Article: NBC’s Hannibal: The Dichotomy of Elegance and Exploitation

So an article of mine has recently been posted on www.the-artifice.com. It is entitled 'NBC's Hannibal: The Dichotomy of Elegance and Exploitation' and is an albeit brief look into the paradoxical relationship between elegance and exploitation in Hannibal, questioning whether both can co-exist. 

If you have a spare moment, please click here and have a read! 

This blog has been a bit quiet on the post front recently, with my MA dissertation taking priority. But fear not - hopefully reviews will swing back into action soon, along with many features including the next installment of my HFX season.

Until next time! 

Review: Hannibal: Season 1, Episode 13 - Savoureux

(Spoilers!)

It’s no secret, I love NBC’s Hannibal. I cannot be blamed either, for this first season has showcased stunning cinematography, complex and layered characterisation, an excellent script, a well balanced hybridisation of genre and a few bits of gory, bodily dismemberment thrown in here and there. What more could you want from a television programme? It has been gripping, a delectable treat of 2013 and lo and behold, Savoureux is where this televisual feast comes to an end, in a highly emotive and intense season finale. 

The episode begins with another one of Will Graham’s sweat inducing nightmares. Awakening, he stumbles downstairs, pops a few pills and then vomits – poor man, could his night get any worse? Why yes, because he vomits a human ear. Naturally he phones his beloved and caring psychiatrist Dr. Hannibal Lecter, who soon makes haste to Graham’s house in which both then discuss the events of the previous day – Graham's visit to Minnesota with Abigail Hobbs, from which he returns home without her, not knowing where she is... or if she’s alive. To this it is deemed most appropriate to phone Special Agent Jack Crawford, who decides to take Graham to the FBI facility where he is then ‘processed’, under the suspicion of murder.

Crawford relays all of this information to Dr. Alana Bloom and through this discourse Lecter’s orchestrated master plan subtly fits together – namely the secrecy of Graham’s encephalitis and the advice to retain him on the FBI team. Both Bloom and Crawford (exhibiting strong performances) blame each other for the current situation – a natural response to the breakdown of their colleague, their friend and for Bloom in particular, romantic interest. When visiting Graham in the interrogation room, this added layer of complexity is evident as their romantic overtures remain effectively withdrawn, dialogue being the only necessary tool to converse this dramatic turn of events... "Guess you dodged a bullet with me..." "I don’t feel like I dodged a bullet... I feel wounded". 

In the same sequence, Graham refers to Lecter’s clock tests used previously in therapy, as a means to root his sanity. Bloom however is aware that these tests are used to detect neurological deformities, so requests Graham to draw one for her, in which she notices his spatial disorientation. A look of relief appears – there is an explanation behind his behaviour, he may even be innocent. Either way, there is hope yet. However despite this beacon, it remains unpromising for Graham as the evidence piles up against him. Amidst the pocket knife, blood under his finger nails and a matching tissue sample between the vomited-ear and Hobbs, Graham’s fishing lures were also examined and revealed to be made out of human body parts, specifically those of previous victims assigned to the ‘copycat killer’. Lecter you smart but sneaky, sneaky man. This latest batch of evidence, relayed to Graham, interestingly confirms his sanity to himself. He rightly points out to Crawford, he wasn't ‘sick’ when some of those victims were murdered. He realises all the evidence points to a set up, someone who knows the cases, someone who knows his depleting mental stability.  

But of course from Crawford’s point of view, this is further fuel to the fire of insanity and it is here that the episode boasts one of its greatest strengths. This 'set-up' narrative has featured in many productions within the thriller genre, the manipulation of a frail man to cover up murders. Majoratively speaking, the narrative construction and characterisation makes the set up so blindingly obvious it becomes increasingly infuriating to watch. However through careful orchestration, Hannibal manages to convey the set-up in equal measure so audiences view the insanity from either side. We witness the downfall of an innocent man, yet at the same time, we question his innocence and more prevalently, his psychological coherence – the result of which generally makes for more intense and compelling viewing.

