I promised a post elaborating on the ordering of the one-on-ones, and I’m here to deliver! Be prepared for some VERY passionate structural and functional analysis.
So the order was Lou/Pinocchio -> Zac/Pib -> Siobhan/Rosamund -> Emily/Ylfa -> Murph/Gerard -> Ally/Timothy and here’s why this is brilliant and Brennan was very smart in picking this order:
First, Pinocchio is an EXCELLENT place to begin. PERFECT for establishing tone and ambiance and stakes for the multiverse/body jumping that is going to be repeating across the other characters WITHOUT too much lore-dumping upfront specifically because the Stepmother is so deliberately withholding and obfuscating. We get all the VIBES of what’s going on without getting much detail about the mechanics or rules of this crossing.
We follow that up with Pib. Also an inspired choice. We get a much needed reprieve from, y’know, all the child abuse in Pinocchio’s segment, and we learn a bit more about how this is all working. Specifically, not only the notion that the same characters appear across stories (which was mentioned in Pinocchio’s, with the horrifying detail that that Pinocchio had to die for this Pinocchio to enter that world) but that the same archetypes can transcend individual characters and stories entirely. This is brilliant to reinforce so soon after we see the Stepmother again because (as we’ve suspected since episode 2 at least with the mirror) she is the only entity of that type that we’ve encountered so far.
Also one of my favorite books as a really young child was called ‘Cat and Bear’ and it was about a cat named Cat who was a little stinker, so idk this segment was weirdly nostalgic and warm and fuzzy
Next, ROSAMUND. CINDERELLA. HOT WOMEN. What else is there to say? Well, we’re back to the plot that the Stepmother was alluding to but not stating outright. We learn more about the mechanics and rules of this world, and in addition to confirming how the crossings work, we get the pivotal piece of information that these other stories are (a) not infinite and (b) getting progressively worse as the better stories are either exhausted or die off.
Cinderella is also key as, three one-on-ones in, we are getting our most reliable narrator to date. She gives Rosamund a clear goal, something to drive the plot forward that’s less cryptic than the book.
And on a beautiful fucking nat 20, Rosamund gains an incredible awareness of her past lives and other stories that supercharged her character arc. I wonder if it is for that awareness that Rosamund (and Ylfa) didn’t get new character portraits when they crossed over: that they are able to retain more of a fundamental essence of self (Rosamund because of the nat 20, Ylfa because she succeeded on the CHAR save).
Coming off of Rosamund’s almost empowering note, the affective roller coaster continues with Ylfa, in which Emily Axford breaks my heart for like thirty minutes straight and I thank her for doing so. We get more of a glimpse of the rules and forces at work in this world, the Wolf continues to be my absolute favorite metaphysical NPC in Dimension 20 history.
Again, each session dovetails beautifully with and builds off of the one-on-one before it to show us new aspects of how this masterwork of a world functions, all while varying tone and affect in a way that isn’t jarring but keeps interest throughout the 2+ hours. I can’t gush enough about how much I admire all of the intrepid heroes and their role-playing skills.
And it was Murph’s segment that made me want to make this post in the first place. Obviously the intrepid heroes did not know what was going on in everyone else’s sessions, but the timing of Gerard as comedic relief is SO perfect. Such an excellent follow-up to Ylfa, again another point of reprieve as Murph commits to Gerard just not fucking getting the concept that we as an audience have had presented to us now for four different characters.
And again, the presence of the fairy brings us back to the PlotTM. We’re getting a sense not for the metaphysical bigger picture but the factions that are at war in this world and the consequences that their fight is having for everyone else. We also get a delicious seed of interparty ~drama~ as Rosamund and Gerard (and Pinocchio) are being courted by different sides in this tale-spanning battle. I NEED to see how much they all tell each other when they finally meet back up again...
Finally, we end with Timothy because, like, how could we possibly end anywhere else than with the storyteller? The book is one of the keys to understanding this world and takes on additional symbolic weight as the characters are passing through to another story, a different, darker book.
But there’s still hope. Things are going to be harder this time around, but there’s still a chance, in another once upon a time.
Just... I commend all of them so much, Brennan for laying the tracks for the emotional, narrative, and lore beats of the episode and the intrepid heroes for picking up on them and responding to and expanding them like the endlessly talented improvisors they are.
