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#u know it still is a hannibal thing

aibazous · 7 months

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My exams are finally over so i have time to post fanart again!

So, below i’m going to talk a little bit about my guapoduo Hannibal au, if you’re interested in reading it, be my guest

Thanks for being interested in my story! Hope you like it

So i was thinking about how to implement the eggs on this story, bc, as goes with the Hannibal series, every single prominent character suffers a lot. And so I was between making the eggs children and don’t make them prominent characters or making them collage age so that they could appear more and I wouldn’t feel that bad about making them suffer.

I ended up deciding to not make the eggs prominent characters, they still appear and suffer a little bit, but that is just as a side effect of being close to main and side characters that appear a lot. Tbh, imagining them as teens or young adults just feels wrong to me and i don’t know why.

The two eggs that I have more details on right now are Richarlyson and Bobby, for obvious reason.

Also, this is something i’ve been have so trouble with. Basically I’m getting to the point where I want to try and bring BadBoyHalo to this story, still don’t know how, but that’s not the problem. The thing is, BHH is obviously going to be human, my first thought was to make him a biracial guy, half black and half white, so he can have some really dark skin but also have grey eyes, you know, to mimic his Minecraft skin.

But content creator BBH is white, and i’ve seen some fanart of him wearing his Minecraft skin clothes. I’m just asking if i should really separate the cc!BBH from the human version q!BBH. I don’t think there’s a problem, i’m just trying to make sure beforehand. For context, I’m a white person from latin america

Either way, if you read all of this tysm! My exams still haven’t been graded so i don’t have the fanart a did behind them, but when i get it i’m going to do a post with all of them

Also, I’m working on a fanfic of this, you won’t need to watch Hannibal to understand it and it’s going to take sometime until i post it, i want to get some chapters in before i post anything

I guess this is it.

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hannibals-favourite-meal · 7 months

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.⋆｡Neighbours｡⋆.

Daryl Dixon x plus size reader

You have a little crush on your handsome next door neighbour

Warnings: modern!au, mutual pining, Negan, fluff

WC: 1.1k

Minors DNI

Library- @hannibals-favourite-meal-library

4k Follower Celebration

King’s County was a very cute town. Barely an hour outside of Atlanta but not so far in the sticks that you were completely isolated, it was the perfect place to set up roots. You got a house at the edge of town for practically nothing and immediately a job landed in your lap.

Of course, it was a difficult adjustment having moved from New York where you worked at a cafe to being in Georgia and getting the teaching job of your dreams but what really helped was your next door neighbour- Daryl Dixon.

You first met him the day you moved in.

Alone with a singular U-Haul truck that had your entire life in the back of it and the mid-July sun on your back, you could think of no worse torture than this as you slowly but steadily moved box after box into your new home. You felt like you were drowning in sweat and your arms were about to fall off when you heard a deep raspy voice from just outside the truck.

“Can I help?” His accent was so thick, it took you a minute to actually understand what he said.

The sun was at his back, covering his face in shadow but from what you could tell, he was just under 6 feet with hugely broad shoulders and slightly bowed legs. “Um yeah! That would be so great, thank you!” He nodded and grabbed the two boxes in front of him.

You were in awe as he lugged the boxes of books up your front steps without even a grunt of exertion. You followed behind with the last of your stuff, desperately trying not to look at his ass in those dark jeans he was wearing. “You can just put that by the stairs.”

He hummed and dropped them gently right where you told him to put it. “Thank you again, could I get you some water or lemonade, I’m sorry I don’t have anything else to repay you with”

He shook his head, causing his long dark hair to cover most of his face. “Naw, jus saw ya needed help. It’s what neighbours do ain’t it.” You smiled at his bashfulness.

“Well it was still a nice thing for you to do.” You reached out your hand and gave him your name. His eyes (you could now see that they were blue) flicked to your outstretched hand and then back down to your hardwood floor but he gave you a firm shake anyway.

“Daryl.” As he pulled back, he left a smear of what you thought was motor oil on the back of your hand. His face went beat red and he opened his mouth to apologise but you spoke again before he could.

“Let me get you dinner then, I was planning on ordering a pizza and I doubt I could eat a whole pie by myself.” That got a smile out of him, a small one but it was genuine and it made your heart skip a beat.

“Alright.”

Finally, it was the winter break, after four months of trying to wrangle multiple grades (it was a small school and you were the only history teacher), you could relax. You could feel the tension melting off your body as you drove up to your house.

You pulled your car into the driveway and immediately spotted Daryl. He was perched outside his garage, once again tinkering with his motorbike, a cigarette hanging from his chapped lips. He was so absorbed in his work that he didn’t notice how you just sat in your car and stared at him longingly.

Daryl was a drop dead gorgeous man and apparently he didn’t even know it. He was incredibly strong with biceps almost the size of your head and a general bad boy biker appearance but with a heart of absolute gold. You sighed and grabbed your school bag that unfortunately had paper you still needed to grade.

“Hey Daryl!” You called out. His head shot up so quickly, his cigarette fell to the ground between his booted feet. He cursed under his breath and picked it up again. “Some teachers are coming over to my place for some drinks if you want to join, no pressure though!”

“Sure.” He dismissed but you smiled brightly.

“See you there!”

Rock music crooned from the speakers, just barely audible over the chatter of your coworkers and neighbours as they mingled. You were in the kitchen, making margaritas at the behest of the school’s gym teacher. He hovered over you as you made the drinks, he was either telling you some story about his ‘glory days’ or insulting you, you couldn’t quite tell.

“Negan, it doesn’t need that much tequila!” You snatched the nearly empty bottle from his hand which he had been pouring into the blender when your back was turned.

“Of course it does!” He tried to wrestle the bottle back from you but you stubbornly held on. It quickly became a childish game of tug-of-war that neither of you were really taking seriously, just happy to let loose after dealing with idiotic students for 4 months.

Just as you were getting the upper hand, a voice caught your attention. “Hey.” Hands in his pockets, shoulders slumped forward with a small blush dusting the apple of his cheeks.

“Hi.” You immediately greeted, unbothered that Negan had stolen back the bottle of alcohol and had subsequently dumped the rest of its contents into the half-made cocktail mixture. “There’s pizzas in the living room and some beers chilling on the deck if you want.” You offered and the shy mechanic just nodded, wandering off into the small crowd.

You couldn’t help but let your eyes dip down to his ass, watching it as he disappeared into the hall. “Seriously? Him?" Negan’s voice startled you from the hypnotising sight, your head snapping back to face him. He was smirking at you with a mixture of disgust and a strange proudness.

“Shut up.” You grumbled and grabbed some extra ice from your freezer to throw into the blender.

“I thought I was more your type but I see it now, a redneck shotgun wedding! Maybe you’ll have roadkill hors d’oeuvres with moonshine- ow! The fuck was that for?” He rubbed at his hurt shoulder which you just punched.

“At least my wedding won’t be fucking baseball themed, you has been.” And as you bickered back and forth, neither of you noticed the figure standing in the doorway, face beat red and blue eyes practically sparkling. If it were up to him, your wedding would be the most lavish event the world had ever seen and by god, he hoped that he would be the one standing at the end of that aisle for you.

Request: Can I please get "neighbors" and "Seriously?Him?" for Daryl for your celebration?

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yokichikun · 3 months

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Hannibal x virgin reader who's anxious about intimacy! 💝

Heyo! Haru here! Thank you so much for the request! I hope you’ll like it because it’s been a while since I wrote something serious!

Content warning: sexual content.

I used the neutral gender for this fanfic to make everyone more comfortable.

Love u, have a good reading.

You and Hannibal were dating for a few weeks now, it’s almost been a month.

It was a cold winter night and you were eating dinner at his place. You were a bit nervous, it wasn’t the first time you two eaten together, but you knew this time was different. You didn’t knew why, but you had this sensation it wasn’t only a sensation, you could feel something into the air, something warm like an embrace, but more intimate.

You where sitting next to Hannibal not watching him while you two eat. You were holding your glass wine trying not to loose yourself into your thoughts.

Obviously your lover did notice your tense expression, so he took your hand and caress it smiling.

“What’s the matter my love? What is infesting that sweet mind of yours?”

Your mind jumped a little forcing yourself to look into his eyes with a nervous look.

You didn’t know how to respond, your face became all red from the realization of what was happening.

