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Season 3, Episode 8: “The Great Red Dragon”

Note: Libby Hill, who previously recapped “Outlander” and “Orange Is the New Black,” will be reviewing the remainder of this season of “Hannibal.”

From the time the episode titles for the third season of “Hannibal” were revealed, it was clear that Episode 8 would be a departure. After two and a half seasons, “The Great Red Dragon” represented a departure on the grandest scale, drawing its name from William Blake, instead of from global cuisine. What wasn’t clear at that time was how effective “The Great Red Dragon” would be at serving as a makeshift pilot as the series heads into what are likely to be the final episodes.

When I visited the “Hannibal” composer Brian Reitzell’s studio, we spoke about the challenge the opening scene presented, depending wholly on the score to tell the story of the creation of the Red Dragon, with not a single word of dialogue to assist him. But Mr. Reitzell’s cacophonous musical creation, layered with dozens upon dozens of unique percussive sounds, coupled with Richard Armitage’s physically powerful depiction of Francis Dolarhyde, result in an arresting pre-credits scene that illustrates the making of a monster in way that words could never suffice.

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It’s been three years since the events of last week’s “Digestivo” and despite the horrific connections they shared as a result of Hannibal Lecter, the characters haven’t dispersed as much as one might expect. Jack continues his work at the F.B.I., while Frederick Chilton and Alana Bloom still circle in tenuous orbit around the black hole that is Lecter. It makes sense that Chilton remains, as he’s nothing if not an opportunistic man, anxious to make the most of his “insight” into the mind of a madman, but Alana’s presence is more suspect. However, it would appear that she, like Bedelia before her, has come to the realization that while there is no safe harbor in the face of Hurricane Hannibal, you are still better off when able to keep a wary eye on his actions.

In truth, it’s only Will Graham who has successfully divorced himself from his old life, escaping to his cabin, hidden away from the ugliness of the world with his new wife, Molly, and his stepson and a dozen dogs. This is a different Will than we’ve ever seen before — relaxed and at ease. He is lighter, shockingly, when not burdened by the ugliness that accompanies the worst the world has to offer. He is happy, and he is free, and he is doomed.

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The reason “The Great Red Dragon” makes for such a powerful pseudo-television pilot is that it’s the perfect blend of new information and old. The dynamics are familiar, but completely rejiggered from the Hannibal we once knew. The concern is no longer whether Hannibal will ever be captured, but rather whether it’s possible to escape from the devil himself once he’s lured you into hell. Jack and Alana and Chilton were hardly able to extract themselves. Will, though, was gone. He had made it, only to be lured back by the siren song of morality.

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This is ultimately the most powerful aspect of hitting the reset button on a series capable of the darkness of “Hannibal.” By the end of “Digestivo,” all of the main characters had blood on their hands. And while in some cases it was out of necessity, in too many others it was an illustration of just how poisonous Hannibal’s influence could be, leaving the show with no reliable moral compass. However, by the time the events of “The Great Red Dragon” come about, enough time has passed to allow the show to move toward a more clear presentation of good versus evil.

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But there’s also something significantly more sinister happening in the wake of “The Great Red Dragon.” For as long as “Hannibal” has been on the air, the audience has existed firmly in the corner of Will Graham, hoping for his vindication, terrified that his gentle soul would be consumed by Hannibal. But now, with Will free and clear and Hannibal in chains, the audience is forced to root for Will to return to the fold even though it could destroy him. Though it would be best for him to stay far away, the audience needs him back, making them just as culpable in his tortured fate as the person pulling the strings. Good television lets you bear witness to the true nature of evil, but great television forces you to witness that evil within yourself.

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Fast Five

• Hannibal’s mind palace is just as impeccable as we suspected it would be. And naturally, there are decadent meals, meaning that the culinary adviser José Andrés hasn’t been forced back to the cruel world of being simply a legendary chef.

• Scott Thompson and Aaron Abrams make their return in this episode, having not made an appearance since Season 2’s “Ko No Mono.” As the two reliably provide Statler and Waldorf-levels of comic relief, they are sights for these sore eyes.

• It turns out that Hannibal has been ruled insane and spared the death penalty. Accordingly, he’s writing a paper to be published that will most likely prove otherwise and rub it in everyone’s face because he is, if nothing else, a sore winner.

• The visuals in the episode, from the birth of the Red Dragon in the opening scene, to Will’s exploration of the crime scene, complete with pendulum effect, were absolutely astounding, as the show continues to top itself in its elegant presentation of violent death.

• Will has already collected, approximately, 50 stray dogs, so while I’d like to say that all is right with the world, I can’t help but wonder what happened to the last 50 stray dogs while he and Alana and the crew were taking a walk on the wild side. Perhaps they went feral and are roaming the Maryland woods performing good deeds. One can hope.