The final series of ‘Banshee’ reaches its halfway point with Hood in prison, but allowing some of the other characters to have some fun as the world turns darker…
“The life you’re choosing… it ends one way…“
Hood is in custody and answering questions after the revelation that the murdered Rebecca was carrying his child. He is not taking his new incarceration well – it bringing back memories of the brutal attacks the last time he was behind bars. However he’s just as concerned as to how Job is coping with his freedom – which is just as badly. Carrie assures him it’s not well. While Carrie works to find a way to get Hood out, she needs a distraction and once again Kurt Bunker is willing to funnel her details of those the law can’t quite touch given Proctor’s involvement and oversight of ‘law and order’ in the area.
Elsewhere the belligerent head of the white supremacist movement quite literally gets a ‘Get out of Jail Free’ ticket to the outside world one which will call chaos for the various interested parties in the area.
Proctor becomes aware of the charges pending against Hood and storms the police station ready to ‘post bail’ but Brock isn’t about to be intimidated. Proctor may be the mayor, but Brock is the sheriff and is willing to pull a gun to stop Proctor if he has to. And just at that moment a new face appears in Banshee. She’s Special Agent Veronica Dawson and she’s about to put all the boys in their place. But she may have her own secret agenda and problems to deal with.
And with that… we welcome Eliza Dushku to the potent mix amid the tinderbox.
We actually started the fourth episode of Banshee‘s final series with a dinner-party that quickly turns into the type of scenario that would give Hannibal Lecter a thrill. And unlike the earlier episode, this isn’t a fictional set-piece but a sadistic, ritual attack which does feel like the series wants to push some of the hot buttons and go further with its controversy than ever before. Later scenes of futher abuse – carried out by a couple rather than just a singular killer are equally disturbing which then leads to what appears to be a ceremony with others and a beating heart taken from the prisoner’s chest.One of the antagonists has implants to make him look like a demon and it initially feels like this could be a completely different kind of horror show than the OTT brutal but action-orientated style Banshee usually tilts towards. It still sits a little uneasily and feels out of place from the visceral urban threats of the series so far. Maybe a good time to introduce a rogue vampire slayer?
Hood’s prison-cell situation gives more of the Banshee cast a chance to strut. Dusku’s introduction (at long last) is impressive, staring down both Brock and Proctor and when the mayor ‘gives’ her twenty-four hours to make progress on finding his niece’s killer, she doesn’t even blink when quizzically replying ‘Then what happens?‘ showing she’s not going to be his poodle. The dance she starts with Hood – a powerplay between them about who can call each other out on their respective bullsh*t and reactions to such are fun to watch. Carrie’s nocturnal vigilante activities may be interesting but at least she and the show itself note how unwise it is to bring along Job as back-up. It’s good to have him back but he’s in no shape to offer reliable aid. Then again – Carrie taking out a meth lab with a fire-thrower? Sold.
It’s interesting that when Brock interrogates Hood he brings up the valid point that for the fact he doesn’t think Hood is guilty, he also doesn’t know if he’s innocent – this is a man who has been lying since he stepped foot in town and has been pushed to (and over) the edge any number of times – often responding with extreme violence.
This might not be a prime-cut Banshee, but there’s still plenty of flavour.
8/10
