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eattherudefansite · 9 years

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ANNOTATIONS FOR PRIMAVERA

Hannibal Annotations – Primavera

FULL SCRIPT

A Note on the Episode Title

Time Index

Event

Notes

00:35-06:40

Reliving Tragic...Memories?

While a few of the opening cuts are slightly edited and re-shot, most of what we relive from Episode 213, Mizumono is actually lifted footage from that episode. Of course, since they have the original footage, there is entirely different music, and possibly an even darker hue cast over Hannibal’s house.

04:08-04:15

Will: “I already did.”

The shot of Will saying that he’s already changed Hannibal is different than the one that features in Episode 213, Mizumono.

It’s important to notice that this is the only shot between the three characters in Hannibal’s kitchen that changes between Episodes 213 and 302.

Because it’s the only significant difference (Will says “I already did” without smiling as he did in Mizumono) of the revisited sequence, it’s more likely that another take of the scene was used in place of the former rather than that they re-shot it strictly to avoid Will’s smile that was used in the first place.

05:50-06:20

The Differences

Some of the differences between Episode 213, Mizumono and Episode 302, Primavera in this instance is the presence of sound! The music doesn’t invade their gasps as they bleed out in Primavera like it does in Mizumono.

We see the full sequence this time. There are no cuts away to Hannibal exiting his home and letting the rain bathe him. While we know that Alana is outside and Jack is in the pantry, we don’t get the shot of Alana in shock or the stillness of Jack’s arm as Bella answers his desperate phone call.

The shot doesn’t fade away on the dying stag, which represents the bond between Hannibal and Will.

06:20-06:40

Drowning in blood

Here we get some entirely new (still) shots of Will, Abigail, and the stag drowning in what-seems-to-be the Ravenstag’s blood.

Bryan teased that this episode would have more blood than the Overlook Hotel’s elevators (a reference to The Shining), and he really wasn’t kidding. Who knew it would be in Hannibal’s kitchen?

06:40-07:00

Will drowning in blood

The drowning motif is entirely continued on from Episode 301, Antipasto, when Bedelia imagines drowning in the blackness in the bathtub.

Maybe Bedelia is drowning in darkness because of the constant dance she has with the devil (aka Hannibal), and Will is drowning in blood because of his inability to cope with the death he’s caused by “provoking” Hannibal (especially in Episode 213, Mizumono)...and maybe Will more like Hannibal than he thought and that’s why it’s blood and not blackness...

07:50-08:35

Hello, doctor?

The doctor checks up on Will and gives him a sip of water when Will expresses his thirst. Then the doctor leaves while saying that there is someone there who is very anxious to see him.

Does Will imagine the doctor? Or does Will imagine the doctor saying that he has a visitor? ...or is this all actually happening?

08:55-09:20

“Time did reverse…”

Here we do get new footage of Episode 213, Mizumono in a way! Except it’s in reverse. To follow through with Stephen Hawking’s metaphor, the teacup did come together, only to be broken again. (Abigail flies through time back to before her throat was slit, but then time resumes its normal course, and we see Hannibal cut her again).

10:20-11:50

Will: “It’s hard to grasp...what would’ve happened...what could’ve happened, and in some other world did happen.”

Abigail: “I’m having a hard enough time dealing with this world. Hope some of the other worlds are...easier on me.”

Will: “Everything that can happen, happens. It has to end well...and it has to end badly. It has to end every way it can. This is the way it ended for us.”

Abigail: “We don’t have an ending. He didn’t give us one yet. He wants us to find him.”

Will: “After everything he’s done, you’d still go to him?”

Abigail: “If everything that can happen, happens, then you can never really do the wrong thing. You’re just doing what you’re supposed to.”

Hugh Everett III was an American physicist who first proposed the theory that all alternative histories and futures exist, each representing a very real and actual world. The theory was proposed in 1957, but was popularized during the 1960’s and 1970’s and was renamed the Many-worlds interpretation.

This theory was thought to resolve many paradoxes at the time, considering that it offers up an explanation that allows all outcomes to occur at once in separate “worlds.”

It is now a mainstream theory that is very obviously explored in the dialogue between Will and Abigail in this episode.

Bryan Fuller has confirmed that Hugh Everett’s work was an inspiration for this conversation via Twitter.

11:50-12:15

Will’s belly

The linoleum knife coming from within him or the premature birth of the Ravenstag? I think it’s the latter.

Will’s mind is fixated on going back to Hannibal, which is evident from his conversation with Abigail. He’s in post-breakup/denial phase.

Since the stag is a symbol of his relationship with Hannibal, and it died the night of Episode 213, Mizumono...it would only make sense that it would have to be born again. Why not out of his belly? Right before he wakes up somewhere familiar, too...

12:15-14:15

Will’s Memory Palace

From Hannibal, Chapter 103:

“Clarice Starling's memory palace is building as well. It shares some rooms with Dr. Lecter's own memory palace - he has discovered her in there several times but her own palace grows on its own. It is full of new things. She can visit her father there. Hannah is at pasture there. Jack Crawford is there, when she chooses to see him bent over his desk…”

In this television interpretation of the Thomas Harris books, Clarice Starling cannot be a major character just yet. Actually, she can’t even feature yet - they don’t have the rights. But she is significant to Hannibal. Since she has not featured, and the show really explores the relationship between Hannibal and Will, some of the significant aspects of Hannibal and Clarice’s relationship are used in Hannibal and Will’s.

12:41

Will’s outfit and all of those falling papers

Look familiar? It should. Will Graham last stood in Hannibal’s library while wearing that outfit in Episode 213, Mizumono. Hannibal and Will burned everything they could together.

This scene takes us back to an odd perspective of Mizumono at around 09:55-13:51.

13:00

Will’s burning Clock Drawing

Will’s Clock Drawing Test burns in Will’s hand as he holds it just as it burned in Episode 213, Mizumono when Will throws it in the fire at 10:50.

13:10-13:40

First the dialogue:

Hannibal: “When we have gone from this life, I will always have this place.”

Will: “In your ‘memory palace?’”

Hannibal: “My palace is vast, even by medieval standards. The foyer is the Norman Chapel in Palermo; severe, beautiful, and timeless with a single reminder of mortality: a skull graven in the floor.”

