heads up: reader struggling w friendships (feeling uninvolved + unheard)
felix hears the way you sigh as you come back into the room, and doesn't move quite yet. he knows you well enough. he listens as your footsteps draw nearer, and you pass in front of him as quickly as you can before throwing yourself onto the opposite end of the couch. it's enough to make him raise a brow--usually you'll sit next to him because you like being close to him--but he can't take his eyes off the tv screen quite yet.
"everything okay?" he says as he pulls one side of his headset back, and then he already hears changbin and jisung responding. "not--not you guys. hold on, i'll still be here--" he mutes his mic, and looks over to you. "babe?"
you curl in on yourself, frowning. "not really."
"you wanna talk about it?"
"you're busy--"
he shoves his headset down so it hangs around his neck. "i can multitask. once we're done with this, i'll stop, alright?"
you pout and he sees it from the corner of his eye. "i don't want to bother you."
"you aren't," he promises. "i'm listening."
"it's just... more of the same-old." you shift so you're a little closer to him. "feeling like some of my friends are closer with each other so i'm just kind of playing fifth wheel, platonically. other friends not listening to me when i speak meanwhile i feel like i file every little fact away..."
he's heard it before. he looks up, and he sees how upset you are, and he debates for a moment. he's going to play again with changbin and jisung this weekend... surely they can carry on without him? he pulls up his headset, unmutes, and says he's gotta go. all it takes is him mentioning your name for them to stop teasing him: felix wouldn't be ditching them if it weren't somewhat serious. he logs back out, and turns over, moving in to wrap his arms around you.
"hey." he smiles. "i love you. you wanna go out?" he says. "we can get dinner. talk more. maybe walk by the river?"
he knows you well: getting out helps. and walking by the river always helps you open up more. you peck his lips as you get up to find your shoes.
at least felix has your back when you need it the most.
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Maybe 8 and 14?🥺👉🏻👈🏻
8. mumbling unintelligibly into the embrace & 14. cuddles after being touch-starved
Hangman could only remember three things while Marlee drove him home from the bar. She peeled them off the ground and bet Coyote a whole piece of chocolate fudge that he couldn't get in the car by himself. Hangman only giggled a little bit when Coyote jumped up so fast he nearly fell face-first into Marlee's lap through her open window to kiss her. Coyote would have kept trying to kiss his wife, too, if Jake hadn't helped pull him from half hanging out of the car. Then, Marlee made Javy sit in the back so he wouldn't get handsy with Seresin in the vehicle. A statement that made Hangman roar with laughter, and he almost forgot his list. Loosening his watch band a notch, Jake repeats his list.
Lock the doors.
Three doors, six locks. The front: one deadbolt that turns to the left, but a handle walk that locks to the right. Hangman shakes the reminder he needs to switch the locks to match away from his head. He knows if he doesn't finish the list, he will lose it in the wild and random whims of his brain. The garage door had a handle lock that locked to the left and a chain that slides into place but has to be pushed down to notch into place. Then finally, the back door, it was easy a deadbolt that locked towards the right and a bar behind the door.
2. Drink one bottle; take a bottle.
His tired and true hangover prevention method. When Hangman layered in water and then did a DOTO routine, he would wake up feeling better than ever. A hack that had gifted him the last six years hangover free. (Paired with generally drinking less) The nights he would remember to take his lemon mint-infused water, Jake would sometimes wake up the next morning and actually run an extra mile. There was something about the high a good night out and social interaction would fill his battery to 100%. It was an easy high to chase, one Seresin would often find himself chasing before he understood how to balance out. Too many nights of people, fun, and drinks were bad for his health; On the flip staying at home and not doing anything but reading the Stormlight Archives and work burned Jake out too. With age, Jake had gotten better at finding and living in the middle ground, doing his best to moderate the highs and lows. Nowadays, it was easier than ever, hardly more than the occasional consideration because Jake had you. And you had changed everything for him.
3. do NOT kiss Sugar goodnight.
Jake repeated that one six times more than the others. He was the most worried about forgetting it. It was his personal mantra for the night. Jake had even accidentally blurted it out to Javy and Marlee instead of actually saying goodnight. Coyote removed his lips from Marlee's neck and stared at Jake for 30 straight seconds before doubling over with laughter, disappearing in the back seat once more out of eyesight. Marlee had smiled wolfishly before wishing him "good luck with his sugar." Jake didn't know why he could possibly need good luck to complete his list.
