favorite picture of them.
Hannibal (2001)

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@hnbl103
favorite picture of them.
Hannibal (2001)

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Thomas Harris wants to reunite Hannibal and Clarice in the way he originally envisioned. I sincerely hope he ultimately regains complete creative control over his work. These are his characters, and no one is better positioned to decide where their stories should go. What often goes unmentioned is that Harris rarely had complete creative control over his own characters. Throughout the history of the adaptations, producers, studios, and licensing agreements frequently determined what could or couldn’t be done with his work. As a result, many screen versions reflect creative and commercial compromises rather than Harris’s own artistic vision. With the notable exception of TSOTL 1991, rare adaptations that genuinely respected both the novel and Harris’s intentions.
I know Bryan Fuller has expressed hope about returning to the material, but I genuinely hope that never happens. I honestly don't think Harris would want to hand those characters back after everything that happened with the NBC adaptation. My hope is that Harris knows exactly what he's doing and that the right filmmaker or showrunner will eventually emerge, someone genuinely interested in adapting his novels with respect rather than reshaping them to fit a different creative agenda.
Clarice Starling deserves a faithful, thoughtful adaptation of her own story. She is, in my opinion, one of the finest female characters ever written: psychologically complex, resilient, compassionate, and shaped by the institutional misogyny she faces throughout her career. People often focus solely on her trauma, but overlook how remarkably intelligent, perceptive, and charismatic she is. She possesses a quiet confidence, an understated yet sharp sense of humor, and an emotional resilience that makes her fascinating. Harris wrote a female protagonist whose greatest strength isn’t just her intellect, but her humanity, and she’s our short and angry cute agent. She doesn't need to be filtered through someone else's interpretation or rewritten to serve another protagonist's narrative. Her relationship with Hannibal is equally nuanced and deserves to be explored as Harris wrote it, not reinvented according to someone else's preferences.
Maybe this sounds overly optimistic, but I genuinely trust Harris. I believe he wants to protect the integrity of his characters, and I hope he still has the opportunity to do so.
If I could choose the next adaptation, I'd love to see a series when Hannibal has not yet been captured. Jack Crawford could send Clarice to consult with him on an active investigation, perhaps Buffalo Bill, or perhaps another serial killer entirely. I'd love to watch Clarice immediately after graduating from the FBI Academy, will someone in the Bureau try to force her into a role she never wanted? Will she feel compelled to accept it because, she wants the lambs to stop screaming? How will she navigate a system that constantly underestimates, objectifies, and attempts to define her before she has the chance to define herself? Eventually, the story could depict Hannibal's capture, perhaps by Will Graham, and explore how that affects Clarice emotionally. Would she feel betrayed? Would she struggle to reconcile the brilliant psychiatrist maybe even friend she knew with the monster he truly was? There’s a lot of possibilities, but the main thing I want to see is, transformation.
Thomas Harris’s world still contains extraordinary dramatic potential. The stories don’t need to be dismantled or fundamentally rewritten, they need to be understood. What these novels deserve is not another reinvention, but an adaptation confident enough to trust the author who created them in the first place. My suggestion is Jenna Ortega to play Clarice, and James McAvoy to play Hannibal, this is absolutely fan theory but I literally can’t imagine anyone else.
Anthony Hopkins filming The Silence of the Lambs (1991)
"Anthony is the nicest man I've worked with in a long time, and the difference between that, of course, and the fury and passion of Hannibal Lecter is very interesting." - Jodie Foster
Sheryl Lee and David Lynch on the set of Twin Peaks (1990)
FIRE, WALK WITH ME.
not only is hannibal lecter an infamous intellectual cannibal serial killer, he's been the original malewife simp and classy diva since 1988...

