How’s Annie? How’s Annie? How’s Annie? How’s Annie? How’s Annie? How’s Annie?
Twin Peaks is a show that’s fascinated with the female form. The pilot episode of the series is literally all about the female body, the wrapped-in-plastic form of Laura Palmer and whatever secrets surround this sad sight. And from there it only escalates. The seductive swaying of Audrey Horne to music only she can hear. Norma and Shelly hiding adultery behind their demure waitress outfits. The girls of One-Eyed Jack’s, dressed up and dealt to customers like hand of poker. The near-identical figures of Laura and her cousin Maddie. The unknown motivations and alluring figures of Josie Packard, Lana Budding Milford, Ms. Jones, even Evelyn Marsh. So many of the show’s plots place women front and center, relying on both their physical allure and their hidden depths to drive the story forward.
If one glances around at the Movie-to-TV adaptation landscape, things are looking surprisingly good. Hannibal is the best show on television right now, Fargo was one of the best surprises of last year and looks like it will continue as such in its second season this fall, and now MTV is adding one more Movie-to-TV adaptation to its roster; shout out to MTV’s other Movie-to-TV breadwinner Teen Wolf,
While Twin Peaks is easy to praise for both its alien-like atmosphere and the skill with which it constructed the Laura Palmer investigation, neither of these aspects would resonate to the degree they do if they weren’t built on the solid framework of the show’s world. The residents of Twin Peaks are all distinctly drawn characters with their own set of quirks, biases, and motivations; many of which are only tangentially related to Laura’s death. David Lynch said at the time and in many interviews since that he considered the murder the entry point to the rest of the town, and that in an ideal world it would have turned into a perpetual motion machine of story as their lives progressed.
“Futamono” marks the halfway point in season two of Bryan Fuller’s small screen masterpiece Hannibal. The plot burns forward, setting up the romance between Hannibal and Alana, and placing enough proof of Lecter’s crimes directly in front of Jack and Chilton. There are lots of clever nods to Silence of the Lambs, from Will’s talk with Jack mirroring Hannibal’s conversation with Clarice about Buffalo Bill’s motives, to the discovery of Miriam Lass, trapped in a cellar. “Futamono” inches forward at such a speedy rate that it won’t come as a big surprise if the events in the season’s cold open take place before the finale. “Futamono” isn’t the most exciting instalment of the series, but there are a number of interesting twists, and an ending that could make most gore hounds gag.
The end of the first season of Hannibal left Will Graham (Hugh Dancy) locked up in the Baltimore State Hospital for the Criminally Insane. Season 2 serves a promising start as Hannibal (Mads Mikkelsen) and Jack Crawford (Laurence Fishburne) wine and dine on the episode title’s eponymous kaiseki, a traditional multi-course Japanese dinner. Following his arrest for the murders that took place in season one, Will finds himself in a tricky situation where he has to try and prove his innocence while trapped in a cell and while suffering from temporary memory loss. Hannibal Lecter steps into Will Graham’s shoes as the new FBI criminal profiler, and Will struggles to remember how it is Hannibal framed him for the crimes Hannibal clearly committed.