Thomas Harris’s novel fathoms man's depravity in ways that are at once spectacularly horrifying and mordantly amusing.
NBC’s Hannibal ran for three seasons, but its concept called for at least twice as many.
Like Lynch before him, Fuller has shined a light over TV’s capacity for eccentric, follow-thy-master poignancy.
The dialogue is as polished, overheated, and savory as one can routinely expect from creator Bryan Fuller.
The episode is taken by “reality” as a terrifyingly fluid and elastic realm, dictated by the conditions of the fragile mind.
There’s quite a bit of accomplished, bitchy verbal game-playing in this marvelous high point of an episode.
Francis is estranged from society, destined to regard it from the outside, because he’s imprisoned like most of us within a version of life produced by his mind.
“Digestivo” is bug-fuck baroque even by Bryan Fuller’s incredibly accommodating standards, and the title is telling and apropos.
“Primavera” continues to plumb the expressionist fugue state into which the events of last season’s finale have sent the characters of Hannibal sometimes literally tumbling.
An origin story that, sadly, has less in common with Jonathan Demme’s Silence of the Lambs than it does with Hannibal and Red Dragon.