Marah Mohd
Bryan Fuller’s Hannibal aired on NBC from 2013 to 2015. The show was a
new adaptation of Thomas Harris’s popular Hannibal novels that reintroduced the
cannibalistic serial killer Dr. Hannibal Lecter, a fictional character who first came to
popular consciousness through Anthony Hopkins’ portrayal of him in Jonathan
Demme’s multi Oscar winning 1991 film, The Silence of the Lambs. Departing from
the usual portrayals of Lecter in the film series, Hannibal revisits the relationship
between FBI Special Agent Will Graham and Dr. Lecter that Harris first established in
his 1981 novel, Red Dragon.
Centering on the Graham Lecter relationship, Hannibal diverges from the
typical crime television format by incorporating traditional characteristics of gothic
romantic narratives. In this merging of genres, Hannibal offers a postmodern gothic
narrative that seeks to reclaim queerness within the gothic genre. Simultaneously, the
show incorporates a rich blend of aestheticism and terror, akin to Edmund Burke’s
concept of the sublime. By delving into the role of the sublime in Hannibal, we gain a
deeper understanding of the widespread appeal of crime media, as well as insight into
Graham’s descent into darkness, thereby fostering empathy towards his character.
Over three seasons, Hannibal focuses on the character of Will Graham (played
by Hugh Dancy), an ex FBI agent with uncanny abilities caused by an “empathy
disorder” that enables him to get into the killer’s mind by merely surveying a crime
scene. Graham is rehired by the FBI to consult on serial murder cases. Projecting
himself into killers’ minds leaves him psychologically deteriorated, leading him to
turn to the forensic psychiatrist, Dr. Hannibal Lecter (played by Mads Mikkelsen),
who is secretly a serial killer and cannibal. Through consulting sessions, Lecter
becomes fascinated by Will’s empathic ability, and he recognizes in Will a familiar
desire for violence. Thus, Graham and Dr. Lecter develop a unique bond that threatens
to uncover Lecter’s penchant for murder and causes Graham to immerse deeper into
“dark places” (“Amuse Bouche”) within his interiority. Ultimately, Lecter’s efforts to
unleash Graham’s psychopathic desires haunt Graham until he no longer suppresses
the growing violence within himself.
In this paper, I will examine academic articles that center on Bryan Fuller’s
Hannibal and address the following questions: How does Fuller’s Hannibal explore
gendered power dynamics in contemporary society, critique gothic romance
conventions, and resuscitate the Graham Lecter relationship? What is the reason
behind the prevalence of unsettling connections between contrasting elements, such as
aesthetics and grotesqueness in the show? In the words of Jaquelin Elliott, how does
Fuller’s Hannibal investigate the “postmodern desire for reclamation of queer
monstrosity”? (249). In addition to these questions, I intend to raise inquiries that
these articles may or may not answer: In what ways does Fuller’s Hannibal navigate
and redefine traditional boundaries of gothic romance within the context of
contemporary television? How might the homoerotic tension between Will Graham
and Hannibal Lecter be interpreted as “gothic”? In the end, how does Edmund
Burke’s theory of the sublime provide a framework for understanding the broad
attraction of crime media, while also rationalizing Graham’s anticipated
transformation? Due to the distinctive narrative and visual approach of the show, I
argue that by depicting and redefining the role of gothic elements in Hannibal, we
gain a better sense not only of how gothic romance has an ongoing significance in
contemporary television but also recognize how Edmund Burke’s theory of the
sublime can contribute to explaining the widespread appeal of the serial killer and
true crime genre in television format.
This essay comprises three key sections, with the first one analyzing gothic
romance themes within Hannibal through the exploration of power dynamics and
deconstruction of gender roles. The second section explores the relationship between
dreams and their role in uncovering Graham’s concealed desires and perceptions. In
the essay’s conclusion, we examine how Lecter’s character embodies attributes of the
Burkean sublime. This analysis forms a compelling foundation for justifying
Graham’s transformative journey and aids in understanding the broad appeal of crime
television formats.
