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lifewithaview · 2 years

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Jodie Foster in "The Silence of the Lambs"(1991)

as Clarice Starling

F.B.I. trainee Clarice Starling (Jodie Foster) works hard to advance her career, while trying to hide or put behind her West Virginia roots, of which if some knew, would automatically classify her as being backward or white trash. After graduation, she aspires to work in the agency's Behavioral Science Unit under the leadership of Jack Crawford (Scott Glenn). While she is still a trainee, Crawford asks her to question Dr. Hannibal Lecter (Sir Anthony Hopkins), a psychiatrist imprisoned, thus far, for eight years in maximum security isolation for being a serial killer who cannibalized his victims. Clarice is able to figure out the assignment is to pick Lecter's brains to help them solve another serial murder case, that of someone coined by the media as "Buffalo Bill" (Ted Levine), who has so far killed five victims, all located in the eastern U.S., all young women, who are slightly overweight (especially around the hips), all who were drowned in natural bodies of water, and all who were stripped of large swaths of skin. She also figures that Crawford chose her, as a woman, to be able to trigger some emotional response from Lecter. After speaking to Lecter for the first time, she realizes that everything with him will be a psychological game, with her often having to read between the very cryptic lines he provides. She has to decide how much she will play along, as his request in return for talking to him is to expose herself emotionally to him. The case takes a more dire turn when a sixth victim is discovered, this one from who they are able to retrieve a key piece of evidence, if Lecter is being forthright as to its meaning. A potential seventh victim is high profile Catherine Martin (Brooke Smith), the daughter of Senator Ruth Martin (Diane Baker), which places greater scrutiny on the case as they search for a hopefully still alive Catherine. Who may factor into what happens is Dr. Frederick Chilton (Anthony Heald), the warden at the prison, an opportunist who sees the higher profile with Catherine, meaning a higher profile for himself if he can insert himself successfully into the proceedings.~imdb~

#the silence of the lambs #1991 #movie #film #crime #drama #thriller #Jodie Foster #Anthony Hopkins #serial killer #based on a novel #Hannibal Lecter #psycho thriller #psychopath #neo noir #FBI agent

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blackrockkchronicles · 1 year

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I am once again writing a fic

#hopefully i finish this one but. I can feel it in my bones. Novel juice returning #its even easier because it's filled by spite for thomas harris' writing!#rewriting silence of the lambs to actually be good. but also yogscast #and im changing the killer. im not doing transphobia again even though the skinsuit was interesting #I've got Better Ideas

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witchee1014 · 2 years

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4 of the Scariest Horror Novels To Give You Nightmares

There are a lot of reasons to love horror novels. However, there is one reason that most people don't like them. That reason is all the nightmares they give you! Reading scary books can leave you with some very memorable dreams.

Do you love horror novels? If so, then you’re in for a treat. In this blog post, I will discuss the 4 scariest horror novels of all time. These books are sure to give you nightmares! Do you love horror novels? If so, then you’re in for a treat. In this blog post, I will discuss the 4 scariest horror novels of all time. These books are sure to give you nightmares! Keep in mind that horror is a…

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kaoribriefs · 2 months

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A good wake up?

#clannibal #clarice starling #hannibal lecter #thomas harris #hannibal x clarice #hannibal books #my art #clarice x hannibal #hannibal the cannibal #tsotl #hannibal novel #the silence of the lambs

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perpetual-stories · 1 year

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How to Use Character Flaws to Enrich Your Writing

Readers identify with characters who are relatable and peppered with imperfections. When a writer crafts believable character flaws, they open the door to interesting conflict, engaging personalities, and ample character development.

What Is a Character Flaw?

A character flaw is a trait that prevents a character from being perfect.

Sometimes this fatal flaw leads to a character’s demise or at least undercuts their character strengths and presents a prominent setback they must overcome.

Any character can have flaws, including a protagonist, antagonist, love interest, confidant, deuteragonist, tertiary character, or foil.

Why Give Your Characters Flaws?

A character’s flaws serve many functions, particularly ensuring that the character is relatable and engaged in inner conflict. Carefully crafted flaws can do the following:

Make the character relatable to an audience of readers or viewers

Present an obstacle that must be overcome during the course of the story

Create character weaknesses that another character in the story can exploit

Create an obstacle that prevents a character from immediately solving a conflict

Set off a character arc that allows a character to grow and change

Provide quirks that distinguish characters from one another and make them memorable to audiences

Emphasize broader themes that are amplified via specific character flaws

Create comedy—from Homer Simpson to Michael Scott, the best comedic characters are hopelessly flawed

What Is an Example of a Character Flaw?

