“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.

“Hiding and revealing identity” – HANNIBAL Season 2, Episode 12 “Tome-wan”, (Fuller, 2014)

The penultimate episode of any season is often the most tense, since it is preparing us for the shock of the climax. Masks are torn off, loves and hatreds revealed, disguises discarded and armour strapped on. “Tome-wan” is a course of a Japanese meal in which a lidded dish is prepared and then opened to present the soup inside. So it is for Hannibal Season 2 in this episode, which will be followed, we know, by the titanic battle between Jack Crawford and Hannibal, as already partially revealed in Episode 1.

This episode is about hiding and revealing identities.

It’s just as well Hannibal is a psychiatrist, because he can explain to us, the mystified audience, what is going on in the heads of those he is manipulating. At the start of the episode, Will Graham is in therapy, asking Hannibal if he can “explain my actions? Posit my intentions?” Of course he can. Hannibal says “I have an understanding of your state of mind. You understand mine.”

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Mads Mikkelsen has said that he plays Hannibal as the devil, while Anthony Hopkins said he played the role as the “Trickster” archetype. Their portrayals have one thing at least in common – they are cultured, civilised men who hate rudeness. He uses terms from the original books and movies:

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What does one do with the rude, the crude, the uncivilised? Refine them of course, just as we refine our raw materials by processing them – in the case of food, by cooking them. So let it be with Mason Verger. Will asks if Hannibal is thinking of eating Mason.

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Barney, a guard who got on well with Hannibal at the asylum, came up with these aphorisms in the book Hannibal, even though, in this Lecter universe, the asylum is still a long way off for Hannibal.

Will agrees that Mason is “a pig” (apologies to any pigs who are listening – they are delightful animals) and that he should be someone’s bacon. He is willing to join Hannibal at the cannibal table.

But wait. Will has taken the Trickster role that this Hannibal has discarded. We know that he is conspiring with Jack to manipulate Hannibal into committing a murder, hoping to then arrest him. He claims to be doing what he accused Hannibal of doing: setting people at each other’s throats just because

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Hannibal asks Will to close his eyes and visualise what he would like to happen. Will sees Hannibal, strung up over Mason’s killer-pig pen, and Will is slashing his throat. When Hannibal asks what Will saw, they just smile at each other. The masks are coming off.

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But Hannibal has recruited Mason as a patient, and must listen to his ravings. Mason really is the freest range rude one can imagine – he puts his feet on Hannibal’s desk, then sticks his father’s knife into one of Hannibal’s fine antique chairs. Folks – don’t try this at home. It is very rude. You know it will end in tears.

Hannibal is holding forth on God again, an entity with whom he has a tortured relationship.

“God’s choices in inflicting suffering are not satisfactory to us. Nor are they understandable. Unless innocence offends him.”

Hannibal does not claim to be God. He finds Mason offensive, and must make him suffer. He would prefer Will as the chosen murderer – this would both cement their relationship, advance Will’s path of becoming, and provide an inexpensive dinner. But Margot will do – she is seeking revenge for the way Mason abused her, but she doesn’t want to lose her inheritance, which will happen if he dies.

Jack is pressuring Will to catch Hannibal, but Hannibal has demonstrated nothing for which he can be arrested.

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Hannibal will kill Mason, Will tells the confused Jack, because Mason is rude. Using a Clarice line from Silence of the Lambs, Will says

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The FBI have found Bedelia, Hannibal’s psychiatrist, who tells them how Hannibal influenced her to kill a patient of theirs. He will influence you to kill too, she warns Will.

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Will wants to know Hannibal’s weakness. How would Bedelia catch him?

“Hannibal can get lost in self-congratulation at his own exquisite taste and cunning.”

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That’s how Hannibal will be caught, which is exactly what Clarice told the Game Warden in the book Hannibal.

Will is playing a dangerous game, pretending that he is coming over to Hannibal’s side, although a part of him is certainly longing to do so. He tells Hannibal that it is all starting to feel like a dream. Dreams, Hannibal tells him, prepare us for waking life.

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Hannibal is taking off his mask, something he rarely does, and inviting Will into his inner sanctum of extreme carnivorous virility, and into a relationship that will be new for both of them.

