Larry and his sister Rachel have a terrible time at a motel when they meet the attendant, Chester.
Ed is gradually conned into doing illegal business with a synthetic woman, in hopes to change his life for the better.
Ed Jacobson works at a train station, soon becoming obsessed with one commuter's destination: a place which doesn't exist.
Astral Dreams takes people on... vacations, in space. Or, they say so. When an old woman wants to go to a decimated Earth, they agree for a hefty price.
A man meets an old friend in Room 104, needing advice about his marriage.
A woman receives a visit from a cult member, there to help her transcend her problems.
"The Hood Maker" explores a world divided, questioning whether love still has a place amongst all the hate.
Jared, a delivery boy from Pizza Palace, meets Scott and Jennifer when he brings them an order. Only to be drawn into a sick game.
Meg babysits a boy named Ralph in a motel room. Only to discover there's something not quite right with Ralph.
FX’s American Horror Story
Season 3, Episode 4: “Fearful Pranks Ensue”
Directed by Michael Uppendahl
Written by Jennifer Salt
* For a review of the previous episode “The Replacements” – click here
* For a review of the next episode, “Burn, Witch. Burn!” – click here
This episode starts in a flashback to 1961 in New Orleans, a young boy being chased on his bike by white men in a car. Obviously something nasty is about to go down. Then we’re across town with Marie Laveau (Angela Bassett) at her shop: lots of discussion about integration in schools, John F. Kennedy, et cetera. Though, Laveau isn’t as rosy eyed as some of the hairdressers who look to the future with hope for blacks and whites living in harmony. Marie would rather go on the offensive, it appears.
And with this opening, we’re introduced to some Haitian zombie voodoo. Interesting. Well, we already know Marie can do things for immortality. Makes sense she can reanimate the dead. This is something George A. Romero would no doubt be proud of – zombies coming back from the grave to kill racist white guys. I know I love it. Then there’s great blood and gore, a guy lifted up on the bayonet of a rifle and torn apart by living dead, guts ripped from his body. Nice way to start “Fearful Pranks Ensue” – with an out n’ out bang.
Finally, after Spalding (Denis O’Hare) turns up all the time in the background, specifically when Fiona (Jessica Lange) decides to kill people, we get a better look at his character. We go back to the finale of “The Replacements“, except now from the perspective of Spalding. He walks in on Fiona slitting the throat, semi-accidentally, of Madison Montgomery (Emma Roberts). So now, the aftermath comes by way of ever trusty Spalding, the silent sentinel of Miss Robichaux’s Academy. More so the sentinel of Fiona, the continually loving servant to her every dangerous and tragic whim. Denis O’Hare is an incredible character actor whose talent knows no bounds; he is always a treat, and this role begins his tenure on American Horror Story.
Then Fiona discovers Queenie (Gabourey Sidibe) – she’s been gravely wounded by the Minotaur, nowhere to be found. Cordelia (Sarah Paulson) and her mother are at odds, over everything, but they try their best to take care of Queenie. It all comes out about their respective dealings with Laveau. Regardless, among the arguments and the screaming between mother and daughter, they manage to take care of the poor girl.
Ultimately, Fiona is worn out. She’s got Delphine (Kathy Bates) lurking around on top of everything else, and now that’s pretty well out of the bag anyways with Queenie knowing. I keep feeling a pang of sympathy for Fiona. Time will tell how much that holds up on this second time around watching this season, she is not exactly a heartwarming woman.
Marie Laveau receives a package over at the shop, a big box: inside is the Minotaur’s head. Maybe Fiona isn’t as tired as she seems. Laveau is abandoning the truce set down between the witches, back when Anna-Lee (Christine Ebersole) ran the show as Supreme. So get ready for war.
Poor Kyle (Evan Peters) ain’t doing so well either. Zoe (Taissa Farmiga) found his mother at the end of last episode. Now she finds Kyle banging his head off the bathtub, bloodied from killing mom. This is such a fucked up situation. She wanders between feeling bad for him in a loving way, to wanting to kill him off so as to be done with having brought a monster back to life. It’s an awfully tense place for her to exist emotionally. Doesn’t matter for the time being: Kyle is gone. Who knows where.