In the Thomas Harris novel The Silence of the Lambs (and its subsequent film adaptation by director Jonathan Demme), Hannibal Lecter has what could charitably be called a personality disorder: He is a cannibal and a sadomasochist.

Lecter’s character flaws, however, are somewhat offset by his brilliant mind, which he uses to help the main character, Clarice Starling, apprehend a serial killer tormenting Appalachia.

Lecter is an example of how in fiction, even characters with the most severe personality flaws can embody a degree of three-dimensionality.

12 Character Flaws to Use in Your Writing

The array of possible character flaws is boundless. Here are 12 time-tested character traits that inherently generate conflict:

Perfectionism: A finicky perfectionist is never satisfied. They can rarely accept that a project has been completed, and they rarely accept the finished work of others. Perfectionism is a great flaw for a detective, a doctor, or an office worker.

A know-it-all attitude: An arrogant, self-righteous know-it-all has great potential to fall flat on their face, whether comically or dramatically. High school stories often feature a know-it-all foil to the main character. These archetypes work particularly well in comedy, especially when the know-it-all suffers from a broader lack of intelligence.

An inability to move on from the past: Many police procedurals and superhero stories feature heroes haunted by their past, such as murdered parents or the victim they could not save. This major flaw presents obstacles as they work to solve crimes—but when the obstacles are overcome, the story’s happy ending feels earned.

Laziness: Laziness is a flaw that leads to obvious conflict, some of which can be quite funny. Lazy sloth detectives and doctors can be either hilarious or the source of grave conflict, depending on the tone of your storytelling. A lazy character in a position of authority can generate a lot of tension for your plot.

Physical vulnerability: Some characters suffer from a physical weakness that can escalate into a fatal flaw. Superman’s tendency to wilt in the presence of kryptonite hamstrings him, while the great warrior Achilles was undone by his fabled heel.

Low self esteem: People who fundamentally dislike themselves make for fascinating characters. Jesse Pinkman’s self-loathing leads him down all sorts of dangerous paths in Breaking Bad. On the other end of the spectrum, the young adult author Judy Bloom has crafted gorgeous character arcs from youthful characters, like Linda Fischer in Blubber, who begin their journeys with low self esteem.

Vanity: Vanity is the undoing of many real world characters, and so it also works beautifully in fiction. Politicians, artists, models, and athletes in stories are routinely undone by vanity as they gradually develop a bad reputation. Ordinary people can be wrecked by vanity as well, so it’s a common character flaw in many forms of fiction.

Lust for power: Unbridled thirst for power has undone many a character, from Mr. Kurtz in Heart of Darkness to Frank Underwood in House of Cards. Power is intoxicating, and characters who seek it are both relatable and easy sources of conflict.

Lack of maturity: Many character arcs begin with a person in a hopeless state of immaturity who then grows over the course of the story. Immaturity can also manifest as rudeness, like when a bigmouth makes tactless remarks.

Fear: Common in action dramas and comedies alike, fear—be it cowardice in the face of duty, a specific phobia of spiders, or an irrational fear—is a great character flaw that naturally drives a story.

Hedonism: Some characters cannot resist temptation, whether that involves an illicit drug, food, or a fetish. Sometimes this excessive desire is due to addiction—it’s no secret that many famous protagonists are alcoholics—and sometimes it’s due to a general lack of self-restraint and willpower. For a character like Fyodor Karamazov in The Brothers Karamazov, hedonism and lechery make him both tragically amusing and subtly sinister.

A gruff exterior: Some characters seem initially impenetrable because they are taciturn, standoffish, or even hostile and lewd. Typically these characters house a vulnerable interior beneath their coarse shell. Bringing out that vulnerability and lack of self-worth can be a strong driver of story.

Please like, comment, reblog and follow for more!