“There are extraordinary circumstances here, Will. And unusual opportunities. Mason Verger is a problem. And problem solving is hunting.”

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Will is not so sure he is on top of this manipulation. He is confused and tempted by Hannibal’s offer to be the cannibal’s apprentice. He concludes:

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“Every moment of cogent thought under your psychiatric care is a personal victory. We are just alike. You’re as alone as I am.”

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It’s love, captain, but not as we know it. It’s a form of love that only two adversaries can feel. Both are sincere, yet both are trying to manipulate, master the other.

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Jack is maintaining his mask as well – the admiring friend, who enjoys Hannibal’s exquisite gourmet dinners, and is not even a bit suspicious. Hannibal can see right through this, as he sees through the main course – Kholodets, a dish in which fish are mounted in clear calves foot jelly, positioned as if pursuing each other. Jack admits that he doesn’t understand who is pursuing whom at the moment. Well, says Hannibal, whoever is pursuing whom in this very moment

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Well, if Will is to manipulate Hannibal into an arrestable offence, he’ll have to hurry, because the patient (Mason) has captured Hannibal, bound him in a straitjacket and suspended him over the carnivorous pigpen, just like Will’s fantasy. And hey – Will is there, to help feed those hungry piggies! Here’s his chance to get rid of the Chesapeake Ripper and revenge himself for his false arrest. All he has to do is take the knife Mason hands him and cut Hannibal a bit, make his blood drip into the pen, to excite the pigs’ appetite.

Instead, he joins Hannibal’s army. He cuts the straitjacket and frees Hannibal. In the fight that follows, he is rendered unconscious.

Some time later, Hannibal has Mason tied to a chair, and is prescribing drugs – a cocktail of psychedelics.

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It’s all happening in Will’s house, and when he arrives, Mason is kindly feeding Will’s adopted dog family. Ever suspicious, Will asks “What are you feeding my dogs?”

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He is chopping off bits of his face and feeding them to the dogs. As he feeds and praises the dogs, he tells a story that might explain Hannibal’s wrath.

“I adopted some dogs from the shelter. Two dogs that were friends. I had them in a cage together with no food and fresh water. One of them died hungry. The other had a warm meal.”

Hannibal has nothing against human cannibalism, but dog cannibalism is beyond the pale. Rude.

Now it’s time for the apprentice to step up.

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Will replies:

“There is no mercy. We make mercy. Manufacture it in the parts that have overgrown our basic reptile brain.”

Then, says Hannibal, there is no murder – we manufacture that as well. Will has all the elements to make murder. Maybe mercy too, but murder is what he knows best. This is a fascinating piece of Thomas Harris’ philosophical musing from the very last page of the book Red Dragon. In this scene, Will is at the scene of the battle of Shiloh, one of the fiercest battles of the American Civil War, at a pond which mythology later named, for obvious reasons, “Bloody Pond”. He has a realisation.

“Shiloh was not sinister; it was indifferent. Beautiful Shiloh could witness anything. Its unforgivable beauty simply underscored the indifference of nature, the Green Machine….

He wondered if, in the great body of humankind, in the minds of men set on civilisation, the vicious urges we control in ourselves and the dark instinctive knowledge of those urges function like the crippled virus the body arms against.

He wondered if old, awful urges are the virus that makes vaccine.”

Mason interrupts to tell them he is hungry, and Hannibal recommends auto-cannibalism.

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He does.

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That shifted the conversation – now we can talk about taste! Who knew we humans tasted like chickens? Hannibal uses some more lines from the book and movie Hannibal.

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Hannibal asks Will to kill Mason, but he refuses. “He’s your patient, Doctor”

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Mason is now faceless and quadriplegic. Jack visits him, hoping to gather an accusation against Hannibal, but now Mason is wearing a mask. Quite literally. From behind his mask, he tells Jack that he has benefitted greatly from Hannibal’s therapy and

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You bet he does.

