(Note: No major spoilers.)
Hannibal is a rare breed in that the first episode is genuinely good, mostly because there's no need for clumsy exposition. Anyone with half a brain already knows what's going on: Hannibal is a cannibal, but it will probably take at least one season for anyone on TV to work that out. It only takes a couple of minutes to illustrate who Hugh Dancy is: a guy who frowns a lot because of Confused Emotions, and whose brain is a holodeck for blood-spattered crime scenes. Hugh Dancy means we can watch people get murdered in dramatised flashback form, instead of having some generic CSI person explain it to us with Science.
Mads Mikkelsen is, obviously, fantastic. But for me, the harder sell was always going to be Hugh Dancy's character, criminal profiler Will Graham. Not because I'm familiar with his character (I'm not) but because the crime/mystery genre is already overflowing with cute-ish men in their 30s and 40s. Luckily Graham sidesteps the two main cliches of "asshole genius" and "dorky everyman", and is interesting enough to be a worthwhile foil to Hannibal. Still, like most stories about serial killers,
Hannibal mostly features women as side characters or in the role of naked, brutalised corpses. In
The Silence of the Lambs, this is less of an issue because Clarice Starling is just as important as Hannibal Lecter, but there's no real need to make a TV series about Clarice. We already know her story too well.
Hannibal Lecter is the ultimate glamorized serial killer, so it was a smart decision to keep him on the sidelines and use the first episode to focus on Will Graham's horrified empathy. While it's pretty easy to film gore and violence, it's harder to make the deaths in a crime show seem as emotionally "interesting" as the investigation process. Audiences are just too used to watching CSI and horror movies. In a serial killer mystery, the victims (as ever, a series of attractive young women whose interchangeable photos are pinned to a map) are often treated like little more than roadblocks on the journey to finding the murderer.
Hannibal doesn't make a huge effort to humanise its various corpses (horrifying as they may be), but Will's awkwardness and disgust are very effective.
Visually, I'm already very satisfied. And not just by the pointless but deliciously nerdy set-design
nods to The Shining. Even the
promotional materials lean pretty heavily on the image of Hannibal as the vampiric centrepiece of a 17th century oil-painting, usually surrounded by fruit and skulls and slabs of raw meat. It must be difficult to avoid going overboard with all that gothic imagery, to be honest. Hannibal's already almost a parody of himself, sitting in a darkened room full of expensive furniture, eating exquisitely
flambéed human lungs while the Goldberg Variations play in the background. Mads Mikkelsen's costumes simultaneously crack me up and make me sigh because they are soooo good. Here, we're getting to see Hannibal at his absolute peak: taller, better-looking and better dressed than anyone else onscreen. The rest of the cast are serviceable crime procedural characters wearing everyday American TV clothes, but Hannibal looks like... well, exactly what he is. A luxury-obsessed European aristocrat and connoisseur, secretly looking down his nose at all the small-minded American plebs who eat food from chain restaurants and dress like Will Graham. 
