Banshee 2.04 Review: “Bloodlines”

Last week, I noted Banshee‘s ambitions to dig into its setting further, leading to one of the show’s most intriguing hours. “Bloodlines” has lofty goals of its own, achieving a thematic unity I can’t remember the show even attempting to do on this level before. It’s really a clever little slight of hand: Banshee still wants to entertain us with blood, hot women and lots of knuckle-busting – but underneath that, the sophomore season of Banshee is about the search for identity, a violent portrayal of the mental and emotional struggle between what we think we know about ourselves, and what our actions ultimately say to the world.

This idea of identity all begins with our titular character: there’s been a lot of pointed criticism at Lucas Hood and his ability to police the town of Banshee. Of course, this is because Lucas is not a cop; but it’s also because Lucas is not Lucas. He’s The Man with No Name, the cowboy wandering through the lonesome darkness struggling to figure out who he is. Part of him still thinks he’s the hardened criminal who pulled off major heists and beat up anybody he wanted to, though “Bloodlines” continues to show what a failure he is to the Banshee Police Department, unable to transport one prisoner, keep another alive, and respect the laws and traditions involved with entering the local Kanaho reservation. Another part of Lucas actually thinks he could be police, albeit an unorthodox one who’ll spend most of his evenings wiping blood of his paperwork from the still-fresh cuts on his face (boy, that gash on his temple is a doozy of a sight throughout this episode).



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