1. EXPLORING IMBALANCED POWER DYNAMICS
Fuller’s Hannibal intertwines themes of imbalanced power dynamics between
Lecter and Graham to evoke a sense of gothic romance. Evan Hayles Gledhill notes
that Hannibal delves into themes of legal and social power seen in the older novels,
while openly embracing “queer possibilities” (79): The GrahamLecter relationship
“can be explored as slash fiction and a critique of gendered power relations in
contemporary society, but it [also] works with and through the codes and conventions
of the gothic romance to critique this textual tradition” (80). In the series, Graham,
with his lower social standing, assumes the disempowered role typically associated
with gothic heroines. In contrast, Lecter, as an authoritative psychiatrist, holds power
over Graham. Utilizing his psychological expertise, Lecter strategically manipulates
situations to disrupt Graham’s professional standing, particularly when he perceives
him as a threat to Lector’s ability to continue committing murders. Lecter’s actions
lead Graham to experience hallucinations, seizures, and dissociation, which are
exacerbated by Lecter concealing Graham’s diagnosis of encephalitis. As a result of
Lecter’s extended and undiscovered manipulation of his therapeutic methods, Graham
suffers a loss of identity that significantly impacts his job, relationships, and social
status.
In season two, this inequality in power dynamics in Lecter’s relationship with
Graham is highlighted when Lecter asserts, “I only want what is best for you,”
prompting Graham to respond, “You don’t want me to have anything in my life that
isn’t you” (“Tomewan”). This exchange illustrates Lecter’s control over Graham and
Graham’s recognition of his dependency on Lecter, showcasing the interpersonal
power dynamic between them. Lecter’s manipulation reaches its peak when he frames
Graham for his murders, resulting in Graham’s imprisonment in a psychiatric hospital
until he eventually consents to Lecter’s seduction. Lecter’s abuse of power as a
psychiatrist not only blurs the boundaries between Lecter and Graham but also
consistently puts Graham in disempowered positions
Moreover, Graham frequently grapples with feelings of inadequacy when
confronted by authoritative figures, including Lecter but also other influential men.
Jack Crawford (played by Laurence Fishburne), the FBI chief who first enlists
Graham’s assistance, often urges him into investigating murders, pushing Graham into
what he perceives as “dark places” within his mind. Despite Graham’s attempts to
resist, he always succumbs to Crawford’s pressure and finds himself immersed in
deeper psychological distress. This ongoing struggle highlights the internal conflict
Graham faces between his own wellbeing and the demands of his profession, as well
as the power dynamics at play within their relationship.
Hannibal also challenges conventional ideas of gothic romance by breaking
away from traditional gender and sexual norms. The series critiques heteronormativity
and reclaims gothic queer monstrosity. Elliott notes Hannibal’s subversion from
normative social and sexual categories:
[Hannibal] positions itself in the lineage of queer Gothic and generates […] a
queer Gothic narrative that shamelessly celebrates the dissolution of both
social categories and simplified sexual categories. This queer Gothic story
explicitly depicts queer desire and does not revert to conventional morality in
its depiction of queer. (263)
Lecter’s portrayal of masculinity challenges traditional norms seen in the gothic genre
due to his openly queer identity. This queerness is illustrated through his interests in
nontraditional masculine activities such as opera, gastronomy, and art. Conversely,
Graham embodies a more heteronormative masculinity, as his appearance aligns with
masculine traits, yet he consistently finds himself in disempowered positions. An
example is Graham’s beard, as compared to Lecter’s consistently shaved face, which
emphasizes Lecter’s delicate features and signals the open queerness of his character.
The complexity in Graham’s character arises from his unwillingness to accept the
nonnormative aspects of his identity that Lecter encourages him to acknowledge.
Another reason is the series’ intentional reference to the relationship of Clarice
Starling and Lecter in the original novel and film, paralleling it with the relationship
between Graham and Lecter to critique heteronormativity and reveal the constructed
nature of gender. Through Hannibal’s duality, the series thereby deconstructs
traditional notions of gender and heteronormativity
Alternatively, some have criticized the utilization of queer coding within
Fuller’s Hannibal, attributing it to the series’ purported subtextual portrayal of the
romantic relationship between Lecter and Graham. However, this critique fails to fully
acknowledge the nuanced and subversive nature inherent in the series. Sean Donovan,
in subjoining this perspective, posits that Hannibal deliberately deviates from the
prevalent trend of openly queer characters in contemporary television. Donovan
further contends that the show aligns itself with the tradition of gothic horror, often
employing romanticized portrayals of queer villainy to juxtapose heteronormative
traditions. He argues, “[Hannibal] centers on the glamor and mystery of queer villainy
to proudly defy a rhetoric of knowable normativity.” Considering Hannibal’s
deconstruction of gender and sexuality, the series’ core potential is to explore
alternative forms of queer desire. By establishing intertextual parallels between
Graham and Clarice Starling (the original female character of Harris’ Hannibal Lecter
franchise and film adaptations), parallels evident in both dialogue and visual
depiction, the series not only exposes and critiques the constructed nature of gender
and heterosexuality but also validates the romantic bond between Lecter and Graham.