From Episode 213, Mizumono at 11:25-12:00:

Hannibal: “When we’ve gone from this life, Jack Crawford and the FBI behind us, I will always have this place.”

Will: “In your memory palace?”

Hannibal: “My palace is vast, even by medieval standards. The foyer is the Norman Chapel in Palermo. Severe, beautiful, and timeless. With a single reminder of mortality. A skull. Graven in the floor.”

13:10-13:40

The shots from Episode 302, Primavera:

Hannibal: “I will always have this place.”

Will: “In your ‘memory palace?’”

This is said with Hannibal and Will’s backs turned to the library.

Hannibal: “My palace is vast, even by medieval standards.”

Hannibal says this while looking up from the flames.

Hannibal: “The foyer is the Norman Chapel in Palermo;”

This is said while looking across from one another, papers falling in the background, and a duplicate Will Graham observing from a far.

Hannibal: “..severe, beautiful, and timeless with a single reminder of mortality: a skull graven in the floor.”

This is said while Hannibal looks at Will, slowly turning back to the fire.

Will then doesn’t look into the fire. Instead, he locks eyes with his duplicate, and the conversation apparently ends there.

The shots from Episode 213, Mizumono at 11:25-12:00:

Hannibal: “I will always have this place.”

Will: “In your ‘memory palace?’”

This is said with Hannibal and Will’s backs turned to the fire.

Hannibal: “My palace is vast, even by medieval standards.”

Hannibal says this while turning from looking out at the library.

Hannibal: “The foyer is the Norman Chapel in Palermo.

This is said while looking across from one another. There are no papers falling, and there is not an observing Will Graham. But...it’s the same exact shot used in Primavera, just unedited.

Hannibal: “Severe, beautiful, and timeless. With a single reminder of mortality. A skull. Graven in the floor.”

This is said while Hannibal looks at Will, slowly turning back to the fire. It’s the same exact shot used in Primavera.

The conversation then continues after Will looks into the fire.

14:00-14:15

The skull graven in the floor

Hannibal’s memory palace has the foyer of the Norman Chapel in Palermo, with a skull graven in the floor. It makes sense that Will’s memory palace would share some rooms with Hannibal.

Especially since in Hannibal, Chapter 103:

14:35

Norman Chapel in Palermo

8 months later and Will thinks it’s a good idea to go to the Norman Chapel in Palermo based off of his conversation with Hannibal about memory palaces. Maybe Hannibal likes it so much that he’s run off there...

15:15-15:30

Abigail and the priest

Abigail and the priest make some noticeable eye contact that seems to leave them both pretty confused.

Strange how he and Will are the only two people that see her, isn’t it? If she’s not alive, is she a really a figment of Will’s inflamed/scarred consciousness? Because the priest seeing her suggests otherwise...

Bryan Fuller teased this question himself via Twitter.

15:35-15:50

Abigail: “We all know it, but nobody ever says that G-dash-D won’t do a G-dash-D-damned thing to answer anybody’s prayers.

From Hannibal, Chapter 8:

“Crawford and Starling were like medical missionaries, with little patience for theology, each concentrating hard on the one baby before them, knowing and not saying that God wouldn't do a goddamned thing to help. That for fifty thousand Ibo infant lives, He would not bother to send rain.”

16:30-17:20

Will says “Nothing would thrill Hannibal more than to see this roof collapse mid-Mass, packed pews, choir singing...He would just love it. And he thinks God would love it, too.”

Then imagines the ceiling starting to crack and crumble onto his hands.

This is a reference to Hannibal’s ongoing “obsession” with roofs collapsing in churches.

From Red Dragon, Chapter 36:

“You may have noticed in the paper yesterday, God dropped a church roof on thirty-four of His worshipers in Texas Wednesday night - just as they were groveling through a hymn. Don't you think that felt good?”

From The Silence of the Lambs, Chapter 3

“I collect church collapses, recreationally. Did you see the recent one in Sicily? Marvelous! The facade fell on sixtyfive grandmothers at a special Mass. Was that evil? If so, who did it? If He's up there, He just loves it, Officer Starling. Typhoid and swans--- it all comes from the same place.” [said by Hannibal Lecter]

From Hannibal, Chapter 8:

"He thought what happened to me would . . . destroy, would disillusion me about the Bureau, and he enjoys seeing the destruction of faith, it's his favorite thing. It's like the church collapses he used to collect. The pile of rubble in Italy when the church collapsed on all the grandmothers at that special Mass and somebody stuck a Christmas tree in the top of the pile, he loved that. I amuse him, he toys with me. When I was interviewing him he liked to point out holes in my education, he thinks I'm pretty naive." [said by Agent Starling]

17:40

Hannibal’s broken heart

Antony Dimmond’s death results in his body being twisted and sculpted into a giant heart, being propped up by…swords? Resembles something…

Tarot’s 3 of Swords denoting betrayal and pain of separation.

17:55

“POLIZIA SCIENTIFICA”

“VIETATO ENTRARE”

This means “Forensics” in Italian.

This means “Prohibited to enter” in Italian.

18:20-18:35

Poliziotto Lamanna: “Per favore, signore. È proibito qui. La cappella è chiusa.”

Inspector Donaggio: “LaManna, non lasciarlo uscire. Voglio parlare con lui.”

Will: “What did he say?”

Poliziotto LaManna: “He said he wants to talk to you.”

Poliziotto Lamanna: “Please, sir. It’s prohibited here. The chapel is closed.”

Inspector Donaggio: “LaManna, do not let him leave. I want to speak with him.”

Will: “What did he say?”

Poliziotto LaManna: “He said he wants to talk to you.”

18:51-20:20

Insp. Pazzi: “Signor Graham [Mr. Graham]… Chief Investigator Rinaldo Pazzi. Questura di Firenze [Police Headquarters of Florence].”

Will: “You’re a long way from Florence.”

Insp. Pazzi: “You’re a long way from Baltimore. I read everything I can find on FBI profiling methods. I read all about your incarceration.”

Will: “Keep reading. I was acquitted.”

Insp. Pazzi: “You come to Palermo, and soon - very soon - a body is discovered. The priest at the Cappelli dei Normanni [Norman Chapel] said you have been spending a lot of time there.”

Will: “I’ve been praying.”

Insp. Pazzi: “There is some comfort in prayer. It leaves you with the distinct feeling that you’re not alone.”

