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#clarice inspector
tay-likes-toons · 6 months
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vavandeveresfan · 11 months
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Things I like/love that have been ruined in canon.
In no particular order:
Star Trek: I was so-so about all the TV sequels/prequels (liked DS9 for about a minute).  But the movies . . .  Fuck Amok Time, they gave us Horny On Demand Spock and Kirk sexually harassing females across the universe.
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Star Wars:  Jar Jar Binks.  Need I say more?
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Doctor Who:  I really enjoyed the original series, even though it fell apart in the last years.  The remake made The Doctor a romantic/sexual being.  No no fucking goddamn no.
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Supernatural:  After Season 5, took everything everybody loved and broke it, killed off favorite characters for Shock Value, then faked bringing them back just to kill them again.  Really really hated its fans.
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Sherlock: Second season became super self-conscious that it was A Hit, started mocking women because being written by a gay man and a misogynist.  Really really hated its fans, then whined when fans stopped watching and the series was canceled.
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Sleepy Hollow:  Was just staring to get into the Ship when its creators literally verbally attacked fans on Twitter, then intentionally destroyed Ichabod/Abby by killing off Abby. Really REALLY hated its fans.
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American Auto: Started out clever and funny like The Office, in Season 2 devolved into 4th grade potty humor.
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Clarice:  Gave it a chance even though there was no Lecter.  First two episodes showed promise, then made Clarice a whiny, weak character, then added an incredibly ahistoric 1991 trans “women” FBI agent -- at a time when in reality gay male agents were fired for fear of their being blackmailed -- who literally yelled at Clarice, and Clarice took it.  Thankfully its ratings plummeted after that and it was canceled.
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Grantchester: Watched it for Geordie, then they had Geordie cheat on his wife.  NOPE.
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Foyle’s War: The original series ended perfectly.  Then they dragged it from its grave and made a thin, forced series about the Cold War.  Bleh.
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Inspector Lewis: The original series ended perfectly.  Then they dragged it from its grave, made Dr. Hobson clingy and whiny, ruined the dynamic of Lewis and Hathaway, ended it terribly.  Bastards.
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Endeavor:  Revealed Thursday cheated on his wife during the War, then had Thursday accept bribe money, then the series finale . . .  Don’t ask.
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Shetland:  Perez goes against his ethics and tries to fuck his close friend’s wife.  But especially they had Tosh r*ped.  Fuck that shit forever.
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Once Upon a Time: First season was wonderful.  Second season iffy.  After that turned the series into a promotional vehicle for Disney movies.  Robert Carlyle gained 30 pounds, lost all energy, and mailed in his performance.  They tried to end it well, but brought it back rebooted and godawful, especially by killing off Belle.  Truly, truly awful.
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MCU:  I loved the first Thor, first Captain America, first Avengers, the Ironman trilogy, and especially Spider-man: Homecoming.  Then it all went to fucking hell.  Don’t get me started.
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Miraculous Ladybug: From season 3 on, its creators took it from being a fun, exciting, sweet, enjoyable superhero story to trying to turn it into part of the MCU.  Fucking do NOT get me started about what they did to my man Gabriel.
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Possible Future Canon Ruin:
Father Brown:  3 cast members have left the series and been replaced.  Haven’t seen Season 10 yet, but I have a bad feeling about this . . .
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Addendum:
Rewatched Seasons 7 & 8 of Foyle’s War and actually liked them quite a lot.  Me having a crush on Tim McMullan helped.
Have seen Season 10 of Father Brown . . .
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The directing is slow and stiff.  There’s no dynamic worth mentioning among the new characters.  All the episodes felt like dress rehearsals, not polished performances.
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cannibalgenders · 1 year
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If they asked you to do a nbc Hannibal series with Clarice pre-season 3b, how would you do it?
So I would start it with season 3a. Hannibal is lecturing (Lectering, if you will) for a group of students in Italy. A parallel to Will teaching in season 1. He calls for questions as he finishes his thought, all in perfect Italian. We see a hand raise tentatively from the back row. A redhead in a sharp checked blazer, an expression of pure determined terror on her features.
“I have a question, Doctor Lecter.” It’s in English, with a thick Appalachian accent. Hannibal isn’t afraid, he’s intrigued by this public power display. “Of course,” he says, “why don’t we speak privately in my office?”
cut to a black and white flashback. We see Clarice in Will’s class. We see her running, training. Speaking to Miriam Lass. We see Jack pull her aside, somewhere post season 2. While Will is still healing in the hospital. We see him apologize. He promises he would not do this if he had any other choice. He gives her a ticket to Italy.
From there we follow an alternating POV, Will’s attempts to track Hannibal down in Italy outside the law, and Clarice’s, working with Inspector Pazzi. We get snippets of Hannibal operating in Italy, but we see no indication of Bedelia, despite her having been on the plane with him. We’re lead to believe he killed her as tension builds, Will gets closer to his pray. Most of the Hannigram scenes play out similarly, the catacombs particularly, and maybe 4 episodes in we get our first interaction between Clarice and Will.
Will is speaking to his hallucination of Abigail, only to realize he’s been contemplating aloud, and another young girl has been answering him, with full knowledge of who he is- this is Clarice. They speak, and it becomes clear that they are not on the same side anymore. Will sees Clarice as hungry and ambitious and eager to prove herself to a system that does not recognize her value. Clarice sees what Will is hungry for, too.
At some point we finally see Bedelia, who lures Clarice towards Hannibal, and it’s very unclear if she wants him to be caught of if she wants Clarice to die. Clarice is captured. Through the rest of season 3a Clarice is captured by Hannibal, being fed drugs by Bedelia, and we get a lot of “interrogation” scenes in which Clarice and Hannibal talk to each other, we get the sense that Clarice reminds Hannibal of Will, and Bedelia suggests he eat Clarice as a surrogate.