Donovan’s observations disregard the humanizing purpose of integrating
romance into gothic narratives. Rather than employing queerness as a device of
horror, it serves as a narrative tool to illustrate the vulnerability and humanity of the
villainous character. Lecter’s desires for murder and cannibalism are depicted as being
superseded by the intimate connection he shares with Graham. Hence, Hannibal
utilizes queerness not as a means to perpetuate Lecter’s villainy, but rather to establish
his character in a more vulnerable and humanizing light.
2. GOTHIC HYSTERIA AND DREAMS
In Hannibal, Graham’s recurrent dreams serve an essential purpose in the
narrative. They not only function as ominous warnings of Lecter’s impending danger
but also reveal Graham’s hidden perceptions of him. As Heta Pyrhönen notes, the
“female Gothic plot […] represents the heroine first dreaming of terror and darkness,
and then the subsequent narrative realizes her nightmare when she experiences the
imagined in literal, concrete terms” (218). Graham’s dreams parallel the gothic
heroine’s experience of dreaming about terror. Graham is shown to have recurring
dreams throughout the series, which are symptomatic of his psychological and
neurological disabilities. However, these dreams take a disturbing turn after his
interaction with Lecter when he begins dreaming of a black wendigo like creature.
The wendigo, explained by Elliott, represents a mythical “half-man and half-beast
cannibal doomed to walk the earth, devouring, but never satiated by, human flesh”
(254). Accordingly, Graham’s dreams of the wendigo unveil Lecter’s identity,
symbolizing how Graham’s subconscious mind perceives Lecter as a threat.
As Lecter delves deeper into Graham’s psyche using his destructive therapy
techniques, Graham’s dreams of the wendigo intensify, accompanied by escalating
hallucinations and seizures, ultimately resulting in a loss of his identity. This loss
becomes evident when Graham admits to Lecter: “I’m having a hard time thinking. I
feel like I’m losing my mind. I don’t know what’s real” (“Rôti”). Graham’s prolonged
unawareness of Lecter’s disruptive therapy techniques gradually blurs the boundaries
between reality and dreams, causing confusion in his identity and ultimately leading
to psychological distress, described in gothic terms as “hysteria.”
3. THE BURKEAN SUBLIME UNVEILED: A CATALYST FOR
TRANSFORMATION
Ultimately, I suggest that what makes Hannibal such a riveting and radically
gothic television show is the presence of the sublime, as articulated by Edmund Burke
(17291797) in his canonical treatise, A Philosophical Enquiry into the Origin of our
Ideas of the Sublime and Beautiful, first published in 1757. I argue that Graham’s
transformation into, and embrace of, the gothic entity of Lecter can only be
understood via Burke’s theory of the sublime. This theory provides an account of how
Graham’s struggle between fascination with and dread of Lecter’s monstrous nature
approximates the terror and attraction of the sublime.
In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and
Beautiful, Burke describes the sublime as an experience that emerges from anything
terrorinducing related to “the ideas of pain, and danger […], whatever is in any sort
terrible, or […] operates in a manner analogous to terror” (39). Continuing, he defines
the “highest degree” of the sublime experience as “astonishment,” followed by “the
subordinate degrees [of] awe, reverence, and respect” (136). In the same way, Lecter’s
character evokes a blend of terror, admiration, and respect through his appreciation of
aesthetics coupled with the abandonment of ethics. According to Alberto N. García,
Lecter embodies a “moral grotesque” characterized by a “dissonance between the
moral concepts associated with elegance and culture (goodness, truth, beauty) and [a]
murderous, gory means” (89). Lecter’s character creates tension by simultaneously
indulging in aesthetic pursuits and engaging in amoral actions like murder and
cannibalism. This duality presents Lecter as both elegant and terrifying. Furthermore,
Lecter’s ability to embody contradiction underscores his immense power and
authority, along with the potential for terror he wields. As Burke notes, greatness or
power often evokes feelings of both admiration and fear (66). In this regard, Lecter
personifies the sublime, where strength and power are intrinsically tied to terror. By
possessing the power to evoke both admiration and terror in observers, Lecter
epitomizes the sublime within the narrative.
Lecter’s culinary creations serve as more than just aesthetic creations; they
also are evocations of his sublime character. The power of Lecter’s dual nature is seen
in his dishes, which combine his desire for aesthetics and the unethical inclusion of
human flesh. By meticulously emphasizing representation, Lecter’s dishes are
consistently depicted in closeup shots and dark tones of red, intensifying the sense of
uncertainty. The use of red is a characteristic of the sublime, as Burke draws a
connection between intense colors and dark lighting to the sublime, suggesting that
the sublime needs to be dark and ominous, rather than light, to have a profound
impact on our emotions. He also emphasizes that the object should be as different as
possible from what we are accustomed to (81). Therefore, red signifies threat and
danger, particularly when associated with blood.