Will visits Hannibal, who is drawing an image from the Iliad

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Hannibal sees himself as Achilles, the invincible warrior, and Will as Patroclus, his only love, who was killed outside Troy while dressed in Achilles’ armour. Patroclus, like Will, was known for his empathy. A constant theme of Greek epics, Hannibal says is

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Also battle-tested friendships. Hannibal tells Will that Achilles wanted all the Greeks to die, so that he and Patroclus could conquer Troy alone.

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Will has moved far beyond entrapping Hannibal now. He is at the very least an accomplice to the mutilation and crippling of Mason Verger. He plays his last ace: he tells Hannibal that they are going to get caught, that Jack suspects, that Hannibal should give Jack the Ripper. “Allow him closure. Reveal yourself. You’ve taunted him for long enough.” Is he hoping Hannibal will repent and confess?

Hannibal seems to agree. “Jack has become my friend. I suppose I owe him the truth”.

The truth can hurt, as we will find out in the next episode, the Season 2 finale, the blog of which I will post in two weeks, on 8th September. Everyone will reveal their identity, and it will get brutal.

“…power over life and death” HANNIBAL Season 2 Episode 11 “Ko No Mono” (Fuller, 2014)

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“This is my design”.

It’s Will Graham’s favourite line. But he is wrong. Everything that has happened and will happen in the build-up to the giant brawl (of which we saw a preview in episode one) is in fact Hannibal Lecter’s design. Jack and Will think they are playing him (and Will is not too sure), but he is at least a dozen steps ahead of them all the way.

This episode is all about DEATH AND REBIRTH. This is a fundamental theme in most religions: the sacrifice of the innocents, and the rebirth (Moses in the bulrushes, Jesus’ resurrection, the birth-rebirth cycle of Hinduism and Buddhism).

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The episode starts with a birth. The Wendigo (stagman) is watching a creature born from the earth – tearing its way free from the birth membrane and gasping for breath. It is the birth of a new Wendigo, and it is Will Graham. It is his dream.

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Then there is death, and death precedes life, because we kill to eat. For some of us it’s plant based, for others a sentient creature, slaughtered in our name. For Hannibal, it’s all of the above, and always dramatic. Last week was a baby pig, this week it’s a couple of songbirds. This scene is taken from the book Hannibal. He is serving dinner to Will. We see a bird in a glass case; we see wine being poured in. Surely not.

“Among gourmands, the ortolan bunting is considered a rare but debauched delicacy.”

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“Preparation calls for the bird to be drowned alive in Armagnac. It is then roasted and consumed whole in a single mouthful.”

Will points out that ortolans are endangered.

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The tradition in this fearful ceremony is to wear a shroud over the diners’ heads, under which they hide from God.

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Hannibal witnesses Will eat his ortolan, as do we, in extreme close-up.

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Hannibal tells Will that after his first ortolan he was “euphoric”.

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Haha! Good one Will! See you and raise you, in a high stakes game, or so we suspect, and which is confirmed to us later in the episode. Will is (or thinks he is) trapping Hannibal. Yet, as his dream portends, he is not fully in charge of this narrative, and may in fact be turning into his own version of the Wendigo, even as he pretends to be following Hannibal’s tuition, graduating to murder and cannibalism. Hannibal tells him

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His choices are affecting the physical structure of his brain. Killing is changing the way he thinks. Then Hannibal uses some dialogue from Red Dragon, in which Hannibal is encouraging Francis Dolarhyde, (whom we don’t meet in this series, although there is some speculation that he was the killer in Season 1 Episode 1).

“You must understand that blood and breath are only elements undergoing change to fuel your radiance. Just as the source of light is burning.”

The creation of the Wendigo, or the Übermensch, is a chemical process, a “becoming” which requires the destruction, the burning, of lesser beings, just as humans like to believe that the destruction of “lower” animals is required for their continued existence (or so the Verger marketing campaigns tell them). Will can only grow into his destiny by killing and burning people. And such is the impression he hopes to give Hannibal.