“W-what? Oh, it’s nothing Hannibal. Don’t worry, I’m just a bit stressed by work, that’s all.”

Your nervous voice immediately gave him a signal that something was wrong. He got up smiling and got behind you putting his hands onto your shoulders and starting to massage. You immediately tensed up more as his hands cuddled your shoulders trying to calm you down.

“It looks like there’s more than just work. Want to talk about it? You know I’m here to listen and help you. That’s what partners are for”

You couldn’t hold it anymore. It’s been a while since you started thinking about your future sexual life. You were still a virgin, you never found the right person to loose yourself with. You were a bit scared and anxious, what if you didn’t do the right things? What if you didn’t like it but he does? What if… what if… your mind was full of those questions. He was experienced. He. Not you. You didn’t knew enough to make him satisfied.

“What if I’m not good enough?”

“I’m sorry love? Not good enough for what?”

“What if… I’m not good enough… in the bedroom..?”

Hannibal smiled making you turn around to face him and then took your face by the cheeks.

“Is this what is filling that mind of yours with thoughts? Oh my sweet creature. There is no good enough or not good enough into the intimacy spectrum. There’s only the discovery with your partner. You have must felt so scared and embarrassed to tell me, I get that. But let me tell you that I’m never going to force anything this big on you, I’m going to accompany you every little step into this intimate dance that will be our bed life.”

You just looked at him in silence. Like always he understood everything with just a few words.

You got up for the chair and kissed him slowly. You were telling him thank you using your lips, or at least you where trying, but it seemed like he understood.

“Could we… try tonight? I mean… if you want to”

Hannibal smiled caressing your cheek.

“Oh my lover, you don’t have to ask, I’m going to do whatever you say to make you feel comfortable”

You hold him tight kissing him again. That night was going to be a long night spent by exploring each others intimacy.

#mads mikkelsen #hannibal #hannibal lecter #hannibal lecter x reader #fanfic #oneshot #dr lecter #x reader #gender neutral reader

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childotkw · 21 days

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Omg that CS snippet 😭 im dying inside, comooon amazon or whoever, deliver her new laptop! And should be on the house as well! Haha

Btw that healer!Tom, criminal/activist!Harry fic would be amazing 😍 it gives a little hannibal/will vibes to me, would u have any snippets of them meeting for the first time? Or like riddles first impression of him? Arg im in a fanfic drought and need something to keep my life source coming 🥲 love u loads ❤️

I meant to reply to this aaagggeeess ago!! Sorry!!

As for healer!Tom / activist!Harry - don't mind if I do!

--- -- --- -- --- -- ---

“Tilt your head back,” Tom ordered, his voice dropping low in a wholly inappropriate manner for a healer.

The auror next to the door didn’t hear, didn’t know, but Potter certainly did.

Green eyes darkened, pupils blowing wide and ravenous as he did as he was told, tipping his head back and revealing the tantalising stretch of his neck. Tom skimmed his wand along it, watching as the other swallowed and how it made his throat bob, before tapping the tip against the hinge of Potter’s jaw. He pressed hard, revelling in the quiet hiss it got him, and allowed his magic to coat the livid bruise that peeked out from beneath the stubble marring the man’s jawline.

There was a second, illuminated by the soft white of the healing spell, where they just stared at each other.

Potter was a handsome man, he could admit. Rugged and unkempt, with a hint of wildness to his features that reminded Tom of the orphanage. A type of hunger that was all too familiar to him. Hunger for safety, for power, for change.

This one’s dangerous, Tom realised with a spark of delight as he cancelled the spell a touch too early. His gaze darted down, fixing on the fading yellow that remained of the bruise. It would still be tender, and a part of him desperately wanted to press his fingers to the spot, to rake a nail over it and see what other sounds he could tease out from this caged beast.

Speaking of -

“Do they know those aren’t doing anything to contain you?” he asked under his breath, swaying forward an inch under the guise of checking the welt on Potter’s mouth.

He wanted to bite into the wound. Cut it fresh and suck the bead of blood that would well up.

Potter smiled, a quick little thing that broke the scab and had Tom’s attention riveted to the hint of red.

“No,” he whispered back, amused and enjoying it. He shifted his wrists, showing off the warded cuffs. “But they put in so much effort to arrest me, I figured I’d let them have this one.”

#dailydreamer57 #HP #consuming shadows #harry potter #tom riddle #tomarry

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operafantomet · 2 months

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SO TOTALLY NOT A REVIEW

POTO MADRID, Friday 16 February 2024

PHANTOM: Gerónimo Rauch / Manu Pilas (alt.)

CHRISTINE: Talía del Val / Judith Tobella (alt.)

RAOUL: Guido Balzaretti

CARLOTTA: Marta Pineda

FIRMIN: Omar Calicchio

ANDRÉ: Enrique R. del Portal

MADAME GIRY: Silvia Luchetti

MEG GIRY: Laura Martin / Marina Brisa (u/s)

PIANGI: Francisco Ortiz

This production is basically a love-letter to Phantom history. There are many clever moments, small hints of Phantom history, and in general just a very Phantom-y atmosphere and look. It’s just that sometimes it goes a bit overboard with effects, references and/or tempo, to the point where I feel it takes focus away from the leads and the main story. I get the vibe, I get the love, nut just take it down a notch?

Lots of spoilers ahead, stop reading If you don’t want details.

Examples, you ask? It’s really just the total, the sum of it all, rather than singular moments. Take the Phantom and all effects surrounding him. In “Little Lotte” there’s blinking lamps and ambience sound and gruntle, it almost feels like I’m watching the basement furnace in “Home Alone”. In the Il Muto ballet he swings across stage twice, while the third time it happens it’s the body of dead Buquet. But swinging in ropes has a high level of Tarzan and is hard to take seriously. For the chandelier crash the Phantom jumps on the chandelier, cuts its rope (?) with what looks like a butter knife (?) and it crashes with “flames” and smoke and a loud bang with fake screams on tape. In the Mausoleum scene he is equipped with large black wings and flies up into the air, creating a massive thunderstorm. In the end it gets hard for the audience to trust that the actor himself is enough, as all these tricks and effects and mumbo jumbo gets in the way.

The only new trick I feel adds to the role instead of distracting from it is Red Death’s disappearance. He appears in a red hooded cloak, sings his lines, turns his back to the audience and when the others on stage approach to rip off his cloak there is no-one there. THIS. This adds to the mystique. This is the Phantom in charge, without explosions and sounds and light and props.

Anyhow… I enjoyed so many sides of this production. Let me try and mention some of the things I noticed along the way. (Note: Photos is a mix of Trieste, Monte Carlo and Madrid, but if the performers are in focus I have tried to choose Madrid photos)

AUCTION/OVERTURE Before the show there is some 15 minutes of “spooky” ambience sound and dripping water, dungeon style. The show starts with a huge shatter/bang, to tell the audience it’s starting. Message received.

The auction set-up is fairy traditional, with auctioneer to the left, chandelier in the middle, and bidders sitting with their backs to the audience. Raoul is not in a wheelchair, instead he is sitting in the back, to the right (I. E. nearest the audience), with a nurse (?) by his side. The auctioneer is super rushed, while the bidders clap very slowly, original Phantom style. For the monkey musical box, Raoul calls over the porter who is dressed in a red 18th century livre, and who kneels in front of him. Raoul turns to him and thus the audience. First glimpse of Guido Balzaretti in the role. He is good.

Lot 666 etc… All exactly as assumed up until they pull off the drapes and the Overture starts.

Ladies and gentlemen, this is something else indeed. The cast starts to… uhm, how to explain this… re-enact the first act in slow motion, backwards? The Il Muto fop trio “runs” in, backwards, in slow motion, they bend to not get hit by the chandelier, still slow motion, then taking a bow, still slow motion. And so forth. What is shown here is history as it happened but reversed. It continues with other glimpses of the first act, other characters, leading up to Carlotta as Elissa. Cue: Hannibal.

Now… The idea? Cool. Interesting. Well executed. Time is literally rewinded before our eyes. Yet:

I feel you have to know the musical and the first act to get what’s happening. A moment of “this production is a love-letter to POTO”, a bit wink-wink-nudge-nudge.

It doesn’t really make sense. What they show us is the fops almost being hit by the chandelier as It comes crashing downwards. What we see in the actual crash is the Phantom riding the chandelier as it is pulled backwards and flung towards the audience. Plus, there is a knife, there is “flames” and smoke, and no other people in sight. Sorry, but you have to settle for one of the crashes…

However: original? I will certainly give them that.

