I’m so sorry Jack: “Relevés” HANNIBAL Season 1 episode 12 (Fuller, 2013)

This episode is called “Relevés”, an obscure term in the French menu – it comes sort of after the main course, but is not the Rôti (roasts) of episode 11; this one is joints – big butcher joints, served with heavy accompaniments and garnish. Appropriate for a meaty episode, in which Hannibal takes steps not just to cover his own tracks, but to lay a path of suspicion to Will, who has been behaving very strangely lately, thanks to his encephalitis (which Hannibal has also covered up). The real meat of this episode, though, is its treatment of mental illness – where it starts (physical and/or psychological) and how it develops, and the paucity and inadequacy of treatments.

At the start of the episode, everyone is starting to recover. Georgia Madchen, who killed her friend and witnessed Hannibal killing the doctor who knew about Will’s condition, is in an oxygen tank, awaiting shock treatment which may restore her memory.

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But she doesn’t want to remember.

Hannibal has brought Will one of his gourmet concoctions: “Silkie chicken in a broth: a black boned bird prized in China for its medicinal value since the seventh century. Wolfberries, ginseng, ginger, red dates and star anise. Will’s bemused response, as though Hannibal was his Jewish mother, making chicken soup to treat a psychic crisis that just seems to get worse:

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Hannibal also does not want Georgia to recover her memory, because he is vulnerable, even if she was unable to see his face. She wakes up in her oxygen tent and finds a plastic comb, naturally, she starts to comb her hair, and naturally the static creates a spark that ignites the oxygen.

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So that leaves Abigail as apparently the only one who could spill the fava beans on Hannibal. She is busy writing her book with Freddie Lounds, who tells her she knows what killers look like

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She looks for a specific brand of hostility. She sees it in Will Graham, every time she looks at him. Very convenient for Hannibal. But Will has released himself from hospital, and is starting to realise that the spate of copycat deaths are all the same, but slightly different, to the murders they copied – the copycat killed all of them, including Georgia, who saw his face. Will is furious that Georgia was misdiagnosed and misunderstood her whole life, and doesn’t want the same thing to happen with her death, which Jack is treating as suicide.

Will’s vehement reaction worries Jack, who consults Hannibal, allowing Hannibal to plant the seed of suspicion: does Will suffer from a mental illness that would allow him to do things he doesn’t normally do?

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That’s true for Will, but even more true for Hannibal, who sees himself as a species apart from the common herd, an Übermensch, who has cast off normative humanism for his own ends, which we are yet to understand.

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Will is visiting Abigail in hospital. They discuss the nature of killing. Will admits killing her dad was terrifying, but then made him feel powerful. She replies that

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She wanted to escape, but Will is doubtful

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Her dad is still out there, in the form of the copycat. Will thinks he can catch him,

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Jack has been visiting Bedelia, who has covered for Hannibal (as any professional psychiatrist would) and has been asking about a case in which a patient, referred to her by Hannibal, tried to kill her, but luckily died by swallowing his own tongue ( a reference to Multiple Miggs in Silence of the Lambs). Hannibal, Jack points out,

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Hannibal asks what she told Jack?

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She doesn’t know quite what Hannibal is trying to do with Will (it seems to us, the omniscient spectators, that he wants to turn Will into a clone of his own powerful self)

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Will is thinking clearly again, he tells Hannibal, and starting to understand the copycat killer that so baffles the FBI. Georgia was killed for seeing the killer, who ended up framing her for it, but

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Now it’s personal. Will realises it could be someone at the FBI or the police. He doesn’t, however, realise what we realise, that he is in the same room with the killer. Like a pantomime, we feel like shouting at the screen: look behind you! But we don’t, because we don’t have interactive TVs (yet), and also because we like Hannibal, and don’t really want to see him unmasked (yet). But Will’s clarity, and Abigail’s book, are both threats to Hannibal. And he has only one episode of Season 1 to neutralise them.

Fortunately for Hannibal, everyone is on the wrong scent. Jack is still convinced Abigail is the killer, while Freddie is still convinced it is Will, and tells Jack so.

