“There is something odd about the fact that falling IN love requires no explanation but that we are expected to produce (or make up) a satisfactory reason for falling OUT of love.”—Gordon Livingston; How To Love
“The patriarchy has some fucked up ideas about masculinity, ideas that make men less likely to seek help for issues that they perceive to be too feminine – such as being hurt or raped by a female partner, not being able to provide for themselves, or not seeking help for health issues like depression and anxiety. On a societal level, it means that resources are not as readily available for men who face these challenges, because patriarchal ideas tell our courts, our governments and our charitable organizations that men don’t ever need that kind of help.”—The Belle Jar; Why The Men’s Rights Movement is Garbage
“Today the individual has become the highest form, and the greatest bane, of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other’s eyes and yet deny each other’s existence. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster’s whim and the purest ideal.”—Ingmar Bergman. (via e-remitic)
“Race is not a biological category that naturally produces health disparities because of genetic differences. Race is a political category that has staggering biological consequences because of the impact of social inequality on people’s health.”—Dorothy E. Roberts, Fatal Intervention (via lamaracuya)
“The story is compelling, and it cut off near the end of season one with a cliffhanger that was genuinely startling, not just for the speed with which it showed Will realizing that Hannibal was a devious killer (a twist most series would’ve saved for season two or three) but for the way it messed with our collective image of Lecter as the killer from The Silence of the Lambs, an incarcerated fiend dispensing bons mots to visiting FBI agents. In season one, Hannibal frames Will for murders that Hannibal himself committed or abetted, to the point of literally planting an incriminating ear inside Will’s alimentary canal; at the start of season two, Hannibal takes Will’s place as FBI profiler and occasionally visits him behind bars to ask for his “help” with ongoing cases, inquire about his well-being, and otherwise glean information that can permit him to sustain his deception.
Intriguing as these variations are, though, they’re not the source of Hannibal’s specialness; in fact, Fox’s much dumber and clumsier serial-killer drama The Following pulls off similarly “shocking” twists each and every week, in its determination to be Se7en meets 24, or some such thing. It’s a classic example of script-delivery TV, signaling every scare with a shrieking music cue, covering action and dialogue with multiple shaky cameras, and otherwise behaving as if horror’s only purpose is to set up sledgehammer-obvious scares. Hannibal, in contrast, approaches similar subject matter in a thoughtful way. It does not restrict itself to The Following’s tedious binary of “Something horrible is about to happen” and “Oh my God, that was horrible!” You could say it’s as close as a broadcast network has gotten to the personal artistry of the best premium-cable shows, if it weren’t bolder and more elegant than anything on pay cable right now, including HBO’s own serial-killer drama, True Detective.”—Hannibal Season 2: I Can’t Get This Show Out of My Head