Furthermore, the terror induced by Lecter’s dishes initially affects the
audience, as they are aware of the grotesque “secret ingredient,” while the characters
experience a variety of emotional responses. According to Burke, emotions like
astonishment, fascination, fear, and respect contribute to a combination of fear and
pleasure resulting in a “delightful horror” when the observer can self-preserve
themselves from danger (136). Thus, the true horror of the sublime becomes apparent
to Lecter’s guests only when they realize the horrible source of the meat, linked to the
taboo nature of consuming human flesh. This revelation adds a terrifying element to
what was initially aesthetically pleasing. Lecter’s guests are confronted with the
confusion that the creation of such grotesque masterpieces demands a great power and
a disregard for morality—a state which Burke equates to encountering the sublime
power of God, which has the potential to “destroy” the perceiver (135). Moreover,
Lecter not only embodies the sublime in his character but has the power to produce
the sublime and impact others with it.
Another sublime manifestation of Lecter’s artistry is evident in his tableau
murders, which have the power to astonish observers while also posing the potential
for their own destruction. The repeated features of “Murder of the Week” or “tableau
murders” across the three seasons depict victims’ bodies undergoing artistic
transformation and elevation by Lecter or other killers, mutilations that are
meticulously arranged according to the killer’s precise specifications in the most
obscure ways. Burke describes encountering obscurity in a sublime creation, stating,
“The mind is hurried out of itself, by a crowd of […] confused images; which affect
because they are crowded and confused” (62). Lecter’s tableau murders, while
aesthetically pleasing, evoke a sense of confusion and danger due to their infusion of
obscurity. Viewers are left struggling to discern whether these seemingly artistic
creations are comprised of human bodies. According to Burke, astonishment is the
primary emotion experienced in response to the sublime, characterized by the
suspension of all other thoughts and movements of the soul, often accompanied by a
degree of horror (57). These creations possess the same terrifying nature that evokes
astonishment and horror, leaving observers’ souls captivated and overwhelmed. When
examining Graham’s encounter with the “tableau murders,” we can discern emotions
akin to experiencing the sublime, especially through the lens of Lecter’s grotesque
artistry
Graham experiences profound terror when navigating crime scenes, a
sensation rooted in the obscure nature of the murders and exacerbated by his
heightened empathic abilities. During his navigation, he enters a trance state where he
envisions himself as the killer, allowing him to discern the methods and motives
behind the crime. Despite his declared fear, Graham is repeatedly compelled by
authorities to examine crime scenes, a task which profoundly impacts his emotional
experience, given his empathic abilities. Regarding fear of sight, Burke contends:
“For fear being an apprehension of pain or death, it operates in a manner that
resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime
too” (57). Similarly, Graham openly admits his fear of surveying murders, stating,
“It’s getting harder and harder to make myself look…and you know what looking at
this does” (“Coquilles”). As Graham is consistently exposed to Lecter’s sublime
productions, not just by observing them but also by empathizing with the killers, he
becomes directly influenced by Lecter’s character.
Crucially, Will Graham’s profound transformation is primarily influenced by
his exposure to Lecter’s character, which embodies the sublime. According to
Stephanie A. Graves, Will’s “malleability of perspective costs Graham on a personal
level.” Given his “empathy disorder, [he] has a subject positionality that is endlessly
mutable and fluid,” underscoring that this is “what draws Lecter to Graham” (54).
Lecter, the sublime entity, finds Graham’s “malleability of perspective” intriguing,
seizing the opportunity to blur the boundaries between Graham’s authority and his
psychopathic mind. Lecter’s deliberate establishment of liminality leads to instability
and a loss of rational thoughts for Graham, ultimately eroding his sense of identity.
Exploiting this fluidity, Lecter dissolves Graham’s sense of rationality and ethics,
implanting his own amorality in Graham, with the aim of transforming him into
something else—a figure who shares his own psychopathic tendencies.
Throughout the series, Lecter’s sublime characteristics function as catalyst for
transforming Graham into a willing accomplice. By identifying the shared inclinations
in Graham’s murderous desires, Lecter envisions the possibility of Graham fully
embracing these similar interests. Lecter’s sublimity, therefore, is not merely a
destructive force aimed at Graham; it also presents an opportunity for Graham to
unleash his repressed desires. In agreement, Elliott states: “Hannibal terrifies and
enthralls Will, who even as he is aware of the dangerous nature of the psychiatrist is
unwilling to break Hannibal’s hold on him” (256). Graham’s unwillingness to resist
Lecter’s continuous seductions, despite his awareness of the moral imperative to do
so, stems from his gradual self-discovery of his hidden desires. Additionally, David B.