With mounds of evidence against him, Graham is arrested for murder and transferred to another facility for further tests. He escapes however (akin to the actions of Eddie Izzard’s character in a previous episode) and heads to Lecter’s office, who at this point in time is still masterfully playing the helpful and concerned psychiatrist. Both discuss each of the past murder victims, Lecter states as a somewhat process of elimination - by going through each person, one can decipher if Graham’s murder of them was possible. More purposefully however, this appears as yet another manipulative attempt for Lecter to implant untrue information into Graham’s psyche. Regardless, it’s a neat opportunity for the show to implement its famed elegant horror as each mutilated body appears in the room. Graham determines the next best move is to return to the scene of Hobb’s murder, perhaps as an act of closure or as an act of hope, in which all of the pieces of this intricate puzzle will fall in to place. Which they do, and oh so brilliantly. 

At the bloody scene of Hobbs' murder, in a highly intense sequence, Graham remembers one or two moments from the past instigating the realisation that Lecter may be the killer. He stands, pointing a gun at the remarkably stoic man and states, "I know who I am but I’m not so sure I know who you are... One of us killed Abigail Hobbs...". Lecter had no traceable motive which is why he was so "hard to see", but now its all clear, comprising a much anticipated moment between the two titular characters. After a conversation with Dr. Bedelia du Maurier, Crawford also makes haste to Minnesota and intercepts Graham and Lecter’s confrontation with a gunshot to Graham’s shoulder. He lies on the floor, poetically in the same spot as Garrett Jacob Hobbs in the show’s premiere episode. Whilst there he requests Crawford to “see”, like Graham eventually has, all whilst the black Elk Man (which has frequently manifested itself in Graham's subconscious) finally appears in the position of Lecter. 

Following an intercepting scene, in which we discover Graham was soon placed in a medically induced coma after the shooting, Lecter and du Maurier meet for dinner, one which feels almost celebratory. Fitting then, that his choice of meat is veal, the young age of which quite blatantly refers to the death of a young Abigail Hobbs. Directly so in fact, as it is without a doubt 'veal' isn't exactly what they are eating. Over dinner Lecter discusses his plans to visit Graham, to say a farewell of sorts.  Du Maurier agrees believing it wise to end their relationship, before others get suspicious of the emergent pattern of violent patients in his psychiatric practice. This awareness may unravel the belief in Lecter's ability as a psychiatrist... To me this piece of discourse unravels the depth of awareness du Maurier actually has over Lecter's lifestyle.

The final sequence of the episode comprises a long awaited moment – so wonderfully executed, it is without a doubt a highlight of the entire series. Shot majoratively through close-ups, Lecter slowly walks the halls of a prison to the heavenly tune of an operatic score. It’s a brilliant paradox really, as what we are witnessing is the reign and success of Lucifer. He reaches a prison cell in which Graham is situated and both stand face to face... "Hello Will..." "Hello Dr. Lecter". The intermittent close-ups, paired with a shared knowing yet menacing gaze concludes, with a smirk fixating on the face of Lecter. Perfect. 

Savoureux is a spot on ending to what has been a formidable series. Everything has tied up nicely in a highly intense and emotive manner, all thanks to smart narrativisation and the characterisation of protagonists, in which the entire cast boast strong performances. The final sequence in particular was masterfully put together and I have to say, caused myself to smirk also. Yet as one door closes, another opens and this revelatory ending opens up boundless narrative opportunities for the following season – can Graham prove his innocence? Where will his relationship with Lecter go from here? Overall season one has been a delicious feast and last night offered a wonderful final course. Thus I think it is safe to say season two will be welcomed with open arms and an incredibly large appetite.

What were your thoughts on the season finale of Hannibal? Post a comment!

Review: Hannibal: Season 1, Episode 12 - Relevés

(Spoilers!)

Relevés sees the penultimate episode of Hannibal this week, an intense affair in which truths are discovered and Dr. Hannibal Lecter’s orchestrated plans come to fruition – nicely laying the ground work for what will inevitably be a dramatic and tumultuously thrilling season finale.

We begin this episode at the hospital, following Will Graham’s mental breakdown, neatly swept under the proverbial rug and pitted as a 'fever'. Whilst at the hospital, Graham befriends last week’s protagonist Georgia Madchen, who currently resides in an oxygenated tank as a means of recovery. Compared to her previous disorientated and zombified demeanour, Madchen is lucid and almost healthy, able to have lengthy conversations with Graham regarding each others recovery and mental well being. Her next step of recovery is electrolysis, something she wishes to avoid as it will cause her to remember the gruesome acts of murder she previously committed. It will also help her remember the killer of Dr. Sutcliffe – our beloved cannibal. No surprise then, that Lecter manages to orchestrate her fiery death by placing a hair comb in her tank, which generates static, causing it to combust and burn her alive inside. 

