, tries reporting him but her reports are dismissed. Hannibal tries killing her, baby girl fought, broke his nose, his ribs and stabbed him in the leg. It was bloody but baby guilt it’s a final girl.

Hannibal then frames her, and put her on a mentally facility along with will. Crazy ex lore. Depressed and imprisoned will lore.

Trauma bond? Autism bond? Hannibal likes autistic people.

Idk what more happens in the show, but I would follow along the line of reader get out for good behavior and Hannibal gets jealous when reader started to bond with guys from different aesthetic then him (motorcycle gang and gym bros).

Hannibal then starts his quest of gaslighting, trying to get closer to the reader again. Gurl its bitter, fucks will just to get back at Hannibal.

The love triangle it’s a triangle. Messy drama, murder as form of love language? Cannibalism. Forced cannibalism. Cheating.

Hannibal divided between reader and will. Why not having both? 🫵🏳️‍🌈

Now, honestly I needs meds. I’ve read too much yandere stories, but honestly hannibal it’s anything but a Disney show.

[threadsoflacee]

there is a running joke btw my best friend and i that is Whenever we r venting and being vulnerable we start to become afraid we’re being emo . and it goes like this "I’m so tired of living like this nobody understands me (🐺🖤🥀)." . Do U think will graham ever had those moments in s2. like its late at night and hes wearing his best suit and has his hair styled and cologne on and hes dining with hannibal and theyre smiling and saying poetic metaphors and giving each other secret glances and will is enjoying his time SO much but then hes like Wait girl what am i doing. Girl go home. I’m being fucking crazy rn. Do u think he goes home after just having dinner with Hannibal and hes like Maaaaan why did i open up so vulnerably to himmmmm😖 . Meanwhile he was just eating dessert. post friendship clarity

[tayasui-mono]

I want to bring my own fucked up dish to the potluck and say that Will knows he said something unconventional and understands the distaste of others directed towards him due to this but since he perceives himself as differently intelligent and not crazy, he also perceives Hannibal as being the same and red alarms don't go off in his head when they should. Like, they never have these conversations in public, if they had, perhaps someone would have pointed out that hey, that Dr Lecter guy is kinda off the rails.

They are both aware of how others "other" them and while Hannibal weaponises it, Will just tries to push people away, hence making him more vulnerable to manipulations.

watching fromage and everyone loves to laugh at the scene where will talks about how the killer made the victim into an instrument and the lab team looks at him like he’s a freak but no one ever mentions the scene immediately after in which will and hannibal are having a completely open and easy conversation about human bones making good instruments like wow find a man that vibes at your fucked up frequency

[gayinhell]

.

[ghostdrinkssoup]

*jazz hands* hey dudes I’m back with more hannibal notes/reactions (s1 ep11) except it’s just the silly goofy ones 🥹

omg is chilton back ??

“poke around a psychopath’s mind, bound to get poked back” haha hi there s2

ocean imagery, ice turning into water, drowning 😳 (twotl is that you ??)

well at least gideon knows how to hold himself accountable 🤷‍♀️

chilton is such a gaslighter omg

“worked for me” killing as a substitute for divorce almost worked for hannibal too 😩 *mizumono flashbacks*

see will would lowkey be the most op serial killer ever. he absorbs all their techniques and shit, he’s like the avatar except instead of past lives it’s all the killers he’s analysed LMAO

^^ will really could’ve picked any career field. like I know his empathy is a ✨metaphor✨ but also if he can presumably get into anyone’s head and relive their experiences then damn he could really do whatever he wants but no, his dream career was this bullshit </333

alternate reality where will gives up being a criminal profiler and becomes a gothic poet like if u agree

“I just feel like somebody else” - hannibal is just sitting there listening to will unravel like 😊

“I feel crazy” “it is what you fear most” omg he really is just like me fr 😩

“will, you have me as your gauge” - I love how this is hannibal feigning security (and being a manipulative piece of shit) but also hannibal being like 🥺 I want you to rely on me. I am your paddle <3 I hate him he’s the worst therapist and boyfriend to ever exist

^^ also the idea that they’re the same 😳

^^ also FORESHADOWING

HELLO AGAIN WATER IMAGERY

YOO I DIDN’T THINK THE TONGUE/CHURCH MURDER WOULD COME BACK I SAID I KINDA WANTED TO SEE IT IN EP7 LMAOOO *flashback music*

be careful what you wish for kids

oh freddie we’re really in it now

“gave you something better to do with your tongue than wag it” THAT WAS SO OUT OF POCKET LMAO

not the dating imagery again </333 why do all the killers in this show want to date hannibal,, my fave romcom fr,,

gideon is like *tears up* freddie don’t fuck with me rn

chesapeake ripper mimicking kills and throwing himself into the fray? that’s very copycat killer of him… it’s almost like they’re the same- *gunshot*

severed arm, observatory, boom gottem

hannibal was like 🙄 yeah I got your invite, I saw on my ipad. I don’t want to fucking date you *calls the cops*

hannibal is such a snitch damn

the beginning of chilton’s looney tunes suffering arc (it only gets worse from here)

FREDDIE JUST STANDING THERE 😭 this would be so horrible to witness jesus

“I feel like fluid, like I’m spilling” WATER IMAGERY

don’t let go jack *my heart will go on plays distantly in the background*

^^ this appearing in the same episode as all that ice imagery? this really is titanic omg

“it’s hard to shake off something that’s already under your skin” this line BANGS

doesn’t will like,, run off in this scene?

THE STAGGGG OH SHIT

it’s gonna take him to hannibal’s house omfg

GIDEON IS GONNA FOLLOW WILL

NVM

why is will following the stag to hannibal lowkey romantic LMAOOO he’s gotta follow his heart and mental illness <3

“I was expecting the chesapeake ripper… not his boyfriend”

WILL IN THE CAR he’s not gonna walk to hannibal’s BSDBBSBD

NOT GIDEON CALLING WILL ILL GET ROASTED ??? TAKE THE L ???

gideon delivering will to hannibal all sheepish like “man sorry to do this I know it’s a bit awkward but I found your man out in the wild and thought I should probably take him home” 😭

HANNIBAL’S FACE LMAOOO he really said 😟

hannibal said no more girlboss only gaslight

GIDEON’S FACE HE’S LIKE WTF

hannibal deserved everything he got in s2 he was so fucked for this

the saddest thing about this is hannibal is the only person will trusts enough to be vulnerable and open with,,, the only one he feels safe enough to breakdown in front of. he’s a safe presence in his mind *screams in agony*

“he’s had a mild seizure” “that doesn’t seem to bother you” “… I said it was mild” NDNDHHD FUCK WHY IS THAT SO FUNNY

