Hannibal and Margot talk about her brother, the still faceless Mason Verger, how she wants so badly for him to die, and the power of dehumanization. It turns out Will’s standing appointment is back to back with Margot Verger’s and the two puppets meet each other, Will introducing himself as the guy who didn’t kill all those people.īack inside the office, the throughline of the second half of this season continues its slow burn. This gains the approval of Hannibal, and Will leaves, giving us a very rare encounter outside of the doctor’s office. This week we are being asked to forget the fast paced, twisty-turny, plot based Will-on-trial arc that has velocitized our television watching appetites earlier this season, and to get used to the emotional psychological contemplation of this Hannibal as a weekly nightmare metaphor format.ĭespite the jarring change in pace, this format is Hannibal at its best, replacing generic serialized plot contrivances that other TV dramas deal in with highly theatrical symbols representing the turbulent emotional states of its well defined central characters.
These first scenes present the two major ideas in “Shiizakana,” the second episode in a row that takes the form of a classic Hannibal crime-procedural-as-allegory type: understanding a beast and forgetting the past. Jack and Hannibal clink glasses across the dinner table, eating their respective people and the camera frames them as adversaries, reminding us that in four weeks time this house of unholy dining will become a deadly battleground when Crawford has a kitchen confrontation with the Chesapeake Ripper. Now that Graham is his patient, he benefits from the confidentiality that the doctor offers both as a professional courtesy and also a polite “fuck you” to the FBI. Hannibal mentions that he is no longer in the employ of the FBI with regard to his dealings with Will. Jack particularly wishes to be able to wipe some guilt from his past: not that he came to distrust Hannibal, as the doctor suggests, but that he came to doubt Will. The two man eaters sit across from each other and talk about the virtues of forgetfulness. Will wakes up, safe in his bed, and we’re taken to Hannibal’s kitchen where he is preparing an omelette for Jack and it probably has people in it. The animal marches forward, tightening the rope and detonating the Manstag’s head in a fountain of blood. It is a symbol we know well as representing Graham’s inability or refusal to fully think like this antlered animal man, and knowing that this interrogation is over he whistles to the Ravenstag.
Denied satisfaction by his own subconscious, Will chooses to represent Hannibal as the dark and alien Manstag.
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