Will takes Abigail out of the hospital, back to the crime scene – her home in Minnesota. Jack is furious and goes to see Hannibal, who admits to Will’s confused mental states, where he loses time and doesn’t know what he has done. He plays Jack a selected section of the recording of his discussion with Will about the murder of Melissa Schurr.

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Together with Hannibal’s revelations about Will’s mental state, Jack is starting to suspect Will.

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Will had told Hannibal, who hadn’t told Jack, that he was getting so close to Hobbs that

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Now he has Hobb’s daughter, who Hobbs intended to kill. Jack fears the worst. As for Hannibal:

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Hannibal is sorry, but not, as Jack thinks, for hiding the “truth” about Will’s mental state. He is truly sad and sorry, for losing his friend, his only friend, feeding him into the jaws of the justice system.

Why does Hannibal do these things? Abigail asks him, and he tells her the truth, at last. He called the house to warn Hobbs they were on their way. Why? she demands. And this is crucial to an understanding of Hannibal:

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He killed Marissa, hoping that Abigail would kill the victim’s brother. Abigail is another of his projects

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Hannibal believes, as Dolarhyde says in Manhunter, that the people who are killed in these becomings are not real: “You alone know the people I use to help me in these things are only elements undergoing change to fuel the radiance of what I am Becoming. Just as the source of light is burning.” Abigail’s Becoming is far more important than Nick Boyle. But Abigail is scared of Hannibal now: he tells her that he has killed far more people than her father.

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Will he or won’t he?

Next episode – the season finale.

 

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“Madness can be a medicine”: HANNIBAL Season 1 Episode 11 (Fuller, 2013)

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We’re finally at the main course of this extended French banquet that makes up the episodes of Season 1. This episode is called Rôti, which means roast. The dead animals are coming out of hot, dark ovens, cooked, carved, and being eaten. And the accompanying sauce is a healthy dose of Existentialism, Hannibal Lecter style.

This episode is all about identity, and identity is all about existence: what is real, what exists and how can we be sure? Here is Sartre’s view of existence from the novel Nausea: the character who sees himself usually as a man named Roquentin, sitting under what seems to be a chestnut tree:

…the diversity of things, their individuality, were only an appearance, a veneer. This veneer had melted, leaving soft, monstrous lumps, in disorder — naked, with a frightful and obscene nakedness.

Roquentin concludes “My existence was beginning to cause me some concern. Was I a mere figment of the imagination?”

Most of the characters are losing their footing in this episode, and some are losing all touch with reality.

Abel Gideon has lost touch with his identity. Thanks to Dr Chilton’s “psychic driving”, Gideon came to believe he was the Chesapeake Ripper. Of course he isn’t – that’s Hannibal, and Hannibal is none too pleased to have someone else take credit for his ‘work’. Hannibal discusses the situation with Chilton over dinner: Kudal, a sheep gut curry. Lots of useful metaphors in this dish – guts because we are getting inside all the characters at last, and sheep? Well, sheep are used (rather unfairly IMHO) as allegories of blind obedience – going where the leader goes, following without question. Chilton thinks psychic driving is something of this sort – lead the patient to the conclusion you have already drawn.

Hannibal points out that Gideon was an ideal patient to be manipulated:

Chilton suggests Gideon is a psychopath, but Hannibal squashes this idea:

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So, if Gideon is not really a psychopath, he is just a common killer, a domestic violence offender who went over the edge into serial killer. Chilton told him he was the Ripper. Alana then told him he was not in a state of mind to know who he was.

Chilton feels like his is going to be blamed (especially since Gideon is planning to sue him). Gideon escapes, as he is hoping to attract the real Ripper, who, he hopes, will tell him who he really is, but Will understands that the Ripper will kill Gideon, for taking credit for his ‘work’.

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Realising Gideon is not the Ripper, Chilton just wishes he had been more curious about how common minds work. Hannibal replies:

Thus, the sheep’s gut curry.

The psychic driving didn’t work as hoped, Hannibal tells Chilton, because, once a patient is exposed to the methods of manipulation, he will push back.