Insp. Donaggio: “Signore...vieni con me. [Sir...come with me.]”

Insp. Pazzi: “Ciao. [Bye.]”

Chief Investigator Pazzi is first introduced in Hannibal, Chapter 17:

“Chief Investigator Rinaldo Pazzi of the Questura…”

From Hannibal, Chapter 17:

“Pazzi worked like a man possessed. He called on the American FBI's Behavioral Science section for help in profiling the killer and read everything he could find on FBI profiling methods.”

From Hannibal, Chapter 35:

“There was some comfort in prayer, Pazzi reflected, leaving the chapel - he had the distinct feeling, walking out through the dark cloister, that he was not alone.”

20:40-21:32

Insp. Pazzi: “Is Will Graham here because of the body at the cappella [chapel], or is the body here because of Will Graham?”

Will Graham: “Why are you here?”

Insp. Pazzi: “I’m like you. I do what you do. We share the gift of imagination.”

Will Graham: “I’ve got the scars of a man who grabbed his gift by the blade.”

Insp. Pazzi: “You grabbed the wrong end. Those moments when the connection is made, that is my keenest pleasure.”

Will Graham: “Knowing.”

Insp. Pazzi: “Knowing. Not feeling, not thinking. You know who murdered that man and left him in the Cappella Palatina.”

Will Graham: “Don’t you know?”

The first mention of Inspector Pazzi’s gift of imagination is from Hannibal, Chapter 17:

“Pazzi imagined that success came as a result of inspiration. His visual memory was excellent and, like many people whose primary sense is sight, he thought of revelation as the development of an image, first blurred and then coming clear. He ruminated the way most of us look for a lost object: We review its image in our minds and compare that image to what we see, mentally refreshing the image many times a minute and turning it in space.”

From Hannibal, Chapter 17:

“Pazzi did not head the Questura investigation division for nothing - he was gifted and in his time he had been driven by a wolfish hunger to succeed in his profession. He also carried the scars of a man who, in the haste and heat of his ambition, once seized his gift by the blade.”

From Hannibal, Chapter 17:

“In that moment when the connection is made, in that synaptic spasm of completion when the thought drives through the red fuse, is our keenest pleasure. Rinaldo Pazzi had had the best moment of his life.”

From the Red Dragon film, near the end:

“...be grateful, our scars have the power to remind us that the past was real.” [written by Hannibal Lecter]

This is also the main chorus of a song called Scars by Papa Roach that the scene alludes to, confirmed by the NBC Hannibal Twitter account.

21:32-23:05

Insp. Pazzi: “I met him 20 years ago. Il Mostro [The Monster], the Monster of Florence. It was his custom to arrange his victims like a beautiful painting. Il Mostro created images that stayed in my mind. 20 years ago, I was dwelling on a couple found slain in the bed of a pickup truck in Impruneta. Bodies placed garlanded with flowers…”

Will Graham: “Like a Botticelli.”

Insp. Pazzi: “Exactly like a Botticelli. His painting Primavera still hangs in the Uffizi Gallery in Florence, just as it did 20 years ago. The garlanded nymph on the right, the flowers streaming from her mouth, match. Match…”

Will: “The Uffizi Gallery - that’s where you met Il Mostro?”

Insp. Pazzi: “That’s where I met… this man. The Monster of Florence.”

From Hannibal, Chapter 17:

“Even as he worked the important museum bomb case, Il Mostro's created images stayed in Pazzi's mind. He saw the Monster's tableaux peripherally, as we look beside an object to see it in the dark. Particularly he dwelt on the couple found slain in the bed of a pickup truck in Impruneta, the bodies carefully arranged by the Monster, strewn and garlanded with flowers, the woman's left breast exposed.

Pazzi had left the Uffizi museum one early afternoon and was crossing the nearby Piazza Signoria, when an image jumped at him from the display of a postcard vendor.

Not sure where the image came from, he stopped just at the spot where Savonarola was burned. He turned and looked around him. Tourists were thronging the piazza. Pazzi felt cold up his back. Maybe it was all in his head, the image, the pluck at his attention. He retraced his steps and came again.

There it was a small, fly-specked, rain-warped poster of Botticelli's painting Primavera.

The original painting was behind him in the Uffizi museum.

Primavera. The garlanded nymph on the right, her left breast exposed, flowers streaming from her mouth as the pale Zephyrus reached for her from the forest. There. The image of the couple dead in the bed of the pickup, garlanded with flowers, flowers in the girl's mouth. Match. Match.”

21:38

“il Mostro”

The Monster of Florence (“il Mostro”) was an actual epithet commonly used for the perpretator(s) associated with 16 murders between 1968 and 1985 in Florence, Italy. The same gun and pattern were used in all of the murders.

Four local men were arrested, charged, and convicted of the crime at very different times. Each conviction was heavily criticized by the media, and it’s among popular belief that the real killer(s) have never been truly identified.

While some of these details were preserved in the novel Hannibal, some things were changed and added. For instance, it is implied that Hannibal committed the il Mostro murders somewhere in the 1980’s or 1990’s based off the painting Primavera. None of that is true in reality.

23:00

“The Monster of Florence”

The edited product used in Episode 302, Primavera

The photo is an edited mashup of an old photo of Mads Mikkelsen from his Danish television show Rejseholdet and a photo of Hannibal’s production designer Rory Cheyne in order to achieve a younger look. This was confirmed by Bryan Fuller via Twitter.

A photo of Mads Mikkelsen from Rejseholdet (2000-2004)

Hannibal’s awesome production designer Rory Cheyne

23:10-25:00

Insp. Pazzi: “Success comes as a result of inspiration. Revelation is the development of an image, first blurred, then coming clear. To find the inspiration il Mostro used was a triumph. I went to the Uffizi and stood before the original primavera day after day and most days I’d see a young Lithuanian man as transfixed by the Botticelli as I was; as transfixed as I imagined il Mostro would be. And every day I saw him… he would recreate the Primavera in pencil, just as he did in flesh. I knew. It was the best moment of my life, a moment of epiphany that made me famous and then ruined me. In haste and the heat of ambition, the Questura nearly destroyed the young man’s home trying to find evidence.”

Will: “Well… he doesn’t leave evidence.”

Insp. Pazzi: “No, he doesn’t.”

