|Hello, forest, my old friend.|
...And other provocative questions posed this week in 'Secondo'! There are also lots of metaphors. Lots and lots of metaphors. And this is a show where, already, the metaphors have metaphors. As is par for the Hannibal course (I know, but trust me when I say it could be so much worse, people, because the puns are real), once again, we're watching layers and layers of psychological trickery.
You are going to be caught. It has already been set into motion.
After my first watch, I had only written down one thing: 'conversations between Bedelia and Hannibal'. There's a new cut-to-the-quick quality between these two... colleagues. (Not to mention the aesthetic value placed on the composition of each shot they're in together is off the goddamn charts.) Either because Bedelia could not care less about her fate (there's no escaping here) or she's the smartest (and it might just be both because Gillian Anderson) but girl is letting it fly, early and often, with someone who's life is, in his own words, in entropy or disorder on any given day. Good god, I really really love her. And also her hair.
|Her hair's silhouette has a silhouette. Can you imagine how |
fucking psyched her hair person was when they saw this?
I just need to know something: Has Hannibal killed so many people in every way possible that he knows exactly what will happen when he shoots an ice pick through that precise spot on Sogliato's temple, at that angle? No wonder he wants to wind everyone else up and see how they go -- he's bored as shit. It actually makes sense to me that with that level of mastery must come a tedium unimaginable! (I keep thinking about Malcolm Gladwell's 10,000 hours theory -- if that's true, what Hannibal demonstrated in 'Secondo' took like 50k.) Between that and his knack for following several trains of thought without distraction from any one, well, suffice it to say, he's never had an ordinary day in his life. His mind can't afford it. And yet, he's got a lot of range. He's like a tortured goth teen every time he talks about Will -- who's now, unquestionably, his latest substitute for love. (Is it fair to say that this is the strangest love ever portrayed on TV?)
We construct fairy tales and we accept them. Our minds concoct all sorts of fantasies when we don't want to believe something.
That is like le subtitle for the show this season. The current shared fantasy? Everyone is desperately telling themselves they will survive Hannibal. (Despite the reality that this unparalleled level of corruption gets transformed aurally, at the genius level, every week in the credits -- that theme song, it just gets better -- and to hell with the fact that the show is called Hannibal.) You guys, there are so many people who are on board this train. It just gets bigger. This train, the same one where there no there there and there's also definitely NO ESCAPING HERE. It's building, too, to something full force crazy, and crazy fragmented, you can feel it. With the addition of Chiyoh (Tao Okamoto) and her insane story (as in not sure her sorrows can be borne just because you put them in a story), I really don't suspect a good outcome for, well, anyone. (Ha.) And no one is willing to admit that when it comes to Hannibal, they're all tiny painted shards of glass -- fragmentary -- static scenes that never change, all of them. They'd rather remember that being around him is undeniably[one hell of a complicated kind of]life-affirming.
Nonetheless, it was good to see this one again.
|Remember me? I'm bedrock.|
Nothing happened to me. I happened.
Yes, you did, my dear. Yes, you did. The mirrors in your mind can reflect the best of yourself. And your mind palace now, by necessity, has to be grand even by medieval standards, we get it. Or at least we're starting to. Will says that Mischa doesn't account for the severity of misalignment at this stage in Hannibal's life -- but doesn't it? I know the words that Will uses were different -- she doesn't quantify what he does but when you hear it, heartbreakingly, in Hannibal's own combination of child-like feelings given adult words, the shattered teacup that can't ever come together again glints. We all know that Bryan Fuller is an insane lunatic but giving us these moments here where Hannibal is human, well, I forget -- am I the betrayer or the betrayed?
Odds and Ends:
*Previously on Hannibal that was most decidedly NOT previously on Hannibal... Will: "There are places within himself he can't safely go."
*The bone trinket dolls the prisoner created.
*If you haven't yet, google up Tao Okamoto. You can thank me later.
Bedelia: “Was it nice to see him?”
Hannibal: “It was nice... among other things…”
Bedelia: “Forgiveness is too great and difficult for one person. It requires two: the betrayer and the betrayed. Which one are you?”
Hannibal: “I'm vague on those details.”
Hannibal: “On my memory palace? Its door at the center of my mind. And here you are, feeling for the latch.”
Hannibal (to Bedelia after stabbing Sogliato in the temple): “That may have been impulsive.”
Bedelia: “Two men from the Capponi are dead.”
Hannibal: “I can only claim one... technically.”
Jack: “I'm not here for the Monster. ‘Not my house, not my fire.’ I'm here for Will Graham.”
Will: “You're keeping him like an animal.”
Chiyoh: “I wouldn't do this to an animal.”
Chiyoh: “All sorrows can be borne if you put them in a story. Tell me a story.”
Will: “I've never known myself as well as I... know myself when I'm with him.”
Pazzi: “What does Will Graham imagine now?”
Jack: “I borrowed his imagination... and I broke it. I don't know how he managed to piece it back together again.”
Jack: “...Will Graham understands Hannibal. He accepts him. Now, who among us doesn't want understanding and acceptance?”
Hannibal: "Mischa didn't betray me. She influenced me to betray myself, but I forgave her that influence."
Bedelia: "If past behavior is an indicator of future behavior, there is only one way you will forgive Will Graham."
Hannibal: "I have to eat him."