I think Clarice eventually breaks free, and is involved with Jack when the brain eating scene goes down, but is not seized by Mason Verger. When Hannibal frees Will from Mason Verger with Margot and Alana’s help, we see Clarice is waiting at Will’s home. When Hannibal surrenders himself, it is to Clarice’s custody. She acknowledges Will’s help, but still clearly doesn’t trust him as she drags him away with Jack, glancing back continuously to make sure he does not follow.
Also Clarice is a lesbian, obviously
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myra-mcqueen · 2 years
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“Good afternoon,” Hannibal said, calmly.
Caught off guard, the inspector flinched, turning to look at the Doctor.
“If I were you, Inspector,” Hannibal began, gesturing to where Clarice was. “I would think very carefully about your next move. How coincidental, however, that you should be here, terrorising my wife, when I myself have just paid a visit to yours.”  
Fanfiction: Cometh the Man
Chapter 21 now posted on Wattpad, AO3 and Fanfiction.net @myramcqueen
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“Forgive me if I add something more about myself since my identity is not very clear, and when I write I am surprised to find that I possess a destiny. Who has not asked himself at some time or other: am I a monster or is this what it means to be a person?” 15 The hour of the star by clarice inspector
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1415926535897932 · 7 months
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Just Because I Can Write About It Thoughtfully Doesn't Mean It's Okay
"can't write a song, only do hooks"
                                                                  - Yung Lean, "Agony"                                                
failure-reflex waitress reject kneejerk complex over my lack-of-success hex
toddler delusions and grandiose diary convolutions 26 candle wishes dandelion blows (blow's too on the nose for the) hordes of hoes enjambing Apple-core sad-girl retweets and sad-boy archive clothes
cause you can't move for all the quirks in clubs these days hey (that sentence suffix affectatious cause my nationality's contentious)
I'm not an alien detective inspector I'm not clarice lispector "she lets everything affect her" just like elfreid and ingeborg but they did it 60 years ago, bore and the refill-pillbox redpilled redux redox half-arsed poetry empty inbox I lark in's worse than the  "creatives" profusion I spurn and curse and worse and
just cause the verses come in incantations doesn't mean they're validation- worthy, capital-deserving, and besides, it doesn't help the hurting, the flirting for cursory chirpsing (Axiomella Panizza, autistic rizla rizzer!)
disillusion over deluzean delusion  doesn't necessitate devolution: that's all you kid, still the jitgit crying in granddeaddad's dead whip.
what's a life of oppression tallies, of  proposition rallies,  baccy in my airpods case? so this tik tok flip flop Aquilian Epicurean slitwrist dimwit better write some fuckin sick lit bitch!
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Ten Interesting Brazillian Novels
Brazil by John Updike
¨In a magical realism plot, Updike uses brutal and lush, hot and humid language to tell the story of two young lovers, a black boy from the Rio slums and a pampered upper-class white girl. They are madly in love with each other, and they are willing to endure privation, violence, and captivity just to be together. The book is well written and turns out to be a haunting tale with unexpected turns and almost supreme sacrifice for a love that utterly consumes two souls.¨(iheartbrazil.com)
The Hour of the Star by Clarice Lispector
¨Lispector’s last novel is fueled by the dramatic reality of Macabea, a young woman from a small town who is devoid of beauty and financial resources. Macabéa moves to the big Rio de Janeiro City, where she finds herself having a rough time in a socioeconomic universe that is far away from her own. In a bewildering and brilliant way, Lispector unmasks the brutal social inequality in Brazil. It’s an excellent book!¨(iheartbrazil.com)
The End by Fernanda Torres
¨Torres’s story features five friends from Rio, who recall the remarkable moments of their lives: regrets, marriages, parties, inhibitions, addictions, and separations. They are very different characters, and each has a distinct personality. Still, they share not only the fact of being on the edge of life but also of having some limitations. Instead of creating a novel about five friends enjoying some moments together, Torres focuses on each individual story and the weight of time in the life of an older man.¨(iheartbrazil.com)
The Taker and Other Stories by Rubem Fonseca, Clifford E. Landers
¨Most widely admired for his short fiction, The Taker and Other Stories is Fonseca's first collection to appear in English translation, and it ranges across his oeuvre, exploring the sights and sounds of the modern landscape of Rio de Janeiro.