Will: “He eats it.”

Insp. Pazzi: “Another man - not an innocent man, but innocent of those crimes - was a dream suspect. He was convicted on no evidence except his character.”

Will: “Blame has a habit of not sticking to Hannibal Lecter. Hmm.”

Insp. Pazzi: “It has a habit of sticking to you.”

From Hannibal, Chapter 17:

…

“Pazzi was excited for two reasons. To find the image Il Mostro used was a triumph, but much more important, Pazzi had seen a copy of Primavera in his rounds of the criminal suspects.

He knew better than to flog his memory; he leaned and loafed and invited it. He returned to the Uffizi and stood before the original Primavera, but not too long.”

Pazzi references Hannibal being of Lithuanian descent, which is a reference to Hannibal Rising.

From Hannibal, Chapter 18:

“The Questura nearly destroyed Tocca's house trying to find evidence.” [about Girolamo Tocca - the “dream suspect” - instead of Hannibal Lecter]

…

“Tocca was a dream suspect.”

…

“The sworn and besashed jurors, five men and five women, convicted Tocca on almost no evidence except his character.”

27:15-28:45

Rebirth of the ‘Hart’ aka the Ravenstag is definitely coming back

The heart morphs into the beginnings of the Ravenstag, continuing the theme from Will’s hospital bed. This suggests that Will traveling to Palermo has somehow strengthened the relationship between Will and Hannibal. I assumed it will full form into a Ravenstag upon their eventual meeting face-to-face.

This theory is supported by what Will says to Abigail following the hallucination:

Will: “I do feel closer to Hannibal here. God only know where I would be without him.”

A very popular pun that was implied is that the heart morphed into a “hart” - an archaic word meaning “stag.”

Bryan Fuller refers to the monstrous hallucination as Stagenstein.

30:00-30:15

Will: “It’s Lucy and the football. He just keeps pulling you away.”

A reference to the running gag in the famous comic strip Peanuts, where Lucy constantly pulls the football away just as Charlie Brown goes to kick it. The gag has also featured in other Charlie Brown media.

Lucy is a jerk...but Hannibal can be too...

31:20

Where was Sogliato to say: “Abigail lives? I think not.”

So Abigail Hobbs is officially dead. But there was that scene with the priest! So maybe she wasn’t entirely a figment of Will Graham’s imagination. Maybe she was actually haunting him…

Also, I personally wonder if this will lead up to the scene in Red Dragon, where Will tells his stepson about the Hobbs family. If so, that will have a much deeper meaning.

From Red Dragon, Chapter 15:

"...Hobbs had caught this girl from behind and he had a knife. He was cutting her with it. And I shot him." [said by Will Graham].

"Did the girl die?" [asked by stepson - Willy Foster]

"No." [Will]

"She got all right?" [Willy]

"After a while, yes. She's all right now.” [Will]

34:25-37:03

Insp. Pazzi: “Are you… praying?”

Will: “Hannibal doesn’t pray. But he believes in God - intimately.”

Insp. Pazzi: “I wasn’t asking Hannibal Lecter.”

Will: “I think my prayers would feel constricted by the saints and apostles and Jesus Pantocrator. How do your prayers feel?”

Insp. Pazzi: “I hope my prayers escaped, flown from here, to the open sky and God.”

Will: “Praying you catch him? You should be praying he doesn’t catch you.”

Insp. Pazzi: “I didn’t head the Questura di Firenze for nothing.”

Will: “You couldn’t catch him when he was just a kid; what makes you think you’re going to catch him now?”

Insp. Pazzi: “You.”

Will: “What makes you think I want to catch him?”

Insp. Pazzi: “Signor Graham…”

Will: “If you could possibly be content, I would suggest you let il Mostro go.”

Insp. Pazzi: “I can’t do that anymore than you can.”

Will: “He’s going to kill you, you know. I’m usually right about these things.”

Insp. Pazzi: “He let you know him. He sent you his heart. Where has he gone now?”

Will: “He hasn’t gone anywhere. He’s still here.”

From Hannibal, Chapter 35:

“He felt his prayers constricted by the circle of apostles on the ceiling, and thought perhaps the prayers might have escaped into the dark cloister behind him and flown from there to the open sky and God.”

From the 2001 film, Hannibal:

“You're trying to catch him yourself, aren't you, Inspector?” [said by Clarice Starling]

From Hannibal, Chapter 17:

“Pazzi did not head the Questura investigation division for nothing…”

From the 2001 film, Hannibal:

“You’re trying to catch him yourself, aren’t you, Inspector? ...I cannot warn you strongly enough against that. He killed three policemen down in Memphis, while he was in custody, tearing the face off one of them - and he will kill you too if you -” [said by Clarice Starling]

41:00-41:25

Will: “Buonanotte, commendatore.”

Simply translates to “Goodnight, commander.”

Hannibal is one of the only people that refers to Inspector Pazzi as “commendatore.” The first instance occurs in Hannibal, Chapter 19.

Written by Joshwa Walton 2015.

#Annotations #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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eattherudefansite · 9 years

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BEHIND THE MUSIC OF ANTIPASTO

1. Beethoven’s Piano Sonata No. 21 in C Major, Op. 53, known as the Waldstein: Rondo. Allegretto moderato - Prestissimo playing at the Parisian reception.

The Rondo grows more tense as it progresses, but eventually loops back to its calm opening, where it is quiet. Fortissimo chords are spliced throughout the music, but seems to die away towards the end. Instead, it unexpectedly segues into a very triumphant ending that evokes grandeur. Fits with the scene doesn’t it? Hannibal’s hunting, but he’s also a little unexpectedly chatty with newcomer Antony Dimmond.

2. Hannibal is listening to “Sogno soave e casto” - Don Pasquale by Gaetano Donizetti as he eats his dinner.

While I’m not entirely sure why they chose “Sogno soave e casto,” I think the choice of opera is obvious. Donizetti had just returned to Paris from Vienna in 1842 when Jules Janin, the director the Théâtre-Italien, suggested that he compose something. Domenico Gaetano Maria Donizetti is obviously an Italian name. He was actually a leading composer from Bergamo in Lombardy. Think it’s a little too coincidental that Hannibal chose a song from an opera that was born in Paris, but whose composer was born in Italy? He did just eat a man from Italy...and he’s on his way there. Just a thought.

