Dexter is delicious: “What’s Eating Dexter Morgan?” DEXTER Season 8 Episode 3

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Dexter is a television series that ran for 96 episodes from 2006-13. This episode is from the final season, and is the only one to feature a cannibal, which seems like a pretty shocking oversight really.

Dexter Morgan (Michael C. Hall, who played David Fisher in Six Feet Under) is a serial killer who also works as a blood spatter technician for the Miami metro police. There’s a lot of analysis of how he got that way (didn’t help that he saw his mother chopped up with a chainsaw when he was little) but, as he is not the cannibal in this tale, we don’t have to concern ourselves too much about that. Interesting to note, though, that although he is presented as a psychopath, he is often shown to have emotions and feelings that might not result in that diagnosis. In fact, Dexter only kills very bad people (just as Hannibal Lecter mostly only kills very rude ones) so he is really more a vigilante than a psychopath, and is motivated by a sense of justice that the Nietzschean Dr Lecter might find laughably absurd. We would have to conclude that both, however, are trying to improve the world by removing objectionable characters from its surface.

Dexter follows a suspect, Ron Galuzzo (Andrew Elvis Miller), to the mall where he sells exercise equipment. Galuzzo measures Dexter’s body/fat ratio, a wink to what we are about to find out about the dude and his culinary interests.

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Dexter breaks into Galuzzo’s house and it’s a mess, except for the kitchen, which is clean and spotless. Dexter opens a crock pot and finds a finger in the stew. Dexter is horrified, because I guess serial killers are not used to seeing body parts. Or perhaps Dexter is secretly a vegan.

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In the fridge, Dexter finds plastic containers containing various body parts. One of them holds a whole brain marinating in a garlic sauce.

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Dexter has a killing ritual, in which the victim is bound and gagged; in this case, it takes place in Galuzzo’s kitchen.

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He first lectures Galuzzo on the evils of cannibalism (bit of a nerve from someone whose hobby is slicing people up) then admits that he thinks that he and Galuzzo are alike, because

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Of course, Dexter has a rather better set of knives than most cannibals.

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Galuzzo is the only cannibal featured in the TV series, which is all based around the first book of an entertaining and highly amusing series of eight novels by Jeff Lindsay. A quite different case of cannibalism is featured in the fifth novel, Dexter is Delicious (2010). In the book, Dexter faces a coven of cannibals who eat (sometimes willing) victims in a Dionysian romp.

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The story revolves around Dexter and his sister, Deb, trying to save a young girl who doesn’t want to be saved; she wants to be eaten. I shall leave the cannibal unnamed in this extract, so as not to be accused of spoilers.

“Some of them do. They want to be eaten – just as much as I want to eat them…. Almost makes you believe in a benevolent God, doesn’t it?”

The book (IMHO) offers a much better cannibal story than the one in this episode, and we can only wish that the television gods had adapted it instead of this rather insipid character who presents no real challenge to Dexter, beyond offending his delicate sensibilities. Maybe Legal forbade it. Fine to tie a cannibal up, abuse him and slaughter him, but to eat someone who wants to be eaten? Now there’s an ethical dilemma for our times.

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“In the Belly of the Beast” HANNIBAL Season 3 Episode 5 “Contorno”

Cannibalism is at its heart all about food, food from a particular species of animal. This episode, Contorno (Italian for side dishes) is also about food – our choices, our enjoyment, how food affects us and how it identifies us.

We start with Chiyoh and Will on a train to Italy. Chiyoh fills in a little bit of what we don’t know about the early Hannibal. Chiyoh was sent to be attendant to Hannibal’s aunt, Lady Murasaki. The young Hannibal was there, an orphan. He was meant to be with his sister, but he was alone. We don’t know why, although we will be told (episode 7) that Hannibal ate, but didn’t kill, his sister, Mischa.

They get talking about snails, a side dish of which we know Hannibal is inordinately fond, particularly when they have been snacking on human flesh. Chiyoh observes:

“Birds eat thousands of snails every day. Some of those snails survive digestion and emerge to find they’ve travelled the world.”

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Then we see Hannibal feeding snails to Bedelia – he explains that, as a young man, he kept sea-snails to attract fireflies.