Following her death, she appears as an apparition in one of Graham’s dreams - creepily implemented through the use of shakey-cam technology and the return of her zombified aesthete. She encourages Graham to “see”, so he does, and rather clearly at that. The following day he asserts Madchen’s death was not suicide but murder, committed by the same person who murdered Dr. Sutcliffe and who is in fact the Garrett Jacob Hobbs copycat killer. Leaps and bounds a-hoy, this theory heightens Jack Crawford’s suspicions over Graham’s involvement with Abigail Hobbs. He knows Hobbs was her father’s accomplice and also believes her to be the copycat killer, and with the aforementioned revelation, he now believes Graham is protecting her. Naturally Crawford’s curiosity progresses – is Lecter protecting Graham too? With that, he hot foots to Dr. de Maurier’s abode to question her on Lecter and his relationship with Graham. De Maurier has a more vital role to play this episode, in which her proceeding conversations with Crawford and Lecter hint toward her past and possible knowledge over the true nature of Lecter himself. 

After a brilliant piece of discourse between Graham and Hobbs in which both reveal the pleasures felt in killing someone, they team up and journey to the Hobbs hunting cabin in Minnesota. Whilst there, Graham hopes to empathise with the copycat killer and thus get a lead on his theory. However realisation soon hits that Hobbs was the lure in her father’s crimes, causing Graham to delve into an erratic state of disorient. In a delightfully, well crafted and agonising sequence, the audience are subjected to the utmost confusion envisaged through Graham. It escalates from a heated conversation, to her murder and a sudden jump cut to Graham sat on a plane alone. For a while the audience are left guessing – did all of that just happen? Did Graham just murder Hobbs? The depleting state of Graham’s mentality has been a long running narrative trope, yet it was here that Bryan Fuller and co used it most effectively – at the worst possible time. 

Meanwhile, with increasing evidence, Crawford goes to arrest Hobbs only to find she disappeared with Graham. With that, he ploughs into Lecter’s office requesting information regarding Graham’s actions and well-being. In his ever manipulating ways, Lecter convinces Crawford that Graham felt he was becoming Garrett Jacob Hobbs, as a result of his disassociative personality state, a symptom of the secret encephalitis now used as a convenient scapegoat. Believing this to be the case, Crawford soon realises that Hobb’s life is in danger and both assumingly then fly to Minnesota. 

In the episode’s final and most intense sequence Hobbs and Lecter unite in her family home and we soon realise she left Graham behind, frightened for her safety. She asks Lecter, “Did he kill Marissa?” (who was one of the copycat’s victims), to which Lecter replies, “They will believe he did” and with that, pieces fall in to place - Hobbs soon realises the true nature of Lecter. He confesses calling her father before he died and his intrigue toward whether she would follow in his footsteps and murder someone herself - he explains, "I was curious what would happen... I was curious what would happen when I killed Marissa... I was curious what you would do...". Lecter’s motivations have always been ambiguous but it appears psychological intrigue was the catalyst for his extremely well orchestrated plan. In this case, curiosity didn't kill the cat but it did however kill Hobbs whose inevitable death, although not displayed, is one of true horror, constructed through Lecter’s slow caressing of her face, before cutting to black. 

This is a smart and well-thought out episode this week, with a particularly engaging and enigmatic quality. Previous focus on the serial-killer-of-the-week typology and theatricality of crime scenes have been replaced with intricate and intense narrative development. As ever, strong performances reigned throughout, although Kacey Rohl’s transgression from comfort to sheer terror in the final sequence was a particular stand out. It is also worth noting that despite the fact audiences know Lecter is the man responsible for the murders, it nevertheless remained a gripping moment when Hobbs discovered the truth – the first character on screen to do so. 

So there we have it, the table is set for our final course of this season one feast. With Graham increasingly encroaching on Lecter’s tale, can he convince others of his theory? Or, thanks to the manipulation of Lecter, will everyone believe him to be a killer? A likely outcome, as the death of Hobbs will undoubtedly make him a prime suspect. 

What were your thoughts on this week's episode? Post a comment! 

Next week...

Review: Game of Thrones: Season 3, Episode 10 - Mhysa

(Spoilers!)

Recovered from last week’s episode yet? After the sheer carnage at The Red Wedding, it is no surprise that this week’s installment of Game of Thrones is a slightly calmer affair, but nonetheless strong ending to what has been an absolutely fantastic series. Mhysa is a fitting conclusion, all about family, homecomings and new beginnings, nicely tying loose ends but leaving some open, laying the ground work for an already highly anticipated fourth season.

