Q: I was interested to see that Alana has her own plaid tailored suit in season three. Is that a deliberate channelling of Hannibal for her? Can we expect her to become more of a force next season?

A: Absolutely. Absolutely. Chris Hargadon, our costume designer, and I sat down at the beginning of the season and one of the things that was important to me is that we see Alana in a new light. I felt like in season two that she was plotted in as the girlfriend and the leg of the triangle that connected to both Will and Hannibal, but she didn’t necessarily have her own story. That was something we were very conscious about needing to rectify this season. Part of her new aesthetic is seeing the influence of Hannibal on her life, and dressing her in gorgeous three-piece suits of her own style, giving a reflection of the impact Hannibal Lecter has had on her life and her own psychology. So that’s a very good catch, and exactly what we were trying to do.

– Bryan Fuller interviewed by Louisa Mellor in ‘Bryan Fuller interview: Hannibal season 3, Red Dragon, American Gods’ (Den of Geek, 29 May, 2015)
Top 50 Post End Credits Scenes by

Some people will claim Iron Man as the movie that popularized post end credit scenes, when in fact movies have been doing this for years. There are many movies on this list that I didn’t even know had a post credit scene. I never would have thought there were so many, and some that come off the top of my head like Hot Rod and Half Baked didn’t even make the cut. This is a fun read.

But over and over again, Hannibal has been about Lecter’s ability to remake people according to his whim. Hannibal’s agency lives in everyone he has had a chance to work on, and if we look at the people in this episode, we see those changed by his invisible hand. Chilton may be the most obvious example, but it is just as apparent in Alana’s mimicry of Hannibal’s detachment and clothing choices or Jack’s lack of traditional ethics. These people have all been changed by the agency Lecter wields—not all of it in his own hands—and most of them have served as his weapons against the other. He does not have to be free to continue to amuse himself.
—  Laura Akers, Hannibal season 3 episode 12 review: The Number Of The Beast Is 666 (, 27 August, 2015)
The best series finales are the ones that have a firm comprehension of what the show has been about. This may seem like a low bar to jump, but too many television show writers rooms worry about one-upping themselves or making some grand, precedent-less proclamation with their swansong. Hannibal has always known what it is about: the dysfunctional love story between Hannibal Lecter and Will Graham. And that is what we got. That is what Hannibal and Will got: “This is all I ever wanted for you, Will. For both of us.” “It’s beautiful.”
—  Kayti Burt, Hannibal Series Finale Review: The Wrath of the Lamb (, 30 August, 2015)
In a world where most showrunners are deeply secretive about the future directions of their creations, Bryan Fuller has always been refreshingly open about where Hannibal will go next. In many ways this speaks to the strength of the series; having a rough idea of what to expect does not spoil this series at all. It is likely that we will see Hannibal in prison next year. It is equally likely Mason Verger will be dead by the time we get to the coverage of Red Dragon. Adapting a book series means that certain things are, if not inevitable, somewhat expected and signposted. What makes this particular series so exciting is seeing just how the creative team choose to adapt these classic novels. So far they have found ways to approach it that remain true to the spirit of the original while always maintaining the series’ own identity as well.
—  Gabriel Bergmoser, Den of Geek
One of the most interesting adaptations, in the hands of Raul Esparza Chilton went from the smarmy sleazebag of the novels and films to, well, a smarmy sleazebag who somehow manages to be kind of loveable at the same time. [Season three spoiler, albeit one widely reported on, alert] His apparent death halfway through season two felt like a huge waste of potential, but thankfully the confirmation at Comic Con that he survived means we will get to enjoy him for a while yet. In the novels, the implication was always that Chilton felt intellectually inferior to Hannibal and hated him for it; in the series the good doctor has a far more concrete reason to despise his former colleague, and it will be fascinating to see just how this informs his behaviour when Hannibal inevitably ends up in his ‘care’. The famous animosity between the two characters is not likely to be softened, which for us viewers can only be a good thing. [End of season three spoiler.]
—   Gabriel Bergmoser, Den of Geek
Hannibal season 3 episode 11 review: And The Beast From The Sea
Has Hannibal lost some of what made Thomas Harris' Red Dragon distinct? Here's Paul's review of And The Beast From The Sea...

