#ripley’s hannibal edits

[aliendeity]

[tethered-heartstrings]

[bloody-wonder]

do u have any book recs for morally bad characters? not grey or ambiguous or whatever. i think id use ianthe as an example of what i mean

far be it from me to decide which character is "morally bad" or merely grey so for the purposes of this rec list i focus on characters who do bad things for selfish reasons. however, ianthe, beyond just being a villain-esque character, has that iconic persona(lity) which alas only few of the characters mentioned here share. so keep that in mind in case you wanted a list of ianthes😅

okay so when i think ianthe i think unhinged girl books, specifically boy parts by eliza clark. ik ik i keep mentioning it in every rec list but truly there's no other character who reminds me of ianthe more than irina sturges, minus the sword. boy parts is sometimes described as american psycho for girls and while i haven't read that book yet i can confirm that characters in bret easton ellis' other works (less than zero and the rules of attraction) are quite morally bankrupt and entirely unlikable, especially compared to the cast in the secret history by his fellow bennington graduate donna tartt who are themselves toeing the line between grey and irredeemable. that is, if such finer distinctions matter to you🤷‍♀️

dark academia typically features protagonists who are more or less evil which is true for joanne harris' gentlemen and players as well as its sequel different class. cracks by sheila kohler is another example - it's a short and weird book about girls in a boarding school commiting shocking atrocities. aside from we have always lived in this castle by shirley jackson, which i have already mentioned, books like tender is the flesh by agustina bazterrica and we need to talk about kevin by lionel shriver are bridging the gap between litfic and horror and focus on people who range from morally ambiguous to utterly despicable and frightening (yet fascinating). if you want to go all in with this latter vibe you could try killing stalking which is an extreme horror/dark romance bl manhwa. needless to say: always check the trigger warnings.

if hannibal lecter is someone who fits your understanding of "morally bad" you should try the og book series by thomas harris. fair warning tho: they are not queercoded like the show😅 two more series following the crimes of a nasty but compelling guy are the joe goldberg books by caroline kepnes and the tom ripley books by patricia highsmith. in the latter series i will admit i only like book one which stands on its own pretty well and after it i'd rec trying highsmith's other books instead - for example, strangers on a train. another thriller author to check out is christopher rice whose melodramatic and somewhat depraved early works feature deliciously problematic side characters. start with the snow garden and see if you like his style. my last thriller rec is for your own good by samantha downing which is about a bad teacher abusing his power to punish students he doesn't like.

switching the gears to historical fiction and classics. perfume: the story of a murderer by patrick süskind is the life story of a man who by all accounts is bad but if so why does his perfume smell so good? what does he put in there?? another perfect example of a character blurring the line between morally grey and black is the protagonist of thomas savage's the power of the dog. both books have very good film adaptations which i recommend as well.

if you want to try and tackle a dusty tome foregrounding wicked antiheroes consider reading vanity fair by william thackeray or dangerous liaisons by pierre choderlos de laclos. if you'd rather start with something shorter look no further than the picture of dorian gray, who i personally think is "darker" than just grey (ha), but if you already read it consider revisiting the classic via the uncensored edition. still shorter? then you might like another work by oscar wilde - lord arthur savile's crime. it's much more humorous and satirical, as is lieutenant gustl by arthur schnitzler - a hilarious stream of consciousness novella following an odious imperial army officer as he contemplates how to restore his damaged manly honor in the wake of another man touching his sword - not a euphemism but definitely a metaphor😅

i really struggled to choose sff recs☹️ the thing is, in your typical fantasy characters like this will either be pretty one dimensional villains or side characters with not a lot of screen time, whereas those on the main cast are rather what you would probably describe as morally grey. nevertheless, here are three recs i'm not very satisfied with: first of all, empire of the vampire's jean françois gives me ianthe vibes. so far he's a character in the frame narrative only but i expect he'll play a bigger role in the final book of the trilogy. secondly, there is a secondary villain character in the winnowing flame trilogy by jen williams who is honestly my favorite part of it and they do bad things etc by virtue of being a villain but,, maybe they're just misguided? maybe their friends and family didn't love them enough but the main villain did? i mean, who's to say🤷‍♀️ finally, the main character of lynn flewelling's nightrunner books has an evil ex who has a fun poor little meow meow arc in books 4 and 5 - you decide if it's worth reading the entire series bc of it. i mean it's pretty good old queer fantasy so it's worth it for other reasons too but yeah. you see what i mean when i say it's difficult😭