What better place to start this episode than the aftermath of The Red Wedding. With the absolute carnage taking place inside, we had not yet become accustomed to the bedlam outside, including even more violence, riots and men on fire. Not to mention, the parade of a dire wolf’s head on the headless corpse of Robb Stark.It's all detailed through a fantastic sequence on a somewhat epic scale, to get a sense of the true devastation that has just occurred... as if we needed any more trauma. 

Especially poor Arya who is witness to all of this, before being taken away by Hound. The whole experience is undoubtedly further fuel for her murderous fire, in which she viciously stabs a Frey soldier and achieves her first kill. It’s the first signal for the terribly dark path in which she is about to embark upon, a new beginning bound in the mantra of Valar Morghulis. From a young girl to a fierce and spirited fighter her transgression as a character has truly been something to behold this series. 

Arya is not the only one with a new beginning this week. Bran, the Reeds and Hodor continue their quest North of the Wall and Gendry is set free, saved from the sacrificial ways of Stannis and Melisandre, thanks to the noble act of Ser Davos. Arguably with the Starks out of the picture, Lord Bolton and Walder Frey also have a new beginning, with Lannister support and control over the North and the Riverlands. Walder continues to be a joy to watch as an incredibly despicable character but you can’t help but wonder if his treacherous act of ambushing the Starks will go unpunished? Thanks to a neat little parable told by Bran entitled the Ratcook, there is a hint that repercussions may come Walder’s way, after all, he did commit an unforgivable act of breaking a Westeros custom; the protection of a guest. 

With new beginnings posited, loose ends were also tied up. The inevitable revelation that Ramsay Snow is the bastard son of Bolton finally came to fruition. His tortuous ways toward Theon Greyjoy, at times perceived slow-moving and gratuitous, actually held great relevance this week. Amidst the brilliantly crazed and wide-eyed performance from Iwan Rheon, Theon is continuously mocked and dehumanised to the point of becoming a new character; Reek. Ramsay’s reign of terror also reaches other Greyjoy family members, as he sends them a package of an erm... package, accompanied with a letter requesting they vacate their lands. If unwilling to do so, more post is to be expected. Still refusing to think of Theon as his son, Lord Balon ignores the threat. His sister Yara however, groups together a small army, who then set sail on a journey to rescue him.

Jaime finally returned to King’s Landing, Brienne in tow - it will be interesting to see how their new found friendship will survive in non-hostage territory. For some, Jaime’s reunion with Cersei felt underdeveloped and in need of more screen time, however I rather liked the fact it was understated and short lived – no dialogue needed, just a stare and short outburst of emotion. After all, what would you say to your incestuous lover who has been held captive for months, to eventually come home dirty, unshaven and missing a hand...?

Arguably the most catalytic conclusion in this episode, is the return of Jon Snow and Samwell Tarly to Castle Black. Jon's return was overshadowed by the few arrows planted in his back, thanks to an unforgiving goodbye from Ygritte, but for Samwell however, his tales from beyond The Wall spur Maestor Aemon to send out a multitude of ravens imploring the rest of the kingdoms to put their squabbles aside and unite with the Nights Watch. The ever encroaching White Walkers are the true threat now. 

So there we have it, the war is winding down thanks to a new, prescient threat, the Starks are beaten, Bolton and Frey hold the North and the Riverlands and for the most part, the Lannisters are in firm control. Not a result thanks to their wonderful King Joffrey, who is promptly sent to bed this week after a tantrum (spurred on by yet another brilliant threat from Tyrion), but thanks to Tywin, the true king and a man whom treats the Lannister name not as a loving, family bind, but as a business, a stature and one that must be sustained. 

In a stand out sequence he explains to Tyrion what it means to be a Lannister and the sacrifices you must make. Whether it is to aid in the slaughter of the Stark family or to request that Tyrion effectively rape Sansa as a means of conceiving another Lannister child, you do what your must for your family,

“The house that puts family first will always defeat the house that puts the whims and wishes of its sons and daughters first... a good man does everything in his power to better his family’s position, regardless of his own selfish desires”. 

To that he then admits his wish to drown Tyrion on the day of his birth, but prevented himself doing so because of his Lannister name. It's another heartbreaking insult perfectly played by Charles Dance, providing a captivating moment and testament to the complex and despicable character Tywin truly is. 