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Will Graham is not aware of Hannibal’s manipulation, or of his now chronic encephalitis. He is having nightmares about water: tsunamis of water at crime scenes, melting clocks à la Dali, hallucinations of water pouring down the walls in the BAU. He imagines Jack is accusing him, Will, of being the killer they seek.

Will is lost. He feels crazy. Is that your worst fear, asks Hannibal?

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Gideon’s battle with identity is brought into focus when he kidnaps Freddie Lounds, so that she can document his vengeance on Chilton, and draw the Ripper, who he knows is an “avid fan” of Freddie’s journalism (the term “avid fan” is from the book and movies of Red Dragon).

Gideon describes his existential crisis to Freddie.

He then proceeds to open up Chilton and remove an amazing number of his organs, without actually killing him:

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When the FBI bursts in, Freddie is keeping Chilton alive, and Gideon has gone. Will is waiting in Gideon’s car, and takes him, not to the FBI, but to Hannibal’s home. Why? He is convinced that this is not Gideon he has captured, but his dead nemesis, Garret Jacob Hobbs. Hannibal helpfully tells him that there is no one there at all, which tips Will right over the deep end of his identity/existential crisis:

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Will has what Hannibal describes as a “mild seizure” and questions Gideon about whether he is the man who claimed to be the Ripper. Why “claimed”?

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He sends Gideon off to hunt Alana. He then tricks Will into going after Gideon. They meet up, two lost souls seeking identity.

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At the end, we have the fascinating session of Hannibal with his psychiatrist, Bedelia. He tells her that Will is troubled, that Hannibal sees his madness and wants to contain it, like an oil spill. Oil, she tells him, is valuable, what is the value to Hannibal of Will’s madness?

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And finally we come to the crux of Hannibal’s own identity crisis. He is not the loner that he likes to affect.

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Bedelia asks “Do you see yourself in his madness?”

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They discuss side-effects, that they can be temporary, or can be beneficial:

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Will does not present Hannibal with problems from normal life. What does he present?

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Now we’re talking abandoned identities!

 

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“the very air has screams”: HANNIBAL Season 1 Episode 10 (Fuller, 2013)

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Be honest: do you still wonder, perhaps late at night, if there is someone/something under your bed? This episode is called “Buffet Froid” (cold buffet) and starts with a young woman returning to her home on a cold, dark night, wisely ignoring rattling noises in her shed and heading inside, but we know from the statue outside that things aren’t going to go well.

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She tucks herself into bed but then hears water dripping through her ceiling. She heads up the dark, musty stairs to the attic to investigate – a big lump of her roof is missing. She staples plastic over the hole, but we’re outside, and we can see footprints. When she gets back to her room, she sees puddles, perhaps footprints, and as she reaches her bed, she is dragged underneath it and killed.

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Meanwhile, Will is getting more and more unstable. He draws a clock for Hannibal (a simple test for neurological problems). It looks fine to him. But to Hannibal:

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He goes fishing and cuts up the fish which bleeds profusely, like a human, and suddenly he is at the crime scene where the woman was killed, and he seems to be the killer. He rushes from the room, covered in blood, having contaminated the crime scene.

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Now even Jack is concerned. Officially. Hannibal offers to refer Will to a Neurologist, but says if there is no physiological cause found, he will have to accept a diagnosis of mental illness. Which is precisely where Hannibal is steering him. Hannibal accompanies Will to the Neurologist, Dr Sutcliffe (John Benjamin Hickey), but while Will is having a brain scan, Hannibal tells Sutcliffe that Will has encephalitis. How does he know? He says he smelt it.

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The scan shows massive inflammation on Will’s brain, but Hannibal persuades Sutcliffe to say there is nothing wrong, so that they can study Will’s response. For the good of science, of course.

But Hannibal’s plans don’t only require Will to think he is going insane – Jack needs persuading too. Hannibal tells him about the Neurological examination over a post-dinner brandy, then has a fascinating exchange about how Will’s empathy – his “mirror neurons” – make him vulnerable.