3. Hannibal and Gideon are listening to Prélude à l'après-midi d'un faune by Claude Debussy.

The title of the symphonic poem is translated to Prelude to the Afternoon of a Faun. It was performed in Paris in late 1894. It was inspired by L'après-midi d'un faune (The Afternoon of a Faun), a famous poem by French author Stéphane Mallarmé. The poem describes the sensual experiences of a faun (a lustful rural god, represented as a man with goat’s horns, ears, legs, and a tail) who wakes up from an afternoon nap and discusses his encounters during the morning in a very dream-like monologue. I don’t think I need to even explain why this was used.

4. Hannibal and Bedelia are waltzing to Franz Schubert’s String Quintet in C major: Adagio.

Schubert’s second movement is considered extremely sublime. The outer sections are said to evoke “otherworldly tranquility,” while the central section is “intensely turbulent.” Sounds like a dance with Hannibal if you ask me. I think Bedelia would agree.

5. Hannibal and Bedelia are listening to Frédéric François Chopin’s Prelude Op. 28, No. 15 - Raindrop Prelude as connivers of modern Florence.

Some of Opus 28 was written while Chopin stayed at a monastery in Valldemossa, Majorca in 1838. It was reported later on that, during a terrible rainstorm, Chopin became distraught thinking that his friends were dead. While playing the piano, he dreamt that he saw himself drowned in a lake.

“Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should interpret this in terms of imitative sounds. He protested with all his might - and he was right to - against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds.”

- Historie de ma vie by George Sand

Is the music foreshadowing exactly what’s about to happen to Bedelia in the bathtub? Showrunner Bryan Fuller has stated that we should watch out for the continuing motif of drowning throughout this third season. Hannibal sure has an effect on people.

6. Hannibal and Bedelia are listening to Lulu by Antonello Paliotti and Pappi Corsicato for their dinner with Dimmond.

An oddity in Hannibal’s music! We get a break from the classical and “grand” style of music, and we get...some jazz? It’s quite quirky actually and it’s hard to notice it as you casually watch a flashback between Hannibal and Dr. Gideon transition into a very strange dinner scene. Antonello Paliotti has been a musician and Italian composer since 1984, and he commonly collaborates with Pappi Corsicato - who oddly enough is an Italian director.

But the music arguably fits the scene, doesn’t it? This type of jazz isn’t really common in Hannibal; it’s too up-beat... but the music does introduce a scene that borders on a line between awkward and hilarious, which really isn’t too common in a show like Hannibal.

This is one of those: “It fits until you realize it doesn’t,” but at least it doesn’t fit for a purpose.

For more on the music of Hannibal, check out a recent interview with the mastermind of Hannibal’s music here!

If you haven't checked out our ANNOTATIONS FOR ANTIPASTO, go check those out and tune in to Hannibal every Thursday night at 10/9c. Then you should totally check back here for more ANNOTATIONS.

Didn’t really understand ANTIPASTO? Check out our TRANSLATION OF ANTIPASTO and definitely come back to EAT THE RUDE this weekend for some insight on PRIMAVERA.

#Music #Abigail Hobbs #Hannibal Premiere #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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FOLLOW OUR EDITOR HERE!

‘Bates Motel’ - Where A Boy’s Best Friend Is His Mother

A spin-off of sorts from Alfred Hitchcock’s classic Psycho (1960) - which you can read my thoughts on HERE - is the A&E show Bates Motel (2013-present).

In 1959 Robert Bloch published the novel Psycho as a result of an incident in a neighboring town. After the arrest of a man who was attempting to sew a skin suit from the corpses of his female victims in order to become his mother, Bloch created the mysterious Norman Bates character.

With just enough background story, Bloch was able to engineer a murderous tale of mystery and confusion with a wonderfully dark ending. Not long after the book was published, Hitchcock’s film adaptation gained popularity. Book and film sequels were eventually made in order to compliment the original’s success.

The current Bates Motel series explores the background of the Norman Bates character in a way that explains how nearly everything comes to be in the small town of White Pine Bay, Oregon (presumably leading up to the events that occur in the Psycho story, of course).

The series starts out with Norman Bates as a young teenager. After losing his abusive father in an accident, he and his mother move and start their own business - The Bates Motel. But it isn’t long until they run into a few snags from their deranged past and the corrupt town of White Pine Pay, both of which push them to acts of aggression.

Exploring connections between Norman and his mother Norma, Bates Motel delves into some slightly mature themes, such as: sexual abuse, incest, and murder.

Under the direction of the series’ showrunner Carlton Cuse (who worked on LOST, which you can read about HERE, with Nestor Carbonell who stars in both series as very different characters), the series strictly sticks to the original’s storyline and characters. Although the network is entitled with some creative freedom (such as making the story contemporary and relevant to modern times), there are few deviations.

But many extraordinary additions.

As Bates Motel progresses, there are many events that toy with the viewer - especially ones which rely on the performances of Freddie Highmore as Norman Bates and Vera Farmiga as his mother Norma Bates, and they are both outstanding.

Bates Motel is currently wrapping up Season 3 with its season finale: “Unconscious” on Monday, May 10th. The series holds an 8.2 on imdb.com and a 92% on rottentomatoes.com.

#Bates Motel #Movie reviews #TV reviews #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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#HannibalPremiere #Twitter #Blogger #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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TRANSLATING "ANTIPASTO"

TRANSLATING ANTIPASTO

Alright, so there was arguably a lot of other languages spoken in Hannibal's Season 3 premiere. Even if you're a fan of the show, you're probably wondering: what in the world was Mads saying in Italian?! It's already hard at times to understand his English.

As a bit of a foreword, the title of the episode - Antipasto - is a continuation of the show's trend to name episodes after a culture's cuisine. In this case, "Antipasto" is Italian for "Appetizer." Which is exactly what this episode is!

1. In case you didn't entirely catch the first bit of non-English spoken, "Bonsoir" is French for "Good Evening." This is used several times throughout the opening minutes of the show to seem polite, yet also threatening.

Hannibal says "Bonsoir" to Dr. Roman Fell just before he presumably murders/eats him, and then again to Dr. Fell's wife. So while "Bonsoir" literally means "Good Evening," the show uses it as a threatening "You die now."