"I wanted to carry you into the sea and let the waves wash you away, instead I let you live and brought you up as my son, because you’re a Lannister"

Someone else in true control is Daenerys Targaryen, yet her reign is achieved through character more than circumstance as she continues her quest across Slaver’s Bay. Dragons, companions and an army of Unsullied in tow, she releases the slaves at Yunkai, who then promptly shower her with admiration calling her “Mhysa” (Mother). All this love, affection and power... what could possibly go wrong? 

Overall a truly solid ending to what has been a fantastic series; certain story arcs closed, others opened preparing us for new journeys and new threats. The only problem now is... what the hell are we going to do for a year?

What were your thoughts on this week's episode? Post a comment! 

Review: V/H/S 2

(Spoilers!)

Horror as appeared to have gone into an anthology phase, with recent productions such as The ABC’s of Death and V/H/S hitting our screens. Whilst the former is an alphabetical run through of various depictions of death, V/H/S took firm position in another sub genre, following in the footsteps of The Blair Witch Project and Paranormal Activity - found footage. The premise for V/H/S places six found footage shorts within a narrative framework that follows a group of young men, hired to desolate a house and acquire a rare VHS tape. The bunch of leery misfits are confronted with a dead body, old televisions and an endless supply of footage, the content of which progressively worsens. 

Reviews were mixed for V/H/S and rightly so. The portmanteau is full of chilling, smart ideas and tainted with a grainy, lo-fi aesthetic, creating a particularly grungy, scuzzy tone. Yet the inconsistent quality of each short, teamed with notoriously gratuitous nudity throughout tainted the viewing experience and restricted its potential. Not to mention, the group of young men on which the framed narrative followed were particularly unlikable. Thank goodness then, that V/H/S 2 is a vast improvement. Showcasing four strong shorts (some more than others), this sequel encroaches on an array of sub-genres and tonal qualities that make for a pretty decent display of horror. 

V/H/S 2 follows a similar narrative framework to its predecessor; a shady private detective and his girlfriend are on a mission to track a missing college student. They enter his seemingly abandoned house with the hope of finding him or some clues. Instead they find a stack of televisions and a selection of tapes which are inevitably played. Between each tape, these intermittent sequences surrounding said characters are poor. Amidst the weak performances and unlikable characterisation, the only saving grace is certain horror clichés that heighten the intensity. Be it the detective’s slow investigation of the house using the light from his camera, or static shots that keep you checking the frame’s peripherals, a strong sense of suspense consistently lingers. There are one or two pay-offs too, the continual emergence of a mysterious figure is a particularly creepy touch, albeit ruined by the complete predictability of who the figure is. However, much like its predecessor, the narrative framework in V/H/S 2 is the films weakest element and in fact hinders the strength of the short films, which really and truly are what this production is all about - and so it should be, because they are something to admire. 

The first short is directed by Adam Wingard (director of upcoming release You’re Next) and is entitled Phase 1: Clinical Trial. It follows Herman Middleton, a man who has recently lost his sight in a car accident. As a means of recovery he opts to get a retinal implant and from then on, everything is recorded and monitored for research purposes. Through Middleton’s point of view we see his lavish house and remedial day-to-day activity, but all soon descends into spooky territory with ghostly apparitions. The strength of Wingard’s piece lies within the camera trickery, ultimately providing the strongest jolt-scares out of all four shorts. The vision of an outlined figure lying beneath the bed sheets, only to disappear and emerge behind our protagonist was extremely well executed, arguably providing one of the films’ biggest frights. It’s a shame then that it all feels slightly wasted on yet another unlikable character and a plot that soon delves into a nonsensical sensibility. Nevertheless, Wingard's execution of particularly jumpy moments is strong and should not be underestimated.  

Following this is A Ride in the Park, directed by Eduárdo Sanchez and Gregg Hale (The Blair Witch Project). It’s a brilliant short filmed entirely through a “Go-Pro” camera, mounted on a cyclist’s helmet. Whilst riding through the woods he comes across a woman badly injured, only to discover she is a zombie who fast makes a meal out of our protagonist. I know what you’re thinking and yes - the found-footage-zombie sub genre has been done to death (most famously with Rec), turning as limp as the un-dead that feature within them. Yet Sanchez and Hale provide a twist by showing the experience from the zombie’s perspective. We remain with the “Go-Pro” camera throughout the zombification process, his first meal and the terrorisation of a child's birthday party. This point-of-view approach allows for a multitude of blackly comic moments, including the realisation that eating your own flesh is not very nice. The use of sound effects and close up shots compliment the comic tone rather well, adding a distinctly gory sensibility (watch out for the entrails sequence), altogether making the viewing experience all the more enjoyable. 

