So it goes with a TV adaptation that continues to surprise three years into its run, even as it works from some of the most chewed-over source material in the modern pop-culture canon. Unlike most shows that reach for the “reset” button, Hannibal wasn’t in a position where it needed a new beginning. It’s just the logical, natural place to go, and the fresh slate makes startling hay from the unknowns.
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In transplanting their characters to the continent, Fuller and the Hannibal team draw upon the traditions of past horror works set there: The vivid colors and extreme closeups of Giallo, the moody moors of vintage Hammer. Occasionally, analog keyboard textures snake through Brian Reitzell’s instrumental score, injecting a hint of Goblin into the proceedings.
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Hannibal begins its third season in a fog, but eventually makes this much clear: We know how this story ends, but the journey to that destination can still be bloody fun.