Also, props for introducing what is usually my pet peeve and hate object number one: The Eiffel Tower. Thing is, this opera appears to have burned down (2004 movie style, more about that later) and through the ruined ceiling the Eiffel Tower can be seen. I don’t oppose this as the auction scene is set long after then main story and the tower would have been built by then. My annoyance with productions automatically adding it to underline that THIS IS PARIS is because the tower would (depending on when they set the main story) not have been built. But in the auction scene? Yes.

(Auction photo from Trieste)

HANNIBAL Whereas Marta Pineda as Carlotta possesses a grand voice, I am no fan of how she portrays Carlotta as a performer. I assume it is in the directing. In the mock operas she goes for massive overacting, mainly one specific hand pose and a hammering voice. In scenes like Prima Donna you can tell she is able to sing gorgeously and act well, hence why I assume it is in the directing. Carlotta as a performer in this production is one where I understand the Phantom’s dislike… Just way too much, too annoying, it really makes you wonder how this specific soprano came to be the wonder of Paris.

(Francisco Ortez and Marta Pineda in Hannibal)

They make a point of not showing Reyer. I will come back to why later. In Hannibal he is in the prompter’s box, with a slightly distorted sound to his voice and which Firmin at one point imitates. Heh.

The ballerinas did a sort of shawl dance in Hannibal which suite the music well, and Christine and Meg were also nicely singled out.

Instead of an elephant there is a portechaise, a litter, a sedan chair, whatever it’s called. Now... the people carrying this on stage wears the same uniform as the porters in the auction scene. If the opera burned down and the auction is many years later, why would they…?

(Hannibal photo from Trieste)

Also, the sedan chair gets a bit too much attention, with them struggling to get it out on stage, Piangi struggling to get on it, and when he finally does for the end pose the bottom breaks. This, combined with a constant rush in pace means there was never any applause after Hannibal. Unusual.

The turning set had me wondering. It looks wonderful within the structure (see photo above), and it's also always how it is photographed. But in use it means a large part of the stage is not used. Admittedly it was more noticeable sitting in the upper balconies than in the stalls, but especially the first 7 or so meters on stage was all bare. This is rarely shown in official photos, so it took me some time to understand what I was looking at. At first I wondered why the set was not placed further out, but I quickly realized that it needs that position to be able to turn. I wonder if a slightly shorter and/or more square set would fill the stage in a smarter manner? Not sure. Here's the view from the balconies:

The falling backdrop in Hannibal was so well done. It almost came a surprise to me, who knows the show by heart. A mixture of well timed sight and sound and a lot of ropes.

And now for Christine Daaé… For the first performance I saw principal Talía del Val, and for the second performance I saw alternate Judith Tobella. Their overall appearance on stage felt fairly similar in terms of height, build, and wig. Voice wise they are both also bell-voiced sopranos with an operatic touch. But I felt Talía maybe added more nuances to her singing, varying volume and intensity whereas Judith was more consistently bell-voiced? This came to view in TOM, where Talía did one of the biggest transitions I have seen, from whispering the notes and just going mute to full-volume operatic diva. Fantastic. Judith showed less of a transformation but possesses a gorgeous and light voice and is just as radiant. Both of them are so good in the role.

(Guido Balzaretti, Omar Calicchio, Enrique R. del Portal and Talía del Val in Think of Me)

Elements of TOM was also a bit rushed. For the quick-change, a bar of the instrumentals was cut, and the cadenza at the end was short and effective. Why the rush? I don’t know. But the Elissa costume was nice, a turquoise and golden confectionary with nice amount of drapes and sparke, and a nice match to Christine’s honey coloured wig. It was also very visible when the set took a full turn during Raoul’s lines in TOM.

ANGEL OF MUSIC / LITTLE LOTTE As a tiny surprise I got two different Megs – principal Laura Martín for the first show, and u/s Marina Brisa for the second. Their portrayal differed slightly. Laura’s Meg was super affectionate towards Christine, hugging, touching, caring, supporting. Martina was maybe more inquisitive and more of a narrator of the show in a way. She told the audience a lot of the action and mood in the Managers scene just with her facial expressions. But both had fantastic voices.

In Angel of Music the turnable set was placed diagonally, with the end towards the right side of the stage and featuring a large mirror and dressing room table. Now… the diagonally placed set leaves little room for the cast. For this specific scene it did however work, and it was moody with a dark stage and chandelier visible in the shadows.

Nothing radically new in Little Lotte, apart from the already described blinking lamps, ambience sound and gruntle when the Phantom reacts to Raoul’s presence. So moving on to…

MIRROR SCENE First sound of the two Phantoms. Principal Gerónimo Rauch went for a slightly twangy sound rather than booming, I am not quite sure why. Alternate Manu Pilas was all boom. I do prefer the latter, just because it sets a standard and mood for the rest of the show. Christine interestingly entered the mirror by stepping on her dressing room chair and then the table. Heh. Also cool from some angles in the auditorium to see the Phantom lean out of the mirror opening, fully cloaked. Moody sight!

(Ramin Karimloo and Amelia Milo in Trieste)

I could not quite make out Christine’s emotions here. It’s like she thought “gotta get out of here before Raoul returns”…, rapidly wrapped up her dressing gown and ran through the mirror.

TITLE SONG Is it allowed to say it felt too similar to the original staging? Because… them crossing the stage, them going down under stage, them appearing higher up, them crossing the misty stage by boat… It’s not that it wasn’t done well, I had just hoped for a totally different take. Biggest surprise was probably the Phantom’s massive (ahem) organ rising from what looked like the pit, with masses of lit candles, and then slowly moving towards the back of the stage – all while the Piranesi “imaginary prisons” like set backdrop came to view. A stunning lair set, and finally a scene where the front stage was used!

(Amelia Milo and Ramin Karimloo in Monte Carlo)

MOTN This too felt very close to the original staging. With one exception. The Phantom put a lit candle in front of Christine, on the floor, sung about the music of the night, and blew out the candle. I mean… I appreciate this more than the Restaged Tour’s blindfolding, but I am not sure I fully understand what Christine was to learn from it SEEING THERE IS A HUGE ORGAN WITH LOTS OF CANDLES only two meters away…?

(Gerónimo Rauch and Talía del Val in the First Lair)

The MOTN pose totally felt like a homage to the original. Biggest difference in blocking was probably that Christine fainted in the Phantom’s arms and was put to bed in a four-poster bed to the right on the stage.

(Gerónimo Rauch and Talía del Val in the First Lair)

Singing wise both Phantoms brought down the house, Rauch especially hammering in those money notes. Dude got a grand voice. In this scene I (interestingly enough) felt Gerónimo Rauch was more experimental, while Manu Pilas felt old-school and classical. I would have thought it opposite, seeing Rauch’s history in West End. But cool! Got Tomas Ambt Kofod vibes from Pilas.

(Gerónimo Rauch and Talía del Val in the First Lair)

(Judith Tobella in the bed in the First Lair)

STYDI Christine waking up did not go unnoticed by the Phantom; he invites her to come over and sit at his piano bench. As she comes over, she caresses his face, they have a fairly tender moment and then she rapidly takes off the mask. Felt like a natural move, out of curiosity and closeness, which created an interesting contrast to the Phantom’s rage and despair.

Here Rauch seemed to go for emotions running deep, doing a quite heartbreaking rendition of the scene. Pilas showed more rage, even tipping over the piano bench along the way. The blocking calls for the Phantom to react on Christine’s touch before handing him the mask – for Rauch it was when Christine touched his hand, and for Pilas it was Christine touching his shoulder. Rauch seemed more terrified, Pilas more surprised. Both returned to their very-much-in-control mood when they put the mask back on. NOTES / PRIMADONNA Now the revolving set was turned the other way, with the short end facing left side of the stage. Instead of a mirror it featured a window with trees and daylight. For this scene it meant the cast had only a tiny little triangle at the very end of the stage to act out the scene. Whereas it worked well with only two or three present in Christine’s dressing room, Primadonna is fairly crowded. We’re talking seven people on stage, and it showed that they didn’t have a whole lot of space to go. I’m still not on board with the distribution of set and cast in this production.