2. When Professor Sogliato confronts Hannibal after his waltz he says: "You've examined him in medieval Italian and I will not deny his language is...admirable...for a straniero."

"Straniero" means just what you probably think it means: "Stranger." It's very obvious that Sogliato doesn't like that Hannibal has been appointed to this new position because he is foreign. He is not Italian. This is semi-typical given the snobbery and structure of the Italian university system.

3. In the same scene, Hannibal wins over the approval of his audience when he bursts into Italian.

"Allegro mi sembrava Amor tenendo Meo core in mano, e ne le braccia avea Madonna involta in un drappo dormendo. Poi la svegliava, a d’esto core ardendo Lei paventosa umilmente pascea Appreso gir lo ne vedea piangendo."

Which he explains is Dante's first sonnet from La Vita Nuova.

A translated version of the sonnet is:

The first three hours of night were almost spent The time that every star shines down on us When Love appeared to me so suddenly That I still shudder at the memory. Joyous Love seemed to me, the while he held My heart within his hands, and in his arms My lady lay asleep wrapped in a veil. He woke her then and trembling and obedient She ate that burning heart out of his hand; Weeping I saw him then depart from me.

4. Then Sogliato pretentiously responds: "If he's such an expert on Dante, let him lecture on Dante, to the Studiolo. Let him face them. Extempore."

"Studiolo" means a "small study" (of people, in this context) in Italian.

"Extempore" means "spontaneously" or "impromptu" in Italian.

5. Vera Dal 1926 is a fine foods store that Bedelia tends to visit throughout Antipasto. Each time she says the same thing: "Due bottiglie di Bâtard-Montrachet e li tartufi bianchi, per favore."

The name of the store - "Vera Dal 1926" - means "Real Since 1926."

What she orders translates to: "Two bottles of Bâtard-Montrachet (a wine) and white truffles, please."

The rest of the non-English language present in the episode is fairly self-explanatory. Hannibal teaches on some Italian phrases, but then he translates them almost immediately into English.

If you haven't checked out our ANNOTATIONS FOR ANTIPASTO, go check those out and tune in to Hannibal every Thursday night at 10/9c. Then you should totally check back here for more ANNOTATIONS.

#Italy #France #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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eattherudefansite · 9 years

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ANNOTATIONS OF ANTIPASTO

Hannibal Annotations – Antipasto

FULL SCRIPT

A Note on the Episode Title

Time Index

Event

Notes

01:00 - 02:25

Hannibal in his leather jacket on his bike in Paris, France

This James Bond-esque sequence is intentionally reminiscent of Ridley Scott’s film adaptation of Thomas Harris’ Hannibal in 2001. The film had the style of a Bond-film for sure.

Clarice Starling lookin’ pretty Bond-y.

4:00

Mr. Jakov, you say?

Mr. Jakov - a character in Thomas Harris’ novel Hannibal Rising. Hannibal presents himself as Mr. Jakov in this scene with Antony.

5:30

“Bonsoir,” Dr. Roman Fell

Dr. Roman Fell - the curator whose identity is stolen after Hannibal presumably murders him in Thomas Harris’ Hannibal.

Dr. Fell is first featured in Hannibal Chapter 19, when Inspector Pazzi meets him.

10:30-12:16

Professor Sogliato and the Board

Sogliato: “Dr. Fell, I hope you translate as well as you waltz.”

Member: “Our new appointee was confirmed by the board after close questioning.”

Sogliato: “You’ve examined him in medieval Italian and I will not deny his language is...admirable...”

Hannibal: “Thank you.

Sogliato: “...for a straniero. Are you familiar with the personalities of pre-Renaissance Florence? I think not. Dr. Fell might hold in his hand - in his non-Italian hand - a note from Dante Alighieri himself. Would he recognize it? I think not.”

....

Hannibal: “Allegro mi sembrava Amor tenendo meo core in mano, e ne le braccia avea madonn involta in un drappo dormendo Poi la svegliava e d’esto core ardendo lei paventosa umilmente pascea; appreso gir lo ne vedea piangendo. Dante’s first sonnet. It fascinated Cavalcanti. The eating of the heart is a powerful image.”

Sogliato: “If he’s such an expert on Dante, let him lecture on Dante, to the Stu diolo. Let him face them. Extempore.”Hannibal: “I’m happy to sing for my supper.”

Sogliato is revealed in Hannibal Chapter 19 to be envious of ‘Dr. Fell’’s new position as the curator due to desiring the position for his nephew.

From Hannibal Chapter 19:

The nepotist, Sogliato, had the floor, and was holding it by dint of volume: "The Capponi correspondence goes back to the thirteenth century. Dr Fell might hold in his hand, in his non-Italian hand, a note from Dante Alighieri himself. Would he recognize it? I think not. You have examined him in medieval Italian, and I will not deny his language is admirable. For a straniero. But is he familiar with the personalities of pre-Renaissance Florence? I think not. What-if he came upon a note in the Capponi library from-from Guido de' Cavalcanti for instance? Would he recognize it? I think not. Would you care to address that, Dr Fell?"

…

"Cavalcanti replied publicly to Dante's first sonnet in La Vita Nuova, where Dante describes his strange dream of Beatrice Portinari," Dr Fell [Hannibal] said. "Perhaps Cavalcanti commented privately as well. If he wrote to a Capponi, it would be to Andrea, he was more literary than his brothers." Dr Fell turned to face the group in his own time, after an interval uncomfortable to everyone but him. "Do you know Dante's first sonnet, Professor Sogliato? Do you? It fascinated Cavalcanti and it's worth your time. In part it says:

"The first three hours of night were almost spent The time that every star shines down on us When Love appeared to me so suddenly That I still shudder at the memory. Joyous Love seemed to me, the while he held My heart within his hands, and in his arms My lady lay asleep wrapped in a veil. He woke her then and trembling and obedient She ate that burning heart out of his hand; Weeping I saw him then depart from me."

Listen to the way he makes an instrument of the Italian vernacular, what he called the vulgari eloquentia of the people:

"Allegro mi sembrava Amor tenendo Meo core in mano, a ne le braccia avea Madonna involta in un drappo dormendo. Poi la svegliava, a d'esto core ardendo Lei paventosa umilmente pascea Appreso gir to ne vedea piangendo."

