is a show that constantly plays around with, and critiques, the complications of the kindred. That which is closest to us, is often that which hurts us most—our love for our children, spouses, siblings, and parents is what drives us, but also puts us in the most danger. That which is kindred can be a powerful tool of victory or destruction. So, when the gang decides to raise their own Kindred monster, they know it’s a risk, but it’s one they have to take. For the love of their own kindred, and for all mankind.
The history of the Kindred monster is fascinating, and we know Sleepy Hollow is good for these faux historical flashbacks. George Washington and the Coven teamed up with Ben Franklin to create the Kindred, a Frankenstein-type beast, made up of the, uh, best of their dead soldiers. But it was missing a body part from the horseman of death—the head. Good thing Ichabbie got a hold of that bad boy. Time to make their own little Kindred to take on the Horseman—yeah! Craft time, Sleepy-style!
In other news, Abbie is worried Ichabod’s attempts to save Katrina will be a detriment to the greater fight. He’ll be distracted, or he’ll make a decision that might be good for his wife, but bad for everyone else (himself included). She manages to keep him from running into the house where Katrina’s being kept by Headless Abraham. This tension helps humanize Ichabod even more. Just like the rest of us, he believes that he can do his job (as a witness), without being distracted by his personal duties (as a husband). But that’s just never how things work out.
There have been critiques of the Katrina storyline. How relevant is she? Well, Ichabod needs a family to fight for, and she’s it. Like Stabler on SVU—it can’t be all about Benson, all of the time. Your partner is your partner, but family comes first (for the most part). I agree that Katrina is not the most compelling character right now, but I’m hoping things shift. And I think this episode shows promise of that—she doesn’t leave when Ichabod comes to rescue, and she makes that brilliant move with Abraham. He so badly wants her to choose him (of her own free will), and she’s wielding that power over him to find out more about Moloch’s plans. She also can’t ignore that maternal desire to save Henry… with his crazy ass. Sigh, a mother’s love.
In terms of visual achievement on the series, I loved seeing the Kindred come to life. Watching those veins in the skull fill up, and his fight with the Horseman was pretty cool. But the highlight of the episode was, for me, definitely the ending—Captain Irving’s new “attorney” certainly offers an exciting twist, but it doesn’t feel cheap. Something awesome/wicked this way comes!
“The Kindred” feels a little bit like a set-up episode. In a way, it’s a letdown after such a thrilling premiere. But every episode can’t be like last week’s, and I expect bigger and better things are on the way.
Icahbod’s Audre Lorde moment: “The way we fight monsters cannot be to create monsters.” The master’s tools…
Ichabod’s reaction to the pen attached to the desk was everything. In fact that whole bank scene was amazing: “Are you part of the wedding industry?”
Hooray for the return of Orlando Jones AKA Captain Irving (and yes, he’s still my Captain… although I kind of love Reyes… exceot for the part where she put Irving in psych).
Loved when they were trying to raise the Kindred, and Abbie’s all, “Did it work?” (felt very Buffy the Vampire Slayer—always a good thing).
Also loved the subtle/not-so-subtle critiques of the institution of marriage.
Jennie Mills locked up again?! Noooo!
Favorite Quote of the Episode: “She knew my mother, who was a little bit totally crazy.” (Abbie)
Shannon M. Houston is Assistant TV Editor at Paste, and a New York-based freelance writer with probably more babies than you. You can follow her on Twitter.