#writing #writing advice #writing tips #original writing #writers on tumblr #writersconnection #writerscommunity #short story #storytelling #writersupportingwriters

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thenyoumightaswellwrestleangels · 1 month

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Like a lamb led to slaughter (my heart held in your hands)

carry me slowly, my sunlight (these colours, they fade for you only) - series masterlist here

pairing: damian wayne x reader (gender neutral)

length: 1.7k

genre: fluff? angst? kinda hurt/comfort?

warnings: this is the enemies part of the enemies to lovers so they're kinda mean and hateful, reader pulls a knife on damian at the beginning but it's pretty chill, also angsty ending in this but future parts where they're together and in love are already up and in my masterlist <3

a/n: enjoy xoxo

Damian pauses, holding his breath as the knife that's been suddenly pressed against his throat gets pressed a little harder. The wind blows the sand around his feet gently and he listens, straining for a hint as to who his attacker is.

"Damian Al Ghul, caught by surprise… you're getting slow," your voice makes him relax - much to his annoyance, his jaw clenching as he exhales slowly. You pull the knife away from him, ignoring the small trickle of blood that runs down his neck as you stand in front of him.

"You shouldn't be here," he snaps harshly.

"Neither should you," you quip back.

"This is my -"

"For now," you interrupt, your grin wicked. "This war of ours isn't over yet, Al Ghul. I wouldn't claim the winning prize for yourself just yet - not when you're the one who's been caught off guard." Damian's fists clench, his eyes hard as he stares at you through the darkness of night, the stars dripping pinpricks of light onto the two of you.

"This is League territory. You are outcast. You're not welcome here, and neither are any of the others who follow you," he says viciously. You smile.

"So sure I won't beat you still," you say, a mocking edge in your voice that makes him huff. "So sure it'll be you leading the League one day, and not me."

Damian doesn't bite back, though. He opens his mouth to, but then seems to think better of it, opting instead to step away from you and plant himself on the sandy ground while the clouds part, the moon shining through. You think you hear him muttering, "why don't you just kill me and get it over with, then?"

You blink at his behaviour, following him cautiously and standing in front of him, blocking the light of the moon and shrouding him in darkness where he's sitting, knees pulled up to his chest.

"What's wrong with you?" You ask, toeing at his side with your shoe, jostling him slightly. He just clenches his fists tighter.

"You're blocking out the sky," he says bitterly. "And you stabbed me." You arch a brow.

"You're stargazing now? How novel. And I didn't stab you - don't be dramatic. It was just a little cut… you've given me worse," you point out.

"You deserve worse," he snaps. You straighten back and away from him, moving to let the light of the moon shine down on him as you sit next to him.

"You know I'd never kill you on a night like this," you say, a softness in your voice that makes you both queasy. You feel the weight of the knife in its sheath against your leg and press your hand to it. You could try to kill him - you probably should. God knows there are enough people waiting for you to.

"Not enough of an audience?" Damian says dryly. You kick a pile of sand near your foot.

"Why didn't you fight back? You could just as easily try to kill me tonight. But you wouldn't because we've been at this far too long to let it end in private… just the two of us." The end of your sentence is murmured, your eyes trained on his face while he stares up at the night sky. It takes him longer than you'd like for him to tear his gaze away from the full moon and look back at you, the light shining on one half of his face while the other now sits in shadow. You imagine you look much the same, half bathed in light, half shrouded.

"What do you think will happen?" His question finally cuts through the silence. "When one of us finally kills the other." You pull your hand away from your knife like it's burned you.

"When I kill you?" You say haughtily. "The League will be mine."

"And when I kill you?" Damian snaps back. You seem to mull over your answer for a moment too long, Damian huffing and turning back up to the sky.

"Then you win," you say quietly. "And you're rid of me." Something in your heart twinges at that and you grit your teeth.

"What would I do?" He says it so softly you're sure you wouldn't hear him if you hadn't spent so many years learning him. You fix him with a hard look, but he keeps his eyes pointedly on the stars and not at you. "What would I do without you?"

"What would I do without you?" Your response is so wavering and hushed that you think he must have missed it. It must have simply been caught in the wind and carried away to somewhere where the two of you could be anything other than what you are now. The way Damian turns to look at you, eyes wide and vulnerable and hurting, tells you he heard you just fine.

"I don't want to kill you," he says it like kindness is a crime.

"You have to," you respond, like a lamb led to slaughter. "It's what we're made for, you and me. To be each other's end - each other's undoing. Only one of us is making it out of this alive." There's a weight in your words that goes unsaid. A part of me will die with you. Neither one of us will make it out of this and stay whole. A part of me belongs to you.

