“I wanted to surprise you” HANNIBAL Season 2 Finale, “MIZUMONO” (Fuller, 2014)

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Mizumono is usually translated from Japanese as a “matter of chance”, which is already surprising for a narrative where we have constantly been told that Hannibal, the cannibalistic mastermind, is completely in control and manipulating the other characters, including the entire FBI. But it is so, as we shall see. Even Hannibal is surprised, and not in a good way.

The episode begins with Hannibal’s handwritten note, an artwork in itself, a calligraphic masterpiece (what – Hannibal’s going to write like a spider crawling out of an inkwell, like me?) He is inviting Jack to dinner.

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We all know it’s going to be a showdown, orchestrated by Will, who has told Jack they are trapping Hannibal, and has told Hannibal they are killing Jack, preparatory to escaping together. Whose side are you on, Will?

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Hannibal sums up the carnage to come, with a line used against him in the book Hannibal

When a fox hears a rabbit scream, he comes running. But not to help.
When you hear Jack scream, why will you come running?

In a lovely piece of screen juxtapositioning, both ask Will “When the moment comes…”

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But what exactly needs to be done? Will sees the spectre of Garret Jacob Hobbs, the first serial killer he blew away, back in Season 1, sitting on his front deck, disturbing his dogs. Will picks up a hunting rifle and prepares to kill a stag. Hobbs says the same word he said to Will as he died, a triumphant question confirming the male need for carnivorous sacrifice in order to reinforce identity.

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You might remember that in Episode 4 of this season, Hannibal thwarted the attempted suicide of Jack’s wife, Bella  – he revived her (after first tossing a coin).

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He saved her for Jack. Now as the cancer takes her, she asks

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Well, that’s awkward. Will wants him to kill Jack, now Bella wants him to save Jack. Sometimes the hinges of human sympathies get a bit squeaky.

But he’s leaving town anyway, leaving the FBI and his patients behind, taking Will, for whom he has prepared a nice surprise, involving time reversals (remember the broken cup?)

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They’re burning all Hannibal’s patient records, including the one that shows the demented clock Will drew when he was suffering from encephalitis. But even over the smoke of his flaming life, Hannibal retains that keen sense of smell

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Yes, he smells on Will the scent of Freddie Lounds, whom Will had claimed was the main course of their recent dinner. Hannibal is surprised! Shocked. Disappointed. Angry. Sad. And you have to give it to Mads Mikkelsen, it takes a hell of an actor to express all that without a word of dialogue.

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Of course, the Jack/Will plot is falling apart, since they are not the hunters/fishers/conspirators that they think they are. Jack’s boss puts him on “forced compassionate leave” and he hands in his gun and badge.

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If they are going to take Hannibal down, it will be without the authority or firepower of the FBI. It’s just revulsion and animosity now. And Will never seems completely sure whose side he is on. But he has been goaded – by Hannibal who framed him, by Jack who is driven by humiliation at being constantly deceived, and probably fed a fair amount of human flesh by Hannibal, and Will is intent on seeing where this goes, which is a very Hannibal approach.

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Hannibal has outdone even himself with his presentation of the Last Supper (of this life) for himself and Will. He asks Will if he understands the concept of the IMAGO.

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It is the last stage of metamorphosis in insects, and also in humans turning into Übermenschen, I guess. But in what Hannibal calls “the dead religion of psychoanalysis” (a phrase he first used in Silence of the Lambs) it also means an ideal

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It’s the concept of an ideal person, often one (Clarice’s Dad for example) that we hold on to all our lives and try to live up to. Hannibal and Will have concepts of each other, but they are “too curious about too many things for any ideals”.

NOW IT’S TIME FOR OUR SURPRISE

Hannibal asks Will:

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Hannibal is asking Will for permission to show MERCY! Do you remember what he said last episode? “Pity has no place at the table”

Yet now he puts to Will a new plan.

We could disappear now. Tonight. Feed your dogs. Leave a note for Alana and never see her or Jack again.

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Hannibal points out that he served lamb, an animal that is so quintessentially gentle and harmless that it is repeatedly used in the most brutal religious ceremonies. Will sees the significance – lamb is sacrificial. Hannibal has sacrificed a lamb to appease the wrath of the new Übermensch, Will Graham. Is it enough?