[denimbex1986]

'Patricia Highsmith’s 1955 novel The Talented Mr. Ripley has been made into two sterling films: 1960’s Plein soleil (Purple Noon) starring Alain Delon, and 1999’s The Talented Mr. Ripley headlined by Matt Damon, Jude Law, and Gwyneth Paltrow. Nonetheless, Netflix’s new Ripley stands head and shoulders above its predecessors (and most modern TV offerings) as an adaptation par excellence.

Over the course of its eight exhilarating episodes, all of them shot in breathtaking black-and-white by Oscar-winning cinematographer Robert Elswit (There Will Be Blood), this stellar thriller exhibits a formal precision, dexterity, and majesty that electrifies its tale of a small-time New York City grifter named Tom Ripley (a phenomenal Andrew Scott) who attempts to remake himself in Italy by slipping into the life of wealthy playboy Dickie Greenleaf (Johnny Flynn). Cunning cons and brutal murder ensue, all of them dramatized by the show with a suspenseful elegance and psychological complexity that does justice to its source material—and, in certain cases, adds new, incisive wrinkles to the oft-told tale.

Ripley is, quite simply, a small-screen masterpiece, and credit for its triumph goes, first and foremost, to writer/director Steven Zaillian. In the three decades since he won the Best Adapted Screenplay Oscar for Schindler’s List, the 71-year-old has collaborated with a who’s who of Hollywood greats, from Brian De Palma (Mission: Impossible) and Sydney Pollack (The Interpreter) to Ridley Scott (Hannibal, American Gangster, Exodus: Gods and Kings), David Fincher (The Girl with the Dragon Tattoo) and Martin Scorsese (Gangs of New York, The Irishman).

Along the way, he’s additionally penned the excellent Moneyball, helmed three of his own feature scripts (including the fantastic Searching for Bobby Fischer), and spearheaded HBO’s acclaimed The Night Of. Even with such a formidable résumé, however, Zaillian’s latest may be his finest achievement to date. Its scintillating style wholly wedded to its storytelling, and its meticulousness central to its simmering undercurrent of sociopathic madness, it’s a work of controlled Machiavellian malevolence, rife with tension and rich in detail and depth.

Guided by Zaillian’s virtuosic hand, Ripley is the rare example of genuine auteurist television, even as it simultaneously stands as a testament to the fact that projects are more likely to be great when they’re made by a collection of great artists. Now available on the streaming platform, it’s an early contender for end-of-year accolades. Consequently, we were elated to speak with Zaillian about the challenges of making his sensational series, collaborating with Scott and Elswit, and the enduring appeal of Highsmith’s famous novel.

Ripley is better directed than 99 percent of modern television, to a great degree because it’s been actually directed, with personality, flair, and guiding motifs and techniques. Was there any pushback to your approach, given that TV generally wants formal style to take a backseat to storytelling?

No, there was no pushback. The style that the show became… I started with the writing, I can’t write anything without imagining it. That being said, things obviously change when you’re shooting, and motifs come up and the style gets set at a certain point. But the whole time we were shooting, basically all anybody is seeing are dailies. It’s hard to tell from dailies what’s going on, you know [laughs]? Most people at the studios didn’t see anything until it was edited. So I had this great freedom to do what I wanted in terms of its look, and I spent a lot of time doing it. It was important to me that it looked good and felt good in terms of its tone, and most of the people who came to this come from film, and we approached it as one long movie.

Is the writing process different when you’re writing for yourself, versus another director?