“Their larvae devour many times their own bodyweight. Fuel, to power a transformation into a delicate creature of such beauty.”

Snails, Hannibal tells Bedelia, follow their nature. She dismisses his metaphor: fireflies live such brief lives. A bit more evidence follows that Hannibal is a Nietzschean:

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In a scene in which Hannibal is clearly checking whether Bedelia is ready for dinner yet (his), they move on from snails and fireflies, a story about transformation, to a discussion on Hannibal’s other main interest: Will Graham. In particular, Will’s fascinating struggle to retain his ethical certainty in the face of Nietzsche’s amor fati – the love of fate, and his true nature as a hunter.

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Bedelia protests: “Almost anything can be trained to resist its instincts. A shepherd dog doesn’t savage the sheep.”

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Still on the food theme, Alana has laid out Hannibal’s table setting for Mason Verger – she has worked out that he can be traced through his exquisite purchases, just the way Clarice did in the book Hannibal. She has tracked him to Florence through receipts for Bâtard-Montrachet (Chardonnay) and tartufi bianchi (white truffles). Mason, never one for social niceties, observes that Hannibal must have liked the taste of her too, and perhaps she enjoyed her own taste of him. He offers a double-entendre that the Guardian critic described as

“actually the most disgusting part of the episode. That’s pretty impressive given the extreme close-ups on snails and Pazzi’s bowels flopping to the ground as he is hanged from a window”.

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Chiyoh is not really getting Will. She cannot seem to see the attraction between the men, just the shared aptitude for violence: “If you don’t kill him”,

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He agrees. So she pushes him off the train. As you do.

No humans were eaten in the making of this episode; snails are the man-eaters. But we do get the gory killing of police inspector Pazzi, who goes as his ancestor went – hanged with his bowels out as punishment for treachery. His ancestor tried to kill Lorenzo the Magnificent in 1478; this Pazzi recognised Hannibal and tried to sell him to Mason Verger rather than turn him over to the FBI.

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Hannibal shows Pazzi a woodcarving of his ancestor’s death, and mentions that the Archbishop bit Francesco.

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Running out of time, Hannibal just tells Pazzi “I’ve been giving very serious thought to doing the same” (although in the book and film Hannibal, this line was “I’ve been giving very serious thought to eating your wife”).

No one actually gets eaten, but Hannibal gets a solid beating from Jack Crawford, who has just dumped his wife’s ashes in the Arno and is fighting mad, particularly after spending the afternoon with Pazzi’s soon-to-be widow. Some readers interpret this scene as Hannibal finally discovering he is not as smart and invulnerable as he thinks, but I hold to the oft-stated theme that Hannibal is always way ahead of the plot. The beating that Hannibal takes is almost without resistance; as if he somehow feels that he owes Jack a chance at revenge for betraying his friendship, a chance to grow into a predator.

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So Jack pushes Hannibal out the window, but he catches himself on Pazzi’s corpse and limps off. The inspector is without his bowels, but not without his uses.

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Rage and appetite: SKIN AND BONES S1E08 of “Fear Itself” (Larry Fessenden, 2008)

Fear Itself was an American horror/suspense anthology television series shot in Canada. It began airing on June 5, 2008.

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Look, it’s a TV video nasty, but the cast is great, and it features a Wendigo, a figure made famous in Hannibal and the movie Ravenous.

The Wendigo (sometimes called Wetigo) is a figure from North American Algonquin folklore. He is a mythical figure – giant, fierce and cannibalistic. He gathers strength from feeding on human flesh, but the flesh makes him grow larger, and so his appetite can never be satisfied. He is sometimes protective, and sometimes a figure of revenge (Cartman may have been taken over by a Wendigo in last week’s blog!) In this story, the Wendigo is “the spirit of the lonely places” and is all about revenge. The Wendigo gets inside people who are weak, hungry, and filled with rage.

We know what’s going to happen. So does the token wise old Native American, Eddie Bear (Gordon Tootoosis) who knows all about Wendigos, as did Joseph Runningfox in Ravenous. Of course, no one is interested in metaphysical explanations from those who might understand the land, so it just escalates from there.

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“Don’t matter what you call it. It’s a madness, it’s fierce, it’s a hunger that can’t be satisfied. It’s an anger that can’t be settled. It’s the Wendigo!”