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Well yes, Will does, he sees it as the triumph of the Will. He needs to see one of his mentors defeated, another victorious. He needs to see and even taste the sacrifice.

Jacques Derrida in an interview entitled ‘Eating Well,’or the Calculation of the Subject states:

The virile strength of the adult male… belongs to the schema that dominates the concept of subject. The subject does not want just to master and possess nature actively. In our cultures, he accepts sacrifice and eats flesh.

They have eaten the flesh of the gentle lamb. Now they need to sacrifice a warrior. They discuss forgiveness. Hannibal offers to forgive Will – would Jack do the same? Will replies

Jack isn’t offering forgiveness. He wants – justice. He wants to see you. See who you are.

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Will’s imago will be born in blood.

The FBI put out a warrant for Will (on somewhat shaky legal grounds according to some Internet commentators) and Alana phones to warn him. He then calls Hannibal, and uses the same words Hannibal used in the very first episode when he warned Hobbs:

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Hannibal is carving meat for their not-going-to-happen dinner when Jack appears, beautifully framed in the carver.

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This is ceremonial warfare like jousting or bushido or martial arts: it starts with courtesy and appreciation of the enemy.

Jack: I want to thank you for your friendship, Hannibal.

Hannibal: The most beautiful quality of a true friendship is to understand and be understood with absolute clarity.

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Jack reaches for his gun, Hannibal tosses a carving knife, and it’s on. Alana arrives with her little gun, and Hannibal offers to let her leave alive

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Pretty much what he said to Clarice at the end of Silence of the Lambs. She decides to shoot, of course; Hannibal has taken her bullets, of course. Then comes the shocking climax, where we find that Hannibal has actually reversed time, made the cup gather itself up again.

Have you seen this episode? If not, do so now. In case you haven’t, no more spoilers. It’s sensational.

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You did.

We are all Nietzschean fish: HANNIBAL Season 2 Episode 8 “Su-zakana” (Fuller, 2014)

When Jacques Derrida pointed out that the binary of inside/outside is “the matrix of all possible opposition”, he was apparently not referring to this episode of Hannibal, not even to cannibalism particularly. But he was big on deconstructing binary oppositions, and his opinion that the core binary, the binary to end (or start) all binaries, is that between inside and outside, is particularly apposite to this episode.

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Will and Jack are fishing through a hole in the frozen ice of a river, but the prey they are planning to capture is not piscine – it’s Hannibal. Yes, Jack finally got the message; they are no longer discussing whether Hannibal is the Ripper, now it’s about the tactics that might entrap him. They are outside of Hannibal’s world of gourmet human flesh, and their way through it is via his table. Live bait, to lure a predator.

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IMHO this is one of the key episodes of the series, smack in its middle (although who knew that the blinkered, Philistine network would cancel after three seasons?), and it features the line that for me is the core of the whole Hannibal mythology:

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One of Nietzsche’s most quoted aphorisms is “That which does not kill me makes me stronger” and that, for Hannibal, is precisely the role of a true friend. One should be, to a friend, “an arrow and a longing for the Übermensch” (the superman). This is to what Hannibal was referring when he said that the struggles with Will (including, of course, his attempted murder of Hannibal) would change them – that they were “all Nietzschean fish”.

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Will has brought along a wild-caught trout, from his icy rendezvous with Jack. Hannibal has prepared it as truite saumonee au bleu, and the trout seems to be regurgitating his own tail.

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You thought “turducken” was some brilliant 21st century idea? Nup. The Tudors were doing it in the 16th century, and it was called “engastration” meaning “stuffed up the gastric passages”. Their specialities included pie from a whole turkey stuffed with a goose, who was stuffed with a chicken, then a partridge, which was stuffed with a pigeon. This poor trout has his own tail in his mouth, but he is the very totem of cannibalism: humans eating humans; we eat ourselves.

They dine to the Piano Concerto 1 in C Major by Ludwig Van Beethoven, or at least that is what we, the audience get to consume, while they enjoy the fish and the banter. Will is being a smartarse, implying that he still suspects, or knows, that Hannibal is the cannibal, and implying he might be joining up with him.

