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French  \nBook Title: Becoming  \nBook Subtitle: Genre, Queerness, and Transformation in NBC’s Hannibal  \nBook Editor(s): Kavita Mudan Finn and EJ Nielsen  \nPublished by: Syracuse University Press  \nStable URL: [https://www.jstor.org/stable/j.ctvj7wmhg.14](https://www.jstor.org/stable/j.ctvj7wmhg.14)  \nJSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [support@jstor.org](support@jstor.org).  \nYour use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at [https://about.jstor.org/terms](https://about.jstor.org/terms)  \nSyracuse University Press is collaborating with JSTOR to digitize, preserve and extend access to Becoming  \nThis content downloaded from [169.234.14.181](169.234.14.181) on Sun, 01 Aug 2021 23:13:44 UTC All use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \n9  \nBedelia Du Maurier Hannibal’s Femme Fatale and Final Girl Kara M. French  \nThe Hannibal episode “Sorbet” (1.07) opens with  \nHannibal Lecter listening, rapt with pleasure, to a soprano’s fullthroated aria from Handel’s Giulio Cesare while cheekily attending a charity benefit for hunger relief. The unnamed diva commands Hannibal’s full attention, bringing him to tears with her art. Thoughthe opera singer is not seen again outside of this episode, later in “Sorbet” the narrative introduces the show’s true prima donna, Hannibal’s psychiatrist, Bedelia Du Maurier, played by Gillian Anderson. Bedelia is the only other woman Hannibal will openly weep in front of and perhaps the only other character besides Will Graham whose thoughts he will occasionally entertain.  \nAs a character created exclusively for Hannibal (NBC, 2013– 15), Bedelia Du Maurier has a unique relationship to the narrative. Bedelia is slippery and morally ambiguous and at different moments takes on the role of both perpetrator and victim. As the psychiatrist’s psychiatrist, she is set up to serve an analytical function that endows her at times with a near fourth-wall-breaking insight, voicing the audience’s concerns. The dilemma she faces as a participantobserver brings to the forefront questions of how complicit audiences may be in Hannibal’s violence and whether it is possible to enjoy the  \nI thank Allison Abra, Karolina Koczberska, and Olivia Tarcov for their support and feedback on this article.  \n169  \nThis content downloaded from  \n[169.234.14.181](169.234.14.181) on Sun, 01 Aug 2021 23:13:44 UTC  \nAll use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \n170 French  \nshow’s lavish aesthetics without in some way condoning its horrorfilm ethics.  \nThe arc of Bedelia’s story evokes the femme fatale of film noir ina way that goes beyond her Veronica Lake hairstyle and chilly delivery. She is the quintessence of the mysterious woman who presents as a victim and is later revealed to be anything but. The character of Bedelia also represents Fuller’s take on familiar horror motifs, such as Carol Clover’s trope of the “Final Girl.”1 Bedelia is Hannibal’s Final Girl in a very literal sense—the last image in the show’s finale,“The Wrath of the Lamb”(3.13), is the postcredits sequence where she is seated alone to feast on her own leg, poised to attack her mysterious host armed with nothing but a fork.  \nBedelia both embodies and subverts these familiar female archetypes. As a camp figure, Bedelia disrupts the male gaze associated with the femme fatale as well as the male-centeredness of a series focused on Hannibal Lecter and Will Graham. In the postcredits sequence, Bedelia’s status as Final Girl and audience surrogate comes together. The am","cbCaitqIrv9bju14","https://ap.wps.com/l/cbCaitqIrv9bju14","pdf",7224238,24,"English","# Bedelia Du Maurier Hannibal’s Femme Fatale and Final Girl\n## Bedelia’s Narrative Role in “Sorbet”\n## Femme Fatale and Final Girl Archetypes\n## Audience Surrogate and Authorial “Anima”","[{\"question\":\"How does the chapter describe Bedelia Du Maurier’s narrative role in Hannibal?\",\"answer\":\"Bedelia is presented as morally ambiguous, slipping between perpetrator and victim roles. She also serves an analytical function through a near fourth-wall-breaking insight that voices audience concerns.\"},{\"question\":\"Why is Bedelia linked to the femme fatale and the Final Girl?\",\"answer\":\"The chapter argues that Bedelia evokes the femme fatale beyond her surface styling while also functioning as Hannibal’s Final Girl. Her finale post-credits image is treated as the literal last image poised to attack.\"},{\"question\":\"What is meant by Bedelia as an “audience surrogate” in the chapter?\",\"answer\":\"In the post-credits sequence, Bedelia’s status as Final Girl and audience surrogate converges. The ambiguity invites viewers to participate in meaning-making rather than remaining passive observers.\"}]","Bedelia Du Maurier - Hannibal’s Femme Fatale and Final Girl | PDF",37]