Grady (Doug Jones from Pan’s Labyrinth, Hellboy II and Star Trek Discovery) has a ranch but knows nothing about living off the land. His brother Rowdy (John Pyper-Ferguson) is running the ranch, and is clearly making out with his wife Elena (Molly Hagan). There are two children (Cole Heppell and Brett Dier, who you might recognise as Michael from Jane the Virgin).

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The kids challenge Rowdy with the usual line “You’re not our father!” so of course we know he must be. The Wendigo has taken over Grady while he was on a hunting trip (with Chuck and Billy who have, you know, disappeared: down the hatch) and when Grady stumbles back to the ranch, he is skinny, covered in frostbite, and remarkably creepy. And hungry. So hungry, he could eat a horse (and does).

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But he certainly doesn’t want Elena’s soup. When she feels his forehead, he licks her arm, and mutters, “tastes good!” Soon he is feeling fine. And still hungry. Soon it’s Rowdy’s turn to be the family meal. He makes Elena cut up and cook and then eat his brother. OK, he’s possessed by a Wendigo, but it’s still cannibalism in my book.

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CUT IT UP AND COOK IT! …it’s just meat.

Director Larry Fessenden had made an earlier Wendigo movie called, well, Wendigo, which got a respectable 60% on Rotten Tomatoes.

If you want to know what happens in this one (and you can really sort of guess), you can watch the whole episode on Youtube.

It’s worth watching, if only for Doug Jones’ performance as the Wendigo.

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“I could feel a rage growing up inside me. A rage that would not let me die!”

Sounds like an allegory of twenty-first century politics.

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Cartman’s Cannibalism: SOUTH PARK S5E4 “Scott Tenorman Must Die” (Parker & Stone, 2001)

“Scott Tenorman Must Die” was the 69th episode of South Park, and first aired on July 11, 2001. It contains nods to a number of classic cannibal narratives.

Eric Cartman’s cousin, 8th-grader Scott Tenorman, tricks Cartman out of $16.12 in return for some pubic hairs, the possession of which, he tells Cartman, means that he has reached puberty. Realizing that he has been tricked, Cartman swears revenge.

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“Did you see that movie Hannibal? Where the deformed guy trained his pigs to eat his enemy alive? Well, if we find a pony, we can train it… to bite off Scott Tenorman’s wiener.”

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The pony misunderstands the training.

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Cartman’s schemes become more convoluted, involving a letter to the band Radiohead asking them to visit South Park, where Scott will be humiliated as his favourite group get to watch the pony mutilate his member.

Cartman arranges for Scott’s parents to be killed.

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He steals the bodies and cooks them up for his “chili con-carnival.”

After Scott eats the chili, Cartman asks him:

“Do you like it, Scott? I call it Mr and Mrs Tenorman chili.
Nyah nyah nyah nyah nyah – I made you eat your parents”.

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Cartman enjoys licking up Scott’s tears.

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We have here a passing reference to Hannibal again, in which Mason Verger collects the tears of orphans to make into his favourite cocktail.

But the main reference is to all revenge cannibalism narratives, from the Greek legend of Atreus and Thyestes to Titus Andronicus, to Liver-eating Johnson, John R. Weber and Omaima Nelson, and of course the Tim Burton version of Sweeney Todd.

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Cartman is not a cannibal in this episode, but he facilitates an act of cannibalism as revenge, just as Sweeney Todd did. Eating a relative, as Scott Tenorman (and Thyestes) unwittingly did, is horrific not because of the flavour – they find the fare delicious. It’s because a life you cared about was snuffed out, not just extinguished, but totally annihilated by digestion, just as we do to those we eat every day, whose lives may have been just as precarious and precious – to someone.

 

Remembrance of Things Past: HANNIBAL Season 3 Episode 4: “Aperitivo”.

There was a “Hannibal” in Proust: Comte Hannibal de Bréauté-Consalvi in The Guermantes Way. Now there is some Proust in Hannibal – everything in this episode is à la recherche du temps perdu – “Remembrance of Things Past” or, more accurately, “In Search of Lost Time”.

