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Hannibal (2013-2015) Interview with the Vampire (2022-)

How do I do it? How do I escape the capitalist life—how do I reclaim this language? The language of a slow sunrise. The language of salt and blood. The language of 10,000 stones. The language of sleeping stars. The language that gives me my name.

— Angel Dominguez, from “[Dear Diego],” Desgraciado

today feeling like Emily Dickinson (have a thunderstorm inside your head, poison in the veins, dancing with a death, adore your weirdness, being a genius)

Poppy and Ian are like. They’re soulmates, but also they’re horrible for each other. They’re miserable when they’re apart. They can’t stop hurting each other when they’re together. They bring out the best in eachother and also the worst. They love eachother. They are like an old bickering couple. They aren’t romantic. They have linked their lives too tightly to untie themselves. And it probably would be even worse if they did. They both hold a button that allows them to exploit and attack each others most vulnerable core, and they’ve both pressed that button a hundred times each. They believe in each other more than anyone in the world. They’ve been cosmically linked since they were kids. They have faith that the “being together with you” of it all makes anything worth it.

I’m so happy I got this shot earlier holy shit

To me the way Keeley’s bisexuality has been written so far has been so realistic. She’s making all of these blatantly queer comments about women, yet they’re treated as jokes by everyone around her, and most of the audience. Which is just…yeah, that’s exactly how it is. People do assume you’re joking if you say stuff like that.

It’s so wild that bi women can essentially be out of the closet, making comments about wanting to have sex with women, yet nobody takes it seriously. They don’t believe you’re bi unless you explicitly say so. I’ve been there, thinking I’m out of the closet making comments about women I find attractive, just to find out years later that those people thought I was straight because I didn’t tell them how I label myself.

Maybe this isn’t on purpose or maybe it is, but either way I’m interested to see what Jack brings to the table. To me it’s blatantly obvious that Keeley has a little crush on her and now I’m wondering if they’re going to go anywhere with that. It would be interesting if Keeley has a little fling with her, especially to see how people react to her bisexuality being “confirmed” — when really it’s been there the whole time but people just like to ignore it.

I could watch a whole spin off show of a young Baltasar Frías arguing with book authors about the horrible endings to books. 😂😂 The opener for this latest episode was too entertaining for me. His mom had to ruin it.

I loved that finale gives my stance on innies/outies even more solid ground.

They are the same people and even without memories they are making the same choices. Mark S and Mark Scout both utterly and completely love-driven. They do crazy, over-the-top, unbelievable shit for love, they both are willing to give up everything for love.

He makes the same choice twice, it's just the person he loves that is different.

Diagram of different Trees of Life from "The Assyrian Tree of Life: Tracing the Origins of Jewish Monotheism and Greek Philosophy" by Simo Parpola in Journal of Near Eastern Studies.

Hello! I've been struggling with how to depict and voice an eldritch horror entity. They are far removed from this universe, so I'm at a loss at how they would speak and act when interacting with a host/human. Can you help me and/or give me examples of what that might look like?

How to Give an Eldritch Horror Entity a Voice

-> feel free to edit and adjust pronouns as you see fit.

Emotionless Curiosity or Cruel Fascination

The entity may observe humans like a scientist would observe test subjects. It is not inherently evil, just so far removed that it doesn't comprehend pain or morality.

Example: "You break so easily. Such a soft mind, blistering with thoughts. Why do you weep?"

Example: "Fear. I recognize the shape of it now. Like heat in the bones."

Predator and Prey

The entity is aware of its power but it enjoys the chase. It is patient, and speaks low and slow to stretch out the dread.

Example: "I can hear your pulse like music. Louder now. Louder still."

Childlike and Curious

The entity is innocent and sounds sweet and playful, but does not understand the reality of what it is doing.

Example: "You're leaking! Why do you leak like that? Should I put it back in?"

Timeless Watcher

The entity speaks as if it has witnessed countless lives, deaths, and civilization. Everything the human feels is insignificant.

Example: "You are not the first to beg. The first was a king with gold in his mouth."

Curious but Growing Self Awareness

The entity is just beginning to understand language, humans, and itself.

Example: "Pain. You... do not like it."

Example: "Lonely. That is the word. I have never been lonely before you."

Foreign Language

The entity can't (or won't) use grammar like a human. It might communicate in fractured bursts, in symbols, in numbers, etc.

Example: "Lightlightdarkfolding--fold--fold--fleshwrongYES."

Example: "WE--I--MANY come through the not-between. Hello. Hello. Nothello."

Nonverbal Communication

The entity doesn't speak in the traditional sense. It communicates via dreams, hallucinations, physical sensations, etc. Words might appear as taste, as pain, or involuntary thoughts in the character's mind.

Example: She smelled salt and rotting roses. Then the message came: "Let me in."

Example: He tasted metal and heard weeping in the back of his mind.