WHAT A GOOD FUCKING EPISODE, CAN’T WAIT FOR EPISODE 5
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i have media studies exam (although mock so its fine) that i didnt study for so im gonna force myself to practice by applying barthes narrative theory to season 1 hannibal (vaguely tbh cuz its the whole seasom but ok)
hermeneutic codes(how do u even pronounce this omfg) :
enigma codes, they are def crucial to this show as each episode raises more and more unanswered questions as the audience continues watching the show, questions like who is commiting the crimes, is will ok, does he know how fucked up his clocks are, is crawford fucking stupid, is abigail ok, what the hell is hannibal doing, why are they using cat guts for strings, are the dogs gonna live oh my god please can the dogs be okay for once
usually done by leaving cliffhangers for each episode
it drives the audience forward and interests them so they continue watching the show to find out the answers to their questions
its also a convention to use hermeneutic codes for horror crime shows like hannibal
Proairetic codes:
action codes, the actions done to drive the narrative forward, previous events drive other events into action. ngl this one is fucking stupid to apply i dont get if i ever apply it correctly
in hannibal, proairetic codes tie a lot with hermeneutic codes as the actions of the characters raise questions for the audience questioning their choices and makes the audience wonder what will happen next. the action creates tension and makes the audience wonder how the created problem(if there is one) will be resolved. for example when hannibal lecter called abigails father to inform him that "they know" and that fbi is on the way. this drives the narrative forward as then the audience wonders how the characters will react and wonder how the actions will affect the story. this action ended up with abigail becoming an orphan and their suspect dead, creating a few side plots and introducing new characters. this constant tension created by each action drives the narrative forward and engages the audience to continue watching the show
semantic codes:
connotations, things associated with something, the deeper level meaning of a symbol. this one is hard yet so easy cuz theres literally SO many of them
they basically give insight into the plot and characters, building personalities and maybe even starting the deep questions the audience will have
for example, for hannibal, hes quite sophisticated, the semantic codes for that would be how he wears suits all the time, his overall style and his acquired taste. those things connote sophistication, wealth and even control and power (especially the suit and his high respected position as a psychiatrist)
but another thing that can be derived from things like how hes always careful, always has a cloth that doesn't leave any fabric fibres, how he doesn't use anything digital, only physical things like journals to leave no traces, the fact that hes literally eating his evidence lmao, his knowledge and experience of human anatomy and mind connote that hes a careful, experienced, ambitious man and prob(definitely) is a serial killer
symbolic codes:
it has such an easy concept that its literally confusing to understand. its basically symbols, binaries, a thematic/structural device, but it's basically about themes and contrary signs specifically, which is ig why its kind of difficult to understand since its specifically binary symbols
some symbolic codes in hannibal would be life vs death, clearly a reoccurring theme with all of the crimes happening, good vs bad, murderers and their victims, health? both physical and mental? stability? work vs personal life? idk its so hard to pin point it even tho its so easy and common idk
a better example woukd be the bad vs good binary used in star wars with ghe colours of light sabers
Cultural codes:
literally cultural and social conventions, knowledge that comes from the outside world of the text, specific connotations used
example, FBI for crimes and america, religion and faith, the whole fbi units especially medical, even Christmas is a cultural code as its a celebrated event of certain social and cultural and religious conventions
bruv i cant think of any more examples even tho i know theres so many
hope yall enjoyed my silly analysis of hannibal as my media studies application practice if u read it all xx
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thinking about what i’ll do (study-wise) the rest of the summer once my class is over next week, these are my loose plans as of now
daily routine:
go through topik1 anki deck
write a journal entry (original sentence practice) (maybe i’ll post those here?? we’ll see)
skim/review some of textbook (to not forget and review things i missed or slacked on), and/or skim/preview some of next semester’s textbook (to mentally prepare lol)
other random things to do for fun and practice:
studying dialogues from dramas
studying with kids songs/videos/cartoons
listen to korean learning podcasts (like ttmik real conversations, etc. or just the audios that came with my textbook)
browsing korean/language learning communities online
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I truly think that one of the most intriguing parts about succession is how it tows the line between high and low culture. the show works when portraying a legacy media company because every single bit of it feels like something grand and old shifting into something fast paced and new.
This can be seen in the music, with the gravitas orchestral sounds fused together with hip-hop and rap, creating an almost clunky sound which perfectly illustrates waystar's desperation to keep up with other media outlets. Specifically, L to the OG and Roman's Beat both being from/about characters that have grown up as part of the company, whilst also wanting to develop it into something new, is a very deliberate choice.
it can also be seen in the dialogue used thought-out. I've always thought that the use of words in the show has felt poetic and somewhat shakespearian, with intertextual references and swear words grounding the dialogue in the modern world. this also highlights the class of the people who speak in that way, as it suggests that they have grown up high class, in comparison to the few working class characters who refrain from speaking in that way.
finally, the entire narrative can also foster the idea of high and low culture colliding. Jesse Armstrong was initially inspired by the lives of the Murdoch family, a family that owns things such as fox news in the US, as well as many other media producers throughout England and Australia. However, the story also plays out like a Greek tragedy, with the characters destined to fail. these two factors merged together creates a narrative as old as time, set in a world that is contemporary and ever evolving.
anthropologist Claude Levi-Strauss once suggested that binary opposites (such as good Vs evil) in media drive forward the narrative. in this case, I believe that what drives forward successions narrative is the conflict of old Vs new, represented through the use of high and low culture in its technical and visual codes.
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