^^ whenever hannibal’s hypocrisy is pointed out to him he’s always so confused like “??? god guys it’s not like I HATE will I care about him ?? I’m his paddle ?? I’ll set his brain on fire and gaslight him to the point of mental collapse but it’s not like the seizure was that bad 🙄 he’s literally fine”

WHY ARE BOTH WILL AND HANNIBAL FUCKING ALANA OVER THIS EPISODE 😭😭😭

hannibal rlly said I want her GONE (it was very rude of her to kiss will 💔 god he’s petty)

hannibal being sweet to will now is so sick and twisted,, not the little smile,, I hate him

“I’m worried about alana” SHUT UP

alana :((( I’m sorry queen

BEDELIA ??? hello there <3 *thinking lesbian thoughts*

hannibal fr is like a child, he’s throwing around his favourite stuffed toy thinking it’ll be fine if the arm breaks, or an eye falls off. he’s too rough with no real regard for the consequences 😩

oh hannibal *head in my HANDS*

[rosyronkey]

what’s your favorite s4 headcanon? like what hannibal and will would’ve done, if they even survived the fall, maybe their first date etc go crazy bestie

okay i think i should state that i don't think they survived the fall. the beautiful irony/imagery there, the culmination of years of pining on both sides, the vulnerability they felt, everything about them dying together, arm in arm, at the bottom of the sea is beautiful in ways i can't put into words. it's a perfect ending for their characters, but also leaves no room for more growth cuz,,,, they're dead?

but like yeah i want more of them obviously???

my favorite one i've seen/added onto is where will lovingly nurses hannibal back to health after tending to his own wounds over weeks at sea. they don't talk much, mostly because they're too battered to speak, but they share a lot of meaningful looks and soft touches and quiet mornings together with nothing to do except stare at each other. then when hannibal is back to full health, will jumps him and they fight.

theres so much unresolved in their relationship that i think will wouldn't let hannibal go with just an apology. he beats him up, slamming him into the cabinets, not giving him a second to fight back, and hannibal takes all of it willingly. maybe some crying on will's part, a kind of broken "hurting me didn't seem to bother you before this", but hannibal never, the entire time, even with blood streaming down his face and wounds reopening and sound of heartbreak echoing in his ears, fights back. will stops eventually, still probably crying (i as a man who cries too much need more men who also cry too much) holding hannibal, slowly moving them into an embrace. it's close to an apology, and more than either of them think they deserve. i also think that's their first kiss. sticky from blood and breakfast, salty from each other tears, completely, unhealthly devoted.

they move to somewhere in europe, too cold for will's liking and too vacant of culture for hannibal's. it's a compromise in all ways, because they can't live together, can't live without each other. a lot of their time is spent talking, usually several feet apart, and only feel they can touch late at night. hannibal sees their embrace before the fall, and everything after, as a moment of haziness for will, and something he regrets. he believes that will doesn't love him, and i believe will ever says the words, either.

hannibal kills a few times, but without recognizition and without a reason to, he stops. he feels uprooted, and without a muse. will internally wouldn't mind killing again, but has so much internal conflict about what that would do to their relationship and worry about if hannibal would think he's good enough, so he never brings it up.

the only time frame i see them working things out is after months maybe, or even years. they know that they are each other's only true partners, sure, but both are so worried about being good for each other (while ignoring the fact that their darkness is something they love about each other.)

HOPEFULLY IM MISINTERPRETING THEM LMAO

[kyglow]

for a moment his mood would shift dissipating the manic madness dwindling or silencing when he froze stiff and his gaze would be unwavering with widened eyes. a peaceful feeling would momentarily be unlocked inside of him as he wasn't expecting to get a natural love evading from her lips which shook him to his core or so he interpreted. breath hitched when he would break the moment or more effectively his character. " more like partners like bonnie and clyde or clarice and hannibal to put it in perspective. " his tone evoked a sense of vulnerable softness to it as it was what the killer desired and wanted for the two to be killers in a world which didn't make sense to him however not everything needed an explanation as he would snap out of his dreamy like daze and come back to reality. his cunning smirk resurfaced upon his lips with eyes glinting with darkness and madness. " i never asked to be made this way either. the world needs bad people maggie to balance things out. i was just selfish and lonely as all i wanted was just a partner. " he revealed providing some form of clarity and explanation to her query however he didn't harbour any form of regrets for pulling her into his game and making a spectacle out of it as he was still obsessed with this concept being that of a film.

it was a strange sensation receiving tenderness from the individual he obsessed over as he felt her hand placed on his shoulder and expecting an angered or bitter response due to him taunting her of the time they had been intimate together as it wasn't their first time. " how could you forget. you seemed to enjoy it. " it wasn't a witty response or a means to mock her but he was being genuine. his elevated hyperactive craziness seemed to have simmered down once more as lust would flood his veins growing closer and drawn to her. finding this whole grim dark situation to be romantic while he allowed her to pierce her boss wherever she wanted with his hand atop her own with fingers gently curled around the top of her fingers. a sigh of relief escaped as his lips stretched into a satisfied beaming grin when appearing to be impressed when she stabbed her boss in the side of his ribs assuming the blade would have pierced the male's heart. eyebrows shot up with eyes looking down on the unconscious boss who was now bleeding out. " just the two of us. " he whispered under his breath after her comment.

not minding that the boss died a quick death as opposed to jed wanting to torment him as he wasn't going to dictate how she should take a life. pulling the blade out from the man's ribs he would then place the knife on top of the dead male's torso. his hand would then be placed on the nape of her neck. pulling himself close his lips would meet her own to silence her flood of concerns and worries. he kissed her mouth vehemently and slowly. noses pressed as he couldn't repress his desire for her becoming aroused she had just murdered someone. he moved on top of her and took hold of her wrists. he lifted her arms above her head and broke the kiss off. " you won't go to jail. i won't let them take you. " ghosting his lips on her mouth while he rubbed his nose against her own. " you can either become my partner and we become killers or you can enjoy your boring life where you take shit from others? either way i'll make your boss disappear for good and none of this will be tied to you." providing her with a choice either to which he would be content with. " it'll be our little secret. " he snickered and grinned delightedly.

His final girl. A partner in crime. How dumb it was of her to think after everything that has happened last time, he would leave her be. How she hoped he was gone for good and Maggie could try and pick up the pieces of her life. Only she was left completely broken and has fooled herself over and over thinking she was well, when clearly that wasn't the case. "You want me to be your girlfriend?"she asked, to his story of the final girl and a villain becoming a couple by the end. "And you've forced all of this upon me... step by step, you played this game, made your sick movie, whatever it is. I didn't ask to be made this way."Maggie mused, all of the flashbacks inviding her mind.