The first two tasks were simple. Once Jake was in the dim light of the house, he locked the doors in left, right, left, slide, down, notch, right, kick. Then Jake got his water and made it all the way up the stairs. Unfortunately, the stairs are where his plan falls apart. Jake wryly thinks it seems that they often are for him. Maybe he should be more conscious of the puzzle curses he lets in his home.
You left your door open, and he could see you half awake, half asleep. You have something playing, and Jake is drawn to your doorway. All you have to give him is a half smile and a wave. It's always easy for you to activate the homing signal in his chest, then pull on the magnet there right to your side. Right where Jake knows he belongs.
'Do NOT kiss her goodnight,' Jake reminds himself again. However, his mouth does sometimes seem to have a mind of its own. His lips graze your pulse point of the hand you stretched out for him. Just that small touch is enough to set him on fire. If he ever allows himself more, Jake isn't confident he would be able to stop himself from not trying to fuse himself to you. He was content to be some barnacle to your life. Jake somehow finds the strength to pull away, but then you shock him by pulling him close.
There is no option but to melt into your embrace as you hold him. You are half-mumbling questions about how his night went. None of them really make sense, but Jake doesn't mind. The longer he is there, the more Jake's own eyes start to drift closed. Before he is too consumed, Jake nudges you into a more comfortable position.
He runs through his list again, checking them off in his head. Then he gets to the last one, and half whispers it to himself.
"Kiss goodnight," Jake says, nodding his head slowly.
Then he hears you hum in acknowledgment. You tilt your face from where you've pressed it into his shoulder, and Jake does the same to get a better look at you. Your lips brush his, once, then twice. It's a movement that's more sleep thanconscious. It's not even a thought to follow your mouth for one more small lingering touch.
Jake doesn't process what's happened until he is already past the precipice of sleep. And at that point, he can't tell if it was a dream. Or if that third item on his to-do list really was to get some sugar from his sugar.
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hi hello tumblr dot com, can we unpack will and hannibal’s character introductions?
trick question and I don’t care: we’re unpacking this whether you like it or not <3
for the people who wanted to be tagged here you are: @forgivenessishisdesign @kitzual
so anyway last night I rewatched apéritif and now that I know how the series ends a lot of small details stuck out to me. there’s so much content to pick apart that I’m actually losing my mind a little so I’m gonna divide my thoughts into two parts because this is going to be long. first we’ll do will’s introduction, then in the next post I’ll write about hannibal’s
EDIT: you can find part two (hannibal’s introduction) here :)
with that being said, let’s get started
will:
as far as character introductions go, will’s is so perfect to me that I need to dedicate some time just to infodump about it. let it be known that I am obsessed with this scene. there is so much packed into literally only four or so minutes and it’s glorious
funnily enough it’s pretty simple: the scene opens with a flashback. will is depicted recreating a crime scene using his empathy disorder (although audiences are not aware of his empathy yet) and ends with him returning to the present, where he’s lecturing his students about psychoanalysing serial killers, using the case as an example. that’s it. but the scene does everything it needs to do
an effective opening should tell you:
1) the rules/qualities of the world (which can either be exceedingly normal or very bizarre depending on the nature of the story’s subtext and extended metaphor)
2) the protagonist’s worldview, thus foreshadowing the nature of their arc
3) depict theme and raise thematic questions
4) and set-up the climax of the story, which should ideally mirror the opening so that we’re left with a circular narrative
by opening with will’s empathy we are immediately shown that this is a normal part of the story-world even if it’s fantastical by nature. it’s something will can do and that’s just how it is. it’s important that this is the first thing we see because his empathy serves a plot, character, thematic, and genre purpose. it’s a device, as well as an integral part of the show’s subtext and extended metaphor. it automatically puts him on an axis between empathy and psychopathy, or rather, humanity and monstrosity. even before we’re introduced to hannibal himself this is clear through a study of visual contrasts, since in the same instance we’re introduced to the concept of “empathy”, will is taking on the role of the killer, coldly explaining how he murdered the victims bleeding out at his feet. this is the first murder we see in the show, meaning, by proxy, will is the first “killer” we see as well, even if he’s just recreating the scene. we never see who killed mrs marlow, and so the only impression we have of this killer is will’s face. this sets up the structure of s1, since each murder reveals more about will himself, but I digress
and sure, the precision of his empathy is exaggerated and unrealistic, but we believe it a) because it’s the first thing we learn about him and is an unquestionable part of the story-world and its logic and b) because it adheres to its genre (crime/gothic horror). the gothic horror aspect in particular justifies the phantasmagoric, almost supernatural nature of will’s empathy, as well as it’s visual aesthetic (it’s represented through a hypnotic, pendulum type swinging motion). the gothic deals with topics of transgression, the unnatural or unexplainable, and most importantly the unknown. even if the show’s gothic elements aren’t exactly clear yet, the opening certainly maintains this tone. it’s why when the show moves away from the standard crime procedural structure, it’s not exactly jarring or beyond audience expectations (even unconscious ones)
