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Hannibal (2013) redefines horror storytelling by embedding an intricate, canonical queer relationship between Will Graham and Hannibal Lecter, challenging traditional media depictions of LGBTQ+ characters.
The story is not told through conventional means, and we are never explicitly told that the two proprietary characters are in love with one another; the subtext laden in the show paints a clear enough picture.
Often considered “Hannigram,” showrunner Bryan Fuller confirmed the romantic relationship (in July 2020).1Wikipedia. “Talk:Hannibal Lecter.” Accessed March 14, 2025. At the end of the show, the pair runs away together, proving that despite all the complex relationships interwoven throughout the story, they were the two compelled most to one another.
Will Graham & Hannibal Lecter: ‘Canon Yet Unspoken’ — Queer Subtext & Narrative Intimacy
In the first episode of the NBC series Hannibal (2013), titled “Apéritif,”2Fuller, B. (Writer), & Slade, D. (Director). (2013, April 4). Apéritif (Season 1, Episode 1) [TV series episode]. In B. Fuller (Creator), Hannibal. NBC. (food is an ongoing theme throughout the series, aptly so), Will Graham is investigating a serial killer murder case, the Hobbs’ House, with the FBI. Graham is a particularly troubled profiler with highly heightened empathy; Agent Jack Crawford recruits him to help catch the Minnesota Shrike killer.
During the investigation, Will meets psychiatrist Hannibal Lecter, who becomes both his therapist and colleague while secretly being the cannibalistic Chesapeake Ripper. Their relationship becomes increasingly complex as Hannibal manipulates Will, framing him for murders and causing him to question his sanity by concealing his encephalitis diagnosis. After Will is imprisoned and later released, he works with the FBI (again) to catch Hannibal, leading to a violent confrontation where Hannibal stabs Will and kills their surrogate daughter, Abigail, before fleeing to Europe.
Will pursues Hannibal abroad, resulting in both of them being captured by Mason Verger for revenge, though they escape. Hannibal eventually surrenders to the FBI to remain close to Will, and after three years, they reunite to catch a new killer called the Great Red Dragon.
The series culminates in Will and Hannibal working together to kill the Dragon, another killer, after which Will pulls them both off a cliff. However, it’s later revealed they both survived, with a post-credits scene showing them preparing to cannibalize Hannibal’s former psychiatrist (and lover), Bedelia.
Redefining Television: The Artistic & Psychological Depth Of Hannibal (2013-15)
Hannibal (2013) stands as a revolutionary piece of television that masterfully interweaves complex themes rarely explored with such nuance in mainstream media. The series tackles mental illness through Will Graham’s struggles with empathy and encephalitis while presenting queerness through the evolving relationship between Will and Hannibal in a way that transcends traditional LGBTQ+ representation; it would be considered “abstract queer media.”
Most remarkably, the show transforms grotesque elements like cannibalism and murder into haunting artistic displays, elevating gore into a form of macabre beauty that serves the narrative rather than mere shock value. This bold approach to traditionally taboo subjects, combined with its sophisticated visual storytelling and psychological depth, marked a significant departure from conventional television of the 2010s.
The series proved that network television could successfully handle mature, complex themes while maintaining artistic integrity and pushing creative boundaries, ultimately influencing how subsequent shows would approach similar challenging subject matter.
Nuanced Queer Representation In Hannibal (2013-15): Subtext, Symbolism, & Storytelling
Hannibal is first interested in Will because of his unique ability to empathize with dark, sadistic minds (specifically killers) that many ‘normal’ people would abhor. Will, subsequently, is drawn to Hannibal’s complete understanding and empathy of him. This culminates in them eventually sending each other murder valentines (yes, you read that right), and the show draws parallels between them and other couples.
For example, Jack Crawford and his wife, Phyllis “Bella” Crawford (who is also a patient of Dr. Lecter), die of lung cancer after Crawford is severely injured trying to arrest Lecter. This detail illustrates a crucial contrast in how the show portrays different types of relationships and love. The juxtaposition between Jack and Bella’s conventional, tragic love story and Will and Hannibal’s unconventional romance, expressed through “murder valentines,” demonstrates how Hannibal subverts traditional romantic narratives with good character writing — the core is deeply emotionally resonant.