I don’t write any differently. As I mentioned, I can’t write it without seeing it, so whether I’m writing for myself or someone else, it’s the same process. I don’t ever put in, close-up here or wide shot there. However, I do see it, so when I’m making my shot lists, I’ve already done it once before when I was writing it. But in terms of writing in a different way if someone else is going to direct it, no.

What made you want to tackle The Talented Mr. Ripley, which has been adapted multiple times before?

I’ve been wanting to do it since I read it, which I think was probably back in the ’80s. Certainly after Purple Noon but before The Talented Mr. Ripley movies. I saw it in a certain way and I wanted to try that, so when this opportunity came up, I took it. I just think it’s one of the great characters and one of the great stories that can be told over and over again.

What is it about the novel that’s allowed it to endure so powerfully over the past 70 years? Despite its age, it feels extremely relevant in today’s socio-political climate.

The idea of a character who becomes somebody else is something that happens all the time, today and throughout history. We’re strangely fascinated with it. I mean, it comes up all the time! There are articles—one that comes to mind from a few months ago was called “The Talented Mr. Santos.” I think this particular character is fascinating, certainly to me and I hope to other people. And the style of it—and I don’t mean the photographic style, but the style of the story—comes from Highsmith, where she finds these kinds of extraordinary things happening in normal circumstances with normal people. It’s something she’s well known for, and is something which I feel we can all relate to.

You’ve directed three feature films, but none since 2006. As a director, what compelled you to segue to television?

It’s the way things go. It’s strange to say that it’s easier to get a television show done than a movie, but it seems to be true, at least with the kinds of movies that I want to make. [TV] is a lot harder and it takes a lot longer, and I long for the days and the chance to make a movie again. I’m hoping that that’s what I’m going to do next, only because it won’t consume years and years of my time [laughs]. I can do the same thing and not have it take four or five years.

At what point did you decide to shoot the entire series in black and white, and what was your thinking behind that creative decision?

It started with the writing; that’s how I imagined it. Why, I don’t know. Maybe because of the period. I did want it to not feel like a postcard, and Italy, if shot in bright vibrant colors in the summertime with blue skies, can feel that way. I felt that this was a more dark and sinister story, not unlike a film noir story, and so black and white seemed to be the natural choice.

Yet despite that monochromatic scheme, you didn’t lose the classical beauty and romance of Italy.

You can’t lose that in Rome—it’s impossible [laughs]. Nor did I want to. But that being said, even a familiar place to people—like, well, you don’t really see the Coliseum except when he’s driving around with a corpse in the car—I didn’t want those places to be front and center. I wanted the backstreets of Rome more than the boulevards. Naples and Palermo are both really interesting places that photograph wonderfully in black and white.

But again, part of the story does take place on the Amalfi Coast, and that’s the place that’s hard to make sinister in color. When you have the aqua blue water and the bright sun, it’s tough. Luckily, we were at least filming there in the fall, so we didn’t have the brunt of tourism or those postcard shots, which certainly helped.

Robert Elswit shot the pilot of The Night Of and the entirety of Ripley. What is it about him as a cinematographer that makes your collaboration work so well?

It’s many things. Obviously, he’s really talented. He shoots beautiful movies. And we get along really well. He’s very intrepid—he’ll do anything, and go anywhere, and work crazy hours. He’s a workhouse in that regard. This took that kind of person. We shot for 160 days in Italy, with a one week break in the middle, and that’s tough on anybody. He just loved the idea of shooting it in black and white, and he’s a master with lighting, as you can tell when you watch it. It’s a great collaboration, we have.

The series is dominated by shots of Tom at a distance, framed in long claustrophobic hallways and by constricting architecture (such as the stairs of Dickie’s home in Atrani). Was it difficult to find the locations you needed for that visual style?