Rubem Fonseca's Rio is a city at war, a city whose vast disparities- in wealth, social standing, and prestige- are untenable. In the stories of The Taker, the rich and poor live in an uneasy equilibrium, where only overwhelming force can maintain order, and violence and deception are essential tools of survival.¨ (GoodReads)
Barren Lives by Gracilino Ramos
¨A peasant family, driven by the drought, walks to exhaustion through an arid land. As they shelter at a deserted ranch, the drought is broken and they linger, tending cattle for the absentee ranch owner, until the onset of another drought forces them to move on, homeless wanderers again. Yet, like the desert plants that defeat all rigors of wind and weather, the family maintains its will to survive in the harsh and solitary land. Intimately acquainted with the region of which he writes and keenly appreciative of the character of its inhabitants, into whose minds he has penetrated as few before him, Graciliano Ramos depicts them in a style whose austerity well becomes the spareness of the subject, creating a gallery of figures that rank as a classic in contemporary Brazilian literature.¨ (GoodReads)
City of God by Paulo Lins
¨The searing novel on which the internationally acclaimed hit film was based, City of God is a gritty, gorgeous tour de force from the Brazilian street. Cicade de Deus, the City of God, is one of Rio's most notorious slums. Yet it is also a place where samba rocks till dawn, where the women are the most beautiful on earth, and where one young man wants to escape his background and become a photographer. City of God is a sprawling, magnificently told epic about gang life in Rio's favelas, based on years of research and Pualo Lins's firsthand experience growing up in Cicade de Deus. A book that gives voice to the dispossessed of multiethnic Brazil, City of God will earn Paulo Lins more well-deserved international acclaim.¨  (GoodReads)
Every Bitter Thing by Leighton gage
¨The son of the Foreign Minister of Venezuela is found dead in his apartment in Brasilia. Due to the political nature of the crime, Chief Inspector Mario Silva of Brazil's Federal Police is called in to investigate. As he delves deeper into the murder, he discovers that a chain of murders have occurred throughout Brazil, all with the same MO: victims are first shot in the stomach, then brutally beaten to death, and, even more puzzling, they were all passengers on TAB flight 8101 from Miami to São Paulo. What sinister motive connects these killings? And why does it appear one passenger on that flight, a fifteen-year-old boy who was later raped and killed in prison, is at the heart of it all?¨  (GoodReads)
Copacabana by jack Rylance
¨Having retired from the crime world, Pete Murphy relocates from Liverpool to Rio de Janeiro. Here he throws himself into the wild and sordid nightlife of Copacabana in an effort to forget that brutal murder which forced him into exile. This self-destructive routine is interrupted by the arrival of John Mullan, a young petty thief who has long idolized Pete, and is now on the run from associates back home. A situation further complicated by the £2000,000 of stolen money which John has brought with him. As the repercussions of this theft become ever more clear, the scene is set for an explosive showdown. Pete Murphy is about to meet the ghosts of his past head-on. In Copacabana…¨  (GoodReads)
Adultery by Paulo Coelho
¨Ever felt the need to change something in your life? To break from routine, to feel something other than the same things day in, day out? Paulo Coelho is an international best-selling author from Brazil, and his novel Adultery follows a woman in pursuit of something other than her usual feelings; a rush of adrenaline or a burst of lust, but at what cost? Provocative and controversial, it’s a book that is ultimately – and surprisingly – about love.¨(penguin.co)
Heliopolis by James Scudamore
¨Set in modern-day São Paulo, Ludo is a young man who has escaped poverty and now works for a major corporation. But his identity is questioned when his work throws him up against the very slums he was born from. With haunting imagery, memorable characters and a water-tight plot, this is a novel not to be missed.¨ (penguin.co)
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stellaluna33 · 15 days
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Confession: I used to think Clarice Lispector was the Clarice from Silence of the Lambs (obviously I have neither seen nor read it, nor read anything by Clarice Lispector, haha), because I was like, "Ohhh, of course. I guess it's Hannibal the Cannibal and Clarice Lispector the Inspector, this makes perfect sense, that's interesting."
Except it's not even the same Clarice. That's not even her name. She's a totally different person. I just didn't know anything about anything. 😂
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thehoax · 2 years
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WELCOME TO THE WANTING. IT IS HEAVY HERE. (cc: @jonismitchell)
caption: The Wanting, @jonismitchell // Água Viva, Clarice Inspector // Sense and Sensibility, Jane Austen // x // Imitation of Life (1959) // South London Forever, Florence and the Machine // Plainwater: Essays and Poetry, Anne Carson // All Too Well, Taylor Swift // New York Movie, Edward Hopper // Reading too much into a Tongue bite by Me // I want you to Love Me, Fiona Apple // IWYTLM genius annotation // Ada Limón on Preparing the Body for a Reopened World // The Unabridged journals of Sylvia Plath // He Held Radical Light: the Art of Faith, the Faith of Art, Christian Wiman // x // Hunger, Florence and the Machine // Eye Level: Poems, Jenny Xie // Big God, Florence and the Machine // Ada Limón // Emily Dickinson correspondences with Sue // Sharks in the River, Ada Limón // x // Nobody, Mitski // I will name this tragedy after you by Me // Litany in which certain things are crossed out, Richard Siken //
caption: The Wanting, @jonismitchell // Água Viva, Clarice Inspector // Sense and Sensibility, Jane Austen // x // Imitation of Life (1959) // South London Forever, Florence and the Machine // Plainwater: Essays and Poetry, Anne Carson // All Too Well, Taylor Swift // New York Movie, Edward Hopper // Reading too much into a Tongue bite by Me // I want you to Love Me, Fiona Apple // IWYTLM genius annotation // Ada Limón on Preparing the Body for a Reopened World // The Unabridged journals of Sylvia Plath // He Held Radical Light: the Art of Faith, the Faith of Art, Christian Wiman // x // Hunger, Florence and the Machine // Eye Level: Poems, Jenny Xie // Big God, Florence and the Machine // Ada Limón // Emily Dickinson correspondences with Sue // Sharks in the River, Ada Limón // x // Nobody, Mitski // I will name this tragedy after you by Me // Litany in which certain things are crossed out, Richard Siken //
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dk-thrive · 5 years
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Solitude
Interviewer: “And that was what I felt when reading your book: that solitude.”
Clarice Lispector: “Imagine the solitude of the person who wrote it.”
~ Clarice Inspector, in an interview with Rosa Dass for the Jornol do Commercio from Why This World: A Biography of Clarice Lispector by Benjamin Moser (via to escape from the commonplaces of existence)
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jayoctodot · 3 years
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The Silent Patient vs The Maidens
I will start by saying that I understand the appeal of these novels as page-turners. They are easy to read and if you want a twisty reveal at the end, you will probably be entertained and satisfied. That being said, I am SO CONFUSED by the near-universal adoration of The Silent Patient and the reasonably positive reception of The Maidens. The weaknesses of the two are strikingly similar, as well, which doesn’t give me much hope of seeing improvement from this guy, though I am intrigued to see whether he keeps repeating the same (apparently successful!!) patterns. These books were at least super fun to hate.