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In the book and films of Red Dragon, Freddy Lounds (a male reporter) is glued to Dolarhyde’s grandma’s wheelchair, set alight, and rolled into his parking garage. In this reimagination, we are led to believe that Freddie Lounds has met that fate, after the removal of some meat (her psoas muscles) for the meal Hannibal and Will enjoyed at the end of the previous episode. They continue their metaphysical conversation over her (?) charred corpse, in front of the clueless Jack Crawford. Hannibal observes that the burning was sacred. Will replies:

“Freddie Lounds had to burn. She was fuel.
Fire destroys and it creates. It is mythical.
She won’t rise from the ashes. But her killer will.”

Oh yeah. And we’re not leaving the metaphor there. It’s the circle of life, as Elton keeps reminding us. Life ends in death, death engenders new life. Nietzsche spoke 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. Bit like Australian politics.

Yet Hannibal continues to hope that somehow his own agency can alter the cycle of eternal recurrence, reverse time and repair the loss, particularly of his sister. 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. He has something of the sort already planned out, but I’m getting ahead of myself.

Apologising to Will for killing Abigail, he says:

“Occasionally I drop a teacup to shatter on the floor. On purpose. I’m not satisfied when it doesn’t gather itself up again. Someday perhaps a cup will come together.”

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Meanwhile, we get to know Mason Verger, and find out why Margot hates him, Hannibal increasingly dislikes him (now he is in his therapy room) and we are going to really detest him. Mason has a cute recipe for cocktails: he likes to make children cry and add their tears to, presumably, gin and vermouth. He’s into orphans, which got him into trouble in his youth.

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Hannibal’s therapy is never pointless. He has been treating Margot; a rather unorthodox therapy in which he encourages her to have a child so that she can inherit the Verger fortune when she kills Mason. Now he drops the hint to Mason: that she may be expecting a child.

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Now, in case we have somehow overlooked the birth, death, rebirth theme, someone (yeah, of course it’s Hannibal) has dug up Freddie and a few other corpses and made a Shiva effigy in the graveyard.

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Shiva is known as “The Destroyer” within the Trimurti, the Hindu trinity, but he is also the God who creates, protects and transforms the universe. Hannibal sees a similar role for himself in the human universe. Not surprising that he likes the Hindu gods, because there can be many of them, and he is hoping Will, or one of his protégés, will become like him. He tells Will that every creative act has its destructive consequences.

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Will tells Alana that the killer of Freddie must have a benefactor, and

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But Will is befuddled over Margot, and her revelation that she used him to get pregnant. Fatherhood was not was he was expecting, but he quite likes the idea. He asks Hannibal if he has ever been a father.

“I was to my sister. She was not my child, but she was my charge. She taught me so much about myself.”

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Now, in the books Hannibal and Hannibal Rising, Mischa was a toddler who was torn from Hannibal’s little arms by Nazi collaborators in WWII and cooked, and Hannibal was given some of the resulting stew, which, we are supposed to swallow, turned him into a cannibal. Well, that is how you become a wendigo apparently. No such revelations in the TV series though. For one thing, this Hannibal is much younger, and was born decades after the Nazis were defeated. We don’t know how old Mischa was in this new universe, or the circumstances of her death and ingestion. Perhaps we’ll find out in Season 4:

#bringbackhannibal

Please?

We do know that Abigail reminded him of Mischa, which means she might have been a bit older than a toddler when eaten. So Will, who is still mighty pissed off about Hannibal killing Abigail and forcing her ear down his throat, asks

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Amor fati.

Will talks of his dreams, in which he is teaching Abigail to fish. And just to confound anyone who claims Hannibal is a psychopath, he says (and this pretty rare)

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So why did you kill Abigail? Will wants to know. You sacrificed her!

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Now Hannibal often quotes God, which bothers many in the audience, including, at this point, Will. What God does Hannibal pray to? Well, he doesn’t pray, we are not awfully surprised to learn. He’s just impressed by disasters, particularly church collapses.

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Will retorts that he prayed to see Abigail again, and Hannibal, who has a sharp wit, points out

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Yes, her ear, barfed up in Will’s kitchen sink. Put up your hand (nobody’s watching) if you laughed at that line! But Hannibal has a plan, which he puts in obscure, metaphysical terms, which don’t much help the terribly practical Will:

“Should the universe contract, should time reverse and teacups come together…”

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Well, he is, supposedly, going to be father to Margot’s baby.

