Over the television year, not only do specific shows and specific seasons stand out, but so do specific episodes. Certain episodes rise above the rest of the television landscape in a variety of ways, whether it’s due to excellent direction, strong character exploration, or something else entirely. For the past few years, Sound on Sight …
In all of the craziness that is “We All Pay Eventually,” Banshee displays its growth over three gripping years by giving two supporting characters the chance to verbalize the heart of the episode, season and series thus far…
When it comes to pain, physical or emotional, one of the timeless cliches has been that we always hurt the people we love the most.
While “All the Wisdom I Got Left” continues most of the sub-plots Banshee has set up this season, the success of the episode will ultimately come down to how it handles Chayton Littlestone in the eyes of viewers.
Though the infiltration of Camp Genoa exists as a superb feat in and of itself, it also highlights the episode’s biggest concern: showing the strength of teamwork.
A question that doesn’t neatly fit into any of the five stages of grief under the Kubler-Ross model (denial, anger, bargaining, depression and acceptance) is “What could I have done differently?”
This week, Banshee pushes its own boundaries and gives its viewers one of the most enthralling, heartbreaking, intense, gorgeous and shocking episodes of television that will air all year.
What we get–among several other things–is a quieter meditation on parenting that shows some of the difficulties that Carrie, Gordon and Hood have either had to overcome or are currently trying to overcome.
“A Fixer of Sorts” is, to be clear, one of the best episodes of Banshee and a firm testament to the show’s deserved place among the best current TV has to offer as a medium of entertainment.
If last week’s season three premiere suggested the importance of legacy in Banshee, “Snakes and Whatnot” is the companion piece that shows how one’s legacy can be controlled by perception. It’s said that history is written by the victors, and several characters here–Rebecca, Chayton and Nola chief among them–want to make sure that they’re both taken seriously and come out on top.
Amid a full and explosive season three premiere that heavily features Chayton’s (Geno Segers) return to and influence on his Kinaho tribe, it’s a quiet exchange between father and daughter that sticks out
There are plenty of interesting new series to be on the lookout for, but many TV fans will be most excited about the return of some of television’s best offerings. Here are Chief TV Editor Kate Kulzick and Managing TV Editor Deepayan Sengupta’s picks for the most exciting (currently scheduled) midseason returns of 2015. Banshee …
Sound on Sight takes a look at the best episodes of television that have aired so far this year. Part one includes episodes from shows such as Rick and Morty and True Detective.
Randy and Sean sit down to discuss the many improvements in Banshee and Arrow’s second seasons.
“Bullets and Tears” makes the best case possible for why Rabbit’s presence this season has at least been important in helping develop the relationship between the man known as Lucas Hood (or Tom Palmer, as he would have been known in another life) and Anastasia.
Penultimate episodes in a season of television usually suffer from over-reliance on exposition, because that’s just how they function. It’s something totally excusable, because these episodes are meant to build up to the big bang of the finale, which – if any show on TV right now could pull off – Banshee should be able to deliver with an exclamation.
One of the small pockets of story that hadn’t been explored that much was how Emmett’s character fit in among everyone else. Both of Doug Jung’s scripts, though, seem to have anticipated that question and answered it with an exclamation point.
With so many different directions to go and so few episodes left in its second season, Banshee surprises in “Ways to Bury a Man” by sticking to a plot it could have easily moved on from and by bringing back an essential dynamic of the series to the forefront.
Babak Najafi and John Romano absolutely killed it in last week’s episode of Banshee, which is easily – easily – in the running for best television episode of the year. The director-writer pair returns this week in “Armies of One” and delivers something just as powerful and engaging, but in an entirely different way.
The die-hard Banshee fan has every right to dislike “The Truth About Unicorns.” So much of what you would expect from an episode of this series is simply not here. That, however, does not mean that “The Truth About Unicorns” doesn’t stay true to the identity of Banshee
Alex joins a handful of Banshee characters who find themselves in tough spots in “Bloodlines.”…The more we see of what life is like for the characters in Banshee, the more Hood’s act-first-think-second approach to his job seems like a sound plan.
One series, though, is leading the charge at the beginning of the year. The most unlikely of heroes, Cinemax’s Banshee, in just a matter of three weeks, has matured into something truly special – something a lot of TV writers refer to as “appointment viewing” when describing other series.
“The Warrior Class” has Banshee returning to, again, take the time to develop some of the aspects of the story that have been largely looked over in favor of high-octane action pieces. In this case, the rivalry between the native Kinaho tribe and the Amish presence in Banshee provides a framework in which the main characters do their normal things