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Hannibal and Sutcliffe (they were at Hopkins together – presumably Johns rather than Anthony) meet for dinner and discuss a rare and expensive form of pork – jamon iberico. We learn that Hannibal loves his treats: the more expensive and difficult to obtain they are, the better. They decide that, if the eater decides the meat is superior, then belief determines value. “A case of psychology overriding neurology” points out Hannibal. This banter of course is really about Will Graham. What makes Will rare enough for Hannibal to care about?

So they have set his mind on fire, but when will they put it out? “Will is my friend” says Hannibal. He’ll put it out when it’s necessary.

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But Sutcliffe is running more tests on Will, which is not part of Hannibal’s plan. As Will comes out of the scanner, he finds the room deserted. Sutcliffe is very dead: he has had his face peeled back, like the woman at the start of the episode, and of course everyone assumes it is the same killer, the one under the bed, Georgia Madchen (Ellen Muth).

That night, as Will sleeps fitfully, his multiple stray dogs start to bark and growl. He realises Madchen is back – under his bed.

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He persuades her that she is alive, and not alone. She comes in for treatment. How much, Jack wants to know, will she remember?

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Although she has a disease in which she cannot see faces, she has witnessed Hannibal kill Sutcliffe and then hand her the scissors.

Remembering would be dangerous.

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“I know what monsters are”: HANNIBAL Season 1 Episode 9 (Fuller, 2013)

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This episode is named “TROU NORMAND”, which is a shot of liquor, usually Calvados, a potent apple liqueur from Normandy, served between courses of a particularly heavy meal. And yes, the first eight episodes of Season 1 were heavy going, and we know that the main course is yet to be served.

In this one, the FBI team are investigating a totem pole made of dead people in West Virginia. The bodies are carefully coiled together, making a puzzle for the investigators.

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Will does his reenactment, then blinks and suddenly he is in Hannibal’s waiting room. He knows then that he is in trouble – the sleepwalking, the hallucinations and now he’s disassociating, and losing time. He has just driven 3 ½ hours from the crime scene to Hannibal’s office with no memory of it at all. Oh yes, he’s a sick puppy. Hannibal’s diagnosis is interesting:

Hannibal also summarises why we care about people we know and usually don’t give a damn about anyone else:

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“What if you lose time and hurt yourself? Or someone else?” Hannibal is planting the seed. Will may be capable of – anything.

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Will apologises to Jack for disappearing from the crime scene, but Jack hasn’t noticed anything wrong. Is there something wrong? No, Will grins, everything’s fine. No problems.

Abigail Hobbes is also in trouble. She is having nightmares where her father tells her he killed all those girls (in the first episode) so he wouldn’t have to kill her. But her support group morphs into those very girls, all saying “he should have killed you, so he wouldn’t have killed me”.

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Then Freddie Lounds tells her that she is broke – the families of those girls are suing her father’s estate, and she won’t inherit a thing. She needs to write a book, with Freddie’s help of course. Will and Hannibal try to talk her out of it, but she wants to prove her innocence.

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Will is getting more and more unstable. He is lecturing on the totem pole murders, but it turns out he is addressing an empty lecture theatre. Alana finds him there, tells him she can’t get involved with him:

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Meanwhile, the FBI have found the body of the boy Abigail gutted and Hannibal helped her hide in episode 3. Jack wants to put her in the room to identify the corpse because he still suspects Abigail of the murder/s. Alana and Will are dead against causing her more trauma. Hannibal? Well, he is into growth and becoming, and for this he puts people in difficult positions:

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But Hannibal is putting his own pressure on Abigail. He tells her that he is concerned that her book, and her digging up the body, all put him in danger. He insists that he must be able to trust her. Will realises that she killed the boy, and Hannibal admits he knew, because he helped her hide the body. Is Will going to report them to Jack? Well, no, because Hannibal talks him out of it:

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Now Hannibal has Will where he wants him – legally compromised, lying to Jack, and a partner – at least in co-parenting.

Hannibal is putting on one of his fine feasts for – yes – Freddie Lounds, with Will and Abigail eating various bloody concoctions. But Freddie has thrown him, by announcing she is a vegetarian! Hannibal rises to the occasion and prepares the finest salad she has ever tasted. Despite Will’s aggressive sarcasm and Abigail’s defiance, Hannibal manages to get them to agree: we’re all doing this to protect Abigail.