Then we’re back with Hank Foxx (Josh Hamilton). Apparently he’s not too concerned with faithfulness to his wife. In a hotel, somewhere on business, he meets with a woman named Kaylee (Alexandra Breckenridge). They have a bit of rough sex. Cheater husband Hank is not who he has seemed to be, and not just in the sense of his infidelity. First, he met Kaylee online, they began a relationship from there. Second, he kills her with a silenced gun in the hotel. What’s his deal?
While her husband cheats, Cordelia is still trying to take care of Queenie. LaLaurie is grateful Queenie saved her and feels indebted, which is interesting – such a stark turn against who she once was, and still is, the fiery evil racist.
But Cordelia has bigger things to worry about than her husband, or having LaLaurie skulking around under her nose. The Council of Witchcraft shows up at their door. Myrtle Snow (Frances Conroy), Cecily Pembroke (Robin Bartlett) and Quentin Fleming (Leslie Jordan) are there for a chat. They want news on Madison, apparently. It’s come to their attention, due to Nan (Jamie Brewer) summoning them, Madison might be dead; Nan “can’t hear her anymore.” Official council inquiry is underway, everyone is questioned. If any witch killed her? “Death by fire,” proclaims Myrtle. Excitingly macabre.
This brings about some history, showing how Fiona emerged as the favourite as successor for Supreme, as well as her rivalry with Myrtle Snow. Nice flashbacks, I dig them. Turns out Myrtle is a pretty great witch herself. We get to see how Spalding ended up a mute, too. It all came about through Myrtle trying to find out what Fiona knew, back in ’71, about what happened to the Supreme. The young Ms. Snow enchanted Spalding’s tongue, so that he couldn’t tell a lie. However, she had no way of determining what was going to happen.
It all comes to light after we find out Spalding’s dedication to Miss Fiona. He cut out his own tongue, all in order to not be able to say ANYTHING; let alone tell a lie.
Even more surprising, we find out Madison had a heart murmur. This eliminates her as a possibility for Supreme: a hallmark of the reigning witch of all witches is impeccable health, in terms of no illnesses from birth (not stuff like Fiona later in life). So that came as a bit of a shocker. Especially for ole Fiona, whose eyes go wide with the revelation coming from Cordelia.
But things have certainly not gotten any better for Madison after death. While Spalding likes to keep tons of dolls around, even dressing as a baby-like, grown doll himself in the creepy upstairs room of his, poor dead Madison has been taken up there with him. Now, she is an eternal Barbie doll for Spalding to pose and play with.
The finale of this episode is even more shocking than ANYTHING ELSE so far. As Cordelia and Fiona, bonding a little closer than ever before it seems, drink at a bar together more of their relationship comes out. Fiona knows Hank is a piece of shit, Cordelia may even know this and just doesn’t want to admit it. They talk more about the next Supreme, only a tiny bit. Cordelia ends up puking in the bathroom. Worse still, an unknown, hooded attacker comes from out one of the stalls and tosses acid right in her face, blinding the eyes and savaging her face. WHO DID IT? WHO IS THE MASKED CULPRIT? MAN? WOMAN? We’ll have to wait and find out.
At the academy, Luke (Alexander Draymon) shows up to repay Nan for the cake. But at the same time, zombies start to come out and shamble towards the house. Delphine opens the door only to find her own dead family, living corpses, right there on the doorstep.
And cue the end. Great episode! This is a two-parter episode, we’ll see its conclusion next with “Burn, Witch. Burn!” so stay tuned with me for another review.
FX’s American Horror Story
Season 3, Episode 2: “Boy Parts”
Directed by Michael Rymer
Written by Tim Minear
* For a review of the previous episode, “Bitchcraft” – click here
* For a review of the next episode, “The Replacements” – click here
“Boy Parts” begins with Misty Day (Lily Rabe) apparently risen from the grave herself. A couple gator hunters come across her in the swamps, Steve Nicks’ “Edge of Seventeen” playing in the background. She’s dancing and lamenting the killing of the beautiful creatures – gators hung from the trees, gutted, being skinned. When the hunters threaten her, she brings a gator back to life and then another comes out of the swamp, so bye bye hunters. Chomp chomp. I love that she’s back already, I thought we might have to go an episode or two before Misty cropped up once more. But here she is. Lily Rabe has been a revelation since the second season and I cannot get enough. Hopefully her character has lots to do coming up.
