Thirty years faraway from the film’s Oscar-winning launch, the series picks up a 12 months after these occasions (and sure, Thomas Harris’ novel), discovering Clarice Starling (Rebecca Breeds) working as a junior FBI agent with an inordinately excessive profile. Her participation in the Buffalo Bill case and interplay with Hannibal Lecter has earned her the tabloid nickname “Bride of Frankenstein,” whereas these recollections have continued to plague the girl she rescued, Catherine Martin (Marnee Carpenter).
Catherine’s mom Ruth Martin (Jayne Atkinson), previously a senator, is now the Attorney General, and she or he recruits Clarice to hitch a violent crimes process pressure. The task locations her underneath Paul Krendler (“The Walking Dead’s” Michael Cudlitz, initially under-employed right here), a clear Clarice skeptic, whose character, it is value noting, meets an unlucky destiny in the sequel “Hannibal.”
Produced by Alex Kurtzman and Jenny Lumet (collaborators on the latest “Star Trek” series), that one instance of the chronology illustrates the narrative needle that “Clarice” has to string, primarily constructing a CBS-style crime present — full with a workforce of brokers — round the bones of this well-known property.
There’s potential in Clarice’s standing as an FBI “star” with a comparatively modest portfolio, and the hazing and inside politics that engenders. Yet the mysterious case that kicks off the series — and ripples a bit via subsequent hours — exists alongside fundamental crimes, in the similar means “The X-Files” tried to steadiness its bigger mythology with monsters of the week in its later seasons.
“You think you can rewrite the story, but you can’t,” Catherine tells her.
“Clarice” does not wish to rewrite the previous, however slightly to springboard off of it in slow-motion, leveraging the title to gin up extra curiosity than one other, extra generic drama would possibly.
It’s an method that has labored earlier than, commercially anyway, and “Clarice” comes after a host of Super Bowl advertisements heralding its arrival. But based mostly on the disappointing trajectory of the second and third hours, if the series desires to keep away from winding up on the slab it’ll have to supply a extra satisfying quid professional quo than the fleeting rush it will get from echoing the sounds of “Silence.”
“Clarice” premieres Feb. 11 at 10 p.m. on CBS.