I’ve been a Hannibal obsessive since the series premiered in 2013. I’ve followed the trials and tribulations of Fuller and company as they struggled to stay on the air despite abysmal ratings, and while Season One had its weaknesses, I found Season Two to be remarkable from start to finish. The contentious nature of Season Three hasn’t been an issue for me either, as I found the meandering time spent in Italy to be gloriously beautiful and disturbing. The first half of this season has been an exercise in pure cinema with little to no regard for audience (or network) expectations.

I loved how free-form it became and politely disagree with those fans who gave up on the show or cried loudly for some plot movement. The more distanced from traditional television narrative Hannibal went, the better it truly became in my eyes. This became especially true when various elements of all the Thomas Harris works (as well as the film adaptations) would be reimagined or juxtaposed, presented in entirely new lights that allowed the development of Fuller’s singular vision of the Hannibal Lecter saga. In doing so, Fuller has been able to turn some of the books’ weaknesses into newfound strengths with his retelling. But he has also occasionally tossed out some of the books’ strengths in order to repurpose plot points.

Which brings us to Hannibal’s adaptation of Red Dragon.

There are several reasons that the Arcanum Club subplot falls flat. Aside from the stupid name and total lack of subtlety in the danger of its members, it serves as a detriment to Norman’s story, and really, that’s all we’re here for. The show is called Bates Motel; the Bates family should come first, even if that means sacrificing the creepy town trappings the writers seem determined to cling to. Now, none of this is to suggest that Norman Bates can’t exist in a crazy world (even if he is more effective in a notably normal one). Just look at what Hannibal does every week; the universe of that show is arguably more ridiculous than that of Bates Motel, and yet it works because it reflects the minds and concerns of the main characters. Hannibal Lecter sees art in death, so of course every murder resembles an art form. By drawing a thematic link between its inherent insanity and the experience of its main characters, Hannibal has its cake and eats it too. Contrast that with the universe of Bates Motel; half the time the kooky going-ons in White Pine Bay have nothing to do with Norman, and when they do it seems like an afterthought, as though the writers are impatiently drawing a quick link and hoping everyone accepts that everything ties together in the end. It makes for extremely frustrating viewing because when Bates Motel locks focus on to its major characters and allows them to collide with each other, it sings.
—  Gabriel Bergmoser, reviewing Bates Motel, 3: 5 in Den of Geek
Hannibal: Aperitivo Review

Hannibal checks in with Hannibal’s many surviving, vengeful victims in the season’s best episode yet.

On any other TV show besides Hannibal, “Aperitivo” would have been the season opener. It answers many of our most pressing questions from the season two finale: What happened to Jack? What happened to Alana? What has happened to anyone, really, whose life has been touched by Hannibal’s in the most destructive, disturbing ways.

Hannibal Season 3: New Characters

Q: Can you tell us which new characters are being introduced to season three?

BF: Let’s see, we have Inspector Pazzi, Saliato, who’s another Italian character in the Italian chapter, then Cordell and Lady Murasaki are the big new characters to introduce, as well as Francis Dolarhyde, and Molly.

–Bryan Fuller, (19 September 2014)

All signs suggest that now it will be Will who remains on Hannibal’s tail while Mason enacts his own secret investigation. While at first glance taking the plot of the third novel and turning it into what is essentially a prequel to Red Dragon seems odd, it actually makes a lot of sense. With the Verger arc so strongly set up in season two, following it here seems natural, as does using an already established plot of Hannibal-on-the-run rather than developing a new one that would have to explain why Verger was not hell-bent on revenge.
—  Gabriel Bergmoser, Den of Geek
Hannibal season 3 episode 5 review: Contorno

We often observe that it doesn’t matter what people says about themselves, it’s what they do that reveals who they really are. But while generally true, it is the work of profilers, and Will Graham specifically, to look at the actions of (usually) unspeaking killers and give them that voice: this is my design and my why.

This is how a show that is theoretically about serial killing became—as a commenter pointed out a couple weeks ago—less violent than Game Of Thrones, and more conversational. Because if you want to get to the why, there’s only so far that the what of the crime can get you (CSI: Fill-in-the-Blank to the contrary). And when you are delving into a why as labyrinthine as Hannibal’s, it’s going to take a lot of talk to get it all out. Especially when Lecter enjoys his verbal games as much as he does. The Gordian knot is only the beginning.