(For context, I read The Maidens for a bookclub I'm in, because several of the members had read and loved The Silent Patient, and one of them gave me a copy of the latter to read on my own time. I loathed The Maidens and then read The SP for comparative purposes. And because I'm a masochist, apparently.)
SPOILER WARNING! Do not read on unless you've finished both books (or unless you care not for spoilers). Sorry if it gets a bit shouty.
Here are the similar weaknesses I noticed in both:
PSEUDO-PSYCHOLOGY
-> Weirdly similar “group therapy” scenes early on where a cartoonishly unstable patient arrives late, disrupts the meeting by throwing something into the middle of the circle, and is asked to join the group after the therapist(s) speechify on the importance of boundaries (HA! None of these therapists would know an appropriate boundary if it kicked them in the ass) and debate whether to “allow” the patient to join. Both scenes are so transparent in their design to establish the credibility/legitimacy of the narrators as therapists, but instead both Theo and Mariana come off as super patronizing. The protagonists are less and less believable as therapists at the stories progress (though at least Theo’s incompetence is explained away by the “twist” at the end; Mariana, on the other hand, is confronted in the opening pages of the novel by a patient who has self-harmed PRETTY extensively, and rather than ensure he get proper medical attention, she essentially throws him a first aid kit and tosses him out the door so she can pour herself a glass of wine and call her niece... and it devolves from there).
-> Ongoing insistence throughout the narrative that one’s childhood trauma entirely explains the warped/dysfunctional way a character behaves or views the world, which is why the books go out of their way to give EVERY potentially violent character a traumatic childhood; when Theo insists that no one ever became an abuser who hadn’t been abused themselves, I wanted to throw the book across the room. (That is a MYTH, SIR. GET OUT OF HERE WITH YOUR ARMCHAIR PSYCHOLOGY.)
-> Female murderers whose pathology boils down to “history of depression” and “traumatized by a male loved one/family member.” Because, as we all know, depression + abuse = murderer!
-> The “therapy” depicted in both books is laughable and so so unrealistic, mostly because neither narrators function as therapists so much as incompetent detectives, obsessively pursuing a case they have no place pursuing (or skill to pursue - both just happen across every clue mostly by way of clunky conversation with all the people who can provide precisely the snippet of info to send them along to the next person, and the next… until all is revealed in a tired, cliched “twist”). Their constant Psych 101 asides were so tiresome and weirdly dated (also, the constant harping on countertransference got so ridiculous that at one point during "therapy" Theo literally attributes his headache and a particular emotion he feels to Alicia, as though the contents of her head are being broadcast directly into his mind... and I'm PRETTY SURE that's not how it works???)
CHARACTERS
-> Psychotherapist narrators with abusive fathers and pretensions of being Sherlock Holmes, which results in both characters crossing ALL KINDS of ethical lines as they invade the personal lives of everyone even tangentially connected to their cases (and, in Theo's case, violate all kinds of patient confidentiality. Yeah, yeah, by the end, that's the least of his offenses, but before you get there, it's baffling that NO ONE is calling him out on this).
-> All female characters are either elderly with hilariously bad advice, monstrous hulking brutes, or beautiful bitches (except for ~MARIANA~, who is Bella Swan-esque in her unawareness of her own attractiveness, despite multiple men trying to get with her almost immediately after meeting her. I'm so tired of beautiful female characters being oblivious to their own hotness. Are we meant to believe all mirrors and male attention have escaped their notice? If it’s to make them “relatable,” this tactic really fails with me).
-> All characters of color are shallow, cartoonish side characters, and most of them are depicted as unsympathetic minor antagonists (the Sikh Chief Inspector in The Maidens continuously drinks tea from an ever-present thermos, and his only other notable characteristic is his instant dislike of Mariana, whom he VERY RIGHTLY warns to stay out of the investigation that she is VERY MUCH compromising… the Caribbean manager of the Grove is universally disliked by her staff for enforcing stricter safety regulations at the bafflingly poorly run mental institution, because HOW DARE SHE. There's a very clear vibe that we're supposed to dislike these characters and share the protagonists' indignation, but honestly Sangha/Stephanie were completely in the right for trying to shut down their wildly inappropriate investigations).
-> "Working class" characters (or basically anyone excluded from the comfortably upper-crust, educated main cadre of characters) are few and far between in both stories, but when they show up, he depicts them as such caricatures. We got Elsie the pathologically lying housekeeper in the Maidens, who is enticed to share her bullshit with cake, and then a TOOTHLESS LEPRECHAUN DEALING DRUGS UNDER A BRIDGE in the SP. I kid you not, a man described as having the body of a child, the face of Father Time, and no front teeth, emerges from beneath a bridge and offers to sell Theo some "grass." I was dyinggg.
-> There are no characters to root for. Anywhere. Partly because they’re all so thinly drawn — and because we’re clearly supposed to view almost ALL of them as potential suspects, so they’re ALL weird, creepy, or incompetent in some way.
