What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into an eight portmanteau post on television of course!
So, some weeks ago I previewed Hannibal; the blood-spattered new procedural in which
Morpheus Laurence Fishburne’s FBI supremo Jack Crawford teams his unstable but gifted profiler Will Graham (Hugh Dancy) with brilliant psychiatrist Dr Hannibal Lecter (Mads Mikkelsen) to fight crime. It seemed that the show would be a tale of friendship between future deadly nemeses before they come into celebrated and chronicled conflict, so, Smallville, basically… No, no, it’s not… Lecter is very much already a supervillain, killing and eating people for fun. Not that the fun is obvious. Hannibal is an incredibly gory network show. If this was on HBO or Showtime it would probably be unbearable, but Hard Candy director David Slade has established a visual template for the show that makes it bearable by distancing the viewer with a cold colour palette and a chilly emotionless feel. At times it’s like watching a very precisely directed Criminal Minds, with exceptionally gory crime scenes and dream sequences interspersed with exceedingly crisp dialogue between two of the BAU team. But we don’t need another Criminal Minds, just look at the fate of its spin-off. So what does this show do with Dr Lecter that’s different? Well, he’s very hard to read, apart from an obvious fastidiousness and a psychotic approach to etiquette. But Mads Mikkelsen’s impassive Lecter is definitely having fun underneath. The look of pride as he sees how good Will’s profile of him is (based on just the copycat murder he carried out to help Will refine his profile of the Minnesota Shrike), the restrained glee he takes in making Jack and Will unwitting accessories in his anthropophagic activities; both indicate this, and a perverse desire to render assistance. With respect to Dominik Moll, perhaps they should rename the show Hannibal, he here’s to help.
The ‘Freedom’ of HBO – Case Study: Bored to Death
Many years ago I wrote a piece for the University Observer about the unwonted veneration given to HBO, especially the idea that its writers were totally free because they did not have network TV taste and decency guidelines to work within. I pointed out that Carnivale, which I’d previously trumpeted in the newspaper, had been a rare HBO show with restraint. It had HBO’s brilliant production values, and featured a wonderful use of music, a superb period feel, and – crucially, allowable only because it was on HBO – the patience to tell its story in an elliptical way. But halfway through it felt like some executive saw Carnivale and sent its writers a memo telling them they weren’t using their total freedom in the mandatory manner. The freedom from having to conform to taste and decency becomes the obligation to flout those limits of taste and decency. Carnivale transformed from a superior network show into episodes that merely strung together full frontal stripteases and sex with dramatic dialogue scenes. Taking Jonathan Ames’ abruptly cancelled detective comedy Bored to Death as a case study it seems to belatedly bear out this old reading of HBO’s ‘freedom’. Ames’ insistence on writing or co-writing all 8 episodes a season, which drip bad language from its endlessly stoned central trio of Jonathan, Ray and George, mean that Bored to Death was never likely to survive as a 24 episode a season network comedy. But Ames didn’t indulge in ultra-violence or explicit nudity either so it felt quite different to most of HBO’s output. And then you find a deleted scene from season 1 episode ‘The Case of the Missing Screenplay’ and you realise that a scene was reshot, with the same dramatic purpose and dialogue, but with a shift of location and some added dialogue, purely to add a topless woman; the only female nudity in that season. Was Ames explicitly told that he’d not used his total freedom in the mandatory manner and needed to flout taste and decency in that trademark manner to demonstrate that he was on HBO? Probably not, as that’s not how power works. More likely he realised that there was no female nudity in his show, and, wanting to fit in with accepted corporate culture, went back and added some. However that reshoot came about Ames certainly seemed to learn his lesson, as in season 2 he showcased a women’s locker-room in ‘Escape from the Castle!’ as the central trio rampaged thru it, seeing everything as Patrick Stewart would put it. The deleted scenes from season 2 don’t reveal the existence of any scenes reshot for extra gratuitousness. Odd that…