Acting wise little new to add, just very very very solid. Extra plus for Silvia Luchetti as Madame Giry. She was u/s Christine in the original Madrid production, and thus feature a strong soprano. But she is also a strong belter, and good actress. Her Madame Giry seemed to read every situation well, and act accordingly.

(Laura Martín, Silvia Luchetti and Guido Balzaretti in Primadonna)

As for the two Megs, they both had good chemistry with Luchetti. Whereas Martin had an air of “I trust my maman to sort things out”, Brisa felt more inquisitive.

The turning set was used to full effect at the end of Prima Donna. With the set revolving, the cast entering the stage, with a Garnier curtain like backdrop it looked majestic, beautiful and very Phantom-y. It is also one of the instances it worked well to always have a glimpse of the chandelier and boxes in sight, to remind us of them being in the opera all the time.

(Prima Donna photo from Madrid)

IL MUTO The intro with “old scenery… old audience”… was cut, I think? Another instance of the show being rushed. When I keep repeating this it is because the matinée clocked in on 2 hours and 14 minutes, WITH interval. That might be the quickest one I’ve seen, except the intentionally shortened one-act edition in Las Vegas.

I liked this Il Muto a LOT. The set, with two doors where people entered and exited, gave a mild hint of a farce without going overboard. The middle window could be lit to show Don Attilio spying and the fops whisper gossip into his ear. All in all a nice flow and a nice Mozartesque feel.

(Il Muto photo from Madrid)

The interrupted performance and André entering to present the ballet was also amusing, as he comes out with a bottle of champagne in one hand and a glass in the other hand. Not drunk!style like Barry James, but rather a sense of him being in the middle of something completely different. When not managing to exist the stage during the ballet, the male ballet dancer literally grabbed him by the waist and lifted him off stage. Heh. Nice one. Giggle snort.

Then the funky part. Instead of the dancers being interrupted by scary shadows, blinking light or other “minor” incidents, this production features the Phantom crossing the back of the stage in a rope, not once but twice. As mentioned previously I do get how the third time with dead Buquet then comes as an extra surprise. But it is too much of a Tarzan factor. To me, anyway.

(Il Muto ballet screencap from Trieste)

ROOFTOP Possibly the most original scene in this production, and in a good way. It is set towards a slightly abstract backdrop with a hint of – no, not the Eiffel Tower, bless them, but the Notre Dame, and to the left a rooftop sculpture. Main set is a ledge. Christine crawls out on there and does not look like she wants Raoul to follow, but he does, reluctantly, afraid. She will clearly jump, he is doing anything in his power to stop her. He realizes she is terrified and struggles to find the right words, but offers what he can – a hand to hold and a promise of a better future. Slowly, slowly Christine gets closer to him, trusts him.

(Bradley Jaden and Amelia Milo in Trieste)

A very nice take on AIAOY, because it is all done subdued, not in an overly dramatic manner. Only negative I might add is that AIAOY may not be the best song to sing sitting, or even hunched. But that was only something I pondered about at the end of the song, with the high notes. And also, this showed Raoul at his best. More of content like this, please! CURSE / CRASH The Phantom was of course underneath the two lovers all the time, and he comes to view twirling his cloak. Not a huge fan of the red lining of the cloak, a too high vampire factor. But anyway… Here Rauch’s twangy singing style (which he only did here and in the mirror scene) was used to good effect. Now, the actual staging… With the Phantom singing the end of his curse the set turns and the chandelier comes to view, lowered. The Phantom jumps on it, works hard on cutting its cord with a knife, the chandelier is pulled backwards, and it is then “flung” towards the audience, with “fire”, smoke and the sound effects of shattering glass and screams. It is an original and fancy take on the chandelier crash.

(Chandelier crash photo from Monte Carlo)

INTERMISSION Everyone and their mother taking photos by the rose wall. I bought merch (read: socks).

MASQUERADE The opening was like out of a Doctor Who scene, with the managers being flashed up by light, shifting pose and moving closer for each flash – don’t blink! They wear large cloaks, and of course Firmin’s large frilly pink confectionery of a dress gets lot of attention when revealed. Omar Calicchio looked adorable.

(Firmin dressed up, André and Madame Giry in fairly regular clothes, and Meg Giry doubling as the monkey musical box)

Cool main set – the opera stage with its boxes, a lowered chandelier, and a backdrop showing the Garnier auditorium. Reminded me of the Hungarian design. The opening features a giant monkey musical box which soon enough turns out to be Meg in identical costume to the music box figurine. Nice lil’ detail.

The cast floods in, with rows of people dressed in cloaks and masks dancing in a rather stiff style. I could not quite put my finger on why it looked a bit off until I remember each of the pairs featured one cast member and one dummy on wheels. Aha. But the oddness aside, it was cool to see the stage filled with people like that. It looked like a true Venetian carnival.

(The Masquerade scene in Trieste)

Once again Christine missed out on the dress code, wearing a pale Victorian bustle dress. She must start reading the invitation…! Nothing wrong with the dress per se, but I wish they’d dressed her in something more innovative, or at least make her wear a cloak for parts of the scene to later on reveal the bustle dress.

(Talía del Val and Guido Balzaretti in Masquerade)

And now for what always feels like a regional theatre stunt: At the height of the show a lot of the cast came into the auditorium to sing. I feel you need to have a better reason to break the fourth wall than just surprising the audience. Why were they there? It appears mainly to empty the stage for Red Death.

Did I mention the confetti? Oh the confetti. A sea of confetti. Gold and silver, pouring down. So much that the front aisles were filled, and people so covered it stuck on them when they went out after the show. The pavement of the theatre was glittering. I always wonder if it is really worth it, seeing that the confetti will also glitter up stage in the Mausoleum scene and Final Lair. Places were there technically should be no glitter… Well. Fun to watch regardless.

Red Death: They’ve picked up original magic consultant Paul Brown’s idea of the Phantom just disappearing from his costume, making it fall to the floor. Here the Phantom turns his back to the audience, and when the (few) people on stage runs forward to pull off his red cloak he is no longer there. Beautifully executed!

(Red Death from Monte Carlo)

I wish they did not follow up with the next scene, with Christine in the audience and a cloaked figure behind her pulling off his hood – surprise, it’s the Phantom – grabbing her necklace/ring and running off. Felt like a bit of a cheap trick after the quite magical Red Death disappearance. Would be so much cooler if her grabbed that necklace on stage and then disappeared mid-air. Would also give Christine doubly a reason to fear him, if he can just vanish like that instead of having to run out the door.

BACKSTAGE The backstage tale started all dark, but soon featured a hint of a Coney Island like faire to hint of Madame Giry’s first encounter with the Phantom. IF you want to draw some lines to “Love Never Dies” this is a discrete and non-intrusive way of doing it. Kudos for that. The chandelier is also still lowered, and first when its light goes off is Madame Giry startled enough to flee Raoul. Maybe the most effects I’ve seen in this scene and also working very well.

NOTES / TWISTED We are back to the crammed office set-up and too many people. At times Christine’s dress train swept into the bit due to the lack of space. Well… Both here and in the first managers scene each lead is lit up with purplish light when mentioned in the notes, which is a visual for the audience – especially when they are so crammed together as well.

On stage there are a lot of stacked chairs under the darkened looming chandelier. Nice reminder of still being in the opera.

In this scene I felt both Christines lacked a real anger or temper, even if Judith Tobella displayed it more than Talía del Val. But one thing I did like is that she went from person to person during her solo, almost pleading them to understand the dangers of performing the opera, and they all kinda turns away. Two of the footmen enters (as if the scene was not crammed enough already) to remove the furniture and prepare for the sitzprobe on stage, putting out the chairs in line. Meanwhile Christine does not refuse to sing and does not flee stage, as per usual. At first I thought it was another rushed detail to save some time, but no: Raoul sings “Christine, Christine don’t think that I don’t care…” (loooong pause) and then more or less take her by the arm and force her into the sitzprobe. It does solve the problem of why Christine refuse to sing and then appear at the sitzprobe, but doesn’t quite do Raoul any credit…

SITZPROBE Also an in-between scene with an abundance of ideas. Most of which I liked. The setting is very familiar, piano to the right, cast lined out on chairs. But the piano is not facing the audience, it is turned. We can hear Reyer but not see him. Remember Hannibal? Ar’right. When quarrel breaks out the piano starts to rotate at a massive speed while playing by itself, and Reyer is nowhere to be found. Maybe he never was. Was he the Phantom all the time? We will never know…!