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Mason is now annoying everyone – at his farm, where he is teaching pigs to eat living humans, and in Hannibal’s rooms, where he is boasting of the way his father would stab pigs at the shows, just to see how fat they were.

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Mason arranges a car accident for his sister, followed by a hysterectomy, to remove her temptation to kill him. Without an heir, all the money would go to the Southern Baptist Church. And no one wants that. Except, I guess, the Southern Baptist Church.

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We finally find out the truth about Freddie Loundes’ murder – there wasn’t one. She’s sitting in an FBI office, part of Jack and Will’s plot to entrap Hannibal.

Will is not impressed with Mason’s mutilation of Margot, and the loss of yet another child (he’s keeping count: Abigail, 1; fetus, 2). He punches Mason in the mouth, pulls a gun on him, and tells him that all of them have been pawns in Hannibal’s game.

“Do you think it was Margot’s idea to have an heir?
You think it was your idea to take it from her?
My idea to come here and kill you?
The only thing that you, your sister and I have in common – is the same psychiatrist.”

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Oh, there is a reckoning coming. In two more episodes.

 

“It was… intimate” HANNIBAL Season 2 Episode 10 “Naka-Choko” (Fuller, 2014)

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Intimate is the word for this episode. And hey, this is a cannibal blog, so all the sex going on might seem a bit out of scope, but stick with me, it makes sense. It’s all sex and death today. Sigmund Freud would have loved this episode.

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Everything Hannibal does has a purpose – a plan or, as Will would say, a “design”. He is always a dozen steps ahead of the chess game he is playing with Jack Crawford, which explains the huge punch-up that’s going to happen (we saw some of it at the start of episode 1 of this season).

What motivates Hannibal is what motivates us all. When we pad out to the fridge in the middle of the night, or he abducts a rude person on a dark road, we are concerned with two things: appetite and power. We are hungry, and we have the power to open a packet of instant noodles. Hannibal is hungry, and has the power to kill and cook people. Just a matter of opportunity, and belief. This hunger and lust for power is motivated, Hannibal believes (and I’m not going to argue with him, because that would be rude), by death.

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According to anthropologist Ernest Becker, most of us are motivated by a fear of death, and fill our time with convoluted ways to distract us from thinking about it.

Hannibal, and increasingly Will, are fascinated by it. Hannibal is a psychiatrist, so he is very familiar with Freud’s “death drive”. Freud had always assumed that humans are driven by the “pleasure principle” – we like things that make us feel good. Sure, but later, in “Beyond the Pleasure Principle”, he suggested another drive which, he felt, explained why we revisit unpleasant and traumatic memories, both in dreams and often in our compulsive behaviours. This is the death drive, which is in a way more primal, since life itself comes from the inanimate, and must perforce return there. While the sex-drive pressures us toward extending or prolonging life, the ego-drive pressures us toward death. Death, then, becomes a driving force in our unconscious.

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Will has seen this death drive from the start of the story, was repelled by it, then started to recognise it as personified in Hannibal. Will pictures death as the stag-man, or as @BryanFuller calls him, the Wendigo. The Wendigo is a figure from North American Algonquin folklore. He is a giant cannibal figure, who gathers strength from feeding on human flesh, but the flesh makes him grow larger, and so his appetite can never be satisfied.

The Wendigo bite will infect the victim and turn him into a Wendigo too. Just what Hannibal is hoping to do to Will.

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For much of this season, and at the start of this episode when Will kills the cave-bear dude, he has fantasised the Wendigo – when he pummels the guy, he visualises beating Hannibal.

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When Will cracks the guy’s neck, we see him twisting the Wendigo’s antlers. He is trying, symbolically, to kill both the Wendigo that is Hannibal, and the Wendigo growing inside him.

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Violence brings intimacy for Hannibal and Will. Will points out that they are now even – both have sent someone to try to kill the other. Hannibal tenderly bandages Will’s torn knuckles, raw from the beating he gave – whoever he thinks he was beating. Hannibal mutters:

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Will replies:

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They are not just even now, they are almost equal. Will has tasted blood, he seems to be becoming what Hannibal wants him to become. His vision at the crime scene is not his usual recreation of the crime (since he did it) but, instead, the dead guy telling him: “this is my becoming”

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Will replies:

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There seems to be, finally, a genuine love developing between Hannibal and Will – a Nietzschean love. Nietzsche wrote in Thus Spake Zarathustra:

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

They have been enemies. Now they are ready to be friends, to feel love.