-> The flimsiest of flimsy motives, both for the narrators and the murderers. Theo fully would have gotten away with his involvement in the murder if he hadn't gone out of his way to work at the Grove and "treat" Alicia and his justification for doing so is pretty weak; his rapid descent into stalking and murder fantasy and his random ass decision to "expose" Alicia's husband as a cheater with a spur-of-the-moment home invasion and staged attempted homicide is ONLY justified if the reader hand waves it away as WELP, HE'S CRAZY, I GUESS (after all, he DID have an abusive father and a history of mental illness, and in Michaelides novels, that's ALL YOU NEED to become a violent psycho). I guess we're lucky Mariana didn't also start dropping bodies (because the logic of his fictional universe says she should definitely be a murderer by now... maybe that'll be his Maidens sequel?). But she especially had NO reason to randomly turn detective - and she kept trying to justify it by saying she needed to re-enter the world or that Sebastian would want her to (??), even though she had no background in criminal psychology... or even a particular fondness for mysteries (really, I would've accepted ANYTHING to explain her dogged obsession with the case. WHY were Sebastian and Zoe so certain she would insert herself into the investigation just because one of Zoe's friends was the first victim? WHY?). As for Zoe and Alicia, their motives are mere suggestions: they were both abused and manipulated, and voila! Slippery slope to murder.
WRITING STYLE
-> Incessant allusions to Greek tragedy and myth, apparently to provide a sophisticated gloss over the bare-bones writing style, which opts more for telling than showing and frequently indulges in hilariously bizarre analogies. Credit where credit is due — the references to Greek myth are less clunky in the SP, and I liked learning about the Alcestis play/myth, which I hadn’t heard of before - but OMG the entire characterization of Fosca, who we are meant to believe is a professor of Greek tragedy at one of the most respected universities on the planet, is just absurd. His "lecture" on the liminal in Greek tragedy is essentially the Wikipedia page on the Eleusinian Mysteries capped off with some Hallmark-card carpe diem crap. The lecture hall responds with raucous applause, clearly never having heard such vague genius bullshit before.
-> Super clunky and amateurish narrative device of interludes written by another character; Sebastian’s letter reads like a mashup of Dexter monologues and Clarice’s memory of the screaming sheep, but by FAR the worse offender is Alicia’s diary, where we’re supposed to believe she painstakingly recorded ENTIRE CONVERSATIONS, BEAT-BY-BEAT DIALOGUE, even when she’s just been DRUGGED TO THE GILLS with morphine and has mere moments of consciousness left… and even before that, she literally takes the time to write “He's trying the windows and doors! ...Someone’s inside! Someone’s inside the house! ETC ETC” when she thinks her stalker has broken in downstairs. WHO DOES THAT?)
-> Speaking of dialogue, the dialogue is so bad. Based on his bio, Michaelides got a degree in screenwriting, which makes his terrible dialogue even more baffling.
-> HILARIOUSLY rendered voyeur scenes where the narrators spy on couples having sex. Such unintentionally awkward descriptions. First we had Kathy’s climax sounds through the trees and then the bowler hat carefully placed on a tombstone before the gatekeeper plows a student. Again, I died.
PLOT/"TWIST"
-> The CONSTANT red herrings make for such an exhausting read. Michaelides drops anvils with almost every character that are so obviously meant to designate them as suspects in our minds. There is absolutely no subtlety in his misdirections.
-> The “crossover” scene between the SP and The Maidens makes no sense - when in the timeline does Mariana’s story overlap with Theo’s? They confer just before Theo starts working at the Grove, obviously (though Mariana appears to be the one who alerts Theo to the job opening there? Whereas in the SP, Theo has been obsessively tracking Alicia since the murder and had already planned to apply to work there?), but then are we supposed to believe that while Theo has been psychotically pursuing his warped quest to “help” Alicia, he’s also been diligently treating Zoe, so invested in her case that he repeatedly reaches out to Mariana to get her to visit Zoe and even writes Mariana a lengthy letter to convince her to do so??? And then a couple days after The Maidens ends, Theo is arrested???
-> But the thing I really did hate the most is how Michaelides treats his female murderers (who are both also victims themselves) as mere means to deploy a “twist”; there’s no moment spared to encourage our sympathy for Zoe, who was groomed and manipulated by the only trusted father figure in her life, and even after spending a decent amount of time getting to know Alicia via her ridiculous diary, where it’s so apparent that she’s been demeaned, objectified, manipulated, gaslit, and/or used by EVERY man in her life, she’s sent packing to spend the rest of her days in a coma… HOW much more satisfying would it have been for her to succeed in exposing Theo and reclaiming her voice? But no, she basically rolls over when he comes to finish her off (SPEAKING OF — ARE WE SUPPOSED TO BELIEVE THERE ARE NO SECURITY CAMERAS IN THIS INSTITUTE FOR THE CRIMINALLY INSANE????), writes one last diary entry, and drifts off forever. And then a couple pages of nothing later, the story is over. GOODNIGHT, ALICIA!
Both books kept me rolling throughout (by which I mean eye-rolling but also rotfl). Maybe I will check out his next effort — I’m morbidly curious what he’ll turn out. It does leave me wondering whether I should give up on thriller novels entirely, though. Are many of the weaknesses of these novels just characteristic of the genre? Maybe I'm just holding these books to unfair standards? I'm mostly only familiar with thriller films — many of which I think are amazing — but maybe you can get away with more in a film than you can in a novel.
...I really only intended to write a handful of bullet points, but more and more kept coming to mind as I wrote, to the point where subheadings became necessary. Whoopsie.