Then for the odd moment… As the set itself rotates, a slow-motion quarrel breaks out, people throwing chairs at eachother, fighting, fleeing (didn’t they just behave when singing? I have questions). Christine puts on her mint cloak, she carries a red rose in her hands and she walks off, towards the audience and a presumed grave which we can’t see but she addresses over the orchestra pit.

(Amelia Milo in Monte Carlo)

MAUSOLEUM Both Christines did a heartfelt “Her father promised her”, not being able to finish the line. The red rose is put on the grave and she starts on the main song. The rest of the scene pretty much as usual.

Help me say goodbye… Oh no thought the Phantom. Towards a discrete mausoleum backdrop he appears, with his giant black wings. Raoul enters around the same time, they sing the trio version. Raoul goes in between the Phantom and Christine. The Phantom creates thunder and lightning, and for each time he flies higher up. Christine is quite passive during the whole ordeal. Eventually a massive thunderstorm is created, and the scene ends. And I’m like… mkay.

If you gonna camp it up that much you have to at least feature the black wings better, they were hardly visible towards the dark mausoleum backdrop. From the upper balcony it looked like he was… bungee jumping? From the front rows in the stalls you could see contours of the wings, but nothing more. As a contrast the silhouette of the chandelier was visible, which didn't quite make sense. Aren't they in a graveyard?

("Angel of Death" in the Mausoleum scene in Trieste)

This scene felt like the prime example of a place where the effects works against the story rather than underlining it. It felt like a lot of noise and little emotions, mostly. And Christine’s role in it all was non-existent.

DON JUAN / PONR Once again a cast member appeared in the auditorium. But here with a purpose – the marksman was placed in the upper stalls. Worked well.

The opening of Don Juan was cool, with the cast as black silhouettes towards a red, smoky backdrop, before coming to life. Featuring Meg as a prominent pageboy was a nice touch.

(Don Juan in Monte Carlo)

The costumes did in large resemble the Bjørnson ones, with breeches and doublets and corseted bodices and tabs, in large held in red, black and gold. Exception being Don Juan’s costume, a large tan cloak and an even larger HAT OF DOOM which would eventually help hiding the Phantom’s mask and face. Christine's costume has also gotten more of a Mary Philbin spin.

(Point of No Return photo from Monte Carlo)

The set too reminds me of Bjørnson's design, especially the timber frame with torn drapes behind a centrally placed table.

It is clear from the start Christine recognize the Phantom’s voice. She pleads to Raoul in the box, but decides to go on. She appears to decide to give the Phantom a hard run for his money, turning up the heat and almost challenging him with the blocking. The overall staging is quite close to the original blocking, and also: no table dancing in sight. Bliss.

(Ramin Karimloo, Amelia Milo and ensemble in Trieste)

I wanna say that Talía del Val removed the Phantom’s hat while Judith Tobella waited for him to remove it? But memory is a bit blurry there. Either how, the Phantom put his ring on Christine’s finger himself.

DOWN ONCE MORE Down once more also felt fairly traditional in terms of the Phantom and Christine in the boat. Both Phantom displayed amazing vocals here, they both have grand voices.

A bigger surprise was the managers, despairing over being ruined. André looks around, throws his lantern into the “pit” which is causing a large fire – I assume this is why we see a ruin of an opera in the Auction scene - and they run off. It’s yet another instance of “Yes, I like the creativity, but does it make sense?”. Since the opera and chandelier seems fairly closely based on the Palais Garnier, and that opera NEVER BURNED it feels like different Phantom universes colliding (I.E. a dash of the 2004 movie with its Opera Populaire meets the Prince/Bjørnson version and the Palais Garnier).

FINAL LAIR And now for the grand finale. A nice twist in this version is that yes – Christine wears her Aminta costume during the Final Lair, like many other non-replica versions – but the Phantom do offer her a wedding dress, veil and bouquet. He also puts the veil on her.

Raoul comes crawling in from the right side – I am not sure if it’s meant to indicate swimming or him sneaking up on them. But he is quickly noticed by the Phantom. He takes a chokehold on Christine to keep Raoul away. A slight inheritance from Ramin, I assume, as he was the king of choking in the UK. With Gerónimo Rauch I didn’t care all too much for it (never did with Ramin either). With Manu Pilas he acted as he suddenly got aware of what he was doing and quickly let her go, almost apologizing, looking embarrassed, even devastated. This made more sense to me, that it was not a cautious choice.

(Final Lair photo from Trieste. Note that some changes was done for Madrid. Most noticeable that Raoul is no longer shirtless, but he's barefoot. He's also hanging way above ground)

So to the part I did not overly care for – the magical lasso. In this version the magical lasso is somehow… connected to the Phantom’s bed and Raoul is raised into the air by one of the poles of the bed. I understand how this is a practical solution, as it makes it possible to lift the actor from the floor. Whereas it did look realistic it also felt a bit strange he would hang from the bed. Guido Balzaretti did however act it well, and it looked frightfully real when his naked feet slowly stopped moving.

And dudes and dudettes – I am happy to say Raoul is no longer shirtless in the Final Lair. Thank you, good actor or director or head of costumes. A bare-chested guy being strangled by/with a bed was too much for me, at least when he is technically not the one in focus.

This is the second place I would have liked more temper, more rage from Talía del Val (first being 2nd Managers). She seemed too mild and too accepting on what’s going on. Judith Tobella was more feisty, even if she too could have turned it up a notch. This especially went for when Raoul got strangled up, it didn’t feel like much of a fight at all. Christine steps on to the bed and tries to loosen the noose once, without success, but that’s it. Fight for your man, Christine!

Another aspect which made me wonder is that it almost looks like Raoul has died long before Christine decides to kiss the Phantom. I would have liked to see her enraged, or even more scared, or… something. But the kiss itself – another scene sticking very close to the original – was beautifully done. With the Phantom letting Raoul go he was just lowered to the floor. Props to Balzaretti for A+ acting here, having to been helped into the Phantom’s boat. Christine and Raoul then sails away, the Phantom sings to the monkey musical box, and Christine returns, being viewable behind the bed.

With Rauch he seems to notice it quite late, and looks very happy about her return, almost crying “I love you”. With Pilas he did a detail that totally made me think Tomas Kofod: he straightened his hair, started buttoning his waistcoat, making himself presentable… only to find Christine has left the ring on the table next to the bed and is nowhere to be seen. So sad a sight.

Speaking of which, the Phantom’s deformity looked great in the auditorium, with balding grey hair and a visible deformed side. He looked much older and much more worn down by life than several other non-replica productions I’ve seen, and I’m here for it. This is a man letting go in all possible ways.

And now for the grand grand grand finale… While the opera is presumably burning a whole bunch of people is entering the Phantom’s lair. First one is Madame Giry. She sees the Phantom as he is about to lie down on his bed, and she rapidly signs for him to hide. He hides under the bedsheet, the contours of his body highly visible. It looks like a curled up corpse, quite eerie. Then Meg enters, and the mob with torches. Meg notice the figure on the bed, screams, and as the mob rips of the bedsheet the Phantom is gone – only his mask is left. The Girys holds up the mask together, with an inquisitive look on their faces. Cue: applause.

A SORT OF CONCLUSION This is a playful, intelligent and a bit overpowering version of POTO. I enjoyed it a lot for its clear Phantom look and feel, for its at times super beautiful sets, for a stellar cast, and for many clever and original ideas. It’s a production which is thoroughly original at times, more traditional in other moments. But I think it would benefit from trusting the source material more. Not everything needs to be a trick, an effect, a surprise. Sometimes the leads can carry the scene by mere acting and that is more than enough. The rooftop scene is a nice example of that, while the Mausoleum scene feels like an example of the opposite. But that said: Overall this is a welcome addition to the Phantom universe!

(Curtain call photo showing Martina Brisa as Meg, Judith Tobella as Christine and Manu Pilas as the Phantom)

Highlights: The overall set design, Think of Me (both vocals and visuals), the Meg and Christine love, three equally strong and enjoyable leads, the Phantom’s lair (again both vocals and visuals), the rooftop scene, Red Death’s disappearance, the backstage tale of Mme Giry, the mystery that was Reyer, the cast, the mood.

