As someone who grew up in a bilingual household where we spoke English but also signed, the part of Mabel and Theo's relationship that fascinates me the most is the communication, or lack thereof.
I'm mostly hearing (...sort of...) but grew up around a lot of d/Deaf people, CODAs, interpreters, etc. so while I can't give any input on the experience of profound deafness, I can at least tell apart different styles of signing. It's a little hard to tell sometimes how much of this is characterization vs. the skill level of the actors, but it is interesting.
Teddy Dimas does not sign fluidly. It's immediately obvious. It's not that he's terrible or that he can't be understood... it's just that there are a lot of tells that he does not sign as a primary language. The terseness of the signs, the deliberateness. You can tell that there's a second of thought before each sign, a jerky sort of compactness to them, that's common with people who learn to sign later in life. (Or who don't get a ton of practice with it.)
Signing, when you do it right, requires the use of your whole body. That can be hard for hearing people, who are generally used to more restrained movements. Teddy Dimas has never quite lost that restraint. He still can't go all in, not with his signing or his parenting.
I always thought this was really interesting, because it means that Teddy most likely learned to sign for his son (tragically uncommon with hearing parents of Deaf children) but that he still can't quite translate his thoughts properly into sign language. He can't quite get his emotions through to his son. There's a barrier there between them, and it seems to be largely one that Teddy's erected -- until Theo starts snapping back.
What I'm getting at is that Teddy has always forcibly drawn his son into his world instead of immersing himself in Theo's, and it shows. And it has really harmed their relationship, in more ways than one.
Zoe... we don't see a ton of her signing, but there does seem to be something somewhat performative about it. It's more fluid, like perhaps she's done it her whole life, but there's also something sort of... idk, false about it? And I wonder if that's just Zoe. It felt like she was always covering up her true feelings of loneliness and emptiness with a flamboyant personality, and the little flourishes to her signing seem to convey that as well. Her signing feels almost theatrical to me.
Theo and Mabel, though... I've always loved that episode where they go to Coney Island together. I get the criticism that Theo said at the beginning that he couldn't understand much of what she said when he was reading lips -- and then she proceeded to just talk at him for the rest of the episode anyway. But to me, at least, that always seemed like it was kind of the point. They couldn't understand each other, not fully, and that was something soothing to them.
There's something healing, I think, about shouting into the void. Letting out all of your most personal, complicated feelings without fear of repercussion or judgement. Talking into the wind because you know it won't talk back. You need to feel that echo but also know that it won't be heard.
I think there was some of that there in their initial relationship. Both of them desperately needed to talk, to get everything off their chests, but both of them also have trouble opening up to others due to trauma. So I think speaking to someone who couldn't understand them was, in some ways, ideal. They could make a human connection while keeping it fairly impersonal. They could unload without fear of judgement -- or worse, understanding.
Oddly, I think their mutual need to communicate without being understood was the one thing they understood best about each other. They could sense each other's loneliness and wariness and inability to trust that they could tell someone something important without it being used against them -- because their love and their trust have always been used against them.
So maybe in a way, their inability to talk to each other was actually what helped them communicate on a deeper level...?
Still, though. Still. I was so pleased to see that Mabel is learning more sign language so she can talk to Theo. She's got a long way to go, but no one learns to sign overnight. She's making progress, and you can tell that Theo appreciates it. There are still times where he gets too excited and signs too fast and she doesn't catch all of it, and there are times when she gets so wrapped up in her own soliloquies that she forgets that you have to face Deaf people while talking to them, but there's a familiarity to it now. When he signs too fast, she smiles and teases him. When she talks too quickly or forgets to sign or turns away from him, he just smiles and sighs and shakes his head. Then waits for her to come back.
Theo finds it irritating, obviously, but also understands that it's just... Mabel. She spends so much time in her own head that she has trouble communicating even with people who speak her language, as evidenced with Tobert. And maybe Theo does understand her in ways that others can't. Maybe it's the very fact that he accepts that he can't always understand her that makes her feel comfortable with him.