As he brought up the time he came to her, as Jed, to take pictures of her when things got a bit hot and heavy, ending up in them fucking and him claiming her ass, she never could have imagined he was ghostface. Just like when ghostface fucked her in a basement, she never could have guess it was Jed... That they were one and wanted her in such way. "I remember."she said and swallowed as he got closer to her, hand on her shoulder. Everything about this was fucked, and she truly was fucked up for anyone else. She tried to date after surviving this last year, but eventually stopped, whoever she slept with, she could never finish. The only times she could was when she'd think of him while touching herself. And it really was fucked up that she didn't react to her boss trying to basically assault her here in her home. As he had their hands joined with the knife held tightly, Maggie trembled further. This wouldn't end until her boss is dead. Jed would kill him, this way or another. "Just me and you."she repeated in a shaky voice and pushed the knife forward, right under his ribs to reach his heart; if anything, to at least make his death quick. "People will know I did this - he received a text from me to come here. But I never sent any text..."she mused, looking at the knife stuck deep in his body, head turning to look at the Jed's manic gaze. "I don't want to go to jail."

[prncssguya]

Hi ! I am sorry I’m actually just writing to commiserate with you about the devil judge, I saw your post about how everyone just puts everything on Yohan and I agree sooo much, it’s infuriating to me, how Min Jung Ho just like immediately says it’s his fault he got attacked, and don’t get me started on the fucking priest, what the hell bro? He was a child, a lonely, weird, abused child, not the fucking devil. Seriously it is getting me crazy, it feels like the only person who sees him as a human being is Gaon. I know a lot of people have made a parallel between tdj and Hannibal, and like, I really disagree ? I understand where it comes from, but Hannibal and Yohan are vastly different characters, and the whole characterization of Yohan to me feels like the writers are saying that while every one thinks this guy is the devil, he is very far from it, whereas Hannibal is definitely a monster, and his relationship with will is monstrous as well (and very captivating don’t get me wrong). What do you think about that parallel ? It just rubs me the wrong way but I don’t know if I put it into words correctly. Sorry for the really long ask btw 😅

Hi! thanks for the question. I completely understand what you’re saying. I hope I can answer this well because it’s really so complex. Sorry if this turns into a whole dissertation essay, Hannibal is like my favorite show ever.

Yea I can see a lot of people draw comparisons to TDJ and Hannibal saying things like “tdj is just Hannibal in a courtroom�� or “tdj is Hannibal without the cannibalism” lol. I think what people are mostly looking at is the dynamic between Yohan/GaOn and Hannibal/Will and how they’re similar to some degree.

Gahan and Hannigram have a similar type of tension with each other. The difference is Ga On already had suspicions about Yohan from the very beginning and was very antagonistic towards him. Will, on the other hand, initially thought Hannibal was just psychiatrist and sought out his help. It wasn’t until a little later that he started suspecting him and grew to understand his true dark nature.

Yohan/Hannibal— wealthy socialite, sociopathic tendencies, hiding a secret, wearing a “person suit” (more on this later) to fool those around them, misanthrope and thinks humans are beneath them, thinks no one in the world could possibly understand them until they find the one person who does and they can only show their love through violence and manipulation.

Ga On/Will— sensitive, empathetic, intelligent

Will is first introduced as this tortured genius who has an empathetic ability to recreate scenes. In short, he can vividly construct the mentality of criminals and psychopaths. Being able to step into a darkness like that, you have to eventually lose a part of yourself and start sympathizing with the monsters and that’s what eventually happens to him. They’re both capable of murder. Ga On was ready to kill the con artist for his parents if SH hadn’t intervened. They have a moral compass in their corner to keep them grounded (Jack Crawford for Will, Soo Hyun for Ga On—I won’t even mention Min Junho because the guy is sus). They’re both fighting against an internal darkness

Gahan/Hannigram— THE HOMOEROTIC TENSION.

“I want you to admit what you are.”

“Must I denounce myself as a monster, while you still refuse to see the one growing inside you.”

Actual lines from Hannibal. I can’t even mention all the lines that could apply to Gahan (I could hear these words being exchanged between them). Both Hannibal and Yohan bring out the best, and worst, in their partners. Hannigram is toxic as hell. Hannibal would go through all kinds of sick shenanigans to get Will on his side, Yohan has said he would do bad things to get Ga On on his side. Gahan’s relationship is one that starts out tense and mistrustful, then grew to curiousity, comaderie, now Yohan has come to rely on Ga On without him even realizing it or admitting it to himself.

“No one can be fully aware of another human being unless we love them.”

This is obvious. Hannibal is a cannibal, Yohan is not.

I was rooting for Will to finally succumb to his darkness and join Hannibal’s side because he found the truest version of himself in Hannibal. I have different expectations for Ga On because my sweet summer child is more different from Will, he’s not as drawn to darkness as Will is (in the recent episode, he was so horrified at the blood on his hands). Will in the end basks in it.

I agree with you about Hannibal, there’s really no denying that he is a monster. And there’s really no explanation for why he is the way he is; he wasn’t abused (as far as we know) but he was orphaned and left to raise his beloved sister (who died) and later became a serial killer. Yohan, on the other hand, was an abandoned and abused child who only had the love of his older brother. It’s no wonder that he puts up a tough exterior because all throughout his life, people have made assumptions about him without trying to get to know him. I mentioned the “person suit” earlier, this is a mask Hannibal puts on to blend into the human world. He carefully built his life and reputation as a surgeon/psychiatrist and socialite, presenting himself as the sociable doctor while living his philosophy of eating the rude on the other side on the veil.

Yohan’s person suit is a defense mechanism. Whereas Hannibal is using his suit to hide a monstrous nature, Yohan uses it to hide his vulnerabilities. He’s wearing this suit to blend in with the elite he hates, but underneath that exterior is just a lonely and misunderstood man (who’s actually a softie in reality)

Finally, I think these two shows don’t really have a whole lot in common besides the homoerotic tension. Gahan are vastly different from Hannigram. Yohan isn’t a true monster/devil while Hannibal is. Will turned his back on his moral compass and succumbed to the darkness, while Ga On can’t seem to let go of his moral compass and he doesn’t desire to become a monster.

Sooo ultimately…

[imaginaenespanol]

My priority: Hannibal Lecter x Reader

Plot: You feel bad about an argument with your dad, so Hannibal comes to the rescue to make you feel better.

Words: 535

Warning: a depressed reader and a lot of fluffiness

Note: Well, that, I had a discussion with my dad, the bad thing is that I don't have a Slasher to encourage me, so I still have the writing, something short and sweet. I apologize if Hannibal is very OOC, I have to see better his personality :(

With tears in your eyes, you were walking quickly no matter who you ran into or passed by your side, you were walking aimlessly.