Safe Haven however, is V/H/S 2’s most brilliant and strongest segment. Directed by Gareth Huw Evans (The Raid: Redemption) and Timo Tjahjanto, this short follows a group of young journalists in Indonesia wanting to make an ‘objective’ documentary on a cult. Of particular interest is the cults leader, known as Father, who apparently has illicit relationships with children. Although, it turns out that is the least of their worries. The interview with Father begins in his remote facility, only to be cut short and not just due to technical difficulties. According to Father, the time of reckoning has finally come, causing chaos to erupt and a descent into complete and utter madness. Through their various pieces of recording equipment, we see how each protagonist witnesses a series of harrowing events. From mass suicide, zombification, throat slashing and the inexplicable birth of a demon, each sequence progressively turns all the more bizarre and bloody... and boy is it bloody. The unabashed portrayal of graphic imagery certainly makes for a tough but exhilarating watch as sheer visceral terrors unfold on screen incredibly fast – it’s a thrill ride... a bat-shit crazy thrill ride. The final sequence in which the short culminates is also rather brilliant, a slightly comic conclusion (which doesn't scarper from the terror before it) and an image to behold, providing a snot shot that puts The Blair Witch Project to shame. 

It’s unfortunate that Safe Haven wasn't saved until last, as any short following such a brilliant piece of excessive pandemonium is bound to come across as a bit of a lull. This is the case for Slumber Party Alien Abduction, the final installment in V/H/S 2 and directed by Jason Eisener (Hobo with a Shotgun). No hidden agenda in the title here, as the short follows a group of annoying teenagers whose sleepover is soon interrupted by an alien invasion. The piece isn't without its strengths. There are effective jolt-scares and a sequence which will undoubtedly make for tough viewing to those of a claustrophobic disposition. However the “doggie-cam” approach felt tedious, as did the disorientating camera shake. Of course as a found footage piece, this particular aesthetic is to be expected, but it was used to the extreme and undoubtedly as a means to distract from the comparatively (and noticeably) low budget to Safe Haven. None of this is to say that Eisener’s short is poor – it is enjoyable – but the let down here is more a matter of bad placement, having to follow a predecessor of such high quality. 

A vast improvement upon its predecessor, V/H/S 2 is a strong array of jumps, chills and graphic imagery, sometimes underlined with a brilliantly blackly comic tone. Phase 1: Clinical Trial and Slumber Party Alien Abduction are not without their faults, but that only lands in comparison to Safe Haven – a cavalcade of gore, terror and absolute bedlam. The surrounding narrative framework continues to stand as this soon-to-be franchise’s weakest point and the entirety of this film would undoubtedly reign stronger without it. However these are all nitpicks over what is otherwise a solid anthology, showing there is still life in the found footage sub-genre yet and that Evans is most definitely a filmmaking force to be reckoned with.

Have you seen V/H/S 2? What were your thoughts? Post a comment! 

Review: Hannibal: Season 1, Episode 11 – Roti

(Spoilers!)

Top quality drama and brilliant characterisation in this week’s episode of Hannibal, as manipulation and madness take its toll over Will Graham and escaped convict, Dr. Gideon (Eddie Izzard). 

It’s another snowy evening in Baltimore and what better way to enjoy Dr. Lecter’s sheep curry, than over an unethical conversation regarding the manipulation of mentally unstable patients. That’s right, the lovely Dr. Chilton (Lecter’s dinner guest) has been manipulating the mind of his most notorious inmate at the Baltimore State Hospital for the Criminally Insane, Dr. Gideon. A man whom believes himself to be the Chesapeake Ripper, thanks to Chilton’s mind warping ways. Although Chilton has been less covert than the likes of Lecter in his method of manipulation, causing Gideon to realise he is not the Ripper after all and therefore sue the hospital for improper practise. 