Hannibal, let’s be clear, gets into people’s heads (including those of his loyal Fannibals). That of course is his job as a psychiatrist, but he takes it well beyond work hours, getting into the heads of everyone with whom he deals, including Miriam Lass, who was his captive for a long time, and shot Frederick Chilton, because Hannibal was in her head.

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It’s episode 4, and we are finally finding out what happened to all the people knifed, shot and pushed out of windows (or made to eat their own faces) in the previous season. Those still alive have it in for him, are hunting him in their own ways. Mason Verger, whose fortune is based on breeding and killing pigs, wants to catch Hannibal and feed him to those pigs. He has offered a reward of one million dollars for his capture. Chilton, less one eye and half his teeth from Miriam’s bullet, just says “Happy hunting!” Verger’s words about Hannibal are taken from the Bible, the Book of Job, where Satan tells God he has been “going to and fro on the earth, and from walking back and forth on it”. He is relating Hannibal to a supernatural being: Satan. But also to an edible being: a pig. This can’t end well.

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We know Will was cut up good in his last dance with Hannibal, but we get a new perspective in the next scene after the credits – we are inside Will’s body cavity, in the coil of guts, looking at the stomach skin as it is punctured by Hannibal’s linoleum knife. Waking up in the hospital, he is visited not by Abigail, as he had hoped and imagined in episode 2, but Chilton, who wants help catching Hannibal, who would be a prize specimen for his “hospital” for the criminally insane.

Will spurns Chilton’s offer of compassion and friendship, which leads to one of Chilton’s best lines of the show:

The optimist believes we live in the best of all possible worlds;

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Will is still imagining scenarios – in the next scene, he and Hannibal are plunging knives into Jack Crawford in a scene that could only have been inspired by Julius Caesar.

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But Will finally didn’t go with Hannibal, and Jack’s not dead – he’s tracking to Will’s boatshed to seek Will’s help, just as he did at the beginning of Red Dragon, where the whole saga started. Will admits that he warned Hannibal, wanted him to run, because “he was my friend”,

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Alana is still alive too, despite being pushed out of a first storey window. She wakes up full of rods that hold her together. The doctors have told her that a lot of marrow got into her bloodstream from her multiple broken bones, so she should expect to think differently. And she does.

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She goes to see Mason Verger, who tells her he has found religion, been saved by the risen Jesus or, as he familiarly calls him “the Riz”. As a believer, he says he has forgiven Hannibal. Alana is not so convinced.

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Jack remembers his apparent death at Hannibal’s hands, but has somehow recovered. His health, not his career – he has been forced to retire from the FBI. The culture has found a new nightmare to slap its clammy flab and ruin its sleep.

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He also remembers waking up in hospital, lying next to Bella, his wife, who is continuing to die without him as it turns out. He takes her home, sits with her, holds her while her heart stops and her brain dies. He dresses for church and visualises their wedding, but it’s a funeral, she is in a casket, and there is a splendid bouquet from – who else – Hannibal. The card contains a John Donne poem and finishes “I’m so sorry about Bella, Jack”. Fighting to the death does not, apparently, reduce the respect or affection Hannibal feels for his opponents.

Everyone, everyone alive that is, wants to find Hannibal, and most of them want to kill him. What does Will want, as he embarks on a sustainable sailing voyage to Europe to find Hannibal? We don’t know. Mason Verger is talking transubstantiation – his face has been (somewhat) restored by extensive surgery, now he wants to transubstantiate Hannibal. In most ceremonies

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He is planning a more elaborate ceremony. He tells his major-domo nurse Cordell

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Alana is helping, telling Verger that Hannibal will be traceable because, wherever he goes, he will be ordering the very best wine, truffles, etc. She tells him “You’re preparing the theatre of Hannibal’s death. I’m just doing my part to get him to the stage.”

It sounds like they are all conspiring against poor Hannibal. But remember what Alana told Jack when they thought they were outsmarting him – Hannibal is always in charge of the narrative. Whatever the others are doing, he wants them to be doing. Or as Bedelia said, he is drawing them to him. Nietzsche wrote:

“In your friend, you should possess your best enemy. Your heart should feel closest to him when you oppose him.”

While everyone else is remembering things past, or searching for lost time, Hannibal is making friends.