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Best movie ever
Thomas Harris was profoundly correct in showing how heavily our childhood impacts who we become. Subconsciously, we know that we cannot truly heal or move forward until we courageously face our past and confront our traumas.
For Clarice Starling, this battle was deeply personal. Though she loved her father dearly, she spent the majority of her life running from her inner child, unable to face the quiet, terrified girl who was left frozen in the wake of her father's death.
“What you need of your father is here, in your head, and subject to your judgment, not his.”
They look so silly 🙈

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Behind the scenes of Dead Ringers (1988)
One of my favorite movies ever
Sir Tony here reminds me of Bogart, only he's cooler.
'Arch of Triumph' - 1985
'Arch of Triumph' - 1985 - Anthony Hopkins and Lesley Anne Down.
I finished Clarice CBS last night and I have very mixed feelings.
• The first thing I noticed was that it really did not feel like it was set in the early '90s. Jonathan Demme did say he intended for The Silence of the Lambs to feel timeless in the aesthetic sense. Clarice (in TSOTL) isn’t dated by her clothes, but in the show, the costumes seem like "90s-inspired" clothing. They’ll nail one aspect like the silhouette or the material, but entirely disregard another. They did stick to the movie for Clarice's main outfit that she wears in the climax of the film, but a lot of her other outfits just scream 2010s. Also, the sets all kind of had the vibe of an IKEA showroom; there was very little detail if it wasn’t used as a prop or a direct nod to a plotline. Initially I wondered whether they had copied NBC's Hannibal and done some sort of timeline jump, or if they intended for it to seem more modern, but I couldn’t see any evidence of it. I wouldn’t mind if they had done it intentionally, but it’s meant to be a pickup from a year after TSOTL, and it just makes it very hard to believe.
• I really liked that they brought light to the struggles trans people faced during that time, as well as focusing on the racism Ardelia faces, but my biggest issue with it is that they entirely missed the point of Harris’ storyline for Clarice. It felt like they seriously underplayed the misogyny that Clarice faces in both books. Trying to humanize Paul Krendler by turning him into a stubborn old man who’s abrasive because he’s going through a difficult divorce feels like such a huge betrayal of the feminist message of Clarice’s original character arc. Yes, today, if someone was to be an open misogynist who sexually harasses their coworkers and snuffs out careers simply by playing on sexist stereotypes, they would be reprimanded. However, Paul Krendler was based on a very real archetype that did very real harm to women. Changing his character to make him redeemable feels like they entirely erased the aspect of Clarice’s unique suffering because she’s a woman. It just strips down her character to a traumatized orphan turned FBI agent and almost makes the show feel like a poorly written fanfiction.
• Despite my gripes with the script, I think Rebecca Breeds did an great job. Even though the story diverges from the novel and movies, her performance is a very solid middle ground between Foster and Moore and the two versions you see of Clarice in the films. She seems very passionate about Clarice as a character and the challenges she faces as a female FBI agent in the '90s. Though the script didn’t give her a chance to fully explore it, in interviews she said she read the book multiple times, and it seems like she has a really deep understanding of the character.
• The fact that they couldn’t get the rights to Hannibal’s character and had to spend the whole series trying to allude to this massive piece of the TSOTL plot without saying his name is quite funny to watch. But because they couldn’t delve into that aspect of the story, it took away from getting to put across Clarice’s full character, especially when she’s going back over her memories from childhood and her relationship with her parents. In a funny way, it kind of vindicates the ending of the Hannibal novel, because nearly every single one of her problems in this series could’ve been solved by running away with a hot cannibal.
• I really like the details they added from the book that weren’t in the movie, like Jame Gumb's mother and the tape of he watched of the beauty pageant. I appreciate that they tried to expand on the character further than the movie did and clean some things up, because the film did a lot of damage to trans people, even if that wasn’t the intention.
• I don’t know how to feel about the ending. I think if they had given more attention to the effect of the patriarchy in the show, the idea of Clarice returning to her estranged mother would have felt a lot more well-rounded and satisfying, but it kind of felt like they just didn’t know what else to do with her. I still have the same feelings as the ending of the Hannibal film, she is still stuck “trying to break through the glass ceiling like a bee in a bottle.” Nonetheless, I do now sob to Brandi Carlile’s rendition of “Take Me Home, Country Roads” when thinking about Clarice.

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jodie foster, 1993.
The next Hannibal Lecter, trust me.