Your dad was an idiot, he shouldn't have treated you badly, he has no right, he just ruined your good mood that you have been cultivating in these two weeks with so much effort. You didn't notice someone saying your name repeatedly with obvious concern.

- (Y / N) wait! - Hannibal said touching your shoulder to make you pay attention. You stopped walking turning around with an annoyed face, still affected by what was before - (Y / N), honey, what's wrong with you? - You did not want to look him in the eye, you simply wanted to be alone, although you need company at the moment so as not to do something crazy, I knew you well

—Ah, it's nothing, I just fought with my father again— you answered him trying to minimize your problem, trying to “not bother him”, but he didn't want any of that, he cared about you —Love, I know you, you don't have to hide it from me. , I would not say that it was nothing, do not minimize your problems with me - he said in an understanding way, you just looked down at the floor, he was a psychiatrist after all.

———

After that talk they decided to go to his house, for your convenience because you did not want to see your father's face and of course Hannibal, it goes without saying because, you were in a state of vulnerability with those words that your own spoke. father, who should be the father figure, who should protect you the most, on the other hand, the one who protects you the most at this time and has never raised his voice to you in anything and spoiled you is your boyfriend.

In the living room and with a hot drink, he hugged you while you told him everything you felt in your heart and he listened carefully to every word, it was always like that, no matter how hard you tried to hide what you felt so as not to disturb your environment, he always it would sneak in one way or another and tear down those walls that you imposed on everyone.

"How unfortunate what you went through my dear, but don't let it affect your mood," he said lovingly. "B-but it's my…" You replied with your trembling voice. to do that to you, you are a smart person— You nodded while I gave you a kiss on your hair —I don't want to go home right now— you looked at it —You won't, if you do it is more than likely that the same thing will happen again sooner or later Besides, it would be unfortunate if you didn't join me for dinner tonight— You cheered up when you heard the word dinner, you couldn't help it.

—You always know how to make me feel better, Thank you— His presence, how he treated you so delicately, in addition to the food that he prepares always raises your mood. and kissed you on the lips in a loving kiss.

He just he knows how to make you feel better and you felt lucky.

.

..

...

….

The next day strangely your dad was with a behavior too correct for your taste and Hannibal with a strange smile on his face.

[encephalitishaver]

rewatching hannibal (again, because im normal). finished episode 3! i can say with certainty that will at this point, even this early, is suspicious that hannibal is the copycat killer; however, he is in total denial about it. how in character!

there is a brief moment in which the two of them are discussing the GJH murders and the murder of marissa schur (whose body is right in front of them), and after hannibal says he "knows" that GJH did not do this because "he would have honored every part of her", will looks on at hannibal as if he can see him with total clarity.

this look of clarity happens again after they return to the GJH house.

hannibal has taken abigail back to the hospital after, to wills knowledge, nicholas boyle has attacked them and escaped. in that scene the only thing he says is that he wants to "go home." this phrasing is exactly what abigail said when she was in the hospital, experiencing heavy denial about her own involvement in her fathers murders. i feel this was a textual clue at wills state of mind at that point; denial about what the truth may be about hannibal.

as for wills conception of abigail, i think he projects an incredible amount onto her. jack and alana are suspicious of her (reasonably, she purposefully withholds information), but will refuses to entertain the idea she may have been an active participant in the GJH murders.

he sees her as someone who is alone, another stray. he sees himself in her, his real self. a lonely, misunderstood person. he denies she could be capable of violence, similar to how he denies he enjoys the power violence gives him (save for a brief moment of vulnerability in the previous episode). the most ironic moment of the episode is when he tells her that killing is the ugliest thing in the world, as hannibal, and we the audience, gaze on –fully aware of wills lie.

he is protecting abigail, but more importantly himself, from the truth.

so why would will deny hannibal as a suspect? well, hes already found that hannibal is the first and the only person he can be honest and himself with without rejection. he admits to hannibal he liked killing GJH, and hannibal indulges that. for the first time ever in wills life, he felt safe to be himself with someone.

so, wills denial that hannibal might be a killer, while partly out of denial that his friend is a murderer, actually has everything to do with wills denial of himself as a killer. in wills mind, even subconsciously, he and hannibal are already blurred!

tl;dr wills denial is crazy strong, to the surprise of absolutely no one!

[shegatsby]

Dangerous Game

Pairing: Hannibal x Female Reader

Genre: Romance, Slow burn, SMUT in the future.

Warnings: Some making out.... its happening guys. +18 Mention of murder.

TAG LIST IS OPEN!!!!!!!!!!!!!!!!!!

Summary: Y/N Hobbs an opera singer and also the eldest adopted daughter of The Minnesto Shrike, and her entire life changes after what happened. She will be the object of affection of a certain psychopath, whether she likes it or not.

Likes and comments are welcomed!! Text me if i forgot to tagg you! Stay safe. Sorry for any typos.

Chapter 9

Hannibal Lecter could see how vulnerable she was at this very moment, ''I was 4 when it happened. Before I was adopted my biological parents were alive. They were drug dealers, we had a basement where they cooked meth and clients used to come to our house. You see, I had to learn how to take care of myself at an early stage of life.'' she stopped for a second and drank her tea, they were on the couch, close to each other. ''They weren't just selling they were using too. At some point I couldn't take it anymore.'' Hannibal was listening patiently, his deep brown eyes taking her all in. ''I overdosed them, I knew I would have a shitty life if I grew up in that house. I hid the syringes, the murder weapons in our backyard and police thought those idiots killed themselves. Later I was adopted by the Hobbs family.'' She could see that Hannibal over the weeks was trying to get close to her, and Y/N thought that he had to know her authentic self. She was a murderer, Hannibal had to admit he did not expect a confession of murder. She always looked likea sweet and innocent girl, waiting to be spoiled. He was waiting for him to say something, ''What you did was to protect yourself Y/N. Look at you now, you have a sister who adores you, you live in your place and you have a blossoming career.'' he held her cold shaky hands, ''This is the path you carved with your hands, and that tells me you are a brave woman. And this path brought us together, you can choose your own family Y/N, your secret is safe with me.'' Y/N was relieved now, she expected him to judge her but it turned out better than she anticipated. Y/N hugged him, he held her thightly, his nose was at the crook of her neck. His hand went to her waist, gently squeezed. She couldn't help but give out a soft sound, sounded like a moan, she hoped he didn't hear but Hannibal had sharp ears, he smiled to himself, they parted but there was something in Y/N's deep Y/E/C eyes. Hannibal held her pink cheeks, he knew what she wanted so he took control and planted a soft kiss on her lips. His plump lips brushed hers kindly, he was taking his sweet time and it drove her crazy. Their eyes were closed, Hannibal stopped to see her. Now her cheeks were crimson, she opened her eyes, ''I'm sorry-'' he was ready to apologies but Y/N pressed her lips to his quickly. Their tongues fought for dominance and he won. Hannibal explored her sweet cute mouth, guided her to sit on his lap. Y/N could fell his semi hard bulge. She carefully placed herself and received a soft moan from him. Her hands went to his hair, it felt like silk to touch. His hands were on her back and found her aesthetically pleasing ass, ''Let's see if it is aesthetically pleasing to touch too.'' she moaned into his mouth, ''Hannibal..'' she started to move on his lap, her need was growing and her body took control. She could feel her soaked panties sticking to her flesh, he attacked her pretty neck, first licked and then sucked her flesh, Y/N didn't know that he loved leaving marks. There was a small hot pain but she liked it. Before they could go any further Hannibal's phone alarm went off. ''I have a patient to meet.'' He said out of breath, he gave her a final steamy kiss. 