Even the most contentious Florentines could not resist the verse of Dante ringing off these frescoed walls in Dr Fell’s clear Tuscan. First applause, and then by wet-eyed acclamation, the memberships affirmed Dr. Fell as master of the Palazzo Capponi, leaving Sogliato to fume. If the victory pleased the doctor, Pazzi could not tell, for he turned his back again. But Sogliato was not quite through. "If he is such an expert on Dante, let him lecture on Dante, to the Studiolo." Sogliato hissed the name as though it were the Inquisition. "Let him face them extempore, next Friday if he can."

12:38

Hannibal: “I’ve found a peace here that I would preserve.”

In Hannibal Chapter 21, Thomas Harris writes: He has found a peace here that he would preserve, he has killed hardly anybody, except his predecessor, during his residence in Florence.

20:37-21:26

Vera Dal 1926

Bedelia: “Due bottiglie di Batard-Montrachet e li tartufi bianchi, per favore.”

Vera Dal 1926 is first mentioned in Hannibal Chapter 25. It is a fine food store in Florence that Hannibal Lecter frequents under the guise of Dr. Roman Fell.

Batard-Montrachet is first mentioned in Hannibal Chapter 42 as a wine that Hannibal Lecter is prone to consistently buying. Especially from Vera Dal 1926 with some tartufi bianchi - which are simply white truffles. Clarice Starling notes this after acquiring his receipts from his time-spent in Florence.

23:55-24:47

Hannibal: “Listen. They prefer eating in company. I’ve kept cochlear gardens since I was a young man, fattening snails on herbs and vine leaves. Like all of us, what they eat greatly influences and enhances their flavor.”

Abel: “When I’m not busy eating myself, you wish me to be eating oysters, drinking sweet wines and snacking on acorns. All to make me tastier?”

Hannibal: “Oh yes. And you are making them tastier.”

Hannibal creator/writer/showrunner/producer/everything-guy Bryan Fuller has stated via Twitter that snails will definitely be a recurring theme during this “Italian chapter.”

27:02-27:58

Antony: “Oysters, acorns and Marsala. That’s what ancient Romans would feed animals to improve their flavor.”

Bedelia: “My husband has a very sophisticated palette. He’s very particular about how I taste.”

Antony: “Is it that kind of party?”

Hannibal: “It’s not that kind of party.”

Bedelia: “No, it really isn’t.”

Antony: “Shame. You’re both suddenly so fascinating.”

Hannibal: “Hm!”

Bryan Fuller has stated in an interview that by feeding all of these things to Bedelia, Hannibal is really considering eating her.

28:30-29:35

Bedelia’s plan

Bedelia seems to be making some weird eye contact with that policeman. Or did she just get an idea by seeing him out and about? We’re not sure, but Bryan Fuller stated on a Facebook “Q&Slay” Session that Bedelia will reveal her plan around Episode 6.

Seems to me that staring into the camera seems to mean something more than just paranoia.

28:53-29:17

Bedelia: “Due bottiglie di Batard-Montrachet e li tartufi bianchi, per favore.”

Again with the Batard-Montrachet and white truffles, Bedelia? Does Hannibal like these THAT much or is something else going on here?

29:42-32:26

Bedelia’s dark secret

Hannibal: “I can help you...if you ask me to.”

Anyone notice Zachary Quinto's appearance? Bryan Fuller has confirmed via Twitter that Quinto will return in Episode 10 with more of a story.

Seems to us that Hannibal likes to gain the upperhand by blackmailing/manipulating the women in his life. Obvious parallels here from Hannibal Season 1 Episode 3, Potage at around the 38:15-38:20 mark.

Abigail Hobbs “accidentally” butchers the young man in self-defense right after Hannibal successfully convinces the FBI that he is the Minnesota Shrike’s copycat killer. Then he offers her an alternative situation, helping her to avoid conviction.

Hannibal: “I can help you. If you ask me to.”

32:28-34:20

The Studiolo

Hannibal: “In accord with my own taste for the pre-Renaissance, I present the case of Pietro della Vigna, whose treachery earned him a place in Dante’s Hell. He was disgraced and blinded for betraying his emperor’s trust. Dante’s pilgrim finds him in the seventh level of the Inferno, reserved for suicides. Like Judas Iscariot, he died by hanging. Judas and Pietro della Vigna are linked in Dante’s Inferno. Betrayal, hanging… then linked since antiquity, the image appearing again and again in art. This is the earliest known depiction of the Crucifixion, carved on an ivory box in Gaul about A.D. four hundred. It includes the death by hanging of Judas, his face upturned to the branch that suspends him. On the doors of the Benevento Cathedral, we see Judas hanging with his bowels falling out. And here, from a fifteenth-century edition of The Inferno is Pietro della Vigna’s body hanging from a bleeding tree. I won’t belabor the parallels with Judas Iscariot. Betrayal, hanging, self-destruction. ‘Io fei gibetto a me de le mie case.’ ‘I make my own home be my gallows.’ Mr. Dimmond. Welcome. Please join us. We were just about to discuss the matter of chewing in Dante.”

(applause)

Hannibal: “Thank you for your kind attention.”

In Hannibal, Chapter 36:

Much in accord with the Studiolo's taste for the pre-Renaissance, Dr Lecter began with the case of Pier della Vigna, Logothete of the Kingdom of Sicily, whose avarice earned him a place in Dante's Hell. For the first half-hour the doctor fascinated them with the real-life medieval intrigues behind della Vigna's fall. "Della Vigna was disgraced and blinded for his betrayal of the emperor's trust through his avarice," Dr Lecter said, approaching his principal topic. "Dame's pilgrim found him in the seventh level of the Inferno, reserved for suicides. Like Judas Iscariot, he died by hanging. "Judas and Pier della Vigna and Ahithophel, the ambitious counselor of Absalom, are linked in Dante by the avarice he saw in them and by their subsequent deaths by hanging. "Avarice and hanging are linked in the ancient and the medieval mind: St Jerome writes that Judas' very surname, Iscariot, means `money' or `price,' while Father Origen says Iscariot is derived from the Hebrew `from suffocation' and that his name means `Judas the Suffocated." ' Dr Lecter glanced up from his podium, looking over his spectacles at the door. "Ah, Commendator Pazzi, welcome. Since you are nearest to the door, would you be kind enough to dim the lights? You will be interested in this, Commendatore, as there are two Pazzis already in Dante's Inferno . . ." The professors of the Studiolo cackled dryly. "There is Camicion de' Pazzi, who murdered a kinsman, and he is expecting the arrival of a second Pazzi-but it's not you-it's Carlino, who will be placed even farther down in Hell for treachery and betrayal of the White Guelphs, the party of Dante himself." A little bat flew in through one of the open windows and circled the room over the heads of the professors for a few laps, a common event in Tuscany and ignored by everyone. Dr Lecter resumed his podium voice. "Avarice and hanging, then, linked since antiquity, the image appearing again and again in art." Dr Lecter pressed the switch in his palm and the projector came to life, throwing an image on the drop cloth covering the wall. In quick succession further images followed as he spoke: "Here is the earliest known depiction of the Crucifixion, carved on an ivory box in Gaul about A.D. four hundred. It includes the death by hanging of Judas, his face upturned to the branch that suspends him. And here on a reliquary casket of Milan, fourth century, and an ivory diptych of the ninth century, Judas hanging. He's still looking up." The little bat flickered across the screen, hunting bugs. "In this plate from the doors of the Benevento Cathedral, we see Judas hanging with his bowels falling out as St Luke, the physician, described him in the Acts of the Apostles. Here he hangs beset by Harpies, above him in the sky is the face of Cain-in-the-Moon; and here he's depicted by your own Giotto, again with pendant viscera. "And finally, here, from a fifteenth-century edition of the Inferno, is Pier della Vigna's body hanging from a bleeding tree. I will not belabor the obvious parallel with Judas Iscariot. "But Dante needed no drawn illustration: It is the genius of Dante Alighieri to make Pier della Vigna, now in Hell, speak in strained hisses and coughing sibilants as though he is hanging still. Listen to him as he tells of dragging, with the other damned, his own dead body to hang upon a thorn tree: "Surge in vermena a in pianta silvestra: VA rpie, pascendo poi de Ie sue foglie, fanno doloye, a al dolor fenestra." Dr Lector's normally white face flushes as he creates for the Studiolo the gargling, choking words of the agonal Pier della Vigna, and as he thumbs his remote control, the images of delta Vigna and Judas with his bowels out alternate on the large field of the hanging drop cloth. "Come l'altre verrem per nostre spoglie, ma non pero ch'alcuna son rivesta, the non a giusto aver cio ch'om si toglie. "Qui le strascineremo, a per la mesta selva saranno i nostri eorpi appesi, ciascuno al prun de l'ombra sua molests. "So Dante recalls, in sound, the death of Judas in the death of Pier delta Vigna for the same crimes of avarice and treachery. "Ahithophel, Judas, your own Pier delta Vigna. Avarice, hanging, selfdestruction, with avarice counting as self-destruction as much as hanging. And what does the anonymous Florentine suicide say in his torment at the end of the canto? "Io fez' gibetto a me de Ie mie case. "And I - I made my own house be my gallows. "On the next occasion you might like to discuss Dame's son Pietro. Incredibly, he was the only one of the early writers on the thirteenth canto who links Pier dells Vigna and Judas. I think, too, it would be interesting to take up the matter of chewing in Dante. Count Ugolino chewing on the back of the archbishop's head, Satan with his three faces chewing Judas, Brutus and Cassius, all betrayers like Pier delta Vigna. "Thank you for your kind attention." The scholars applauded him enthusiastically, in their soft and dusty way, and Dr Lector left the lights down as he said good-bye to them, each by name, holding books in his arms so he would not have to shake their hands. Going out of the soft light of the Salon of Lilies, they seemed to carry the spell of the lecture with them.

33:05

Hannibals’ hand on Bedelia’s shoulder

A recreation of the scene from Ridley Scott’s Hannibal (2001) where Hannibal places his hand on Inspector Pazzi’s shoulder instead of Bedelia’s.

34:31-35:10

Hannibal: “Would you say I secured my position, Professor Sogliato?”

Sogliato: “The Studiolo seem...satisfied.”

In Hannibal, Chapter 36:

Dr Lector and Rinaldo Pazzi, alone now in the great chamber, could hear wrangling over the lecture break out among the scholars as they descended the stairs. "Would you say that I saved my job, Commendatore?" "I'm not a scholar, Dr Fell, but anyone can see that you impressed them.”

This conversation takes place between Inspector Pazzi and Hannibal, instead of Hannibal and Sogliato.

35:27-37:00

Antony: “An exposition of Atrocious Torture Instruments appeals to connoisseurs of the very worst in mankind.”

Hannibal: “Now that ceaseless exposure has calloused us into the lewd and the vulgar, it is instructive to see what still seems wicked to us.”

In Hannibal, Chapter 20:

Now that ceaseless exposure has calloused us to the lewd and the vulgar, it is instructive to see what still seems wicked to us. What still slaps the clammy flab of our submissive consciousness hard enough to get our attention? In Florence it was the exposition called Atrocious Torture Instruments, and it was here that Rinaldo Pazzi next encountered Dr Fell.

...

The exposition of Atrocious Torture Instruments could not fail to appeal to a connoisseur of the worst in mankind.

36:20-36:25

Hannibal: “You may have to strap me to the breaking wheel to loosen my tongue.”

In Hannibal, Chapter 20:

The Italian princes preferred to have their victims broken on the ground with the use of the iron-tired wheel as the striking agent and blocks beneath the limbs as shown, while in northern Europe the popular method was to lash the victim to the wheel, break him or her with an iron bar, and then lace the limbs through the spokes around the periphery of the wheel, compound fractures providing the requisite flexibility, with the still-noisy head and trunk in the center. The latter method was a more satisfactory spectacle, but the recreation might be cut short if a piece of marrow went to the heart.

37:05-37:28

Bedelia’s escaping?

Bryan Fuller stated via Twitter that: “The moment of Bedelia’s near-getaway was inspired by Mary Steenburgen trying to escape Jack the Ripper in Time After Time.”

Written by Joshwa Walton 2015.

#Annotations #Hannibal #Season 3 #Exclusive #Antipasto #Primavera #Secondo #Mizumono #Mads Mikkelsen #Hugh Dancy #Will Graham #Hannibal Lecter #Hannibal NBC #HannibalNBC #NBC Hannibal

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