Meeeeh: The Overture slow-motion sequence, Carlotta as she appears as an opera singer, the rushed feeling throughout, the cramped Manager’s office, the red lining of the Phantom’s cloak, the chandelier crash, sending the cast into the auditorium during Masquerade, the confetti, the Sitzproble slow-motion sequence, Christine’s lack of proper anger.

Hard no: Tarzan-Phantom in Il Muto, winged and flying Phantom in the Mausoleum scene, the Phantom’s sombrero in Don Juan.

#phantom of the opera #fantasma de la opera #poto spain #poto italy #poto monte carlo #geronimo rauch #manu pilas #talia del val #judith tobella #guido balzaretti #marta pineda #omar calicchio #enrique r del portal #silvia luchetti #laura martin #marina brisa #francisco ortiz

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camusscigarette · 14 hours

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do u have any headcanons for hannibal :3

Hannibal HeadCanons!!

Some trigger warnings maybe? It gets a bit..smutty at the end. Just a bit. Nothing too explicit.

His favorite designers are Christian Dior and Elie Saab. Why? Well, Dior has a unique way of creating such feminine clothes that captivates the eye while Elie Saab makes everything look so ethereal and mythological, it inspires him to draw both Bedelia and Will in such clothes

He went once to Lebanon for the purpose of visiting the last traces of the Roman empire and somehow managed to befriend a nice elderly man on the Beach in Byblos where he offered him a Glass of Aarak and from now on, Hannibal invests in Aarak. Because as the elderly man told him, "Aarak tastes better when you eat it with raw meat".

It's true he's a vile man in his own and twisted sense due to his acts of cannibalism, but Hannibal absolutely hates a lot of well known Serial killers. Why? Because he thinks their motives were weak. He finds their killing styles vulgar and absolutely untasteful. To him, killing is an art. Done is a messy way and disfiguring one's body and leaving it in utter ruins is foul. He thinks that, if you want to disfigure a body, turn it into a statuette or something artistic, not clumps of flesh.

He thinks Rosé is a wannabee Wine. It's his least favorite wine because he finds it rather simple and so vague in taste.. It's a knockoff White wine mixed with water.

He loves Bvlgari. Why? Snakes. He loves snakes. Because they remind him of Bedelia but also Will. Snakes are harmless unless provoked. And their bite can either be deadly or merely a scratch.

HE'S A GOLD GIRLIE.

He's been to Romania many times, even speaks the language. Finds Dracula's castle boring. Loves Castel Peleș because it has every architecture in the world from different societies and civilisations.

His favorite chocolate is Terry's chocolate orange in Dark Chocolate.

He'll always be the big spoon. He finds that holding tightly onto someone he loves reassures him and his anxieties. He likes to tend to people's injuries as well. Bathing them. It's more comforting to him then them.

He secretly loved Bedelia but she wasn't enough for him. She'd never allow her person suit to slip and dwell into madness like him and Will.

He liked Avatar the Last Airbender AND The Legend of Korra. PS. He thinks that Lin and Kya should be a thing.

He's an existentialist, but absolutely HATES Jean Paul Sartre. He'd much rather prefer Simone De Beauvoir and Fyodor Dostoevsky's existentialism.

He enjoys Albert Camus' works. Often quoting his letters to Maria Casarès to those he shared a liking to.

Thinks Sigmund Freud was right.

He low-key has a breeding kink..lowkey..

And overstimulating. He likes to test other's limits by pushing them over the edge, even when he knows it's becoming painfully unbearable.

He hated the Cookie-Croissant thing until he was forced to try one and absolutely loved. Still publicly hates it but secretly..

Red nail theory? Biggest victim of it.

He doesn't like any modern artist, but you'd catch him singing "Happiness is a Butterfly" in the shower. Because "its speaks to him"

He indulges in self flagellation.

HE LOVES ARABIC POETRY MORE THAN ANYTHING .

Hope you liked it! Part Two?

#bedannibal #bedelia du maurier #hannibal lecter #gillian anderson #hannibal #violets for roses #canon? what is that #mads mikkelsen #will graham #hannigram #headcanon #hannibal headcanons

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fannibalcascade · 5 months

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Why don't you like hannigram , it's canon .

Not saying it's not canon , we are questioning how long it would remain as a canon , yes Will's "love" was meant to be subtle but would u even call it love when till the end of the series he was just trying to reject Hannibal. His struggles will make no sense if u just say oh he always wanted to be with hannibal, he may have wanted to run away with him or be with him BUT he always knew it was wrong , he tried his best to build a life without him , tried his best to live a normal life and I would say he was successful to some degree. People here really love to underestimate his bond with Molly but let me remind u Hannibal too did the same thing when he ran away with Bedelia, now we knew at that point how strongly Hannibal feels for Will so we never thought he would end up with Bedelia but somehow he was doing the same.

As for the hannigram thing people think I am just being a hater or don't understand media then they can't be more wrong. I was in the fandom in 2016, after that I had to move on because how people watered down the entire show.

My point is not about whether hannigram is canon or not , it's been proven it's canon well I would still say more from Hannibal's side , u could take it as me saying Hannibal is more committed to the relationship.

As for Will we don't know, we seriously don't u can headcanon whatever u want , but this show is not about happily ever after. This show is about transformation.

So if Will transforms after the fall we still have no idea about the transformation. He was pushed to the point of suicide because of his entanglement with Hannibal, the show have to do a lot of work to show that he is now comfortable being with him .

People always say that now Will can't live with Hannibal but they also forget that he also can't live with him which is stated in the show .

Yes we lack a good gay series and Hannigram is an interesting dynamic so why boil it down to a teenage romance, it's a horror show first .

#hannibal meta #hannigram #hannibal #hannibal lecter #will graham #Hannigramcritique

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suchawrathfullamb · 5 months

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Interesting 🤔 I watched the show and till the end I thought the story was about a man who fell into his dark temptation. As for the shipping, I think it's one sided , in canon I always saw Will rejecting Hannibal and didn't he throw them off the cliff. After the show I came to Tumblr and wow here things are very different, especially how u guys see the cliff thing I thought it was a sad move for Will to decide to end his life . But now I see GIFs and people make it romantic, well forgive me if I am wrong but I am open to new interpretations.

If they were a het couple we wouldn't be having this conversation but, here it is:

I'm assuming then that you interpret Will saying he defines his past and present as before Hannibal and after Hannibal, saying they're conjoined, they can't survive separation, he wanted to run away with him, etc. as lies and manipulations? I guess that's the only way you'd see this and still think it was one sided.

Yes, it is about him giving in to his "dark" side, but mostly it is about self acceptance, it's also a metaphor for anything divergent that suffers from societal judgement and alienation (they even give a little hint at that in the first episode mentioning Hannibal's article).

Will could've killed Hannibal many times, but didn't. He didn't need him to "give in to his darker side". Hannibal did many things to him. We are quick to cut off a friend who hurt us but not so easy to do the same when we're in love.

About the Cliff, Will threw them off because of how good it felt, he knew it would've been impossible to go back to "normal" after that. The fandom never made that romantic, not sure where you got that from. We know it was tragic and sad, although they didn't die, Bryan Fuller, the creator, already confirmed that, but we don't think it's romantic, we understand why Will did it and it is independent from his romantic feelings. Gifs exist for every scene, doesn't mean we think it's romantic, just means we think it's interesting.

This show is packed with parallels and metaphors, Will's feelings are shown through subtle narrative elements, specially because of censorship (still very real but even worse at the time the show was on). If you pay attention to that, you can see it is not one sided. The whole plot happens BECAUSE Will and Hannibal are in love but cannot handle that love and it triggers their behavior and actions.

The actors also confirmed they are in love and so it's also in their interpretation which is far deeper than our own since they have access to the characters inner motives.

I understand not liking them but not seeing it as canon I think it's actually a reflection of society. It just proves the whole point. Believe me, if they were a man and a woman there is absolutely no way of seeing it as non romantic. The eye gazes, the intensity of scenes, the things they say to each other, the intimacy. You may deny that but unfortunately it is very real. You may not be homophobic, but it is internalized, it's heteronormativity, we all do it at some point, because it's how we were programmed to perceive things.

I don't think it's up to me to "give you" a new interpretation. Maybe think about these things and rewatch with more attention to detail? You're not really obligated to have a new interpretation, you can see it however you do, it's a reflection of your inner self and perspectives and we may disagree but I don't think there's anything wrong with seeing it as you do, it's just simply not canon, but that's not a crime? Art is meant to be interpreted, it serve as a mirror.