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loredumptime · 2 years
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taglist
ORIGINAL
20s STORY: clarice, [southern man], iola kleeman, petra aveson, cleo aveson
APAMA STORY: apama, iotape, roxane, kleandros
APOCALYPSE STORY: foyoko suzuki, nguyen duong, ramona ahmad, roxanna, maisel, pablo
BAND STORY: electra, andromeda, venus, juno, bijou, milan, kiki, amber, dorian
BASIL LOUISE: basil louise callaway, maxine greer
CIRQUE NOELLE: mellie patch, leo fig, noelle tuleja, quura, areck johansen, mirissa acquati, orion floros, lula marinos, prissy, the lemon girls
COLD WAR STORY: lukas petrauskas, alexei, nadia pavlovsky, annika, sasha petrauskas, natasha petrauskas, tina petrauskas, valentina campos, ximena aguado, ilya bykov, ona petrauskas, lyosha petrauskas, vladimir, svetlana
DYSTOPIAN DELILAH: lemonade blackstone, eun-ha park hakim, jared smith, alexander moore, delilah yoshida, andreaus choi, emil olsen, erzsebet kemeny, zsofia kemeny, liam kishka, cory anderson
EZRA AND THEO: ezra ramirez, theodore rundle, ebony wilson, madeleine drozdov, jade wu, maple wells
HELL STORY: ashari astiela, baphomet, azri diotallevi, lia diotallevi, ark, the devil
HOMEFRONT STORY: henri, tucker, mirabelle
HONEYPOT: eleanor sabina, carlotta fernandes
KING TUT STORY: king tutankhamun, [girl] 
KORE’S UNIVERSE: kore mariangela, gertrude muller, leon ryland, dyani chuchip, hanzou kenta, aurelie babineaux
LESBIAN PIRATES: maeve finch, mariana finch, elena-rose finch, aerynthe milleny
MARY STORY: mary, [killer], [brother], hotaru saito, magnolia lewis
PANDORA STORY: william vasilescu, adam lysander, pandora chung, [pandora’s mom]
PETER PAN RETELLING: pan, wendy, hook, [hook bf], tink
PROFESSOR STORY: [professor], [inspector]
RAVIOLI: aika, augustus, olympias, [augustus sister], [evil prince]
RHIANONH: rhiannon mitchell, micha amos, lark beaumont, micha amos, richard mitchell
SACRILEGIOUS KIDS: lamb, rowan march, belle melangell, finn laurier, shiloh st. james, adam page, marley grey, haniel, gabriel SADIK STORY: ahmed, mihr nush, sadik bin abdullah, roshanak, fatima 
SLASHER KIDS: milo saint, charlie messer, jack colton, eli shaw, oliver shaw
TUTOR FROM CORINTH: philippos, tullia, calidus, berenike, galene
WEREWOLF STORY: alicia hughes, marlene hughes, wolfsbane hughes, alfred hughes
WILD WEST STORY: wes, beau, lottie, eve
WOODSTOCK STORY: annamae sinclair, jolene dixon, [hippie mother], [hippie cult leader], [hippie girl], [hippie boy]
WW2 STORY: wilfried achterburg, pepper porter, felix alberton, kostya vasiliev, luciano vargaz, carla neguirra, gwendolyn achterburg
YOKAI STORY: rio watanabe, sol costa, sumi ito, chiyo ito, hana ito
FANDOM
ARCANA OC: amaris natale, rishva bakhshi, tallulah devorak, maksim devorak, nyneve satrinava, lorelai natale, asanna natale
BREAKING BAD OC: cager myers, elise myers
DC OC: phoebus, constance, ella nashton, duela dent, cyril bloom, elsa king
FICTIF OC: diego perez, beatrix sparks, malou rossi, heidi dunajski
FNAF OC: trixy cat, ollie, hope
GORILLAZ OC: margo green, lemonade blackstone, jackson haywood, anita baker, connor bailey, eun-ha park hakim, marla kekoa, mason kekoa, delilah yoshida, jemima green, etienne green, catalina, francesca, camila, louis miller, juliet
HARRY POTTER OC: freya thrawcliffe, fern marden, circe ellis, yoon hye-in, aiden carter
HETALIA OC: agnes escalona, carla / andorra
JOJO OC: cecilio grande, delia sallow, miguel, jean, consuelo grande, maria grande, leandro 
MARBLE HORNETS OC: nicholas hill
SLENDERVERSE OC: alice burns, beam, [the rest of these guys aren’t my ocs, i just want to reblog stuff with their aesthetics] sally williams, jeffrey woods, tim wright, brian thomas, jane richardson, kate milens, tobias rogers, nina hopkins
SOUTH PARK OC: coral kelley, nia valez
UNDERTALE OC: kitty
WAKFU OC: hanezil the xelor, amodri the osamodas, nella the cra, rook, isre, fionan, milien, cleora, totio the ouginak
WARRIOR CATS OC: roseleaf, foxtail, frostspeck, snowpaw, [df mentor], sheep, lily, [riverclan guy], violetpelt, goldenfur, hawk, sardine
YURI ON ICE OC: leena makela, wynn virtanen
MISC.
DEAD OCS: sheena, hina takahashi, jazmin lafleure
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goremade-a · 3 years
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thing i forgot about the hannibal books:
hannibal treated margot & mason as children
he’s the one that put it into margot’s head to kill mason when she was still a child
hannibal fits the same size of shoes as clarice starling  
he’s got a hall of clocks in his mind palace
he was taught the art of calligraphy by murasaki and the art of paper folding by chiyoh
hannibal’s first word when he starts to talk again is ‘beast’
hannibal’s triggers: sound of chains/chain links, sounds of/boiling water/steam, being cold/winter time, the smell of wet dog, swans, planes, others being bullied, sounds of loud/obnoxious crowds, open mouthed chewing, sounds of loud bangs/loud sounds in general, sounds of knives against meat, airplane turbulence.
hannibal was thirteen when inspector popil strapped him to a polygraph machine and he PASSED the entire fricken thing. his self control was described as monstrous.
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rye-views · 4 years
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Hannibal (2001) dir. Ridley Scott. 7.3/10
I love Hannibal’s knowledge and intelligence.
We love Hannibal and Clarice’s romance.
Memorable Quotes:  “Spoken like a true Protestant.”