“How did your sister taste?” HANNIBAL Season 3 Episode 3, “Secondo”

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Season 3, and particularly this episode, is presented as Gothic horror. There are dark churches, gloomy castles, even Hannibal’s shadowy kitchen, where he is removing a hand from the Sunday roast.

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This episode is all about identity. All our protagonists (if still alive) have gone through trauma, Will and Jack were clinically dead for a while, and such trauma usually leads to questioning – who am I, what am I doing, and what is this on my plate?

It’s the third episode of the final season (looking forward to being proved wrong here), and we still don’t know what happened to many of the victims of the last series. Hannibal of course is doing nicely in Florence under the name of Dr Fell, Curator at the Palazzo Capponi. Bedelia is living with him, a somewhat nervous room-mate, pretending to be Mrs Fell, but there is no sign of intimacy, and some definite portents of doom. Last episode, she witnessed the murder of Anthony Dimmond. Dimmond knew Hannibal was not Fell, and was duly killed with a bust of Aristotle (was it really Aristotle?) Hannibal, who believes Bedelia betrayed him, explained to her that she was not just observing the murder, she was participating. She knows, Dimmond knew, we know, that she is slated to be one of his next courses.

They speak, somewhat obsessively, about betrayal (not just Bedelia’s, but Will’s) and forgiveness. Hannibal forgave Will last season. Will forgave Hannibal last episode. Bedelia points out that betrayal and forgiveness are

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Hannibal is looking wistful. It is possible that he has not experienced love before, or at least not since the happy time before he ate his sister, Mischa. This is his search for identity – Hannibal as lover.

Will has two searches. He is of course searching for Hannibal, for love of for revenge is not clear to us, or to him. He is also searching for his own identity – is he a lawman or an acolyte of Hannibal? Where will he look?

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Will is in Aukštaitija, Lithuania. It’s the Lecter castle, which we last saw in the movie Hannibal Rising. Bryan Fuller, in his incomparable way, has brought to life a character who had a minor role in the book and no part in the movie – Hannibal’s aunt’s protégé, Chiyoh.

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Will walks past the grave of Mischa. He treads Hannibal’s sacred ground.

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He imagines a conversation with Hannibal, who tells him

“It’s not healing to see your childhood home – but it helps you measure whether you are broken, how and why, assuming you want to know…  Its door is at the centre of my mind, and here you are feeling for the latch.”

Hannibal’s identity is all tied up with the tiny girl who someone killed, and Hannibal ate.

We see Chiyoh shoot a bird and cut off the bird’s feet. The scene switches to Hannibal cutting off a human hand, presumably Dimmond’s. Then he is making cocktails for Professor Sogliato, the epitome of rudeness and intellectual pretension. The cocktail is Punch Romaine, a drink, he tells Sogliato, served to first class guests on the Titanic during their last dinner. Not a good omen. Sogliato has bad timing, and makes his one snide comment too many just as Hannibal is wielding the cocktail ice-pick.

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Sogliato, his frontal lobe partly destroyed, can only stutter and giggle. Bedelia, even though she is a trained doctor, pulls the ice pick out, and Sogliato immediately collapses on the table.

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Witty as ever. Bedelia asks if Hannibal is longer interested in “preserving the peace you found here?” Hannibal understands physics as well as medicine.

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Hannibal grows through conflict and engagement; it’s all a giant game of life and death to the evolving Übermensch. But it was far from impulsive. Bedelia sees what he is doing: the Titanic cocktail was a giveaway.

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He is drawing Will, who is of course in Lithuania, when Jack arrives in Italy. Jack is seeking not Hannibal, but Will. He has broken Will, perhaps turned him into Hannibal’s disciple, and while he would like the Italian police to find Hannibal, his main concern is Will.

Chiyoh is guarding a man, a wild, Robinson Crusoe type figure who, she says, is the one who ate Mischa. Fed her to Hannibal we suppose (that’s how it went in the movie). Hannibal is serving dinner to another couple from the Studiolo, who are lamenting the absence of Sogliato (who is probably at, or on, the table, unbeknownst to them).