Characters are not defined by stereotypes, as Hannibal does nuance really well. Historically, LGBTQ+ characters have been reduced to villainous tropes or throwaways that have no distinct personality (or, they die). The show defies any realistic tropes as the circumstances (e.g. Hannibal being a cannibalistic serial killer) challenge these limitations by positioning its central queer relationship as one of narrative and thematic significance.
Rather than reducing its queerness to a subplot or metaphor, the show embeds it into the very molding of its storytelling; it feels real. The series presents Will and Hannibal’s relationship as a fundamental element of their character arcs, showcasing queerness in a manner that transcends labels and stereotypes.
Moreover, Hannibal exemplifies “abstract queer media,” a form of representation that resists explicit categorization while still being undeniably present. This approach allows for a nuanced exploration of identity and desire, aligning with themes of psychological horror.
The series does not rely on conventional LGBTQ+ tropes seen time and time again, but instead crafts an intricate portrait of love, obsession, and shared monstrosity amongst intense scrutiny from real-life agencies, such as the FBI.
The Humanity Of Flawed Characters: Exploring Complexity in Hannibal (2013-15)
Lecter and Will are not the only compelling and flawed characters; the show develops a rich ensemble cast whose actions and relationships profoundly influence both Will Graham and Hannibal Lecter’s journeys, such as Abigail Hobbs. She emerges as a pivotal figure who connects Will and Hannibal in unexpected ways, not unlike a daughter and father.
Her presence forces Will to confront his own capacity for paternal feelings while allowing Hannibal to manipulate both her and Will’s attachment to her. The dynamic between these three characters becomes increasingly complex as questions of trust, protection, and manipulation intertwine with Hannibal’s eventual murder of Abigail.
Alana Bloom, psychiatrist and friend to Will,3Contributors to Villains Wiki. “Alana Bloom.” Fandom, Inc. Accessed March 14, 2025. evolves significantly throughout the series. Her personal relationships with Will, Abigail, and her (eventual) fraught relationship with Dr. Lecter emphasize her character: loyal and passionate. She initially serves as a voice of reason and support, but her professional and personal relationships become increasingly complicated as she gets drawn deeper into the machinations around her.
Moreover, Bedelia Du Maurier provides a fascinating counterpoint as Hannibal’s psychiatrist.4Contributors to Hannibal Wiki. “Bedelia Du Maurier.” Fandom, Inc. Accessed March 14, 2025. Her awareness of his true nature, combined with her own mysterious past and ambiguous motivations, we never truly untangle, adds psychological complexity to the audience’s understanding of Hannibal himself.
Lastly, Jack Crawford‘s position as head of the FBI’s Behavioral Science Unit puts him in a unique moral quandary as well. His determination to catch killers leads him to push Will to his psychological limits, raising questions about the cost of justice and the exploitation of vulnerable people in pursuit of it.
The case of the Chesapeake Ripper, spearheaded by Hannibal, Will, and Jack, serves as a crucial narrative thread that pulls these characters together in unexpected ways, testing their loyalties, beliefs, and moral boundaries. They feel like real humans that could exist in our world despite their irrational and crazy circumstances.
Visual Storytelling — When Queerness Comes To A Head In Hannibal (2013-15)
Hannibal stands as a masterpiece of visual storytelling, where every frame is meticulously composed like a Renaissance painting. The show elevates television cinematography to new heights through its distinctive visual language and artistic approach. The series employs a rich, saturated color palette that contrasts deep crimsons with midnight blues and golden highlights; these are especially apparent in the scenes with intense gore.
Each episode is carefully color-graded to evoke specific emotional responses, with Lecter’s internal world often bathed in warm, elegant tones while Will’s scenes feature cooler, more distressed aesthetics (the wolf being an incessant motif). Dog imagery parallels Will to show his wild nature; for example, he has a large pack of dogs he’s rescued and mysteriously says they are drawn to him.
The show’s cinematographers use elaborate camera movements and unconventional angles to create a sense of disorientation that mirrors Will Graham’s unstable perception of reality. Symbolic imagery permeates the series: the stag representing Will’s growing darkness, the clock face distortions suggesting lost time, and the elaborate tableaux of Hannibal’s “art.”