but in all honesty, what really stands out about this scene is what will tells his students after. there are five elements fixed into the few lines he says (which I’ve highlighted below) and it’s all that’s needed to tie the scene back to theme and the show’s main through line
the first thing will says after he’s finished recreating the crime scene, returning to the present and leaving the killer’s mind, is “everyone has thought about killing someone, one way or another.” if the initial flashback worked to place empathy and psychopathy on a conceptual axis, paradoxically blurring the line by contrasting what we know about will vs what we see of will, then the above dialogue blurs everything even further. according to will’s worldview he, and as a result normal people in general, all think monstrous things. therefore, we all have the capacity to understand monsters
to will, humanity is not divorced from monstrosity
this is immediately followed by “be it your hand or the hand of god” introducing a new dimension for us to work with: man vs monster vs god. this gives his initial worldview a righteous edge. here we have a character who understands humanity’s capacity for violent thought, but it’s rendered through a type of divine justice. for him, there must be reason and meaning behind violence. better still, he would prefer it to be righteous. this of course sets up much of his dynamic with hannibal. they talk about religion a lot in the show. lines that immediately come to mind are “killing must feel good to god, he does it all the time” “is this meal an act of god, will?” “did god feel good about that? (violence)” “he felt powerful” etc. I think there’s also something to be said about how by thematically juxtaposing humanity with god, the concept of fate and free will also becomes implicit. we all think about killing, sometimes we choose to do it ourselves and sometimes god does it for us. who has power here? when does it stop being righteous? can one take on the role of god when killing? and if one does take on the role of god, would all blame be erased?
after this is: “now think about killing mrs marlow. why did she deserve this?” now we’re directly tying will’s dialogue to the flashback. to will, the death must have meaning. not only that, but for the perpetrator this must be righteous in some way. why did she deserve it? this line also adheres to the show’s genre and its conventions: this is a crime show, which means we’re exploring justice and injustice. again, thematic opposites. but, as he’s done the entire time he’s been on screen so far, will keeps blurring the line between these distinctions
he then says “tell me your design” which, as we all know, is a significant motif in the show. he says this all the damn time, after every murder. again, this brings forth the idea that the murders must have some kind of deeper meaning, psychological or perhaps even creatively. after all, “design” is an interesting way to phrase this. it sounds artistic, purposeful, imbued with meaning. however, the exact meaning of this is only cemented when he follows it with “tell me who you are”
“tell me who you are” is arguably the most important part of this entire sequence because, first and foremost, this show is about identity, specifically will’s identity. he recontextualises everything he just said in that moment, as well as the flashback we watched moments earlier. the design, the intent, the act of murder, and whether it’s divine or monstrous or purely human, is all linked to one’s identity. by understanding the murder, we understand the man. further still, there lies hidden commentary on one’s moral choices, as well as how autonomy fuels self-empowerment: we will understand who will is once he makes a choice to secure his own autonomy and power, which he does in the wrath of the lamb
it’s why he struggles to make solid choices all throughout the show, and why the specific choices he makes are so important, because whatever he authentically chooses to do will reveal who he is, no matter how hard he tries to hide from himself. he chooses to kill hobbs. he chooses to warn hannibal and gets his stomach split open in the process. if he hadn’t been so indecisive, he would’ve chosen to run away with hannibal too. he chooses to follow him to italy. and finally, he chooses to break him out of prison. because ultimately, once cannot change their nature. you cannot reduce him to a set of influences. he’s not a product of anything. he has his own design
and in hindsight, the questions raised here concerning will’s nature is resolved the moment he chooses to take hannibal down with him. the ambiguity of the resolution recalls the conflict between fate and free will, justice and injustice, and humanity and monstrosity (as set up in the opening scene) since although will actively chooses to drag them down the cliff, and as a result chooses loving hannibal over everything else, something he can’t really control anyway, he simultaneously leaves their fate up to god. it’s an act of faith. in that moment, when will finally seizes power and recognises who he is, accepting hannibal as his natural equal, his hand becomes the hand of god. in a final coin toss, will puts their lives in his own hands, and hannibal lets him do it anyway
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