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Hannibal wanted to kill the dude in the cage, but Chiyoh wouldn’t let him, so he left her to guard the man, for years and years. Will sets the man free, but he returns to his cage and tries to kill Chiyoh, and she then kills him. She accuses Will of doing it for the same reasons as Hannibal would – to see if she would kill. But he says he just wanted to set her free.

But here’s the thing. Our motivations for our actions come from our stories. As Will says:

“We construct fairy tales and we accept them. Our minds concoct all sorts of fantasies when we don’t want to believe something.”

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Chiyoh believes Hannibal’s story about the man in the cage. She believes that his cannibalism is simply a re-enactment of what he saw happen to his sister. Will has doubts.

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What makes Dr Lecter into “Hannibal the Cannibal”? Was it watching his sister slaughtered and eaten? Will argues this does not “quantify” him. Remember an earlier Hannibal who objected to being “quantified” by a census-taker? Remember also that thousands of people have watched appalling brutality being visited on their families and not reacted as Hannibal does.

We have not finished considering that question. Hannibal is washing Bedelia’s hair as she luxuriates in the free-standing bath tub. She asks him “What were you like as a young man?” His answer reminds us that Mads is playing the role as a demonic force.

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So, Bedelia asks the same question that Will and Chiyoh are covering. “Why can’t you go home, Hannibal? What happened to you there?”

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In Silence of the Lambs, this was followed up with

“You can’t reduce me to a set of influences. You’ve given up good and evil for behaviourism… Look at me, Officer Starling. Can you stand to say I’m evil?”

Will took on that speech, back in Season 2, during their cannibal feast. But here, Bedelia is winning the debate. She has already told him that she knows he is drawing Will and Jack to him with his murders, and warned him that he will get caught. Diving under the water, she cheekily asks

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Bedelia is once again Hannibal`s therapist; her fee is staying alive. She tells him that

“What your sister made you feel was beyond your conscious ability to control or predict. I would suggest what Will Graham makes you feel is not dissimilar. A force of mind and circumstance.”

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“Same with forgiveness. And I would argue, the same with betrayal” comments Bedelia.

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Bedelia plays her trump card.

“If past behaviour is an indicator of future behaviour, there is only one way you will forgive Will Graham.”

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“He knew exactly how to cut me”: HANNIBAL Season 3 Episode 2 “Primavera” (Fuller, 2015)

Season 2 ended with pretty much all the main characters lying dead or dying in pools of blood, except for Hannibal, who was sitting on a plane with a glass of champagne and his former psychiatrist Bedelia next to him.

The first episode of Season 3 saw Hannibal very happily ensconced in Florence with a new name, a new job, and a chance to show off his expertise in Dante’s sonnets, of course delivered in perfect Italian. So happy, he had hardly killed anyone, although that had changed by the end of the episode.

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But what of the gore-splattered rest of the cast? Did any of them live to see Season 3? Well, some did of course although, in some cases, only just. The episode starts with a long reprise of what happened to Will and Abigail, but it’s all in Will’s fevered dreams as he lies in hospital, and he sees it as the killing of his higher self:  blood pours out of a dying stag and fills the room – he is sinking, in an ocean of blood.

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This is a love story, but of star-crossed lovers. In this case, double-crossed lovers.

Time did reverse. The teacup that I shattered dared to come together. A place was made for Abigail in your world. That place was made for all of us. Together. I wanted to surprise you.
And you… you wanted to surprise me. I let you know me. See me. I gave you a rare gift.

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The teacup is a crucial symbol to Hannibal. It represents two important discourses that inform his somewhat unorthodox life choices: Nietzsche’s concept of amor fati – the love of fate, the acceptance that what has happened could not have happened any other way, and will happen again, and again. It is not fatalism though, in which we can sit and wait for the inevitable – Nietzsche and Hannibal want to be out there making it happen as it should, as it will, as it must.

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Hannibal wants to speed up the cycle of eternal recurrence, reverse time and repair all that has been lost, particularly his sister, Mischa, who was eaten. He is obsessed with Stephen Hawking’s description of entropy as proof of the “arrow of time” – we “know” that time only flows one way because a shattered teacup does not gather itself back together. Hannibal really likes Hawking’s early theory that, when the universe stops expanding and starts contracting, time will reverse and entropy mend itself; the teacup will mend, Mischa will be whole again, Abigail will be returned to Will. Undoing all the bad things that happened. He just wants to speed things up.