After he left Y/N couldn't believe what just happened, ''He kissed me!'' she was happy but scared at the same time. ''What would others think?'' Will and Alana wouldn't be happy and there was Abigail, we also should not forget the age gap. Her tea was cold now, she put the dishes in the sink and spent her day reading. A call disturbed her peace, it was from Will. ''Y/N are you with Hannibal? He is in danger and he doesn't pick up his phone.'' Y/N's heart sank, ''He was at my house hours ago. What's going on?'' she asked scared. ''I can't talk over the phone, I gotta go.'' He hang up, Y/N wasn't a woman who justs would sit and wait for the news so she left her house in a hurry. 

The door of Hannibal's office was open and FBI was there, she walked inside. Blood was on the brown floors, Will and Jack were talking to Hannibal. He had bruises on his face, a bleeding lip, purple eyes. Will and Jack left them alone, ''What happened?'' she asked voice shaking. ''Tobias came to kill my patient and then attacked me. I was able to defend my self and now he is gone.'' She was relieved to hear it. ''I should get you some ice.'' Hannibal had a mini fridge in his office, he was happy to see her. She found ice, put it in a bag and helped him. ''I can leave if you want.'' Y/N asked, she figured he might want to be alone, ''I appriciate the company.''

Few Days Later

Freddie Lounds, Will, Abigail, Y/N were having dinner at Hannibal's house. Y/N was sitting on his left, they were talking about Abigail's choice. She wanted to share her story and write a book about their dad, Freddie offered her to share her story. Will and Hannibal wasn't happy about it. ''I support your decisions all the time honey, but do you think this is a good idea?'' Y/N asked. Abigail was certain. ''Government took over our house which means we can't get any more from the selling. I just want to have money when I get out of there so this is the best way to do it.'' She explained to her elder sister, they kept on eating and drinking. Hannibal definitely knew how to cook and choose the best quality wine. Will noticed the way Hannibal was looking at Y/N and Abigail, he was as if creating his own family and Will was happy to be a part of it. Freddie and Will were in the living room while Abigail and Y/N were helping Hannibal in the kitchen. ''I think Abigail and I can take it from here love, you should join our guests.'' Ever since the kiss Hannibal was giving her pet names and Y/N wasn't complaining. Abigail knew something was going on but she said nothing, she was happy for her sister. Y/N joined the others, ''Odd man Hannibal, don't you think?'' Freddie asked them, ''I would say... unique.'' Will said drinking white wine. ''He is odd and unique, an interesting man.'' Her eyes went to the paintings on the dark walls, she remembered their conversation about Leda and The Swan. ''He knows his way around things.'' She finished, ''I hope I know the man.'' they heard Hannibal coming inside, behind him Abigail stood. He sat next to Y/N, his right arm went to stay on the top of the couch, he was a protective man. ''We were actually talking about you Doctor Lecter.'' Freddie said smiling, ''Oh?'' Hannibal replied curious, ''Only the good things I hope?'' As they were talking Y/N noticed how stiff Abigail was. She was sitting on a single chair and drinking her orange juice. ''Are you okay?'' Y/N asked concerned, a body was found recently and Abigail had to identify it, it was Nick Boyle's body. ''Yeah, why?'' Abigail asked but Y/N could see it in her blue eyes that her sister wasn't okay. ''You can talk to me, you know that.'' Abigail didn't say anything just smiled. It was a lovely night and Y/N thanked Hannibal before she left. This time Will said he could take Abigail back to facility. They were gone and only Y/N and Hannibal were inside. She wore her coat, ''Tonight was great Hannibal. We should do it again sometime.'' she gave her honest thoughts, as she was leaving Hannibal pulled her arm and kissed her. It was their second kiss.She was startled but soon she kissed him back slowly. She could taste the rich sweet wine, they parted. ''Why are you smiling?'' Y/N asked, ''I should not have waited so long,'' he said, ''I should have kissed you when you first hugged me, I should have kissed you at that museum, I should have kissed you when you performed at my house. You were made to be kissed, often and well.'' he confessed. 

Y/N was stunned, she didn't know what to say and think. She kissed him again, this time Hannibal could feel that she was pouring all her feelings into the kiss, ''We have all the time in the world to make up for it.'' she whispered. 

Y/N didn't know that the very next that she would face the hard truth. It was late and Will Graham showed up at her door. He asked her strange questions about Abigail but then he asked her if she could come with her. Y/N dressed and got into his car, they drive to Hannibal's office, the lights were on. As they reached to the door Y/N could hear Hildegard Von Bingen's O euchari in leta via, the song she sang to him. They walked inside, Hannibal was sitting and drawing something on a paper, if she got close she could see that the painting was her, but she was standing behind Will. ''Abigail Hobbs killed Nick Boyle.'' Will spoke, which shocked Y/N but Hannibal didn't look surprised. ''What?'' She practically screamed. ''Yes, I know.'' Hannibal replied coldly, ''Tell me why you know.'' Will demanded. ''I helped her with the dispose of the body.'' Hannibal said standing up. Y/N was just watching them in shock, ''Evidently not well enough.'' Will said going to the big window, Y/N had to sat down and calm herself. ''Have you told Jack Crawford?'' Hannibal asked, he came to Y/N to make sure she was okay. ''No.'' Will said, it was obvious that he didn't want to. ''Why not?''

''Cause I was hoping it wasn't true.'' 