Spoiler: [About Barney, Hannibal’s old guard, talking about his experiences, conversations, and observations of Hannibal with Mason Verger, the only survivor of Hannibal’s attacks. Barney is also selling items that Hannibal had owned and Verger buys the face guard for $250,000. Mason is wealthy, yet heavily disfigured. It’s been 10 years since Hannibal had escaped and Clarice is currently involved with a drug raid. She has her crew stand down as they see their suspects, but because of an agent who refuses orders, the arrest goes wrongly, leading to the death of a criminal holding a baby. She’s publicized as an agent with the most deaths, yet she justifies herself with her bosses. They also tell her that Verger has information on Lecter and will only give it to her. She goes to his estate to interview him and he tells the story of how Hannibal made him disfigure himself. He then shows her an x-ray of Hannibal’s. She later watches some evidence footage of Hannibal when he was imprisoned and takes notice of Barney. She then trails him and meets him. She asks what happened to Lecter’s belongings and he says they were all thrown away when the place closed. She responds with how one of his books has been sold to a private collector for a lot of money. She makes him get the x-ray that she wants. She later listens to tapes of her conversations with Hannibal. Hannibal is currently living in Florence, Italy as Dr. Fell, a new curator at the Capponi Library while Chief Inspector Rinaldo Pazzi is investigating the whereabouts of the previous curator. Clarice finds a letter in her mail, which she believes is from Lecter. He writes about her public disgrace and she tries to figure out where the letter came from. Her only clue is the scent of the letter, which she has professionals conclude is from an expensive hand cream sold in very few shops, including in Florence. She has the officers around those shops send her video footage of the shops and Pazzi notices one of his men making one of the recordings. He sees Dr. Fell in it and becomes suspicious of him. He trails him and sees him remove his DNA from his wine glass during lunch. Pazzi checks the Fugitives List even though it records who checks the data. He learns that Fell is Lecter and wants the money from providing information on him. Clarice is talking with Paul Krendler, a Justice Department official, who she has rejected before. They talk about Lecter until he tells her that she can improve her career by working with him. Clarice then talks to the man who recorded the footage because she didn’t receive it. He confirms that he’ll make another copy for her. Pazzi calls a number to offer the information, but is provided with information. He then goes to talk with Fell, who talks to him about Pazzi’s family history of an ancestor being executed by hanging and disembowelment. Verger catches a thief and gets his help by putting a metallic bracelet on his wrist and having him pickpocet Hannibal’s wallet. This allows him to grab him by his wrist to create a clear print on the bracelet. Hannibal sees the thief trailing him and subtly stabs him. He’s dying as Pazzi takes the bracelet and the thief refuses to be helped. Verger learns of the print and joins teams with Pazzi. Pazzi is paid a lot of money and will be provided more after he points out who Lecter is. He doesn’t need to be involved anymore, but he wants to. He then takes his wife out to a show with good seats with Hannibal watching also. They mingle afterwards and as Hannibal is introduced to Pazzi’s wife, he gives a piece of Dante’s first sonnet to her as a gift. Clarice learns of someone accessing Hannibal’s file and also sees the footage of Hannibal at the shop. She calls Pazzi and says she’s aware of the access to Hannibal’s file even though Pazzi denies it. She then urges him not to try and catch him on his own. After, Pazzi works with two of Verger’s men to kill Lecter. Pazzi enters the Palazzo Vecchio as Fell is giving a lecture. They talk afterwards and Lecter shows him the images of his ancestor’s death. Lecter then
knocks out Pazzi and questions him. He confirms that Verger is who he’s being sold to. He then hangs and disembowels Pazzi off the balcony. Verger’s men see it and rush in to kill Lecter. One is subsequently killed. Clarice watches the footage of Hannibal killing Pazzi and sees him waving to the camera. Verger watches it too and questions if it’s a hello or a goodbye. Verger continues to try and get Lecter out of hiding by getting Clarice in trouble. He pays Krendler $500,000 to accuse Clarice of hiding a letter from Lecter even though Verger wrote it. Clarice is suspended even though she states that she believes that he’s being paid to do so by Verger for his personal revenge. Krendler publicizes that she’s a good agent. Hannibal is back in the States and steals a letter from Krendler’s mail, steals some equipment, and sneaks into Clarice’s home. He calls her and makes her do things as she tries to find him and he talks about Verger. He ends up being kidnapped by Verger’s men as Clarice tries to stop them. She fails and reports it, but isn’t allowed to join the investigation. Verger’s men have Lecter locked up and are going to feed him to wild boars that Verger has been breeding. Clarice arrives and shoots down the men. She unlocks Hannibal, but gets shot by a third guard. Hannibal carries her as the boars are released and eat the guards. Hannibal escapes as Verger arrives and forces his doctor, Cordell, to shoot him. Lecter convinces Cordell to push the wheelchair-ridden Verger into the pit and blame it on Lecter. He does so and Hannibal and Clarice escape. Hannibal tends to Clarice’s wounds and goes to kidnap Krendler. He has Clarice dressed nicely for dinner with Krendler. She calls the police, when she wakes up, but joins the dinner heavily drugged. Krendler is also drugged and has his scalp cut off. Hannibal cuts off the part of his brain involving good manners and cooks it to feed Krendler. Clarice eventually tries to fight him, but he traps her by her hair between the fridge doors. He kisses her and she handcuffs them. The police are arriving and he asks if he should chop off above or below the wrist. She gets saved as Hannibal escapes. She raises both her hands and identifies herself to the authorities. Hannibal is on a plane with his own meal and a little boy asks him if he can have some and he allows it.]