That’s one of those things when you talk about motifs… yes, I wrote a scene where Tom climbs a lot of steps, but that was a place that [production designer] David Gropman and I found. We drove from Salerno to Sorrento, all the way up the coast, and this little town called Atrani that has 800 people had those stairs, and I was fascinated by them. I said to David, it looks like an M.C. Escher drawing, and I found out much later that [Escher] had actually lived there and had drawn those very stairs. So that’s where it started. Then, wherever we went, we encountered stairs, and that’s when it started becoming a motif.

You shoot Tom’s two murders (and their aftermaths) in long, methodical sequences. Why was it important to stage those in such detail?

I had a little note scribbled on a Post-it when I started this saying, “It’s easier to kill somebody than it is to get rid of the body.” I wanted to show that. Even getting rid of a body that’s laying down in a little boat is hard to get rid of. I thought, this could be an opportunity to try something that I’d like to, which is showing these things in what feels like real time, and how difficult it is. I thought it was interesting, I thought it was entertaining, and I thought it was something I’d wanted to do from the beginning. So in the scripts, in episodes three and five, those sequences are about 35 pages long.

How did you settle on Andrew Scott for Tom?

I’d only seen him in three things, and one of them, I didn’t even see him; I’d only heard him—that was in a movie called Locke in which he did not appear, but he was a voice on the telephone. He created a really interesting character with just his voice. That was the first time I saw anything he was in. Then his Moriarty [in Sherlock] and Fleabag. With those three things, I felt he could do anything. They were so different from each other that I felt, that’s Tom. He’s got the range to play Tom.

Often in Ripley, the most important aspect of a given scene is what’s taking place beneath what’s being said aloud. From a writer’s standpoint, how do you tackle such undercurrents?

That’s always been important to me in the writing—to know, what is the point of the scene? Is it a piece of dialogue, is it an action, or is it the moments between the dialogue? Often, that’s where it is for me. Like you say, someone is lying and the other person knows they’re lying, and they play this kind of game with each other—that is the point of the scene! So those moments in-between the dialogue are what’s important. I spend a lot of time with that, and the actors got that, and they’re smart and they’re good and they like doing that. So in those instances, that was what was going on.

John Malkovich makes a late, brief appearance as Reeves, which is both a sly shout-out to Ripley’s Game (which he starred in, as Tom) and a tantalizing suggestion of future seasons. Was Malkovich’s participation always part of the plan—and was his cameo designed to keep the door open for a follow-up?

Both of those things are true. I wrote to him and explained that I’d like him to consider doing this. It’s very short, it’s just a couple of days, but maybe it’s a fun idea. And he thought it was and came to Venice and did it.

Yes, I was also thinking that if there’s another season, this character appears in the next two Highsmith books about Ripley, and he’s a great character. He does not appear in The Talented Mr. Ripley book; he doesn’t appear until the second book. But yeah, if that ever happens, I hope he’ll do it. Because he’s perfect for it.'

[senseofnewness]

So glad you liked crazy exgirlfriend. A lot of my irl people tend not to give it a chance because it's a musical, but it is genuinely an amazing show.

I love Jude law's face in general so I had to watch talented mr ripley. I give it a 7 because I needed more gay pining. The fact that ripley killed Peter at the end on the boat was literally so sad! If only that girl hadn't seen him, they could have had a really cute romance of being "just friends"

Skam is one that has been brought up so often I'm watching it right now. I actually saw clips of Chris and thats when I added to my list lol. Also I saw this one edit of ocean eyes for Isak and even

Thanks for the recs!

yes so many people won't watch CxG because of the genre or because of the name, but it's just genius and so fun

jude law is so gorgeous istg but yeah i get what you say but i do love evil gays (hannibal is a good show for that!)

i hope you enjoy skam, it's so good, but i also think it was an era, so it's alright if you don't

[whiskehorange]

Character Roster

What is this?

This is the official list of who I write for on this blog! I will reblog and edit this when I edit or add a character so that you guys can keep up with me!

!!Please Note!!

No, I will not continue my chapters. I left them at an end like that for a reason: for you guys to decide how they ended/go on. I consider the headcannons I write for these guys to be sort of what happens where the story leaves off

Even when my asks are closed, you can still send me questions, compliments, random thoughts, or anything like that! I love those!