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After dinner, Hannibal washes and Abigail dries, and she finally confesses that she did help her father – she would befriend girls that looked like her and find out where they lived, so that he would kill them, instead of her.

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Hannibal comforts her:

Now she is totally in his hegemonic care, Will is a co-conspirator and co-parent, and Hannibal has a friend, and a family.

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This is his design.

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“I see a possibility of friendship.” HANNIBAL Season 1 Episode 8 (Fuller, 2013)

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So we’re over the half-way point of Season 1, and Hannibal’s fascination with Will has gone from amused manipulation to a possibility of friendship, based on their similarities, made piquant by their differences. This episode is all about friends – lovable, edible or just annoying.

Last episode we met Tobias (Demore Barnes), a friend of Hannibal’s (probably) most annoying patient, Franklyn (Dan Fogler, from Fantastic Beasts). Tobias is teaching a kid violin and talking about superior strings. “Are they made of cat guts?” the kid wants to know. “Not always” answers Tobias, and we then see him making new strings for the orchestra. They are guts, but not from cats.

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Franklyn is trying to “be” Hannibal – he has googled “psychopaths” and wants to discuss whether Tobias is crazy. Whether he is a “psychopath”. Whether Franklyn himself is a psychopath. Hannibal tells Franklyn he is not a psychopath, although “you may be attracted to them.” He certainly likes Hannibal a lot. And Tobias. He wants them to be his friends.

The murder victim in this episode (Baltimore is such a dangerous place!) is the trombonist from the Baltimore Metropolitan Orchestra. The killer has jammed a cello down his throat and played him – created a sound – “my sound”.

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But why go to all that trouble? Franklyn tells Hannibal that Tobias had been talking about cutting someone’s throat and playing them like a violin – exactly what the FBI found. Will has a theory:

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Why would he tell Franklyn about it though?

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Hannibal goes to visit Tobias, talks about strings, composing or discovering music on his preferred instrument: the Theremin. With a little coded chat, they soon determine that they have a lot in common.

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Will wants to be (more than) friends with Alana – he kisses her, but she bolts. Tobias comes to dinner at Hannibal’s home, at which he admits he was going to kill Hannibal.

“Of course you were. I’m lean. Lean animals yield the toughest gut.”

Tobias says he changed his mind after following Hannibal to a bus depot, presumably the one referenced last episode (where the victim was cut in two and left sitting across the bus aisle from himself). He knows that Hannibal is the Ripper. Hannibal is not pleased. Tobias doesn’t care about being investigated by the FBI – he will just kill whoever they send to investigate him. Hannibal considers this reckless, and that’s not a term of praise, particularly when that might lead them back to Hannibal. But Tobias, of course, wants to be Hannibal’s friend. He wants a friend who understands him (and isn’t too fussed at the use of human body parts).

But Hannibal is not putting up with reckless friends, even if they have common hobbies.

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Tobias asks why, then, did Hannibal invite him for dinner?

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Now that is a great line.

They are on the verge of sorting it out with extreme prejudice when Will arrives seeking lonely hearts advice: “I kissed Alana!” Tobias beats it out of the window, and Will gets to eat the dessert he missed. He also gets to tell Hannibal about his latest symptoms – on top of sleepwalking and getting headaches, he is now hearing the cries of wounded animals – the latest was, he thought, in his chimney, which led to some drastic and unnecessary renovations. He admits to being “unstable.” Hannibal clearly decides he needs a challenge, and leaks the information about Tobias and his strings, and suggests Will should go investigate him. He knows Tobias will try to kill any investigators. But Will needs a challenge if he is to grow and become a true protégé. He needs to grow, and “to become”. That is the central theme of all Lecter texts.

Hannibal discusses all this with Bedelia, his psychiatrist, in one of the most fascinating exchanges of the show:

H: I met a man much like myself [Tobias of course]. Same hobbies. Same worldview. But I’m not interested in being his friend. I’m curious about him. And that got me curious about friendship.