Damian stands suddenly, sand flying at where you sit as he shoots to his feet. You brush it off of you with a sigh and crane your neck to look up at him where he's standing tall, fists clenched and shoulders back, his feet planted firmly and holding him steady. You assume there's a determination in his eyes that you're intimately familiar with to go with his stance. He's blocked out the moon with his figure, leaving the two of you in shadow with a blinding halo around his silhouette, but you don't need to see his face to know what look he's wearing - you haven't needed to for a long time.

"There's a way around this, I'm sure," he says. You sigh and a breeze floats by, ruffling through him and into you. Your nose burns when you pick up the faintest whiff of his scent and you wonder, just for a moment, if he can detect the same from you… if he knows you the way you know him.

"You don't want that," you say flatly.

"Don't tell me what I want," he snaps back, voice hard. "You don't get to decide how this ends." You shoot up at his words, standing chest to chest with him, so close that you bump into each other.

"I decide just as much as you do." Your voice mimics the steel in his own. "This is about us, not you, and… and," whatever you were saying dies out as you look at Damian, his eyes staring back at you intensely. You hadn't really realized, in your anger and haste, how close to him you'd shoved yourself, but you can feel his breath on your skin and see the flecks of colour in his deep brown eyes.

"And… what?" He prompts, scowl still on his face. He seems to take no notice of the way his nose brushes against yours. That is, until your eyes flick down to his lips for a split second too long.

He lurches away from you, stepping back to create distance and holding a hand out in surrender, as if the close proximity to you just then had been more threatening than all the times you'd pointed a sword to his chest. The way your heart thumps behind your ribs and your breath catches, you're inclined to agree.

"I'm going to fix this," he says breathlessly.

"Fix what? There's nothing to fix, Damian." His name burns your tongue, like it's an intimacy you shouldn't indulge in. "There's nothing to fix. This is the way it's supposed to go."

"I won't kill you," he's all but yelling at you now. "And I won't let you kill me." You make the mistake of closing your eyes, hanging your head slightly and sighing as you prepare yourself for another fight. It's a moment of weakness that you would never allow in front of any enemy other than him - a moment of vulnerability that could cost you your life. But you hear it, ever so slightly, the whisper of him moving with a stealth that only the two of you know. By the time you open your eyes, he's gone.

You realize, in the days following the incident, that you'd never gone so long without seeing Damian before. At first, you were shoved against each other by your respective sides in never-ending fights to see who would triumph. Then, as time passed and the two of you grew, your skills matched and fights ending in draws over and over, you started seeking each other out on your own. To know your enemy, you'd always told yourself. You're sure he'd always tried to convince himself of the same.

But now? Now days have gone by without a whisper, without a flickering shadow or a hushed breath. Eventually, you go looking, silent and hidden and so desperately hopeful. But that's when you hear it - the rumours.

Damian Al Ghul is gone - gone to live with his father and train with him. He'll be back, you promise yourself. He'll come back to me.

But he doesn't. Time passes and he remains gone, the rumours spreading.

Damian Al Ghul has found a home beyond this war, beyond you. You're sure that only makes you so nauseous because now you'll never get the chance to kill him.

Damian Al Ghul has no interest in fighting a war that isn't his anymore, you hear. Damian Al Ghul has no need for a vicious prophecy or a never-ending rivalry. Damian Al Ghul has found a home, apparently, and it's somewhere far… far away from you.

#smsn.writes #damian wayne #damian wayne x reader #damian wayne fluff #damian wayne al ghul #damian wayne x y/n #damian wayne x you #damian wayne fanfiction #damian wayne imagine #robin #robin x reader #robin imagine #robin x you

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ot3 · 1 year

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current riverdale plot points:

archie and his boys try to restart riverdale's fire department after hiram shut it down!

in researching his next novel, jughead discovers that there may have been MOTHMEN in riverdale! only, what's this? mothman might have been an alien!

betty starts finding the bodies of murdered women in the swamp while looking for her missing sister, suspecting a new serial killer, which brings back memories of her time being kept in a well silence of the lambs style by the Trashbag Killer

veronica prints her own currency - the riverdollar, which is red and has her face on it, exclusively for use in riverdale, to try and stimulate the local economy. suddenly, there are too many riverdollars in circulation and the currency gets devalued. she suspects hiram of counterfeiting the money only to discover it was the work of her high school economics students, so she gives them all Fs for ruining the economy.