I’m open to movie suggestions and character suggestions to further stretch who I write for anytime! So don’t be afraid to ask!

Who I write for:

Slashers-

Jason Voorhees

Michael Myers

Freddy Krueger

Bubba Sawyer/ Thomas Hewitt

Pinhead

The Chatterer

Billy Loomis

Jeepers Creeper

Hannibal

Will Graham

Francis Dolarhyde

Otis Driftwood

Baby Firefly

Brahms Heelshire

Vincent Sinclair

Bo Sinclair

Lester Sinclair

Harry Warden

Mayor Buckman

Chop Top

Nubbins

Pyramid Head

John Kramer

Amanda Young

Mark Hoffman

Jack Torrance

Wendy Torrance

Danny Torrance (Doctor Sleep)

Rose the Hat

Norman Bates

Art the Clown

Stu Macher

Sidney Prescott

Doom Head

The Man (Hush)

The Auditor (Hellraiser: Judgement)

John (He's Out There)

Lizard (The Hills Have Eyes)

Leslie Vernon

The Collector/ Asa Emory

Carrie White

Candyman (Daniel Robitaille)

Herbert West

Tiffany Valentine

Ash Williams

Patrick Bateman

Josef (Creep)

Non Slasher-

Hellboy

Abe Sapien

Liz Sherman

Prince Nuada

Princess Nuala

Johann Kraus

Beetlejuice

Yautja

Pavi Largo

Luigi Largo

Amber Sweet

Nathan Wallace

Blind Mag

Graverobber

Graham Hess (Signs)

Merrill Hess (Signs)

Hexxus

Xenomorph

Bishop (Aliens)

Ellen Ripley

Nick Jakoby

Eddie Gluskin

Chris Walker

Richard Trager

Lucas Baker

Anton Chigurh

Llewelyn Moss

Jareth The Goblin King

Arthur Fleck/Joker

Morticia Addams

Gomez Addams

Sun (FNAF)

Moondrop (FNAF)

Alcina Dimitrescu 

Karl Heisenberg

TV Shows

Holden Ford

Bill Tench

Wendy Carr

Silco (Arcane)

Viktor (Arcane)

Anime

Jiraiya

Rem 

Ryuk

No NSFW

John Kramer

Platonic Only-

Barbara & Adam Maitland

Lydia Deetz

Shilo Wallace

[aliendeity]

[tethered-heartstrings]

[savetopnow]

2018-03-09 01 VIDEO now

VIDEO

Bad Lip Reading

"NFL 2018" — A Bad Lip Reading of the NFL

"TRUMP ANTHEM" — A Bad Lip Reading of Donald Trump

"[KARAOKE] Seagulls! (Stop It Now!)" — A Bad Lip Reading of The Empire Strikes Back

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outside

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My friend told a story on stage in DC last month and brought down the house. Thought Reddit would enjoy it too. [10:35]

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The New York Times

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TRAINING IN STORM EMMA | VLOG #37 | [46 views]

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Vlog Brothers

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Vox

VOX showreel våren 2015

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Wendover Productions

The Logistics of Living in Antarctica

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The Gene Patent Question

Wisecrack

The Philosophy of Jigsaw – Wisecrack Edition

The Hidden Meaning in The Truman Show – Earthling Cinema

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The Philosophy of Christopher Nolan (Part 3) feat. Interstellar & Dunkirk – Wisecrack Edition

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[greenonthursdays]

I’m 22 minutes in, Antipasto has gone full-on Talented Mr. Ripley, and I am 100% here for it.

I wonder if Hannibal and Tom Ripley would like each other. They do tend to kill the same type of person, though Tom kills quietly and strategically, only when necessary. I doubt cannibalism would faze him much.

[Arrrgh edited to clarify that I meant Hannibal 3.01, not Hannibal 3.04.]

[aliendeity]

[aliendeity]

[aliendeity]

frederick looking a little like crispy chicken lately

[aliendeity]