'Hannibal' - 'Sakizuki': One of These Things Just Doesn't Belong
While last week’s episode focused on Hannibal’s head games, Sakizuki played with ideas of reflection and control. The hour bounced between the FBI investigating the horrifying design and execution of the human mural killer’s design, and the similarities between those performing the investigating and those being investigated. During a jailhouse visit, Will Graham admits to Hannibal he’s an unreliable narrator, but does Lecter realize the truth behind Will’s words? As we see after Will is locked back in his regular cell, the tears of desperation were an act. With no one truly left on his side, Will is already hard at the work of saving himself.
Bedelia Dumps Hannibal: In the first of several instances when Hannibal is caught off guard, Dr. Du Maurier paid Dr. Lecter a visit to let him know she’d no longer serve as his therapist. Their scintillating dance around the circumstances of Bedelia’s attack crescendoed with Hannibal barely able to contain himself as she proclaimed him “dangerous;” something she’d “glimpsed through the stitching of that person suit you wear.” Has ever a line felt more appropriate, with Hannibal spending half the episode in that disarming (dislegging) plastic-wear?” I can’t be the only one who’s felt the inappropriate sensual tension between this particular doctor and patient, confirmed by that perfume bottle Bedelia left for Hannibal to find. Though Gillian Anderson has other series commitments (Crisis, The Fall), I do feel certain she’ll be back; I mean, Fuller knows he’ll eventually have to disclose what happened between these two, right? Whatever it was, clearly Bedelia did something pretty terrible herself; it’s what Hannibal exploited in her just as he’s done to Will. Doctor and patient have each covered for one another—are reflected in each other—as Bedelia later tells Jack, “Hannibal and I are both traumatized by patients.”
Hannibal Takes Over for Will: When Jack brings in Hannibal on the human mural case, Lecter suggests cracks in the bodies’ hardened skin might reveal evidence, while a good cadaver sniff provides him the same information, faster. In fact, after Hannibal experiences a Will-like vision of himself in the middle of a cornfield, Hannibal looks positively giddy—well, as giddy as his contained nature permits. Mads Mikkelsen is a master of subtlety. The moment after visiting Will, when Will cries and says, “I need your help,” just the tiniest speck of incredulity crossed Mikkelsen’s countenance, but it’s there for the discerning viewer to catch. Both Hannibal and Jack catch that Will is behind Katz’s palette theory, though while Jack yells at Katz for consulting Will, only the slight expression change on Hannibal’s face gives away his knowledge.
While the FBI plays catch-up, Hannibal heads out to all-too-easily catch a killer. Atop a locked silo, looking down, he sees through the eyes of the artist and assesses the situation as such. When the mural designer shows up and Hannibal tells him he loves the work, we know the killer isn’t long for this world. “The eye looks beyond this world into the next, and sees the reflection of man himself.” As Jack plays with the ideas Hannibal planted about an existential crisis, Lecter is affecting the art. He arranges the pieces to fit his own eye and takes the role of creator for himself. Injecting the mural killer, transforming artist into art, Hannibal speaks to the killer as if to himself: “Your eye will now see God reflected back. He will see you. If God is looking down, don’t you want to be looking back at him?” It’s interesting to hear Hannibal referring to all his victims as friends, or rather, to see himself as their friends. Like any good psychopath, he seems to miss this self-perceptional flaw, and perhaps that will be his downfall.
Later, when Hannibal visits Will, he asks Graham to interpret through his own eye. “What would be fixed on his dying eye?” Will replies, “I made you pliable, molded you set and sealed you, where you lay. This is my design; the dead eye of vision and consciousness. I am fixed and unseeing, unless someone else sees me.” Hannibal is Will’s creator; he played with his mind—molded Will—and sealed his fate—put him where he is (for now). This is Hannibal’s design, and only Will can see. As Will simultaneously reflects over his circumstances and the crime photo, it’s cut with a scene of Hannibal noting—as he kills the killer—that man is God’s reflection: “Killing must feel good to God too. He does it all the time.” While working out the crime scene photo in his head, Will delightfully recites Sesame Street lyrics: “One of these things is not like the others…one of these things just doesn’t belong.” That’s right Ernie! Now if only you could get Bert to notice…
Oh Hannibal! You Cannibal, You: Will correctly works out that the killer’s missing leg is a trophy, and during one of the hour’s most hysterically disturbing scenes, Jack and Co. work out why the last victim is missing a leg as Hannibal prepares his latest feast. Kudos to everyone involved in this sequence, from props to chef (José Andrés); Osso Buco! By the end of the scene, I didn’t know whether to barf or be hungry.
Will Has to Save Himself: As messed up as his mind has been, Will is presumably in good health now, and thinking fairly clearly. Realizing that no one believes Hannibal set him up—not even Alana—Will is taking charge as much as he’s able. I loved the SotL quid pro quo shout-out when Katz came to Will for help on the case; “I’m going to need something in return.” After Will asks her to disregard the evidence against him, to essentially start over from that moment, Graham does his vision thing and gives Katz information. Later, she holds it over his head to trade for more. Despite a threatening visit from internal investigator, Kade Prurnell, who tries to convince Will a guilty plea is in his best interests, Will stands his ground. “I’m pleading innocent. It’s not just my performance you’re watching.” His final visitor (before she skips town) is someone who maybe actually does believe Will: Dr. Du Maurier herself.
Speaking of…how many visitors a day is one allowed in a hospital for the criminally insane? And why would Bedelia even be allowed?
Between that scintillating Hannibal-Bedelia conversation, her odd visit to Will (why was her dialogue so overplayed?) and the perfume bottle, is there an ever-so-slight possibility Bedelia is toying with both boys? Does she really believe Will? She knows he’ll eventually tell Hannibal what she said—was she giving Will ammunition against Hannibal, or just using him to get to Hannibal. Were Hannibal and Bedelia ever romantically involved, and was the perfume some message only Hannibal can decipher? While Hannibal is usually one step ahead of everyone else, Bedelia was a ahead of him.
Another SotL shoutout; jailhouse pissing contest as substitute for…well, you know.
Aside from the Sesame Street lyrics, best line (and delivery) goes to Hannibal/Mads: “Hello. I love your work!”
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