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Hannibal – Trou Normand (Review)

Trou Normand has a rather beautiful twist, and one which caught me – and, I suspect, a significant portion of the audience – completely off-guard. It’s not overstated or overplayed, but it manages to pack one hell of a punch. It fits surprisingly well with everything we know about the show and the characters who inhabit it, while still serving as something of a game-changer. It doesn’t change the rules of Hannibal too much, but only because the show has been so dedicated to playing with audience assumptions.

In any other show, Abigail Hobbs would be the victim that Will Graham so desperately needs her to be. Jack Crawford’s cynical suspicions would prove to be as completely off-base as his absolute faith in Hannibal Lecter. It would provide a nice moral victory for Will, even if only the audience ever knew about it, and serve as foreshadowing to Jack’s only blindness. It’s a neat narrative hook, we’ve become so subconsciously familiar with the way that these sorts of narratives work that we have come to expect it.

However, Hannibal isn’t any other show, and it demonstrates it by pulling off a particularly shrewd (and nasty) character twist.

A monument...

A monument…

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Non-Review Review: (Seeking) Justice

The premise of Justice (or Seeking Justice, as it is named in the States) is not fundamentally unworkable. The basic plot seems almost like an affectionate homage to Hitchcock, with people essentially trading motivations for murder, with a mysterious organisation (known as “the Organisation”) offering people a chance for revenge against the person who hurt them – but with a caveat. If they do you a favour, you will have to do them a favour later on. It’s not a bad premise for a revenge thriller, but the problem with Justiceis that it takes itself far too serious, and expects us to do the same. What could have been a cheesy-yet-enjoyable thriller becomes an overly long and self-important waste of time.

Cage rage!

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