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Has the teacup re-formed after all? Abigail wanders into Will’s hospital room as he wakes up.

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Will is hallucinating, but it gives him a chance to state his own metaphysical opinions. Will is more a follower of Leibniz; he thinks there are an infinite number of universes and everything that can happen will, does, did happen in one of the multiverses. Just, not in this one, which makes him sad.

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It has to end well. And it has to end badly. It has to end every way it can.

OK, but Abigail wants them to find Hannibal, or rather believes the Hannibal wants them to find him. Even after all that happens, she wants to go to him. And so, of course, does Will, although he won’t admit it. He remembers Hannibal taking about his “memory palace”, a place where memories can be stored and restored, and brought out and relived even, or especially, in bad times. Hannibal’s palace is “vast, even by mediaeval standards” and

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Off to Palermo goes Will and, maybe, Abigail, and meets Inspector Pazzi, who has been chasing Hannibal for twenty years. As a young man, Hannibal was “Il Mostro”, the monster of Florence, and would kill people to make them into art works, particularly based on Botticelli’s Primavera. A real case, which remains unsolved.

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We hear more philosophy – Will has taken on Hannibal`s theology; as far as God is concerned

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Elegance is more important than suffering. That’s his design.

Then he gives us his views on Hannibal`s motivations: it’s all about fun. This is basic Hannibal philosophy, going all the way back to his letter to Will Graham in the book Red Dragon.

Hannibal’s not God. Wouldn’t have any fun being God. Defying God – that’s his idea of a good time. Nothing would thrill Hannibal more than to see this roof collapse, mid-Mass, packed pews, choirs singing, he would just love it. And he thinks God would love it too.

And of course, the roof starts to drop a fine powder on Will’s outstretched hand.

Inspector Pazzi points out that Hannibal never leaves evidence.

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Which raises the big question – what exactly is cannibalism? Was Jame Gumb a cannibal when he used women’s skin to make a “suit with tits” (which he will hopefully be doing again in Season 4)? Was Francis Dolarhyde a cannibal for killing whole families to fuel his radiance (as he will do again later in Season 3)? Hannibal eats people when he can, and when he wants to, but didn’t Jack Crawford enjoy his elegant dinners at Hannibal`s house, pretending to be a friend, knowing what was probably being served? When Will brought the long pig, pretending it flesh of Freddie Lounds, was it really Randall Tier they were eating? Hannibal sure as hell knew it wasn’t pork. Will happily ate it.

Now Hannibal has found a new, non-gustatory use for human bodies: art. He has taken the body of the annoying art student he killed last episode, and made it into a heart, his heart, broken by Will’s betrayal and the loss of the space he made for them. Will uses his powerful forensic imagination to read Hannibal`s design:

I splintered every bone. Fractured them. Dynamically. Made you malleable. I skinned you. Bent you. Twisted you. And trimmed you. Head hands, arms and legs. A topiary. This is my design. A valentine written on a broken man.

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Hannibal is – complicated. Will explains to Abigail that “he follows several trains of thought at once without distraction from any – and one of the trains is always for his own amusement.”

He gave you back to me, then he took you away. It’s Lucy and the football; he just keeps pulling you away. What if no one died? What if – what if we all left together? Like we were supposed to. After he served the lamb. Where would we have gone? …A place was made for you Abigail, in this world. It was the only place I could make for you.

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Will finally realises that Abigail is dead, and he is talking to his delusion, to his own subconscious thoughts (which are dominated by finding and rejoining Hannibal). He heads through the arch into the catacombs; he knows Hannibal is waiting in there. Pazzi is behind him, despite Will’s warnings that Hannibal will kill him. Pazzi wants to know what Will might do when/if he finds your Il Mostro?

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In an atmospheric scene somewhere between Phantom of the Opera and The Name of the Rose, Will and Hannibal wander the winding tunnels, Will calling Hannibal’s name, Hannibal silent. Waiting for Will to say it. At the end of the last season, Hannibal had said to Will as he cut him up “I forgive you, Will. Do you forgive me?”

We finally get the answer.

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Next week: a new cannibal movie from Brazil: THE CANNIBAL CLUB