So you would think that Brian Reitzell’s cacophonic music for Contorno would highlight a confused and chaotic outing of Hannibal, especially in a season which, thus far, has been enigmatic even for a series already built on just that quality. But, as it turns out, this week’s episode, with its penchant for action over dialogue has brought both clarity and revelation.

While it is unlikely that questions of Will’s sanity will be entirely put to bed, on some level he has to have been vindicated by the exposure of Hannibal. Does this mean we will now see a Will Graham operating unencumbered by the interference of a suspicious FBI? Will his unorthodox methods still be frowned upon or, as is the case in Red Dragon, will they be prized? Will has always been a reluctant agent, but expect his resistance to be stronger than ever. He has, after all, not only been incarcerated by Hannibal, but gravely wounded as well. In Red Dragon Will is only just coming to terms with his trauma when Jack Crawford asks him to come on to the case. This may be handled differently due to the amount of story still to come before we reach Dolarhyde, but whatever happens in the preceding episodes it is unlikely to make Will become an more enthusiastic detective.
—   Gabriel Bergmoser, Den of Geek
Hannibal season 3 episode 10 review: And The Woman Clothed In Sun

Thomas Harris makes a fairly well known mistake in his Red Dragon novel. Throughout the book, the character of Francis Dolarhyde is obsessed with a work of art by William Blake which the author refers to as The Great Red Dragon and the Woman Clothed with the Sun. This also happened to be the work referenced in the title of last week’s episode of Hannibal: …And the Woman Clothed with the Sun. The true title of the piece at the heart of Dolarhyde’s mania is The Great Red Dragon and the Woman Clothed in Sun, and this week’s episode riffing off that title is intent on telling a few truths of its own.
What can we expect from Hannibal season 3?

In season two we began to get glimpses of Hannibal’s background. Any fan of the source material knows exactly what the Samurai armour glimpsed in his house means, and the mere mention of his sister brings back a rush of traumatic memories. Hannibal Rising was, after all, not a nice experience for anyone to read. A lacklustre, dull book that reeked of pressure from studio executives desperate for another film, Hannibal Rising ended the novel series on an unpleasant whimper. It’s not so much that Hannibal’s origin story was bad, more just that it would have been so much more powerful to catch only the occasional glimpse of it. Thankfully, this is what Bryan Fuller has promised, stating that while the good Doctor’s backstory will be explored, it won’t be done through flashbacks. Rather, it will predominantly hinge on the confirmed introduction of one major new character.

In the novel, Lady Murasaki is the dignified Japanese wife of Hannibal’s uncle Robert (for whom producers are allegedly in talks with David Bowie. Fingers crossed). After Robert’s death, Hannibal is raised by Murasaki, who becomes an uncomfortable blend of mother and love interest. Their relationship is an interesting one, which ultimately results in her abandoning him after she realises just how much of a monster he really is.

Now obviously there will be some changes to Hannibal’s past; after all, in the novel he was orphaned by World War II (not quite fitting with the current timeline). But the Murasaki relationship is certainly not one beholden to a period setting, and therefore it is safe to assume that much of this will survive intact. What’s more, it seems we may get to see some sort of reunion between Hannibal and the woman who inadvertently helped shape him; no matter what your feelings toward Hannibal Rising, this is a thrilling prospect. Years away from their bitter parting, what exactly will Hannibal and Murasaki have to say to each other? Will they reconnect or will she become a threat? Bryan Fuller has suggested that much of Hannibal’s past will be explored by Will Graham; is it possible that it will be Will who tracks down Murasaki? Whatever ends up happening, it is bound to be riveting television.

Hannibal always has a sense of foreboding about it, its characters a begrudging awareness of what’s to come. But it simultaneously understands that what’s going to happen has never been the point. Unlike so many prestige dramas, Hannibal has never confused the perk of a stylish plot with the awesome narrative power of sentiment. Hannibal may make a show of its style, but it has never forgotten about the necessary substance: the relationship between Will and Hannibal. That substance is steeped in messy sentiment.
—  Kayti Burt, Hannibal Series Finale Review: The Wrath of the Lamb (, 30 August, 2015)