(This article contains spoilers, and is written under the assumption that the reader has viewed the entire series of Hannibal)
“This is my becoming.”
With that phrase, we reached the moment when Will Graham became fully aware of his own descent into evil. It’s something that’s been building over all three seasons of the show, but in this second half, the Red Dragon arc, we see his complete refusal of Hannibal crumble into acceptance. It’s simultaneously a moment of catharsis and defeat. Will tried to stay away from Hannibal and commit to a family, but it was never in the cards. Bedelia tells him in the finale that he’s found his religion, but in truth Will found it a long time ago. His transformation was almost complete; he just needed to consciously give himself over to his darker impulses.
The theme of transformation has been a major focus in Hannibal for some time, but is even more central in this arc. For one, the story they are adapting about the Red Dragon is explicitly about a man becoming something else altogether. For Francis Dolarhyde, the Dragon gives him power, but it also makes him a slave to its own desires. Despite being a relatively faithful adaptation of the source material, Thomas Harris’ Red Dragon, the parallels between Dolarhyde and the TV show’s version of Graham are illuminating. Both are men who are becoming more powerful and dangerous against their conscious wills, and both have people that they love (Will’s family, and Francis’ blind lover Reba) who are bound to fall victim to their darker predilections.
Thanks for watching another episode of Unknown Hosts! If you’d like to jump around, use our handy timecodes below!
0:00 – Intro/What Are We Playing?
5:12 – PAX
7:44 – The Flock
The Good The Bad The Kappa
10:00 – Youtube Gaming Launches
17:19 – Mass Shooting at Pokemon World Championships Thwarted
23:15 – 3BlackDot Responds to FTC Allegations That They Misled Stream Viewers
27:25 – Rock Band 4’s Base Version $20 More Expensive on Xbox One
Super Mario Maker Wii U Bundle Exclusive to Walmart
33:12 – Super Mario Maker Wii U Bundle exclusive to Walmart
37:04 – Former Game of War Developer Charged with “Stealing Trade Secrets”
41:34 – Reports Continue to Confirm that Konami Is Run Like a Prison
46:28 – Australian Retailer JB Sticks It To Konami
Chat Topics (50:30)
50:50 – Police 10-13
55:56 – Recent Game Tournaments
57:44 – Assassin’s Creed Syndicate
59:05 – Mad Max – PC Buyers Beware!
1:01:58 – Fantastic 4 and Remakes/Franchises
1:04:00 – Doug Benson Interruption in Kansas City
1:05:31 – Fallout 4
Back in 2010, The Walking Dead roared onto the scene with a spectacular premiere episode. Director and original showrunner Frank Darabont wasted no time getting to the zombie apocalypse that drove the show, skipping over the initial outbreak and jumping right to the action. He also settled us in by following Rick Grimes, a character who woke up after the outbreak. This way we got to discover the world alongside Rick, and his journey from the suburbs to the city gives us a great idea of how things had changed across all of Georgia
What’s interesting about the premiere of Fear the Walking Dead is that it doesn’t even try to go for scale or excitement. Instead, it uses almost the entirety of its extended length to establish its characters before the shit really hits the fan. On the surface, this is a smart move; unlike The Walking Dead, Fear didn’t need to impress its fans right off the bat. It’s already an extension of the most popular show on television, which shows no signs of slowing down. Fear the Walking Dead was almost guaranteed to set cable records simply by existing, so forming an attachment to the characters before putting their lives in danger could really help the show in the long run.
The spy genre has been evolved significantly in the last couple of decades, primarily by moving away from the types of movies that made it popular. First, the Bourne films threw away the camp fantasy elements of the Bond franchise by setting themselves in an approximation of the real world. Chases and fight sequences still occurred, but they were gritty and violent, exaggerating on the types of conflicts that we could imagine happening off of official government records. Bourne’s success then influenced the James Bond series, which rebooted itself with Daniel Craig and an actual interest in the nature and character of Bond himself. Meanwhile, other attempts at the spy genre, such as the under-appreciated Kingsman, have paid homage to original spy movie tropes while simultaneously mocking and moving past them.
This is to say that it’s somewhat refreshing to see a movie like Mission Impossible: Rogue Nation, the fifth in the franchise, embrace those very cliches so wholeheartedly. The grit and self-awareness that inform its contemporaries are nowhere to be found in the world depicted here, where ultra-powerful secret nations of former operatives (think classic Bond’s SPECTRE) can operate without knowledge of the outside world while openly murdering individuals and taunting current operatives with messages about their existence. There is no subtlety here, just good guys, bad guys, and lots of impossibly-complex pre-planning.