Mid-journey to court however, Gideon escapes and through Graham’s empathetic ways, we see he does so in a clever combination of one handed combat and hand-cuff weaponry. As if that wasn't enough, he decides to disembowel the accompanying guards, hang their organs off tree branches (some even tied with a little bow) and scramble their brains. All of this, before heading straight back to Baltimore. Why you say? Well upon realising he’s not the Ripper, Gideon is on a quest to rediscover his identity - first by unscrambling his brain, seeking revenge on the psychiatrists that made it so. Then, by using this organ-tree as his first calling card, seek out the true Ripper (who we know is Lecter) as a means of regaining his sense of self. Apparently there is method in Gideon’s madness.

Gideon’s quest to regain sanity this week is a brilliant piece of characterisation. On the one hand, we see him dally through sequences, possessing an air of malicious playfulness and downright brutality. From giving Dr. Carruthers what is referred to as a Columbian Necktie (but packaging the blood to be sent to Red Cross) or performing a complete organ excision on Chilton (whilst he is still awake), we for the first time see what he is truly capable of. Ripper or not, this man has issues. Thus his trail blaze through Baltimore is also the perfect vehicle for Hannibal’s titular gory sensibility. Roti has arguably provided the most graphic imagery yet, with scenes of surgery and a twitching tongue to boot, undoubtedly adding an extra layer of joy to those with a strong stomach. 

On the other hand, before the seemingly black and white binary of good and evil becomes too concrete, Gideon’s madness and brutality is soon contrasted in a sequence of utmost serenity. Standing outside Alana Bloom’s house, preparing to commit his next act of obscenity, he wonders; how did I get to this point? Who was I before all of this? How did this all happen? It’s a tranquil moment of contemplation that subtly elicits sympathy toward the character, providing a well written slant on the serial-killer-of-the-week typology Hannibal frequently uses - it’s also a testament to Izzard’s great performance. Nevertheless it seems Baltimore is a little too over-crowed with the mentally estranged this week, or Graham seems to think so, as this tranquil moment of self-reflexivity is cut short when he shoots Gideon dead. There’s only enough room for one mental breakdown this week, and boy does Graham take the trophy. 

Each week Graham’s mental state has increasingly dilapidated, the cause for which was discovered last week as encephalitis. Yet in his continual overpowering manipulation, Lecter has kept the medical diagnosis a secret, causing Graham to believe his worsening condition is resultant of mental instability. Graham admits, “I feel like somebody else... I feel crazy” and it’s no wonder given his sweaty and un-lucid demeanour, worsening hallucinations and nightmares - including a recurring water motif that is abound with metaphorical implications of his mental state. It is worth noting that said nightmares, despite representing Graham’s breakdown, are seamless, stunning and further proof that this show is one of the most beautiful serials presently broadcast on our television screens. 

In the episode’s most intense sequence, showcasing Hugh Dancy’s strongest performance yet, Graham holds Gideon at gunpoint believing him to be Garrett Jacob Hobbs. Both turn up at Lecter’s office, Graham in frenzy over the apparent resurgence of a man he shot dead. However Lecter worsens the situation by pretending no one is there, causing Graham to completely breakdown and have a mild seizure. It’s a shocking reminder of the monster Lecter truly is and an indication to the lengths he will go, to scramble the mind of his beloved ‘friend’. The question is, how much more can Graham take? 

Roti has been one of the strongest episodes of this season of Hannibal. Brilliant performances from Izzard and Dancy, teamed with excellent characterisation and particularly graphic imagery, collectively provided an almost hour-long piece of thrilling drama to once again prove that this is dark television of the utmost quality. 

What were your thoughts on this week's episode? Post a comment! 

Next week...

Review: Game of Thrones, Season 3, Episode 9 – The Rains of Castamere

(Spoilers!)

Ah the pivotal ninth episode of Game of Thrones. Tradition has it that at this point in time, all the build up and characterisation reaches its payoff in a manner that causes the jaw of every viewer to drop. Season One saw the beheading of Ned Stark, Season Two saw the Battle at King’s Landing and Season Three? Well, it has provided us with a sequence that trumps both of the above – The Red Wedding. 

Before the bells of matrimony ring at the wedding of Edmure Tully and one of the Frey daughters, the episode continues its titular progression of individual character tropes. Arya and The Hound remain on their quest toward The Twins in the hope of a reunion with the remaining Stark family members. They eventually reach their destination, but amidst the carnage and bloodshed that ultimately resides over wedding procedurals (of which I’ll talk about shortly). Arya witnesses Frey men kill Stark soldiers and Grey Wind, Robb’s Direwolf, sure enough hinting toward the demise of her family that are situated within the building – hitting home the harsh reality of being so close to seeing your family, only to have the opportunity snatched away. Hound knocks her out and carries her from the premises, no doubt an act of protection – of her life and from seeing any more devastation. As horrible as the situation is it’s also great, because both characters will now continue to share each other’s company – this pairing of an increasing paternal sensibility is an absolute pleasure to watch. 