#riverdalelb #nana blossom had a maple cask that had a dead mothman body in it delivered to pops so jughead and tabitha could look at it

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cedarxwing · 3 months

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Hannibal Season 4 Plot Ideas

The main concepts that keep coming up in interviews of Bryan Fuller and some of the cast are:

"Will Graham's broken mind" and "memory palace bullshit"

"Inception meets Angel Heart"

an interesting return to season one dynamics, but flipped

deeper exploration of Will and Hannibal's relationship than in previous seasons

stuff from Hannibal the novel that no other adaptation has done yet.

we're in Cuba

So based on that, here are some possible story beats for S4 (picking up right after the Fall as if the show was never cancelled):

We start out in Cuba. The most obvious reason? To hunt down one of their victims that have fled the country, as Hannibal does at the end of Silence of the Lambs. Based on interviews, it's clear that Chilton would remain in the US to head the BSHCI again (how is he alive, let alone working?), so it's more likely that they're hunting Bedelia for the post credits leg scene.

Will Graham's Broken Mind

During the Fall, Will suffers a mental schism that splits his personality, similar to the detective in Angel Heart. I don't think he literally has a split personality disorder, but he compartmentalizes his killer/Hannibal self from his moral self. When he participates in murders, he's not quite himself, viewing it through a dream lens (we saw a little of this when he was killing the Dragon). It's possible that he takes on personality traits from killers in season one, or even has to fight against a Red Dragon personality ("You can always toss the Dragon to someone else." "Will Graham interests me.")

I think we'll see a return of the teacup metaphor relating to Will's mental schism, since their reunion represents the "teacup coming together again" the way Hannibal wanted it to in Digestivo. "Not even in your mind?" Well, the teacup HAS come back together in Will's mind, because there's no other way for him to accept his feelings for Hannibal. He mentally regresses back to season one/two and we see the return of the Abigail imago we last saw in Primavera, as well as Beverly and Hobbs and Gideon and all our other friends. Maybe Will thinks they're all alive again! Or maybe he thinks he's dead! This would be really poetic from Hannibal's perspective, since his arc in the novel is about dropping a teacup and "being satisfied when it does not gather itself together." So it would be perfect for the cup to gather itself in Will's head and for Hannibal to realize that's not at all what he wants.

Will hallucinating Abigail would be a fun way to get the "murder family" dynamic. "It's hard to grasp what would've happened, could've happened. In some other world… did happen." Well, we can see that world in Will's broken mind!

I don't have a clear guess of what a "return to season one but flipped" might mean. There are lots of possibilities...

1. Could refer to Will's encephalitis days when he wasn't sure if he was committing the murders or not, except this time he's committing them. Maybe he has a pendulum wipe moment and thinks he's reconstructing a murder instead of committing it (like a reverse of the Georgia Madchen murder in Buffet Froid). Going extreme in this direction, maybe he analyzes his own crime scenes with Hannibal in therapy. Maybe Beverly shows up at an actual crime scene and helps him "analyze the evidence."

2. Could refer to his dynamic with Hannibal. According to the rest of my bullet points, they return to their therapy sessions, but with memory palace elements and hallucinations, etc., but this time Hannibal is trying to fix Will instead of breaking him down.

Something from Hannibal the novel that no one else has adapted

This could be a few things, but I think it's most likely the end of the novel where he's brainwashing Clarice. Hannibal would use drugs and hypnosis ("therapy") to help Will merge his two halves and fully accept who he is. This happens in different places in their memory palaces, kind of like the white space dinner scene from Dolce, or when they were jumping around to different places in the Red Dragon investigation. To be clear, they're on friendly terms. Will consents to this. He has ample opportunity to escape and go back the US if he wants. We might get a lot of information on Will's childhood and backstory, maybe a "saving Hannah the slaughterhorse"/"silence of the lambs" moment. I'd like to see him as a cop working in New Orleans. The time he got stabbed. The time he didn't have the stomach to pull the trigger. This would be a nice reverse from the S3a dynamic where Will was delving into Hannibal's backstory. :)

Part of this "therapy" could be helping Will let go of Abigail the way Hannibal helped Clarice let go of her father. This plot beat has already been done twice in the show (1. The Primavera line "A place was made for you, Abigail. The only place I could make for you" refers to the place in Will's mind. 2. The WCWTS scene where Hannibal helps Abigail let go of her father. "What you need of your father is here, in your head.") BUT I still want to see it with Will/Hannibal. What I'm really saying is it would be cool if Hannibal showed Will Abigail's skeleton to convince him that she's dead and Will cried over her skull.