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reflexcine · 3 years
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Críticas | Hannibal (2001)
La secuela no logra empatar la calidad de su antecesora, al no poder resolver la complejidad de una propuesta con demasiados conflictos en simultáneo.
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Sinopsis: Clarice Starling (Julianne Moore) se ha convertido en una referente dentro del FBI, aunque un operativo fallido la pone en el ojo de los directivos. Relegada, comienza a obsesionarse con el paradero de Hannibal Lecter (Anthony Hopkins), prófugo en Italia desde su exitoso escape. Pero ella no será la única en querer encontrarlo: Mason Verger (Gary Oldman), un sobreviviente en busca de venganza; y el inspector Pazzi (Giancarlo Giannini), un policía enterado de la recompensa, correrán el riesgo de querer atraparlo.
Hannibal parecería haber sido una gran propuesta literaria que no logró ser bien adaptada al audiovisual. Si bien la película logra con mucho énfasis inspirar el terror del personaje, los tropiezos a la hora de contar los acontecimientos no la hacen tan disfrutable.
El personaje del psiquiatra es de las pocas cosas que sale airoso, si no es la única. Su mínima aparición en El silencio de los inocentes había dado que hablar, pero todos los comentarios que pueden hacerse sobre él parecen estar mucho más ligada a su profundización, 10 años después. Encarnar al mismo caníbal después de tanto tiempo quizá no sea una tarea fácil, y Anthony Hopkins lo logra bastante, dándole el mismo tono y la misma integridad. Hay un esfuerzo también en toda la producción para que eso suceda, porque es en las apariciones del villano donde se despliegan los recursos más claros de dirección para enfatizar ese terror.
Por otro lado, al tratar de mantener su esencia y seguir la línea de una extrema inteligencia, se confunde sabiduría y estrategia con omnisciencia, lo cual a veces hace difícil no mirar con incredulidad. Hannibal sabe todo de todos/as, incluso estando en otro continente. El personaje y sus acciones son espeluznantes, pero sobresale en gran medida por estar acompañado de un guión con muy pocas luces. Retomar una historia en la que buenos y malos habían quedado separados por un océano era todo un desafío, y todo lo que sucede para hacerlos confluir en un mismo escenario ocurre de manera muy forzada, con acciones de personajes inmotivadas y sin justificación. Tiene la estructura de un policial llano con los puntos de giros marcados por el inicio del caso y el "dame tu arma y tu placa" (este último casi sin ningún indicio previo), lo cual incrementa la centralidad del personaje en cuestión. Da la sensación que no hubo tantos esfuerzos por hacer encajar al resto de los personajes al universo de Hannibal (de hecho, si hay que hacer cuentas hay cosas que no cierran), como por darle una entidad mucho más profunda al villano, que es lo que finalmente termina siendo lo más atractivo. El hecho de que se presente como secuela de El silencio de los inocentes y la agente Starling sea directamente encarnada por otra actriz pero no así el villano, hace muy difícil entrar a la historia sin desconfianza.
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aces-reviews · 3 years
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Ace’s Reviews presents: Hannibal
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Not what we meant by the red-eye flight, Hannibal
WE KNOW, WE’RE LATE anyway
Here’s our look at Hannibal, the follow-up to Silence of the Lambs. It’s also based on the novel by Thomas Harris, and sticks fairly close to the basics of the plot (with the exception that the movie excises the character of Margot Verger, a crime worth eating someone over).
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Hannibal, based on the novel Push by Sapphire
This entry sees Hannibal living in Europe, enjoying the high life, meeting nice people and having them over for dinner, and generally being a handsome fugitive.
Clarice Starling, on the other hand, is being a badass FBI agent who’s continually getting the short end of the stick. After a botched raid on a meth lab lands her in the tabloids (reporting by Freddy Lounds someone who isn’t Freddy Lounds), Lecter decides to send Clarice an encouraging tweet.
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#LecterFace (side note: this original draft of the movie poster was deemed too disturbing to use!)
No, he sends a letter (because when this came out, Twitter hadn’t been invented oh god I am so old). Letters can be traced, so the hunt is on.
Clarice is joined in her quest by Mason Verger, a victim of Lecter’s who is still alive.
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“If you can call this living, amirite?” Mason Verger, probably
There’s also the little matter of Hannibal himself, who doesn’t want to be captured and thrown back in weirdo jail.
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“No thanks, I’ve already been! Waitwait, I got it, KNIFE to see you!”—Hannibal, probably
There are cat and mouse chase, some killing, some beautiful scenery, and then it’s over...but you’ll have to see that for yourself.
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“Two things that should ever be spoiled: meat and movies!”—Hannibal, correctly
This isn’t a bad movie. The problem it runs into is the fact that it came after Silence of the Lambs, which is pretty much a perfect movie. Also they got very few of the original cast back: only Anthony Hopkins and Frankie Faison (Barney the Orderly) returned. But those two were bolstered by the impeccable Julianne Moore (who played Clarice and didn’t attempt to emulate Jodie Foster, and I respect that), Giancarlo Giannini (as the smooth Inspector Pazzi) and GARY FREAKING OLDMAN as Mason Verger (who looks like a haunted butthole).
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Also Ray Liotta, who eats his own brain
It was directed by Ridley Scott, with a score by Hans Zimmer! This movie has a ton of star power behind it, but it’s often lost in the shuffle of “Not As Good as Silence”, which is a damn shame. I recommend this one highly. Anthony Hopkins hadn’t yet turned Lecter into a clown, and Julianne Moore might be one of the most perfect humans God ever created.
One super important thing though: the ending of the book and the end of the movie are VASTLY different. We’ll let you, the reader, decide which is better.
Join us next time for Hannibal Rising, a movie we are genuinely sad that it exists.
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