Morris elaborates on the sublime’s function within the gothic genre, highlighting its
role in prompting characters to delve into their suppressed desires, while also posing
the threat of a terrifying unleashing these desires:
[T]he Gothic novel pursues a version of the sublime utterly without
transcendence. It is a vertiginous and plunging—not a soaring—sublime,
which takes us deep within rather than far beyond the human sphere. […]
Gothic sublimity—by releasing into fiction images and desires long
suppressed, deeply hidden, forced into silence—greatly intensifies the dangers
of an uncontrollable release from restraint. […] Terror [is] a liberating—hence
dangerous—force. […] In its excessive violations of excess sense, Gothic
sublimity demonstrates the possibilities of terror in opening the mind to its
own hidden and irrational powers (306).
Therefore, the terror that Graham experiences from Lecter’s sublime character is
particularly dangerous because it aims to undermine his morals and ethical reasoning
to awaken his destructive hidden desires and challenge his self-control. The gothic
world epitomized by Lecter is tempting for Graham, not only because it provides an
outlet for these suppressed desires but also because it holds the potential to liberate
him from this state of terror and confusion. Initially caught in the vertiginous state of
resisting and being tempted to embrace his latent psychopathic tendencies, Graham
ultimately succumbs to these desires in the climactic scene of Hannibal. This
transformative moment occurs when Graham joins Lecter in the killing of Francis
Dolarhyde, a serial killer. In the final scene, Graham revels in the sight of his bloodied
hands, remarking, “It really does look black in the moonlight.” Lecter expresses
fulfillment, stating, “This is all I’ve ever wanted for you, Will…for both of us.”
Enthralled, Graham finally concedes to Lecter, declaring, “It’s beautiful” (“The Wrath
of the Lamb”). In admitting the beauty of the brutal murder Graham had committed,
he escapes the confinements of the sublime, breaking free from the state of confusion
and fluid identity. Instead, he chooses to act upon his psychopathic instincts,
ultimately seeking fulfillment in embracing his identity.
Contemporary fascination with crime in the context of media consumption can
be analyzed through the lens of the sublime as applied to Graham’s experience. As
Oriana Binik details, the sublime is an emotion that motivates individuals to confront
their own limitations, the “dimensions of human destructiveness,” which provide an
opportunity for self-discovery beyond the confines of everyday life. The sublime
allows individuals to acknowledge their fear of insignificance and empowers them to
acknowledge latent abilities—the “otherness” within themselves (46). In the
contemporary context, where there is a demand for intense emotions beyond the
limitations of everyday life, crime TV programs offer a platform to explore dark
desires within human nature in a controlled environment.
Drawing on Burke’s theory of the sublime, Binik further suggests that sublime
feelings compel individuals to confront the fundamental boundary between good and
evil, prompting them to ponder questions about existence. Acknowledging the
presence of evil within the sublime underscores its intrinsic aspect of nature, including
human nature (18). Thus, our fascination with crime media can be understood through
Burke’s theory of the sublime. When watching a crime show, viewers experience
intense and contrasting emotions. They are flooded with terror while simultaneously
being intrigued by the opportunity for self-discovery, all within the safety of a
controlled environment. These conflicting feelings leave viewers in a state of
confusion and contemplation, causing them to reevaluate their perceptions of “good
and evil.” This process challenges their established boundaries and prompts a quest
for a deeper understanding of human nature. By meeting the contemporary demand
for intense experiences, crime media offers a pathway for fulfillment by exploring the
complexities of human nature within limited proximity.
CONCLUSION
Bryan Fuller’s Hannibal offers a captivating reinterpretation of the Graham Lecter
relationship. Through its fusion of genres and in its incorporation of gothic
romantic elements, the show presents a postmodern narrative that aims for
reclamation of queerness in the gothic genre. Additionally, the series’ juxtaposition of
aestheticism and terror, reminiscent of Edmund Burke’s concept of the sublime,
intensifies the narrative and visuals. By delving into the role of the sublime in
Hannibal, we gain valuable insights into the widespread appeal of crime media
through the psychological journey of Will Graham, ultimately fostering empathy and a
deeper understanding of the complexities of his experiences. Hannibal’s juxtaposition
of aestheticism and grotesqueness, along with its thematic depth, leaves a profound
impact on viewers, prompting them to contemplate the intersections of beauty,
morality, and the complexities of human nature.