For the other half of Will's therapy, Hannibal has to get him to really delight in a murder when he's fully present as himself (Similar to how Clarice ate Paul Krendler's brain. Similar to how Hannibal wanted Will to kill Mason Verger.). Ideally the victim wouldn't be a criminal (Will is already fine killing murderers like Dolarhyde and Bedelia), but a representative of the corrupt judicial system. Someone who has personally slighted Will. An FBI official that Will HATES enough to eat their brain. The perfect option is Kade Prurnell (whose name is an anagram for Paul Krendler!). So yeah I think Hannibal catches Kade Prurnell and they have a dinner party where Will kills her and realizes, "Hey, I don't care what Jack or Alana or the FBI or anyone thinks about me anymore. My personal ethical code is good enough for me because I am MORE ethical than the law." And then he and Hannibal can be full murder husbands after that.

Side character subplots

While all this is happening, there's an international manhunt for Will and Hannibal going on. Jack/Price/Zeller are still at the FBI, probably beefing with Kade Prurnell to establish how awful her character is. Either Clarice Starling, Miriam Lass, or Alana Bloom are on the case. The murder/disappearance of Bedelia (or whoever) in Cuba is their first lead, so everyone gets to go to Cuba!

It's been nearly two seasons since Will interacted with Prurnell, so maybe they need to have a cat and mouse dynamic in Cuba to reignite his loathing. Idk why she would be in Cuba, when she works for the OIG... but who cares! She's there, motivated by greed, basically acting as Will's Pazzi. Maybe she's bullying her underlings in true Krendler fashion.

At this point, Jack is the only somewhat moral person in the entire cast. His primary motivation is saving Will. Yep, that's right, he still thinks there's a chance to bring Will back. He's leading the investigation, but he's hoping to catch Will alone before anyone else finds him so he can try to talk him back onto his side. This would continue the God vs. Devil thing with Hannibal, fighting over Will's soul.

Maybe Jack finds Will when he's in his broken state of mind and they have a chat. I'd want this scene to function like Clarice's hypnosis scene where she talks to her "father." Jack and Will address the vague father/son dynamic they have ("I'm not your father, Will." "Abandonment requires expectation." Jack as God/Will as the Lamb). Jack forgives Will for his crimes. Will forgives Jack for sacrificing him. The conversation helps Will along in his "therapy."

Last time we saw Alana, she was fleeing on a helicopter with Margot and their son. My first thought was "Omg they're going to Cuba! They're going to get Chilton'ed in Cuba!" but Fuller has mentioned that Margot would be actively managing the Verger meat packing company as a vegan girlboss lesbian so idk. (I personally don't see how a vegan could run a meatpacking company... maybe it transitions to tofu packing).

Anyway, I think Alana's character has gotten even darker since Hannibal's escape. She's given up on Will and is completely focused on protecting her family. Knowing Hannibal is going to come to kill her, maybe she sets up some sort of trap for when they come (or she puts Will's dogs under a cardboard box held up by a stick and waits). Maybe she catches Will and Will has to pull a Bedelia and pretend he was kidnapped and brainwashed (and he kinda was, if Hannibal used hypnosis and drugs like in the book). I think it would be fun for her to finally give into her "professional curiosity" about Will and try to study him (like a Bedelia/Mason hybrid character). Maybe she teams up with Jack to use Will to catch Hannibal. It would be wild if W+H actually killed her, but maybe! Maybe she gets the Chilton treatment and lives, but gets a nice facial scar like every other fallen character in the show.

Freddie Lounds would have to come back! And I want her DEAD haha. She's escaped punishment for too long, so in my ideal S4, she writes a book about Abigail even though Will asked her not to. Maybe she's investigating/contaminating Will's crime scenes in Cuba? She's definitely gonna die, but not before W+H use Tattlecrime for some shenanigans!

Chilton loses a limb (that's really all he has left to give). In an actual S4, I'm sure there would be a plot reason for this and some other killer would probably do it, but in my mind it's a comedy beat. W+H don't even set out to get Chilton. They don't hate him, they just find him pathetically entertaining at this point. Through Chilton's own incompetence or some karmic twist of fate, he runs into them (like Barney at the opera). W+H take one look at each other and go, "You know what would be funny..."

