Sorry about the slow posting schedule of late – Jack’s on a brief holiday while he finishes up the Austrian School essay for Neoreaction a Basilisk, and I’m really bad at remembering to queue these on Game of Peaks night. Normal service should resume soon, and your patience is appreciated.

MUKŌZUKE: Literally “set to the far side,” which refers to the dish’s placement on the tray, a small dish of seasonal sashimi. The key detail for our purposes is that the dish is sliced.

FREDDIE LOUNDS: Send someone else, Jack. She’s one of yours.

Freddie is entirely sincere here, offering a genuine concern for Jack. This is not part of some larger heel turn on her part, a fact emphasized by her photographing Beverly’s body and, subsequently, Will in his face mask. Rather, it is out of a sense of genuine horror and, more broadly, a sense of clear morality – the same one that fuels her consistent loyalty to Abigail Hobbs, even after death. The grounds on which Freddie will take actual moral stands are few, but the resulting stands are a key part of her character.

As the saying goes, there’s always doubt until you see a body. This, then, is one of the more emphatic settlings of the matter in television history. In one sense, Beverly is quite literally fridged, or rather freezered, this being a necessary part of displaying her body like this. In most other regards, however, she avoids this trope, although it was actively discussed at the time, with Hettienne Park herself defending the show against accusations of both racism and sexism, pointing out (not unreasonably) that it’s more significant that an Asian woman got cast as a character with the last name “Katz” than that the character was killed off as had been planned since day one. The more substantive observation would be that the key point of fridging is that the character is killed to provide emotional drama for male leads. While Will, Jack, and the other (admittedly mostly male) characters do respond to her death with grief, this is not even the main point of “Mukōzuke.” Beverly’s death matters primarily for the ways in which it changes the state of play for the show, forcing Will to change his tactics and incrementally ratcheting up the inevitability of Jack eventually figuring out what’s actually going on with Hannibal.

At last, the image from the season two poster appears in the show. The appeal, of course, is much like the final lines of the first season – the inversion of one of the defining images of Hannibal Lecter.

BEVERLY KATZ: You said you just interpret the evidence. So interpret the evidence.

This is not the first time that Will’s investigative approach has been described as interpretation, but given the setup of Will being wheeled to a staged, framed tableau and the degree to which this particular work on Hannibal’s part is straightforwardly communicative the word stands out more in this context than many,

WILL GRAHAM: I strangle Beverly Katz, looking in her eyes.

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\TAKIAWASE: A mixture of vegetables and a protein in which the ingredients are cooked separately; on the whole a fair description of an episode in which the characters are unusually segregated.

WILL GRAHAM: Your father taught you how to hunt. I’m going to teach you how to fish.
ABIGAIL HOBBS: Same thing, isn’t it? One you lure, the other you stalk?
WILL GRAHAM: One you catch, the other you shoot.

Will makes a second attempt at the hunting/fishing conversation that went so unsatisfyingly in “Relevés.” This time, instead of becoming obsessed with accusing Abigail, he comes up with a suitably witty retort to her comparison. Although the difference between catching and shooting is likely academic to the fish.

WILL GRAHAM: Last thing before casting a line: name the bait on your hook after somebody you cherished.
ABIGAIL HOBBS: So you can say good-bye?
WILL GRAHAM: If the person you name it after cherished you, as the superstition goes, you’ll catch the fish.
ABIGAIL HOBBS: What did you name it?
WILL GRAHAM: Abigail.

It’s an interesting and quietly revealing character beat that Will stakes his successful catching of Hannibal on the question of whether Abigail cherished him. Not least because it’s very difficult to construct a credible argument for an answer other than “not nearly as much as she did Hannibal.”

BEVERLY KATZ: Hannibal Lecter has no reason–
WILL GRAHAM: That’s exactly right. He has no discernible reason other than his own amusement and curiosity.
BEVERLY KATZ: That’s hard to prove.
WILL GRAHAM: Whimsy. That’s how you’ll catch him. There will be a very clever detail to find on James Gray. He wouldn’t be able to resist. Something that’s probably been overlooked. Something hidden.
BEVERLY KATZ: I’ll look for clever details. But I’m not looking for Hannibal.

One of the purest instances of aesthetics being used as investigation techniques. It’s not even the relatively cliche aesthetic principle of Hannibal’s need to prove his superiority. Instead it comes out of his basic love of dramatic irony – the same thing that leads him to stitch the muralist into the center of his own design or to kill the judge in a way that comments on the flaws of his jurisprudence.

A straight-up killer of the week, but one that serves in most regards to highlight the rapidity with which returns are diminishing on that front. Its main appeal is this visual of a body that is partially other, and specifically partially an object of nature. But this is visibly just the mushroom people from “Amuse-Bouche” done with bees instead. Meanwhile, the case in general is completely segregated from the other plots – neither Will nor Hannibal do any work on it, and its only direct contribution to the plot at large is that an offhand comment that inspires Beverly, who literally pops her head into this plot just to hear that comment. For the most part, this just seems to be here to check a box. The box is certainly checked, but it’s tough to say more than that.…

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HASSUN: A sushi course with small side dishes that sets a seasonal theme. Janice Poon discusses it in terms of balancing opposites, which could be made related to the weighing of guilt and innocence involved in a trial with relatively little critical legerdemain. 