But Bryan Fuller doesn’t let us off that easy. Nothing is ever that straight forward in Hannibal. We suddenly get lots of sex, but it’s not our Übermensch lovers – it’s decidedly heterosexual, and Will and Hannibal are each shown in bed with, respectively, Margot and Alana, who will end up in a lesbian relationship with each other (sorry if that was a spoiler). There’s even an ironic view of Hannibal and Alana doing the pottery scene from Ghost, but with a theremin instead of a wheel.

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The sex is long and graphic, there is lots of groaning and sweating and some ecstatic expressions, but it is all exploitation.

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Hannibal is using Alana as his alibi for his nightly outings, as we will see. Margot Verger wants a male heir so she can kill her brother and still get her inheritance (an idea nurtured by her psychiatrist – one Doctor Lecter).

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Hannibal and Will morph in and out of each other, and at one stage both are in bed with Alana. And, never far away, is the wendigo.

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And we finally get to know Margot’s brother, Mason Verger, who, unlike the 1999 book and 2001 movie of Hannibal, has a face (at the moment). Mason is heir to a hog empire, and is busy breeding a pig that is willing to eat living humans.

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He intimidates Margot with these pigs (not hard as he has had her clothes filled with meat to tempt the porkers). He invites Hannibal, who is not easily intimidated, and knows as much about pigs as Mason:

“A resourceful feeder and an opportunistic omnivore”

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We find out something else too, something which becomes central to the attempts in the later books and movies to find a causality to Hannibal. They discuss Margot, and Mason asks if Hannibal has a sister.

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Mason is impressed with the visit, and Hannibal goes home with a new client and a suckling pig, which he serves to Alana and Will.

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He got the pig, he tells them, from a friend. “A friend of yours. Not a friend of the pig’s” Will comments snarkily. Hannibal’s reply is a veiled threat:

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A fascinating discussion of Will and Hannibal’s relationship follows, complicated by the fact that Alana and Hannibal are both psychiatrists and can’t leave their work at the office. Alana points out that “it’s hard to know where you are with each other.” Will replies that “We know where we are with each other. Shouldn’t that be enough?” Hannibal summarises this triangle as he gazes into his wine glass:

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We’re back to interpreting Hannibal as Satanic. Not my preferred reading, but Fuller hands out no obvious explanations in a plot that is up there with Greek Tragedy.

Anyway. Enough of the sex and exploitation and dead baby pigs. It’s time for the blood bond of the Übermenschen. Hannibal has heard about the Will Graham interviews, and waits, wearing his killing suit, for Freddie Lounds to come home to a nice surprise.

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But Will already has Freddie in his remote shed, where she has found bits of the cave-bear dude. Now it’s time for dinner. We finally get some cannibal talk! Will is apprentice cannibal, Hannibal the master chef. Will says

“I provide the ingredients. You tell me what we should do with them.”

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Now Hannibal gets the rules of the game. “Veal? Pork perhaps?”

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Hannibal offers to make a Peruvian dish called lomo saltado, and hands Will a sharp knife to cut up his meat, a definite gesture of trust, or maybe a tease. Now they are playing with the thin red line between pleasure and pain, eros and death drive.  As they eat, Hannibal analyses the meat: it has notes of citrus. It tastes “frightened”. Will asks “what does frightened taste like?”

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Look up “long pig” – it is widely used as a term for human meat, supposedly coined in the cannibal Pacific islands, and probably a mistranslation. Good enough for Hannibal, though, to know what Will is claiming. They are eating Freddie. Will is claiming he has swapped sides and is the cannibal’s apprentice. He reverses a speech Hannibal makes in Silence of the Lambs, where he chides Clarice for her insistence on trying to find what happened to make him the way he is.