#ask the lamb #difficult topics #hannigram #nbc hannibal #hannibal #will graham #murder husbands #hugh dancy #hannibal lecter #mads mikkelsen

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k-s-morgan · 1 year

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Hey

So according to you who do u think is more dangerous Will or Hannibal ??

While Hannibal is definitely more monstrous, I think Will is more dangerous, and if I was forced to choose between who I have to spend a week with, I'd pick Hannibal without even thinking about it.

Hannibal is pretty predictable in his darkness. Don't be rude, don't get in his way, and he'll leave you alone (not counting his chaotic behavior in Europe after being heartbroken). Will is completely unpredictable, largely because he himself doesn't know what he's going to do until the last moment. I can easily see him going on a simple shopping trip in the future and ending up killing someone who he spontaneously deemed appropriate. The way he went after innocent people like Chiyoh and Chilton in S3 chilled me because it was unexpected.

Hannibal doesn't deny that he's a monster while Will does terrible things and then tries to make others believe he's still good, which only leads to more victims. He also gets high on murder, which is very dangerous. (And fascinating.) I find his chaos far more terrifying than Hannibal's structured violence.

#hannibal #hannigram #will graham #hannibal lecter

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willgrahambf · 1 year

Text

once u get to being sick in the head about 3a u never really recover bc it’s like the peak of hannibal and will’s romance. everything is revealed, their true natures, how they’ve changed each other, how intensely they need each. there’s beautiful heartbreak for what could have been and such utter longing for something u know u shouldn’t have or even ask for, and feeling betrayed and wanting to forgive and be forgiven for unforgivable things. all this lurking beneath a field of blood and the worst of humanity that is still so terribly human

#OUGH I JUST #HAVE A LOT OF FEELINGS TONIGHT #hannibal #nbc hannibal #hannigram #txt :my thoughts are not often tasty:

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anachronistic-falsehood · 7 months

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SHIP BINGO FOR THE GUYS U WANNA TALK ABOUT. CELLTW I THINK . gimme the cannibalism rundown king

MAC. looking u dead in the eyes. getting into celltw has almost convinced me to start watching hannibal i guess i just really like gay cannibalism and i need more of it. ANYWAY listen listen listennnn. ok. qcellbit and qpac are my little fucking guys alright. my favourite boys. i'm gonna give you their whole fucking backstory here ok. ok. infodump time. i apologize in advance

so cellbit was a child soldier who didn't even have a NAME. resorted to cannibalism to survive. badboyhalo was there. both stuck in a war. killed thousands of people. AWFUL TIMES!!! goes from child soldier to domestic terrorist somehow. he gets arrested and thrown in FUCKING ALCATRAZ. HE'S STILL A CANNIBAL. somehow manages to sneak a cell phone in and uses it to threaten prisoners and people start calling him cell because he literally didn't have a name before. right. ENTER PAC E MIKE. they're robbers for a living. the sillies <3 they robbed a top security museum and got caught and thrown in alcatraz. cell has gone bonkers and fucking yonkers. weird habit of licking his lips. i'm in love with him. protects pac e mike from other prisoners. they are wary of him (understandable). pac e mike make a friend named jv who tries to help them escape. cell kills him right in front of them and tries to escape himself. gets thrown in solitary. pac e mike go to the solitary cells just to mock him. lots of lowkey gay tension in that scene???? eventually pac e mike escape with the help of another friend but cell tags along because he threatens them with a gun he got from a security guard he killed. THIS MAN IS UNHINGED!!!

they end up on a deserted island. the boat they used to sail there needs repairs and four people can't fit on it at all anymore. cell decides one of them needs to die and tells the others they can decide which one has to be killed. cell is the only one who manages to find food on the island, which happens to be apples. he hoards it from the others and I SHIT YOU NOT THERE IS SOME WEIRD FUCKING RELIGIOUS IMAGERY GOING ON HERE. OK. pac seeks out cell, and CELL, WHO IS SITTING IN A TREE, OFFERS PAC AN APPLE IF HE KILLS ONE OF THE OTHERS. PAC SAYS HE'LL THINK ABOUT IT AND CELL GIVES HIM AN APPLE. I'M GOING TO EAT DRYWALL. I DON'T KNOW IF THEY DID THAT ON PURPOSE BUT THEY SURE FUCKIN DID IT ALRIGHT. at some point cell eats pac's leg but we have no idea when that canonically happens bc it was only canonized in qsmp and wasn't shown in Fuga Impossível where he and mike met cell, but IT'S STILL FUCKING CANON AND I LIKE TO THINK IT HAPPENED SOMEWHERE ON THAT FUCKING ISLAND. ALRIGHT. IT COULD HAVE HAPPENED IN PRISON BUT IT HAPPENING ON THE ISLAND JUST MAKES SO MUCH MORE SENSE 2 ME.

they trick cell and trap him, telling him to use the last bullet in his gun for himself. the three of them leave the island and hear a single gunshot. they think he's dead. SIKE!!! somehow years and years later, pac, mike, and cell, plus two others are all on the same ship together and end up on a new island. cell now goes by cellbit??? and really likes mysteries and is a pretty chill person in comparison to how he used to be??? he went through copious amounts of therapy and is actually somewhat well adjusted. he's a pretty cool guy.

he's changed. mike has changed. pac has changed. they're all so different. he and cellbit get stuck in a cave and they kiss. it's weird. they don't do it again after that. cellbit starts talking to another guy, roier. they get married. pac is disappointed but he doesn't talk about it too much. why is he disappointed? he doesn't really know. pac has changed but every time he looks at cellbit he's back in that prison. one day, everyone's furniture goes missing, including cellbit's. pac's first instinct is to grab his son by the shoulders and tell him to pack his things because when cellbit sees that someone has robbed him he will go on a rampage the likes of which no one has ever seen. that doesn't happen. cellbit snaps and demands public execution of the culprit so they can drink his blood. he's holding a knife. he's easily placated and puts the knife away. cell is clearly somewhere in there. this is the first glimpse pac has gotten of him in the five months they've been here. pac licks his lips the same way cell used to. it's a habit.

their son goes missing. the president is put on drugs by the federation. pac has lost everything. he takes the fed's medication so he can try finding a cure. he sits in cellbit's castle panicking for a solid five minutes, debating with himself over whether he should leave some of the medication for cellbit to find in hopes he can help them. he tries to find a cure on his own while still hopped up on pills. there's blood on the floor. he leaves notes for his loved ones. he knows cellbit well enough to know he will come looking and find this. the thought is as terrifying as it is relieving. cellbit develops a cure with pac's notes. cellbit yells at the president, the fellow father of their son. pac only hears cell. he takes the antidote he helped develop. cellbit guides him home and tells him he's not alone anymore and never will be again. they hug. it's terrifying. it's comforting. it's weird.

cellbit clearly left that prison behind. pac never has. he probably never will.

#whiskey yelling into the void #friend tag :3 #celltw #girl i SWEAR i did not mean to go on this tangent alright. it just Happened #little bit of character analysis at the end there i couldn't resist #i think they're neat <3 #i think they neat to have weird gay cannibal sex and it might fix them #actually no it wouldn't. it would make them worse. that being said i think they should give it a shot anyway #whiskeys word soup

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prisonhannibal · 1 year

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Ok but I have to know... why did Jack do the things he did. I wrote my senior thesis on Hannibal and I specifically did not talk about Jack because he is confusing to me

I don’t think I have a lot of like, new or deep insight about him, but I really love Jack so here’s what I think.

My interpretation of Jack Crawford is that he’s a good man with a strong moral compass, whose main flaw is how far he is willing to go because of it.

He feels strongly about what he does and gets obsessive about doing whats right, which leads to some questionable actions as long as he believes it’ll lead to something good. It’s an important distinction that the sacrifices he makes are for moral reasons (for example catching a killer), not for personal gain. And it’s not out of indifference, he feels responsible for the consequences of decisions he made, but I think one of the sacrifices he makes is living with the pain and guilt as long as it had a purpose.