Hannibal felt his surgical lancet in his pocket, he was ready to take Will down if something were to happen. ''Now both of you know the truth.'' And then he explained Nick Boyle attacked Abigail and she was protecting herself. ''Abigail is no more a killer than you shooting their father, nor I am for the death of Tobias.'' ''It's not our place to decide.'' Will protested, ''If not ours than whose? Who knows Abigail better than us? All the burden she bares, we are her fathers now. We have to serve better than Garrett Jacob Hobbs. If you go to Jack then you will murder her future.'' Hannibal was trying to convince Will, they were standing in front of the big window looking outside, ''We cannot say anything about this to anyone.'' Y/N finally spoke. She was on Hannibal's side, he was right. ''Do I have to call my lawyer Will?'' Hannibal asked but he already knew the answer, Will just nodded no, ''Like Y/N says, we can tell no one.'' Hannibal said.

Tag List; @alexa4040​ @liadamerondjarin​ @ananriel​ @keeleyella​ @rentheanonymous​ @sweetgoodangel​ @germansarechill​ @thebitchthatstoleyourman​ @jellyroom2​

[queerhannibal]

Why do you think alana did the dumbest thing™ and slept with Hannibal when she clearly still had feelings for Will? I mean, yes it was another way for Hannibal to isolate Will from the rest of his already limited social circle, but any meta on why Alana finally fell for the wrong kinda crazy?

Hmm… I mean I think I don’t entirely agree that she “clearly still had feelings for Will”: I think she had been distanced from her feelings for Will by his actions in prison—his refusal to be seen as a victim, his defiance, the fact that he tried to have Hannibal killed—and so she kind of latched onto Hannibal as a rebound? But there are plenty of other reasons too

Alana was attracted to Will when she saw him as a vulnerable wounded bird who needed care, and when she realized that that was not what he was at all she was no longer attached to him. Meanwhile she wasn’t really all that attracted to Hannibal when she saw him as perfectly put together and stable, and then after he was nearly murdered and she finally recognized some vulnerability in him, she did want him. I think that says something about what kind of person she’s into lol

And yk it makes a lot of sense for her to cling to Hannibal in this time!! Everything is crazy, this man they both thought they knew and loved seems to have lost him mind and become a murderer, and Hannibal is someone she’s known and relied on for a very long time. He’s someone she trusts deeply, and they’re both really Going Through It—if they both want a little closeness and human comfort, what’s the harm in that? Why shouldn’t she let herself have that with him?

And she’s known Hannibal for a long time. She knows he doesn’t do serious emotional entanglements, just affairs, and all she wants is an affair, you know? She’s in a vulnerable place after losing Will and she wants to feel good, and Hannibal is offering her a no strings good time with someone safe and affectionate and attractive. It seems to make complete sense that she’d take him up on that

And it also makes perfect sense to me that she’d side with him over Will? She hasn’t known Will very long and he was openly unstable and creepy that whole time. Sure she was attracted to him and sure she liked him, but it doesn’t take a big leap of intuition to believe that a man like Will might have gotten too drawn into his murder reconstructions and killed some people for real, or even that he’s just the kind of person who murders. He really seems the type.

Meanwhile Alana has known Hannibal for at least a decade? He was her mentor and her friend since long before she ever met Will, and she’s never ever seen him be anything other than kind and considerate and caring. He’s never done anything more suspicious than make some weird jokes in front of her, and that’s easily put down to him having a bad sense of humor and being foreign. It’s obviously going to be incredibly hard for her to believe that this guy she’s been close to for years has been being a murderer the whole time??? Of course she’s not going to entertain that for a second????

So what reason does she have NOT to sleep with him, other than that having a rebound fling isn’t terribly advisable? It’s not like either of them expected this to be a real serious relationship that went somewhere long term. And they were both effectively on the rebound from the same guy, so it was honestly kind of a GOOD idea to work out those feelings together

Also yk. I don’t think she “fell for” Hannibal at all? I think she’d always thought he was hot and was aware he’d always thought she was hot and that she figured it made sense to have a good time with him for awhile. It definitely wasn’t an instance of her being In Love with him.

[grigori77]

Summer 2020′s Movies - My Top Ten Favourite Films (Part 2)

10.  BODY CAM – in the face of the current pandemic, viral outbreak cinema has become worryingly prescient lately, but as COVID led to civil unrest there were a couple of films in this summer that REALLY seemed to me to put their finger on the pulse of another particularly shitty zeitgeist.  Admittedly this one highlights a problem that’s been around for a good while, but it came along at just the right time to gain particularly strong resonance, filtering its message into the most reliable form of allegorical social commentary – horror.  The vengeful ghost trope has become pretty familiar over the past decade or so, but by marrying it with the corrupt cop thriller veteran horror screenwriter Nicholas McCarthy (The Pact) has given it a nice fresh spin, and the end result was, for me, a real winner.  Mary J. Blige plays troubled LAPD cop Renee Lomito-Smith, back on the beat after an extended hiatus following a particularly harrowing incident, just as fellow officers from her own precinct begin to die violent deaths under mysterious circumstances, and the only clues are weird, haunting camera footage that only Renee and her new partner, rookie Danny Holledge (Paper Towns and Death Note’s Natt Wolff), manage to see before it inexplicable wipes itself.  Something supernatural is stalking the City of Angels at night, and it’s got a serious grudge against local cops as the increasingly disturbing investigation slowly brings an act of horrific police brutality to light, until Renee no longer knows who in her department she can trust.  This is one of the most insidious scare-fests I’ve enjoyed so far this year, sophomore director Malik Vitthal (Imperial Dreams) weaving an effective atmosphere of pregnant dread and wire-taut suspense while delivering some impressively hair-raising shocks (the stunning minimart sequence is the film’s undeniable highlight), while the ghostly threat is cleverly thought-out and skilfully brought to “life”.  Blige delivers another top-drawer performance, giving Renee a winning combination of wounded fragility and steely resolve that makes for a particularly compelling hero, while Wolff invests Danny with skittish uncertainty and vulnerability in one of his strongest performances to date, and Dexter star David Zayas brings interesting moral complexity to the role of their put-upon superior, Sergeant Kesper.  In these times of heightened social awareness, when the police’s star has become particularly tarnished as unnecessary force, racial profiling and cover-ups have become major hot-button topics, the power and relevance of this particular slice of horror cinema cannot be denied.