“Nothing happened to me, Officer Starling. I happened. You can’t reduce me to a set of influences. You’ve given up good and evil for behaviourism…. You’ve got everyone in moral dignity pants – nothing is ever anybody’s fault. Look at me, Officer Starling. Can you stand to say I’m evil?”

Will turns it around: he says “I’m not the product of anything”.

 

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Will has, he is claiming, given up good and evil, gone where the universe has taken him. And that is to Hannibal’s dinner table. They discuss the nature of evil – Will says it’s destructive. In that case Hannibal argues (again from the Silence of the Lambs) storms must be evil. And fire, and hail. Or what underwriters call “acts of God”.

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Not gods. Übermenschen.

 

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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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“An act of dominance: HANNIBAL Season 2 Episode 6 “Futamono” (Fuller, 2014)

Why do cannibals eat people? This episode looks at that question, and demonstrates that they do it for the same reason that anyone eats anything. Appetite and power. Hunger and dominance. They want to, and they can. Isn’t that why people eat other animals?

Hannibal had a near death experience in the previous episode and, as this one starts, he is playing harpsichord. As he explains to Alana Bloom, who is also a psychiatrist and into this stuff:

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He is growing. Becoming, as he hopes Will is growing and becoming – becoming a killer and cannibal like him.

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Well, Will is already a cannibal – as he says to Jack Crawford:

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Look, people as a rule don’t like cannibals much. Will tells Jack that he (Will) has “contempt for the Ripper, contempt for what he does”. What does he do? Jack asks.  In a piece of dialogue straight out of the interview between Clarice and Hannibal in Silence of the Lambs, Will tells us:

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If Will was Hannibal, he’d quote Marcus Aurelius. But this is close enough. Jack points out that the killer harvests organs. That’s what he does, sure, but why? Why does he need to do it?

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Will is quick to point out that Hannibal is not like Hobbs, who honoured the animals (human and other) that he killed and ate. He uses the word “sounder” (a collective noun for hogs) deliberately.

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Well, Hannibal is certainly thinking gastronomically. He is cutting up and skewering the pieces of a heart – human, probably. Alana is helping him, analysing him, working on a definition of humanity as they prepare the heart:

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…and the things that make us human. Good and bad, love and ache.

Hannibal has not recovered from the murder attempt on himself.

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And when Hannibal goes shopping, it’s not random. He has a method. A list of rude people, and a wonderful, hand-written recipe card base.

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The latest victim has been grafted onto a tree in a carpark, his organs replaced with poisonous flowers. All except for his lungs.

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Jack realises why: This is a judgement.

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Jack wants to tell Hannibal about the latest case, but he won’t listen.

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How is he going to do that?

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Well, Will told Jack that if people were being killed, then Hannibal was planning a dinner party. Is this all still too subtle for Jack?

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But now, Will is not alone. Abel Gideon knows about Hannibal, and so does Chilton, who records all their conversations. Jack asks Chilton if he knows what he is accusing Hannibal of? Oh yes.

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Chilton is a believer, now that his life is at stake. He analyses Hannibal as psychopath:

Jack, he fits the profile. He is attracted to medical and psychological fields because they offer power over man. Cannibalism –

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Hannibal eats people because he wants to, and because he can. He shows his dominance, and he dispenses justice. The dude grafted into a tree had, Jack observes, “paved paradise and put up a parking lot.” It had been an important nesting habitat for endangered songbirds.

Hannibal is picking victims for his dinner party. The recipes and victims are chosen and prepared carefully, to a Strauss “love song waltz”.

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Hannibal’s party is splendid, with liveried footmen serving the dishes he planned during the sequences above. Chilton and Jack watch the well-heeled, well-fed guests tuck in to the fare.

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Jack rudely takes a plate of delicacies home with him. Or back to the lab.

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But Hannibal is one step ahead – the food was made of animals other than humans – goose, pig, cow.

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But Hannibal has new dinner plans. He drugs Alana, who becomes his alibi as he goes to the asylum and kidnaps Abel Gideon, the man who attempted to steal his identity by claiming to be the Chesapeake Ripper.