B: Whose friendship are you considering?

H: [Now he’s talking about Will Graham] He’s nothing like me. We see the world in different ways, yet he can assume my point of view.

B: It’s nice when someone sees us, Hannibal. Or has the ability to see us. It requires trust. Trust is difficult for you.

H: You’ve helped me to better understand what I want in a friendship and what I don’t.

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Will and a couple of cops turn up to interview Tobias about the strings made from the unfortunate trombonist’s vocal chords, but Will is distracted by one of his imaginary distressed animal sounds. By the time he gets back inside, the cops are dead (they are clearly redshirts) and Will follows Tobias down the basement steps, much as Clarice followed Jame Gumb in Silence of the Lambs. There is an underground shoot out, just like – yep. Except Clarice appears to be a much better shot than Will.

Then there’s the whole Franklyn/Tobias/Hannibal thing that has to be resolved, and Hannibal is just the man for that sort of thing. Followed, of course, by the Goldberg Variations.

The Baltimore PD come to tidy up afterwards, with Jack and Will. There is a tender moment of blossoming friendship:

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Then Hannibal is back at Bedelia’s place, talking about responsibility. Does he feel responsible for Franklyn? Did Bedelia feel responsibility when she was attacked by her patient [and yes, we’ll hear a lot more about that in the future]? Yes, she says.

Was Tobias a cannibal? We didn’t see him eat anyone, but there were a lot of body parts about his basement, and abuse and exploitation don’t always have to be about eating, do they? He and Hannibal actually did have a lot in common. But he was too rash, too reckless. He could never be a protégé nor a friend. A friend would need to be a lot more vulnerable.

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“Nothing here is vegetarian” HANNIBAL, Season 1 Episode 7, (Fuller, 2013)

This episode is called “Sorbet” which, in a French menu, is the break, the refreshing fruit frappe served between courses to clear the palate. It’s all about preparing: not just the kitchen and the ingredients, but also the guests. It’s about content, and timing.

In this episode, we find out much about Hannibal, particularly the way he chooses and prepares his meat, but also some important psychological facts. We meet his psychiatrist, Bedelia Du Maurier (Gillian Anderson – Dana Scully from X-Files). She knows a lot about Hannibal – not everything, but a lot more than Jack and Will and the entire FBI. But, like one of Hannibal’s feasts, she is going to serve us each dish when it, and we, are ready.

The episode starts with Will lecturing at the FBI Academy about the Chesapeake Ripper, who we (but no one else) know is really Hannibal. We learn a lot about how Will believes the Ripper views his victims, and about his methods.

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A “sounder” is a collective term for pigs, and that is how Hannibal sees his victims – as pigs. Just as humans confine and slaughter pigs with barely a twinge of conscience, so Hannibal collects human organs for his freezer.

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Organs are carefully removed. Like an earlier Ripper named Jack, the conclusion is that the killer has anatomical or surgical training (although Jack the Ripper may have been a butcher rather than a surgeon). Another important fact that Will tells the kids and us:

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And so to the theatre we go, the concert hall in fact, where we hear a magnificent opera recital from the brilliant pen of Brian Reitzell, who went on, after Hannibal, to write the music for American Gods. Of course, we can’t just sit and enjoy it as Hannibal and his annoying patient Franklyn (and his friend Tobias) do, decked out in black tie and tux. No, we start with some lessons in anatomy and acoustics – the scene starts in the larynx of the singer and we then get to follow the music up her throat and into Hannibal’s ear.

After the recital, the Chairperson of the Baltimore Philharmonic gently chides Hannibal for not putting on one of his sumptuous feasts – she misses not just the food but the spectacle.

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Hannibal replies that he is waiting for inspiration. Perhaps Franklyn provides it: as Hannibal rather testily dismisses him, he asks:

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Hannibal is also busy torturing Jack with supposed calls from his missing student Miriam Lass. As Will puts it:

“The reason he left you Miriam Lass’s arm is so he could poke you with it.”