I have NO idea what to do for Molly. I assume she's living with Wally's grandparents in Oregon. Maybe Will mails her some signed divorce papers and that becomes evidence in the investigation lol. I'd rather leave her in peace!

More serial killers who used to be Hannibal's patients! W+H read about a former patient's murders in the news and go to catch him before the FBI can (running into the FBI in the process, of course).

Other stuff

I'd love to skip around to Brazil or Buenos Aires, the South American locations from the books. Maybe Hannibal gets injured and needs surgery in Brazil, and his medical records are another lead for the investigation. Maybe the season ends with a happily ever after in Buenos Aires. <3

They pretend to be recovering from plastic surgery to hide their faces in bandages. I just think that would be funny.

Will escapes Alana's clutches by using all the serial killer skills he learned in season one. He pretends to be a dead body, wearing someone else's face as in SotL. (This was actually in the Digestivo script but it got cut.)

They steal an ambulance (and turn off the radio!) again like SotL. And then the "This is very educational" line from Sorbet would come full circle.

Someone has to send a secret message using book code. What if W+H got separated and that's how they had to communicate? Or maybe they communicate to another killer that they're hunting? Or maybe they do it just to taunt the FBI?

Jack vs. Hannibal fight scene (round 3)! This time over Will's soul. Will watches, amused (maybe in broken mind state).

(If anyone else has thoughts I'd love to hear them!)

#hannibal #nbc hannibal #hannibal s4 #hannibal season 4 #hannibal meta #will graham #hannigram #cedar writes

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thethirdromana · 3 months

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Some Beetle covers, assessed

This book is about a beetle

A good two-thirds of Beetle covers take this approach, including the first edition on the left. And you know what, I can't fault it. This book sure does have a beetle in it. Bonus points for the middle one that draws on the hypnosis theme by making the beetle look like a brain.

Maybe an Egyptian beetle?

This is essentially the same approach, but more Egyptian, which I think looks very stylish. Given late Victorian Egyptomania, I'm surprised there aren't more like this. I could imagine a luxury edition with lots of gold really making this concept work.

Specifically involving a woman with a beetle on her forehead

This is an arresting image that's also sort-of justified by events in the book. It took me forever to realise what it reminded me of, and it's of course the poster for the Silence of the Lambs, which postdates both of these covers by about half a century. These are two quite sulky-looking Marjories, but perhaps that's the effect of hypnosis.

The cover illustrator read the book!

Given these covers minus the title, I think I would still have a solid chance of guessing which book they were for. The blue cover is the fully illustrated version. But actually, I think my favourite on this theme is redhaired Marjorie being menaced by the Beetle while Sydney tiptoes over in evening dress, both looking they could be in the opening credits of a Bond movie.

The cover illustrator didn't read the book

A very small part of the novel takes place in a railway station. None of it takes place in a cemetery, nor does it involve a hermit studying anatomy. With the whole world of royalty-free images of beetles to choose from, how does anyone land on any of these?

The cover illustrator really, really didn't read the book

Here we have the Beetle as represented by some Taiwanese houses, as True Blood, and as a picture that I vaguely recognise but where the image is so fried I can't even google it to check. At least the previous three had semi-appropriate spooky London vibes; these appear to be entirely random.

How about a bonus subtitle?

The first one here is clearly the weakest of the three, since it just features a picture of Richard Marsh's face, but is redeemed by choosing possibly the most metal line in the novel as its subtitle. I love both of the latter two, with a special mention to the illustrator of the middle one for actually depicting the Beetle's human form as described in the Beetle while also minimising the elements of racist caricature. No mean feat.

The cover illustrator understood the assignment

When I wrote something similar to this about Dracula covers, I was quite critical of the illustrators who decided to depict it as pulp horror. But it is so much more fitting for The Beetle. If you're drawn to buy Scantily Clad Woman Is Menaced By Giant Beetle, or Weirdly Green Man is Terrified of Mural, or even Rasputin And His Giant Beetle Spell, I feel like you genuinely might be the right audience for this terrible, terrible book.

#the beetle weekly #i hate to say it but i think these are collectively more fun than the dracula covers #there's just something about a massive beetle that really encourages illustrators to give it their all

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