9.  BLOOD QUANTUM – it certainly has been a great year for horror, and for most of the summer this was the genre leader, a compellingly fresh take on the zombie outbreak genre with a killer hook.  Canadian writer-director Jeff Barnaby (Rhymes for Young Ghouls) has always clung close to his Native American roots, and he brings strong social relevance to the intriguing early 80s Canadian setting as a really nasty zombie virus wreaks havoc in the Red Crow Indian Reservation and its neighbouring town.  It soon becomes clear, however, that members of the local tribe are immune to the infection, a revelation with far-reaching consequences as the outbreak rages unchecked and society begins to crumble.  Barnaby pulls off some impressive world-building and creates a compellingly grungy post-apocalyptic vibe as the story progresses, while the zombies themselves are a visceral, scuzzy bunch, and there’s plenty of cracking set-pieces and suitably full-blooded kills to keep the gore-hounds happy, while the horror has real intelligence behind it, the script posing interesting questions and delivering some uncomfortable answers.  The characters, meanwhile, are a well-drawn, complex bunch, no black-and-white saviours among them, any one of them capable of some pretty inhuman horrors when the chips are down, and the cast, an interesting mix of seasoned talent and unknowns, all excel in their roles – Michale Greyeyes (Fear the Walking Dead) and Forrest Goodluck (The Revenant) are the closest things the film has to real heroes, the former a fallible everyman as Traylor, the small-town sheriff who’s just trying to do right by his family, the latter unsure of himself as his son, put-upon teenage father-to-be Joseph; meanwhile, Olivia Scriven is tough but vulnerable as his pregnant white girlfriend Charlie, Stonehorse Lone Goeman is a grizzled badass as tough-as-nails tribal elder Gisigu, and Kiowa Gordon (probably best known for playing a werewolf in the Twilight movies) really goes to the dark side as Joseph’s delinquent half-brother Lysol, while there’s a memorably subtle turn from Dead Man’s Gary Farmer as unpredictable loner Moon.  This is definitely one of the year’s darkest films – by and large playing the horror straight, it tightens the screws as the situation grows steadily worse, and almost makes a virtue of wallowing in its hopeless tone – but there’s a fatalistic charm to all the bleakness, even in the downbeat yet tentatively hopeful climax, while it’s hard to deny the ruthless efficiency of the violence on display. This certainly isn’t a horror movie for everyone, but those with a strong stomach and relatively hard heart will find much to enjoy here.  Jeff Barnaby is definitely gonna be one to watch in the future …  

8.  PALM SPRINGS – the summer’s comedy highlight kind of snuck in under the radar, becoming something of an on-demand secret weapon with all the cinemas closed, and it definitely deserves its swiftly growing cult status.  You certainly can’t possibly believe it’s the feature debut of director Max Barbakow, who shows the kind of sharp-witted, steady-handed control of his craft that’s usually the province of far more experienced talents … then again, much of the credit must surely go to seasoned TV comedy writer Andy Siara (Lodge 49), for whom this has been a real labour of love he’s been tending since his film student days.  Certainly all that care, nurture and attention to detail is up there on the screen, the exceptional script singing its irresistible siren song from the start and providing fertile ground for its promising new director to spread his own creative wings.  The premise may be instantly familiar – playing like a latter-day Saturday Night Live take on Groundhog Day (Siara admits it was a major influence), it follows the misadventures of Sarah (How I Met Your Mother’s Cristin Miliota), the black sheep maid of honour at her sweet little sister Tala’s (Riverdale’s Camila Mendes) wedding to seemingly perfect hunk Abe (Supergirl’s Superman, Tyler Hoechlin), as she finds herself repeating the same high-stress day over and over again after being trapped in a mysterious cosmic time-loop along with slacker misanthrope Nyles (Brooklyn Nine Nine megastar Andy Samberg), who’s been stuck in this same situation for MUCH longer – but in Barbakow and Siara’s hands it feels fresh and intriguing, and goes in some surprising new directions before the well-worn central premise can outstay its welcome.  It certainly doesn’t hurt that the cast are uniformly excellent – Miliota is certainly the pounding emotional heart of the film, effortlessly lovable as she flounders against her lot, then learns to accept the unique possibilities it presents, before finally resolving to find a way out, while Samberg has rarely been THIS GOOD, truly endearing in his sardonic apathy as it becomes clear he’s been stuck like this for CENTURIES, and they make an enjoyably fiery couple with snipey chemistry to burn; meanwhile there’s top-notch support from Mendes and Hoechlin, The OC’s Peter Gallagher as Sarah and Tala’s straight-laced father, the ever-reliable Dale Dickey, a thoroughly adorable turn from Jena Freidman and, most notably, a full-blooded scene-stealing performance from the mighty J.K. Simmonds as Roy, Nyles’ nemesis, who he inadvertently trapped in the loop before Sarah and is, understandably, none too happy about it.  This really is an absolute laugh-riot, today’s more post-modern sense of humour allowing the central pair (and their occasional enemy) to indulge in even more extreme consequence-free craziness than Bill Murray ever got away with back in the day, but like all the best comedies there’s also a strong emotional foundation under the humour, leading us to really care about these people and what happens to them, while the story throws moments of true heartfelt power at us, particularly in the deeply cathartic climax.  Ultimately this was one of the summer’s biggest surprises, a solid gold gem that I can’t recommend enough.

7.  THE LAST DAYS OF AMERICAN CRIME – the summer’s other heavyweight Zeitgeist fondler is a deeply satirical chunk of speculative dystopian sci-fi clearly intended as a cinematic indictment of Trump’s broken America, but it became far more potent and prescient in these … ahem … troubled times.  Adapted by screenwriter Karl Gadjusek (Oblivion, Stranger Things, The King’s Man) from the graphic novel by Rick Remender and Greg Tocchini for underrated schlock-action cinema director Olivier Megaton (Transporter 3, Colombiana, the last two Taken films), this Netflix original feature seemed like a fun way to kill a cinema-deprived Saturday night in the middle of the Lockdown, but ultimately proved to have a lot more substance than expected.  It’s powered by an intriguing premise – in a nearly lawless 2024, the US government is one week away from implementing a nationwide synaptic blocker signal called the API (American Peace Initiative) which will prevent the public from being able to commit any kind of crime – and focuses on a strikingly colourful bunch of outlaw antiheroes with an audacious agenda – prodigious Detroit bank robber Bricke (Édgar Ramiréz) is enlisted by Kevin Cash (Funny Games and Hannibal’s Michael Carmen Pitt), a wayward scion of local crime family the Dumois, and his hacker fiancée Shelby Dupree (Material Girl’s Anna Brewster) to pull off what’s destined to be the last great crime in American history, a daring raid on the night of the signal to steal over a billion dollars from the Motor City’s “money factory” and then escape across the border into Canada.  From this deceptively simple premise a sprawling action epic was born, carried along by a razor sharp, twisty script and Megaton’s typically hyperbolic, showy auteur directing style and significant skill at crafting thrillingly explosive set-pieces, while the cast consistently deliver quality performances.  Ramiréz has long been one of those actors I really love to watch, a gruff, quietly intense alpha male whose subtle understatement hides deep reserves of emotional intensity, while Dupree takes a character who could have been a thinly-drawn femme fetale and invests her with strong personal drive and steely resolve, and there’s strong support from Neil Blomkampf regulars Sharlto Copley and Brandon Auret as, respectively, emasculated beat cop Sawyer and brutal Mob enforcer Lonnie French, as well as a nearly unrecognisable Patrick Bergin as local kingpin (and Kevin’s father) Rossi Dumois; the film is roundly stolen, however, by Pitt, a phenomenal actor I’ve always thought we just don’t see enough of, here portraying a spectacularly sleazy, unpredictable force of nature who clearly has his own dark agenda, but whom we ultimately can’t help rooting for even as he stabs us in the back.  This is a cracking film, a dark and dangerous thriller of rare style and compulsive verve that I happily consider to be Megaton’s best film to date BY FAR – needless to say it was a major hit for Netflix when it dropped, clearly resonating with its audience given what’s STILL going on in the real world, and while it may have been roundly panned in reviews I think, like some of the platform’s other more glossy Original hits (Bright springs to mind), it’s destined for a major critical reappraisal and inevitable cult status before too long …