Meanwhile, Jack and Will are busy with a new killer, who the CSI gang are convinced is the Ripper (organs have been removed, if a bit sloppily). Will says no – this dude is collecting organs for sale, and trying to save the “donor” afterwards (without a great deal of success). This is not the MO of the Ripper:

So, asks Jack, how do you see the Ripper? Will considers, and then comes up with an analysis taken from Will’s analysis of Hannibal in Red Dragon (the book):

“… one of those pitiful things sometimes born in hospitals. They feed it. Keep it warm. But they don’t put it on the machines. They let it die. But he doesn’t die.”

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We finally meet Bedelia Du Maurier, Hannibal’s psychiatrist. It is perhaps not widely known that psychiatrists go to psychiatrists, but in view of the psychic storms they deal with daily, it makes sense. Hannibal later tells Will he started seeing a psychiatrist when he chose to become one.

Bedelia does not mince words. She is no longer practising, and stays available for Hannibal because she likes him. Turns out there are other reasons too, but we’ll save them for later episodes. She and Hannibal discuss honesty, and she shows that she can indeed be brutally honest:

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She also tells him that she is his therapist, not his friend, something he recently told the distraught Franklyn, who is a version of Benjamin Raspail from the books, one of the Silence of the Lambs characters whose names were not released by MGM for the television production. Caught in his own trap, Hannibal must look for company or even friendship elsewhere. Could it be Will?

Hannibal and Will have a lot in common, particularly a fascination with the motivation of the Ripper.

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We find out a lot more about Hannibal’s motivations in a series of montages showing how he chooses his victims (from their business cards) and the meal they will supply (from a set of menu cards in perfect copperplate handwriting).

He starts with a medical examiner who rudely accuses Hannibal of lying. Hannibal asks for his business card, and then appears when the man’s car mysteriously breaks down on a rainy road.

The rude medical examiner is found in a school bus, his top half sitting across the aisle from his bottom half. He is missing a kidney and his heart.

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Will realises, though, that the mutilations are just theatre.

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Hannibal and Alana prepare these organs for dinner (she presumably believes them to be from a different mammal) and duel flirtatiously as he tries to draw out what she knows about Will. Hannibal’s interest in Will is growing in each scene. He suspects Will can become a friend, perhaps even become an Übermensch like himself.

In the meantime, Hannibal is preparing his banquet for the Philharmonic. There is the montage of business cards and recipes involving liver pate, brisket, lungs and brains, and various business owners, who presumably have offended Hannibal’s intense dislike of discourtesy. This montage is accompanied by the rollicking “Golden Calf” aria sung by Mephistopheles in Gounod’s Faust.

“Le monstre abject insulte aux cieux! [The abject monster insults heaven!]”

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This spate of mutilations leaves the investigation team baffled. No longer are they seeking an organ harvester – one of the victims is missing a spleen. Who on earth is waiting for a spleen transplant? There is only one explanation:

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But despite the excitement of hunting and cooking, Hannibal is unhappy. There is a poignant scene of Hannibal sitting, forlorn, at his desk, checking his appointment book (last appointment Will Graham) as we hear, what else, the Mozart Requiem, the musical quintessence of melancholy.

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He goes looking for Will, who is day-nightmaring about Abigail (who is calling him “Dad”) and girls mounted on antlers. Hannibal interrupts his bad dreams and sees the range of atrocity photographs will has been studying.

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There follows a discussion of the possible motivations of the Ripper, in which Will is starting to get close to the truth. Hannibal suggests that perhaps the Ripper is displaying his enemies after death, as happens in many cultures. Will disagrees – “These aren’t the Ripper’s enemies. These are pests he’s swatted.” They are just being punished for undignified behaviour. Disgraced.

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As he prepares his banquet, Hannibal tells Will why he gave up surgery:

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This is news to us, although we know that, as a child, he was unable to save his sister Mischa – could this be an indirect reference? Anyway. There follows a wonderful montage of Hannibal’s banquet plates, followed by a round of applause from his guests, who are all about to become unaware cannibals.

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But before they can eat, Hannibal has a warning:

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What they applaud now, they will later consider appalling, abject, psychologically shattering. The gross hypocrisy of their logic is impossible for even the brilliant Doctor Lecter to comprehend.

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