A bewildering and suggestive opening image as Will is shown imagining his own execution from the perspective of the executioner. This is an entirely plausible thing for Will to do – indeed the idea that Will would actively try to empathize with his potential executioner is really interesting. But its substance is in practice merely “unsettling cold open,” the impact of the image left entirely for the viewer instead of the narrative. In one sense this is emblematic of the episode, which is very much the season’s “Œuf.” It’s actively identified by Fuller as the weak link, and sees the show attempting its spin on courtroom drama instead of police procedural, only to find that the move to the second half of Law and Order is a step further than the forced perspective brilliance of its iconography can sustain.

This smirk off the line where the prosecutor asserts that Will is the smartest person in the courtroom is interesting; its most superficial reading is standard issue “Hannibal gloating about how clever he is,” and yet given the depth of his investment in Will’s development it’s equally likely that this is a smile of genuine satisfaction that his friend is finally getting the critical reception he deserves.

JACK CRAWFORD: My instincts have not yet arrived at conviction.
KADE PRURNELL: Mine have. With the benefit of no prior involvement and no personal connections to the accused.
JACK CRAWFORD: Meaning, I can’t be impartial.
KADE PRURNELL: Of course you can be impartial. But right now, you’re not. You have to believe something. As long as there is reason and evidence to believe. You have reason. You have evidence.

It’s interesting that Prurnell’s case here frames belief as a moral obligation as opposed to a logical consequence. She is, after all, presumably not saying that all things there is both evidence for and some reason to believe are true. Rather, she is suggesting that an FBI agent has a duty to believe in these circumstances that Jack is being lax in. For all his faults, even Jack ain’t buying that bullshit.

JACK CRAWFORD: He can think like anybody. He has pure empathy and projection. He can imprint profiles on the blank slate of his mind for us to read.
MARION VEGA: Sounds like a supervillain.

Transparently untrue; a supervillain with such a thoroughly non-offensive power would be an extremely bizarre idea. A power like this is far more suited to a superhero, or, better yet, the troubled protagonist of some overly pompous post-House cop drama. Which is to say that perhaps genre-based narratology is not a great alley for Hannibal to wander down.

HANNIBAL: Tell me, Jack. Was your testimony meant to be a resignation?
JACK CRAWFORD: Something very appealing about walking away from all the noise.

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SAKIZUKE: Variantly spelled “sakizuki” and “saki-zuke,” the latter on Janice Poon’s blog, where she describes it as “a sampling of small appetizers whose ingredients, garnishes, and dishware sets the tone for the season and invites the gods to partake of the meal.” Wikipedia, meanwhile, directly compares it to an amuse-bouche, I.e. the second episode of the first season.

The killer-of-the-two-weeks here is given an unusual sort of focus. On the one hand he’s the least sketched out killer the show has ever done – he’s literally only in the script as “Muralist,” and essentially everything we learn about him is projected onto him by other characters. On the other, Roland Umber’s awakening inside the mural is used as the cliffhanger, and the second episode luxuriates in this cold open, giving the sheer and visceral horror of the mural room to breathe. Fuller has said that his inspiration for this killer was equal parts Busby Berkeley and the film Jeepers Creepers, which is a pair of inspirations that boil down to “this is why you are the perfect showrunner for Hannibal.”

The wide shot of Roland, already making a probably fatal leap into the water, being dashed upon the rocks is a surprisingly black comic beat to end on after a very straight horror movie chase through a cornfield.

In an understandable move to avoid having all of Will’s scenes for the first six episodes take place in the same set, Fuller and company have crafted a second asylum location based on bright, stark whiteness instead of gloomy darkness, with the discrete white cages doing the work of making the space disturbing. It’s a triumph of design, managing to be a more impressive location than the iconic subterranean cell.

WILL GRAHAM: I’ve lost the plot. I’m the unreliable narrator of my own story. I’m trying to place myself somewhere in the frame of my mind and I have no bearings. No landmarks to tell me who I am.
ALANA BLOOM: You have an incomplete self. We are who we are in the now and we are the sum of our memories. There are pieces of you… you can’t see.

Will opens with a pair of lines that are starkly meta even for Hannibal. (Though who among us is anything other than the unreliable narrator of our own story?) The exchange is on the whole familiar – it’s restating stuff we’ve been dealing with explicitly (Hannibal doesn’t really deal with things in any other way) since “Rôti.” Of course, there’s a reason for this.

WILL GRAHAM: I’m… very confused.
ALANA BLOOM: Of course you are. Ideas and perceived experiences have the same effect on our minds as tossing a rock into a pond. It all ripples.
HANNIBAL: Let us help you, Will. Let me help you.
WILL GRAHAM: I need your help.

This exchange is followed by a scene of Will, still shaking with the emotion of this scene, being led back to his cell, where, once alone, the mask of overwrought emotion drops and it becomes clear that he was manipulating Alana and Hannibal through this entire exchange.…

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