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Gideon, now crippled by the asylum guards, will be both guest of honour and main course: Hannibal has amputated his “useless” leg and prepared it as Roti de cuisse: clay-roasted thigh with canoe-cut marrowbone.

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Gideon is a little unsure of the etiquette of the guest / meat.

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Then, there are more tributes to the earlier books/movies:

Silence of the Lambs

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And Hannibal Rising

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And Silence again – the girl in the pit.

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Hannibal has finished his composition. This was his design.

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“He is the devil. He is smoke.” HANNIBAL Season 2 Episode 05 “Mukōzuke” (Fuller, 2014)

At its core, cannibalism is about food, eating, the joy of taste. This episode therefore commences with a comparison of the meals of Hannibal, free, prosperous, creative

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and Will, confined, subject to whatever gruel is dished up in the asylum.

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As Hannibal tells Jack:

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Hannibal eats food, not friends. He is cooking for Jack, again, making Jack perhaps the pre-eminent innocent cannibal of the series, since he dines there so often. But this time, he is pre-occupied, upset that his wife tried to kill herself, grateful that Hannibal stopped her. Hannibal discusses his own dilemma: as a doctor, he had no choice, but

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Hannibal is a good friend, says Jack. That, as we know, won’t last.

Beverly Katz has been neatly dissected and mounted into giant slides. As Will figures, she has been pulled apart layer by layer, as she would dissect a crime scene.

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Will asks to see her, and is given the same treatment Hannibal received in the film of Silence of the Lambs: straight-jacket, hockey mask and transported on a furniture trolley.

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He does his pendulum, re-enactment, this is my design, thing. He knows who killed Beverly, but cannot tell Jack, because Jack doesn’t want to believe it. Will does say that she will be missing organs:

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She is indeed missing kidneys. And guess what Hannibal’s having for lunch?

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Yep. Nice steak and kidney pie. Seems to be enjoying it too.

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So, as Clarice once asked, why does Hannibal do what he does? Abel Gideon has his own theory, not so different to the way Madds said in an interview that he chose to play him:

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He warns Will that he will never catch the Ripper – he will have to kill him. Another insight into where the series might be heading.

Hannibal now has a couple of people who suspect him: Will, of course, but also Abel Gideon, who Will brought to his house the night Gideon removed most of Chilton’s guts. He asks Chilton why, in those circumstances, he would bring Gideon back to “your hospital for the unworried unwell” [great Hannibal quip BTW]. Chilton claims it was not for “selfish reasons”. “Ah, selfishness” comments Hannibal

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He goes to meet Gideon, who is still interested in his satanic analysis:

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Outside the asylum, he is photographed by Freddie Lounds. You have to give her credit for bravery – Hannibal says something that would bring a chill to those who know him like we do, know his penchant for eating rude people:

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She goes in to interview Will, and is given the same instructions Clarice received in Silence of the Lambs:

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Will is using Freddie to contact his “admirer” – the one who killed the bailiff in his trial, hoping to get him exonerated.  Turns out to be the nurse in the “hospital for the unworried unwell”. Why? Well, smaller birds will mob a hawk.

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Yes, another elitist. Perhaps even a Nietzschean. He wants the hawks to work together. Happy to help Will any way he can. What favour can he do for Will? Will wants to make sure what happened to Beverly cannot happen again.

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Will dreams he is becoming the beast – antlers growing from his back. Hannibal is doing laps of the pool, which explains why he is in great shape and able to kill people who often seem somehow younger and fitter. Also, cold water is great for shifting blood stains. The nurse is the only other swimmer (obviously a very exclusive pool) and shoots Hannibal with a tranquiliser dart. He sinks, but that’s not a suitable death, so next we see him teetering on a bucket, bleeding out, and in a semi-crucifixion position.

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The nurse knows that Hannibal is the Ripper, and asks him

How many times have you watched someone cling on to a life that’s not really worth living? Eking out a few extra seconds. Wondering why they bother.

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The nurse, like Hannibal, is into becoming.

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Maybe your murders will become my murders. I’ll be the Chesapeake Ripper now!

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Jack arrives in the nick of time. But Hannibal has faced death, and therefore has grown. Now it’s Will’s turn.

 

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