Jack is a leader, and he thinks like a leader, which means he has to base his professional decisions on logic and the evidence available to him, not his own feelings or emotional attachment. That’s his job. For example, when Jack was worried about Will’s mental health, he asked him to see a psychiatrist. Will told him he wanted to work (+ didn’t inform him of all of his symptoms) and passed a psych evaluation with a psychiatrist that Jack respected who had a good reputation, so Jack let him keep working, even if he was still worried. I don’t think the things he does as agent crawford always fit with what he’s feeling as Jack. As a leader he has to be objective and do his damn job, but we know he’s caring and loving because we’ve seen him with Bella, we know how much guilt he feels, and we know he cares and worries about Will (there’s even a line in the script about how he wanted to hug Will when he saw him in s3) conclusion to this is that Jack has a role and responsibilities to fullfil as a boss, and those factors are important to consider to understand why he does what he does, because he has to act as a leader, not just a private person or a friend

I think this part from red dragon really sums up how I see him

also there a line where jack says “when you ASSUME you make an ASS out of U and ME” to fbi trainees I believe lol obsessed with him.

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ninathekllrr · 5 months

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pretend i dont know anything about mitch (because i actually dont and was too scared to ask in dms) and please share everything you have about that man ?!

Ohmahat gawd I’m gonna OOGLE u

Okayokayokayokayokagokag.

Starting off canonically (typing this after hand — there was barely any canon it was just us yapping)

Mitch doesn’t have much lore to him in all honesty

Just the dude that got terrorized by eyeless Jack (nawt Jack Nyras whatever the fuck La mishi mishi named their twink ass version of EJ)

But like. . . Maybe it’s just me being an EJ irl or just how much Mitchell fascinates me for no reason at all, hands down one of my favorite “background” CRP characters to a popular/mainstream one.

To sum up the eyeless Jack story told in Mitch’s point of view

—> (quote)

"I was staring face to face with a creature with a black hoodie and a dark blue mask with no nose or mouth staring down at me. The thing that scared me the most was that it had no eyes. Just empty, black sockets. The creature also had some black substance dripping from its sockets."

Actual thing —>

In the original story, a man named Mitch moves in with his brother Edwin after his house is foreclosed. A week later, Mitch wakes up with a large gash on his cheek. After going to the hospital, the doctor reveals that Mitch's left kidney had been surgically removed overnight. Around midnight that night, Mitch wakes to see Eyeless Jack over his bed, wearing a blue mask with black liquid dripping from empty eye sockets behind the mask.

Mitch manages to grab his camera and take a picture before Jack attacks, clawing at his chest. Mitch escapes and flees into the woods, where he trips and is knocked unconscious. When Mitch awakens in the hospital, it is revealed to him that Edwin had been killed the previous night. His parents drive him to the house to collect his belongings. When he enters, Mitch sees Edwin's corpse and a small object lying next to it. He observes it find that it is his kidney with a bite taken out of it, covered in a black substance.

(Copy and pasted for accuracy)

——————

There is very little media of Mitch becuz the OG (the rake-like eyeless Jack / aka the “OG”) isn’t as popular as all the remakes (the most popular being the cult-sacrificed — Slavic son of Chernobog: and WW2 eyeless Jack)

But the ones that do (or even just barely hint at his existence) I EAT THE EFF UP

(Links) —>

youtube

(This one is so silly cuz the art tbh)

youtube

(The little dude doll is supposedly Mitch. . . Also I heavily think this has Hannibal references ?!!??!!??? Maybe I’m a little too autistic)

This I ESPECIALLY love omfg

youtube

And there are probably more out there but these r just some examples

—————

I guess I really like the fact that unlike other victims of different EJ stories (or just any slasher / CRP story) Mitch isn’t a complete dumbass and he fights and flights against EJ. Whether EJ psychologically tortured Mitch (as some alternate versions go) or not idrc I still find him so silly. . . AND HE DOESNT DIE ?? WOO HOO YOU GO BITCH QUEEN !!!!!

The media of Mitch that is out there indicates the man has either blonde or black hair , blue eyes , and pale skin.

My guy is most definitely in his 20’s (assuming he is mid - late 20’s) and while not having a canonical full name (that I know of) I’ve seen multiple sources saying it’s Mitch(ell) Harlan’s / start w a H?? Idk. EJ’s story is left to be a mysterious one that is easily bended to fit anybody’s creative imaginary. That goes the same way for Mitch as well.

I ALSO SEE ALOT OF PEOPLE SAY THAT MITCH IS EYELESS JACK WHICH I FIND VERY VERY COOL

if EJ doesn’t kill its victims, or they manage to escape, they fall under a certain illness that basically mutilates their appearances. ( not canon at all plz I just wanted to mention this )

(And yes I will be using it/its for ej cuz not only do I use it/its but EJ is canonically referred to as a masculine thing, “it” and creature 😒)

There is this sooper dooped cool artist on toyhouse, and while their eyeless Jack isn’t the victim (aka Mitch) and just happened 2 have the same night I still I love their interpretation of EJ.

Uhhh that’s basically it for “canon” wise and additional information. Dudes basically as much as a mystery as eyeless Jack itself andddd yeah I still love him and I think we can do just as much to his character just liek what was done w EJ

(I probably sound insane to anything reading this:) what is bro yapping about? Mitch was just a victim—— SHHHHHHHHHHHHHHH let me live in my own littol world of mitches 😞

(Also had 2 hold back on yapping about my memories w Mitch bc I’d actually drive the tumbers on here insane)

Kay

Kaayzie

Im done

Errr

:33

#ramble #I sound stupid #plz hear me out #eyeless Jack #canonical stories #Mitch eyeless Jack #Mitch harlan #oh my god I love off topic characters #he’s so silly #plz #Nina ramble

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bonearenaofmyskull · 6 months

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I wanted to let you know how much I admire your writing. Your talent for storytelling is incredible, and I've been a big fan of your work for a while now.(You could see my comments in ao3)

Going through the comments in ao3 one thing was clear that u DO wanted to write a s4 fic but I guess u must be very busy which is understandable and if u need any help just let me know. I would love to assist you

I've been thinking about how amazing it would be to read a Season 4 fanfic from you. I can't help but imagine the magic you'd create with those characters and plotlines. So, I wanted to make it clear that it's now my mission to gently (or not so gently) nag you to write a Season 4 fic, every week.

I would definitely stop if it's not acceptable.

I'm really excited about the idea, and I would be absolutely thrilled to read your take on it.

Your writing has a special place in my heart, and I believe a Season 4 fic from you would be nothing short of extraordinary. Please consider it, and know that I'd be eagerly waiting to devour every word of it.

Looking forward to any updates on this mission of mine!

Love 😘

Cassy from ao3

Yeah, this is not a good idea. Don't do this, especially not now. I don't know if you're a member of the group of friends who recently overwhelmed my private messaging with questions about season 4, almost creepy enthusiasm, and nagging for responses. But if not, be aware that after something like 56 messages in less than two days, I actually started blocking people. This is something I've rarely done to non-porn bots--I've probably blocked real people less than 5 times in the 10 years I've been on tumblr. I appreciate that you like my work, but with this context in mind, now is not the time.

And just a note for the general audience out there and those people I blocked in case they're lurking about: I'm not a meta tap you can privately turn on for your Hannibal fix, nor a stand-in for Bryan Fuller and production now that most have lost hope for a season 4. I still enjoy Hannibal but have mostly moved on to other hobbies, and if I do ever write another fic or a season 4 fic, it will be when I feel moved by inspiration, not by being inundated by demands.

For the record, what specific ideas I have for a season 4 fic will remain unstated unless I write it, and what speculations and predictions I have that seem realistic for the actual show, I've probably mostly stated in previous metas, or if not, have kept to myself for personal reasons. I'm sure some of it I've forgotten by this point.

The right way to approach me for a meta discussion is to send an ask to my inbox like Cassy here did, so that I can make a public response and generate a discussion if possible: that's how a meta blog generates content for blogging. No one who writes meta has time to write whole analytical essays and arguments for an audience of 1, unless that audience is a very close and trusted friend.

With that said, I do understand that this isn't that satisfying since I haven't answered asks in a long time, and when I have, my responses have been brief. The truth is, I just haven't got that much to say about Hannibal that I haven't already said in the past. I believe there are a variety of more recent Hannibal meta blogs out there, as well as ones that reblog and index meta from multiple writers. Good luck to you all in finding what you're looking for.

Cassy, I do appreciate your enthusiasm, and I'll make an effort to catch up on my AO3 comments here in a bit.

#hannibal meta #bear answers #season 4

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