An improvement in the lives of Jon Snow and the Wildlings was also seen this week. Cave-love-making and sickening romantic banter was nonexistent; instead Snow reveals his true allegiance to the Nights Watch. Culminating in a well executed fight sequence, Snow manages to kill the majority of the accompanying Wildlings, receiving help from Bran (who is hiding in a nearby tower with the others) and his Warg powers. Ygritte survives but is abandoned, much to her dismay, as Snow rides away. His revelation in terms of loyalty was a pleasing one, reminding us of how great a character Snow actually can be.

Daenerys Targaryen is still plotting her assault on the Yunkai and amidst his penetrative eye contact, Daario Naharis has a plan to infiltrate the city at night, with the help from Greyworm and Ser Jorah. Trust is an issue at first, but Daario’s loyalty is proven, as all three succeed in taking the city. They do so by defeating the guards in a brilliantly choreographed fight sequence, with the clever but subtle addition of different fighting styles – it’s a shame the scene didn’t last longer. In fact, all of the above scenes were relatively short – the inclusion of Samwell Tarly and Gilly was almost unnecessary. Nevertheless, none of that matters if granting more screen time to this week’s piece de resistance; The Red Wedding.

In a pre-wedding apology Robb Stark admits his spurning of the Frey daughters (comically introduced by Walder Frey) for another woman, but as an act of love. To paraphrase, Walder Frey believes it not love but a pretty face that caused Robb to forego an oath. Regardless, the cracks are smoothed over and it’s time for a Tully-Frey wedding. At first it’s a merry affair with copious amounts of wine, music and dancing. Robb and Talisa happily discuss names for their future child, Lady Catelyn enjoys a glass or two and even Edmure is pleased with the chosen wife – there is not a drunk Tyrion or harassing Joffrey in sight. Although, that would be a welcome affair compared to the brutal and sad tragedy that soon unfolds. 

As Edmure and his wife disappear for the bedding ceremony, the doors to the great hall slam shut and a familiar, unsettling tune is heard from the musicians in the above balcony; it’s the Lannister song The Rains of Castamere. A slow but intense build up, credit to director David Nutter, manages to encapsulate a true sense of dread, reflected on the face of Catelyn. Upon realisation, she tries to warn her son but it is too late, this is an ambush, and one of the utmost severity. 

Talisa is viciously stabbed in the stomach several times in a moment of unexpected, shocking brutality. Both Robb and Catelyn are shot with arrows raining down from the balcony above and Frey soldiers then continue their path of slaughter. Walder sits at the head of the table, gleefully enjoying the experience and making him our new favourite character we love to hate. Amidst the merciless murders, Robb crawls over to his dying wife and Catelyn manages to stand, bargaining for the life of her eldest son. She fails however, as Lord Bolton stabs Robb exclaiming “the Lannisters send their regards”. Catelyn cries out in anguish, slitting the throat of Walder’s wife before having her own cut by a Frey soldier. 

Even if you knew what was coming, this tragic act of revenge and allegiance with the Lannisters delicately balanced overwhelming tragedy, brutal bloodletting and powerful performances (Michelle Fairley particularly impressive) to provide a truly shocking sequence, one that is arguably the strongest in all three seasons. The shock is only further amplified by the lack of score in the closing credits - much like every viewer, witnessing the above permitted a state of stunned silence. 

Arguably the best episode yet, this week again touched upon particular narrative tropes. Once sprawled across Westeros, characters are now closer in vicinity, their paths intertwining. Their surrounding intensity has largely increased, from revelations to particularly well choreographed and executed fight sequences. This then tides the episode over nicely until the awaited (or not) moment of sheer brutality. Brutal is a word that tends to be thrown about carelessly these days but The Red Wedding was brutal in every which way; emotionally and physically. In fact words can only do the sequence a certain amount of justice. In all honesty it’s a moment of television that needs to be experienced. Question is, with the season finale left, can it be topped? I’m going to say no – this was the pivotal ninth and then some.

What were your thoughts on this week's episode? Have you recovered yet? Post a comment!