The show’s visual metaphors extend beyond mere decoration, becoming integral elements of the narrative itself. Scene transitions often blend into one another through creative match cuts, creating a dreamlike quality that blurs the line between reality and nightmare, just like Will’s perception of reality.
The relationship between Will and Hannibal is choreographed through careful framing that repeatedly places them in compositions reminiscent of romantic partnerships rather than adversaries, such as scenes featuring deliberate mirroring, with shot-reverse-shot sequences. The scenes, brimming with tension, linger longer than any other character(s) on-screen, creating visual conversations even whilst in silence. The visual intimacy subverts heteronormative expectations of male relationships on television.
Queer Awakening, Ritualized Desire, & The Art Of Horror In Hannibal
The show’s employment of surreal imagery — particularly the stag representing Will’s transformation — parallels queer awakening narratives. Will’s journey can be read as a coming-out allegory, where his “becoming” represents self-recognition beyond societal norms; however, this may not even be singularly related to sexuality, but the underpinning of human existence overall. How does one cope with such toil as being in love with a serial killer?
Moreover, Lecter’s elaborate food preparation sequences serve as coded sensuality, replacing explicit sexuality with sumptuous metaphors served visually (on a literal plate, no less). The lingering camera work during these scenes suggests intimacy and desire displaced onto ritualistic acts. These abstracted images, compellingly obscure enough to not explicitly state queerness, frame the entire narrative of the show and relationship between Hannibal and Will.
Hannibal truly revolutionizes the presentation of violence on television by transforming brutality into macabre beauty. The show’s approach to gore isn’t merely shocking – it’s deliberately artistic to make us feel. Murder scenes are staged like baroque installations, with bodies transformed into grotesque sculptures that command attention through their horrific elegance. Additionally, the series’ food photography deserves special mention, as it turns Hannibal’s cannibalistic cuisine into still-lifes worthy of Da Vinci.
Everyone in the series goes to Lecter’s dinner parties; they serve as life whereas the dishes themselves are the pinnacle of death. The presentation of these dishes, often composed of human flesh, creates an uncomfortable tension between their visual appeal and the viewer’s knowledge of their true nature. The beauty and horror juxtaposition become a central theme of the show’s visual identity, and it is ever-so apparent and expertly crafted.
Hannibal (2013)’s Legacy, & How Queerness Is Represented In Popular Culture
Hannibal has left an indelible mark on television history, fundamentally changing expectations for what network TV can achieve, especially in the mid-2010s. Its influence extends beyond its shocking content to its artistic ambitions and execution. The show demonstrated that television could achieve cinema-quality visuals while maintaining network broadcasting standards. Need I mention it’s near-perfect ending (which reminds me of The Good Place (Michael Schur, 2016-2020) quality-wise)?
The series’ cultural significance lies in its ability to elevate traditionally “lowbrow” genres (horror, crime procedural) into high art through its commitment to visual excellence and psychological depth. It created a new template for how to adapt well-known properties by focusing on artistic interpretation rather than literal translation.
It continues to influence contemporary television, with its DNA visible in shows that dare to experiment with unconventional visual storytelling and those that seek to blur the lines between horror and art. Its legacy is not just in its story or characters, but in how it pushed the boundaries of television as a visual medium and how queerness can be more than outdated cookie-cutter tropes.
As Voltaire said,
“Anyone who can make you believe absurdities can make you commit atrocities,”
and thus is the case within the reality of Hannibal.
Footnotes
- 1Wikipedia. “Talk:Hannibal Lecter.” Accessed March 14, 2025.
- 2Fuller, B. (Writer), & Slade, D. (Director). (2013, April 4). Apéritif (Season 1, Episode 1) [TV series episode]. In B. Fuller (Creator), Hannibal. NBC.
- 3Contributors to Villains Wiki. “Alana Bloom.” Fandom, Inc. Accessed March 14, 2025.
- 4Contributors to Hannibal Wiki. “Bedelia Du Maurier.” Fandom, Inc. Accessed March 14, 2025.