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Jack is quick to dispel the idea that they might have doubts about Hannibal, but alludes instead to:

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Hannibal is ready for that. He has a whole Nietzschean weltanschauung to share with his admiring friends:

“We need to move past apologies and forgiveness. We will absorb this experience.”

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This could have almost come out of Thus spake Zarathustra, in which “man is overcome and the concept Übermensch becomes the greatest reality”. Hannibal, as we know, spends his time helping the region’s many serial killers and tormented psychotics to “become” their greater selves. As a leading forensic psychiatrist, he is familiar with, and often therapist to, most of those who will be pursued by the FBI. Like Nietzsche, who said that “Zarathustra, as the first psychologist of the good man, is perforce the friend of the evil man”, Hannibal is drawn to these violent individuals, not to cure them but to see if they can become a higher form – an Übermensch.

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Now we get into the episode’s killing time and, again, there is engastration involved. This time, a vet examining a dead horse finds she was not pregnant, but has a dead woman sewn inside her. Now, that’s worth calling the FBI for.

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Hannibal is still acting as murderer-interpreter, despite having said he was retiring last episode. He sees that the woman is inside the horse for a reason:

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Yeah, where have we heard that before? Ah yes, Jame Gumb (Buffalo Bill) in Silence of the Lambs, who put a moth chrysalis into the throat of each victim, as they ‘gave’ their skin to assist his becoming a woman.  But what was this woman supposed to become? She’s pretty dead.

Look, this whole woman in horse plot is a bit silly, so we get to meet another really important character family: the Vergers. We don’t see Mason yet, who will be the main antagonist later, but we hear him as he rapes his sister, Margo, saying

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Since we’ve all read the book or seen the film Hannibal, we know that Mason used to give poor kids chocolate at his father’s poor-kids’-camps, just before he abused them. So, Margo has changed (in the book she is a weight-lifting lesbian, who would be less prone to submit to Mason’s perverse desires, but the bodybuilding lesbian is such a stereotype). Now she is very cute, and we figure someone is going to fall for her, and that someone’s gonna be Will, because we suddenly see a filmy love scene, apparently inspired by the impressionistic sex scene in the film Fight Club, which turns out to be Alana and Hannibal. Is Hannibal bi, or just using her? Best not to talk about it.

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Hannibal has his own hopes for Margo Verger, including a course of Übermensch 101, which is – get them to kill someone. In this case, her abusive and filthy rich brother.

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Alana really likes to talk about stuff in bed, much to Hannibal’s obvious distaste.

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The woman in the horse’s uterus is on the slab, very dead, giving the BAU (Behavioral Analysis Unit) guys a chance to get some cannibal talk in.

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But hey, there’s a heartbeat! Is this the birth that Hannibal predicted? They open her up, crack apart the ribs, and a bird flies out. Birth, resurrection, growth, all basic issues in Hannibal and the rest of Western literature.

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And we’re not finished with inside/outside dualisms and engastration. The bird in the woman in the horse was meant to be her rebirth, and Hannibal points out to Will:

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Will has found out that “doing bad things to bad people makes you feel good”, a truth that Hannibal emphasises to him, and also to Margo, who has been dehumanised by her brother, and since then by her family, who consider her weird. She’s come to the right analyst here:

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But does Will still want to kill Hannibal?

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Oh, yes, the sub-plot. The psychopath killing people is the social worker of the guy who sewed the woman into the horse, hoping for a rebirth. Those two, of course, must have their confrontation. It results in one of the great lines of the show:

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He’s certainly in there, but he’s not dead, and tears his way out of the horse’s uterus just as Hannibal is bonding with a sheep, a nod to the original theme of Silence of the Lambs.

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Will wants to kill the dude, but Hannibal stops him. Killing people is 101, and Will is way past that, so Hannibal sticks his thumb in the gun’s hammer just as Will is about to blow the killer away. Killing this random psychopath will not move Will onto a higher level of evolution.

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But Hannibal is impressed as hell at Will’s progress from wimpy FBI trainer to willing executioner. With dialogue quoted straight out of Hannibal’s thoughts about Clarice at the end of the book Hannibal, he tells Will:

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“I can feed the caterpillar, and I can whisper through the chrysalis, but what hatches”:

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As the great Derridean and Nietzschean philosopher Dr Seuss once said: “Inside, Outside, Upside Down”.

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