“One of these things is not like the other.”
“Sakizuki” opens with a terrifyingly intense sequence, one in which Roland Umber, the man caught in the eye of people from the end of last week’s episode, attempts to escape. The camera follows him as he agonizingly rips himself free, tears through a cornfield, and ultimately plunges to his death.
This brings up the question of escape: can we ever really break free from this cycle, this sickening color palette created by a serial killer? We’re asked this countless times throughout the episode, first when we cut to Will Graham in a cell after the first sequence; at the beginning, it might seem as if he’s acquiescing to Alana and Jack’s pleas, but we find out that he’s been playing them. He’s continuing to gain control over his mental faculties, able to later manipulate Beverly as well.
Of course, what’s the price for that? In order to “escape”, he has to essentially become the very man that put him in this position, the man known as Hannibal Lecter who seems to be burrowing deeper and deeper into everyone’s minds, from Will to Jack to du Maurier. Just look at the way Will manipulates Beverly; it’s incredibly Hannibal-esque, gaining an ally by promising to catch other murderers. Just look at the way he repeats Hannibal’s own words. Our characters are caught in this spiral, just looking for a chance to break free.
Yet, it’s not all hopeless. Hannibal’s perfectly crafted world is starting to crack, and Will’s using the knowledge of Lecter’s genuine desire of friendship against him. In addition, perhaps one of Hannibal’s one true companions–Bedelia–decides to leave, getting the hell out before she’s caught in this spiral. It’s gutsy of her and could possibly increase the risk of her dying, but I don’t necessarily feel like that’s going to happen; Hannibal seems to respect the decision, disappointed but understanding, to an extent.
Bedelia then makes her way over to Will before she leaves, whispering in his ear “I believe you.” How devastating it must be for your one true ally to make herself known before leaving for forever, but how thrilling it must be to have someone support you after months of the opposite. I am very excited to see where this Will Graham goes next.
Finally, the episode does a really nice job of comparing Will and Hannibal’s methods of crime-solving: Hannibal with his sniffing. The difference here, though, is that he doesn’t take on the toll that Will does when he solves crimes; it’s merely an art, if you will. This is just like the color palette, the eye serving as a metaphor for the way Hannibal himself kills and later crafts. For, although Hannibal manipulates the color palette killer, he also is the only one who truly understands him; “I love the work” continues with the dark sense of humor, but it’s also a genuine sentiment. When Hannibal is going on about God, we’re left to wonder: is he God? Is he the Devil? Is Will Graham reflected in the eyes of Hannibal Lecter?
GRADE: A-
OTHER THOUGHTS
-“There is no God.” “Not with that attitude.” Oh, Hannibal.
-I liken Umber’s escape to one of a slave; anyone else? It’s definitely really hard to watch.
-Stop making human leg veal chops look so good, show!
-Hopefully we see Anderson–who’s just fantastic and hasn’t aged–again. She’s off working on The Fall and Crisis, but Fuller has expressed interest in getting her back to finish out her arc. Hopefully, that doesn’t mean death.
-Not enough Winston.
-“I made you pliable. Molded you. Set and sealed you where you lay. This is my design. A dead eye of vision and consciousness. I am fixed and unseeing. Unless someone else sees me. … One of these things is not like the others. One these things just doesn’t belong. Who are you? Why are you so different from everyone else? I didn’t put you here. You are not my design.” Hugh Dancy, everyone.
Photo credit: NBC, Hannibal
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