I also have to wonder, y'know... Has anyone ever learned to sign for him before, other than his father, who clearly saw it as a burden? Has anyone ever seen him as worth the effort of learning, not out of an obligation to speak to him but a desire to? No wonder he's being patient with her. I wonder if anyone has ever put in as much effort for him as she already has. It makes me so sad to think about, because what she's doing now is so... bare minimum. Theo has been so desperately alone, and so much of that is because his father isolated him. It's because no one else ever reached out. :(
idk, it just makes me happy that these two people who originally bonded over their inability to communicate are now comfortable enough with each other to try actually talking. There's something so shy and so joyful about it. I love that for them, especially Theo.
I don't want him to be alone anymore!! I want him to have someone he can talk to, whom he trusts enough to talk to, who thinks he's worth learning to talk to back!
Their odd brand of bilingual communication (or lack thereof) is just fascinating to me. ;;
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thinking about abigail’s character again and I think the way point of view is handled in nbc hannibal is really interesting when you’re trying to understand her character, since a lot of what we see is filtered through either will’s misplaced attachment to her or hannibal’s projections. it’s hard to see abigail’s true self and/or nature because half of what we see is unreliable. like, will refuses to think she was the bait and so we, the audience, also believe this to be true, even though when it’s revealed she actually was the bait it makes all the sense in the world. but it’s still shocking to us because our perception of her is warped as a consequence of being in will’s pov most of the time. not only that, but the nature of this reveal is arguably softened later on when will dreams he’s teaching abigail how to fish in s2a, and literally names his bait after her because of how much he “cherishes” her
all of this is to say in a show that’s all about identity and revealing (and understanding) the self, and the grotesque connection between will and hannibal, who are understood by no one but each other, abigail’s character is super interesting as a means to explore the layers of how people falsely perceive us. she’s complex because she’s not the innocent person will (or alana for that matter) perceives her to be, but she’s also not the ruthless murderer that hannibal (or again, jack) hopes she is. she’s just a traumatised kid who was raised by a psychopathic cannibal. not only that, but she’s the unwilling victim of both her surrogate father’s projections. first will, who projects his need for comfort, family, and acceptance onto her, as well as the hope that his morality is still intact, all factors which are complicated when he confuses his sense of self with the identity of garret jacob hobbs. and evidently by murdering him, and leaving abigail orphaned, feelings of shame and guilt also influence the nature of his projections. but then you have hannibal, who projects his attachment to mischa onto her, as well as his grief. and like will, this is all complicated by his own human need for comfort, family, and acceptance
but if you peel all that away, and get to the core of it, the key similarity between will and hannibal’s projections is a want for acceptance, and then forgiveness, which, as we see in s3, is synonymous to love. essentially, these are two characters who are undoubtedly monstrous, yet retain their humanity due to that universal longing to love and be loved, in whatever twisted form they are capable
I mean, the whole concept of the murder family is so sad because I think it reveals how damaged both will and hannibal are, beyond the show’s literal gothic horror. cannibalism, bloodshed, manipulation, playing the devil, grotesque thoughts and fantasies concerning murder, etc are all obvious reasons why these characters are fucked up mentally, but that’s also a consequence of the genre. to me, the true horror of the show is very much embedded in the psychological, and how will and hannibal are so lonely and isolated that they would wish to have this family circle “in some other world” because they thought they’d found someone who also understood them, someone they could nurture and take care of. but, as we know, this is all an illusion. will repeatedly says he thinks he’d make a good father, but he’s self-destructive and so is hannibal, and so it’s no wonder abigail dies the way that she does. she never had a chance with them. if anything, if she represents the self we project onto others, a fantasy standing in the way of the truth of our natures, which is shaped by human frailty, then her death is also the death of these idealistic delusions. it’s why in s3a, when will is still desperately trying to hold onto her, she’s nothing more than a ghost. and it’s why when he finally accepts this he goes to hannibal’s childhood estate, because, as he tells him when they reunite in the gallery, “I wanted to understand you, before I laid eyes on you again. I needed it to be clear, what I was seeing”
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