6.  HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed.  Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close.  And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital.  The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent top-notch revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed.  That said, every single one of them is an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III; ultimately, however, the show (and the film) belongs to veritable powerhouse Daveed Diggs (Blindspotting, TV’s Snowpiercer) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable eventual American President Thomas Jefferson.  Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals.  As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

5.  SPUTNIK – the summer’s horror highlight (despite SERIOUSLY tough competition) is a guaranteed sleeper hit that I almost totally missed, stumbling across the trailer one day on YouTube and being completely bowled over by its potential, prompting me to hunt it down by any means necessary.  The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev.  Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong.  One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now playing host to something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far darker plans for Konstantin and his new “friend” than she could ever imagine.  This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove to be far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy.  Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to ultimately, tragically bittersweet, while Bondarchuk invests the Colonel with a subtly nuanced air of tarnished authority and restrained brutality that makes him one of my top screen villains for the year.  Guaranteed to go down as one of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for the remainder of the year and beyond, and I wish utmost success to all the creative talents involved in the future.  The Invisible Man still rules the roost in the year’s horror stakes, but this runs a VERY close second …

4.  GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter, others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular.  It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended.  Thankfully the final film was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats.  Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed Greyhound, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command.  As they cross “the Pit”, the most dangerous mid stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German subs that begin to pick away at the convoy’s stragglers.  Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining that tension for the remainder of its trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load.  Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind the similarly unflappable turn he delivered in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members do make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn.  Relentless, powerful, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick.  I’m so glad it made the cut for the season …

3.  PROJECT POWER – with Marvel and DC pushing their tent-pole titles back into late autumn in the face of COVID, the usual superhero antics we’ve come to expect over the main blockbuster season were pretty thin on the ground, leading us to find our geeky fan thrills elsewhere.  Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU-take Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and I’ve already made my feelings clear on the frustration of The New Mutants – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it.  New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you won’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot.  Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, an NOPD detective who uses his power of near invulnerability to even the playing field when powered crims cause a disturbance.  Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it.  This is a fun, gleefully infectious  rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of next year’s incendiary DCEU headline act The Batman) takes his script in some very interesting directions and poses some fascinating questions about what Power’s TRULY capable of.  Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose explosive pyrotechnic “gift” really isn’t all it’s cracked up to be.  Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated “cinematic” fun I had this summer.  Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

2.  THE OLD GUARD – Netflix’s undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular title with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping good ultraviolent action thriller, ushering in this thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly did save our cinematic summer, but I’m still IMMEASURABLY glad that the season’s ultimate top-spot winner was one I got to experience on THE BIG SCREEN.  You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the reopening, that honour went to Unhinged, but THIS was my first real Saturday night out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who may be the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s HImesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even without that amazing new teaser trailer making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual masterpiece and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in some seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital.  The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some truly mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he has good reason, currently working on his dream project, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his regular collaborations with Ryan Coogler on the likes of Fruitvale Station, Creed and Black Panther, as well as truly awesome work on The Mandalorian) makes for a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence as a film this is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a piece of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that really HAS TO BE experienced on the big screen.  So put your snobbery at post-lockdown restrictions aside for the moment and get yourself down to your nearest cinema so you can experience it for yourself.  You won’t be disappointed.  Right now, this is my movie of the year, and with only one possible exception, I really don’t see that changing …

[deliciousmeta]

On fangirling Azula without apology

I’m going to describe a favorite character of mine.

They are the social elite of their world. They believe they were born superior to others, and the things they’re capable of sort of proves them right. This character is preternaturally good at what they do. They have an aloof demeanor and a mean streak. They are stylish and impeccably groomed. They have a contentious relationship with their brother, and they treat their most loyal and obedient underling like shit. They are ruthless and efficient in the pursuit of their goals. They killed many people with no remorse.

Since I’ve been on an Avatar: The Last Airbender kick lately, I must be talking about Azula, right?

Nope, I’m talking about Sesshoumaru.

It’s been a while since I dipped my toe in Inuyasha fandom (before Tumblr), but I don’t recall post after post that did the following:

Called him a psychopath or sociopath

Reminded people that he’s a horrible person who did horrible things

Labeled him toxic or abusive

Arguing about whether he deserved or earned redemption

Even as a casual participant in Inuyasha fandom, those of us who liked Sesshoumaru could freely share our enjoyment of his character and not feel pressured to judge him or reassure people that we know murder is wrong.

Yet, when it comes to Azula, it seems fandom needs to constantly remind us how crazy and evil she is. It’s as though there’s a puritanical streak in fandom that expects or demands us to condemn her to make up for the fact that we like her.

I’m not going to sit here and say she’s a cuddly little lamb who wouldn’t hurt a fly. Fuck that. I like that she’s dangerous. I like that you can never be sure what she’s got up her sleeve. I like that you can’t tell if she’s lying or not. I like that she’s both formidable and vulnerable. I like her intriguing contradictions. I like how layered she is.

There’s so much I genuinely like about her. Not despite those traits fandom condemns her for, but because of them. She’s my fave. But like Chris Rock said about rap music, “I love it, but I’m tired of defending it.”

Same thing with me and Azula. I love her, but I’m tired of defending her. Fictional white dudes can be violent assholes all day every day and twice on Sundays, and their fandoms eat that shit up. If Hannibal Lecter and Tate Langdon can have people squee over them, I should be able to fangirl Azula without pretending that I don’t enjoy how she can do shit I’d never have the guts or skill to do.

Fuck them turtleducks.