Back at Miss Robichaux’s Academy, Cordelia (Sarah Paulson) is waking all the girls up, readying everyone for a meeting. Poor Madison (Emma Roberts) is obviously still reeling from her gang rape, like any sensible young woman would. Then there’s Zoe (Taissa Farmiga), whose feelings for Kyle (Evan Peters) are obvious; he died, yet she knows he wasn’t a bad guy, he tried to do the right thing after he discovered what happened with his frat brothers.
Most intriguing, Fiona (Jessica Lange) has Madame Delphine LaLaurie (Kathy Bates), fresh out of the living grave, tied and gagged in her room. What’s the rub here? I’m so interested to find out where this is headed.
Flash to Queenie (Gabourey Sidibe) back in 2012, where she worked at a fried chicken place called Chubbie’s – a guy is giving her shit about not having enough pieces in his basket. Instead, she jams her hand into the boiling fat behind the counter, voodoo dolling the jackass yelling at her. Flashback to the young witches sitting around, talking to Cordelia and each other about where they came from before the academy.
Up show the police looking to talk with Madison and Zoe about their presence at the frat party. Things are getting tense. Even worse, Zoe gets awkward and nervous and breaks down, telling the police everything. And I mean EVERYTHING! Yet luckily, she is a witch. Among witches. After things go awry, Fiona struts in to undo it all with that sweet feminine magic. Or straight up devilish magic, either way it works. Then she goes back to the girls’ room, tosses Zoe and Madison at the walls and lays down the law about how things are going to go from here on in: shape up, or ship the fuck out.
“I couldn‘t toast a piece of bread with the heat they were putting on you“
To try mending Zoe’s sadness over Kyle, the usually hateful Madison has a plan to help. She takes them to the city morgue, in order to return the favour of Zoe killing the guy who raped her. In one room there are the pieces of all the guys killed in the crash. Kyle was dismembered terribly, so they’ve got to mix and match a few pieces in order to get him back together. The title of this episode “Boy Parts” comes to bear on their process, as Madison decides they’ll find the best pieces then top it all off with Kyle’s head: the ideal Ken doll.
Meanwhile, Cordelia and her husband Hank Foxx (Josh Hamilton) are trying to put together their own boy, or girl – they want a baby, no matter what. However, Cordelia can’t seem to get pregnant. Her womb has troubles, for whatever reason. Hank seems supportive, but wants her to use the witchcraft to make things possible for them. Cordelia’s against it, not wanting to turn into her own mother; someone who has taken the shortcuts of life at every turn.
Finally, LaLaurie has to come to terms with what Marie Laveau (Angela Bassett) did to her all those years ago.
We flash back to after Delphine first took the vial and drank it. She wakes up to find her worst fears coming true: her family is killed, while she’s been given eternal life. They were all hung. Now, Delphine is left by Laveau to spend life in a box underneath the earth, never to die. Only Fiona has dug her back up and let her free. Well, not free. She’s essentially under the slavery of the Supreme for now.
Over at the morgue, Madison and Zoe have a Kyle Frankenstein monster put together. They’re gearing up for some type of witchcraft ceremony, in which they intend to bring him back to life again. Things don’t go exactly as planned, though.
Kyle comes back to life, all right. He just doesn’t come back like he was, at all. He is more similar to Frankenstein’s monster than ever before.
“Did we just barter with the Devil? ‘Cause I don’t know if I’m down with that.”
Nan’s psychic powers lead her to find LaLaurie upstairs tied in the closet, which starts a bit of chaos. First, Delphine cracks Queenie over the top of the head, knocking her out. But Fiona is across town at the home base of Marie Laveau, they’re having a bit of a head-to-head confrontation. They drop a bit of knowledge on us about shamans, necromancy, Haitian voodoo and such. Plenty of history in a few minutes of dialogue between Lange and Bassett – another classic pairing we’re able to enjoy courtesy of Ryan Murphy and Brad Falchuk & Co. Though, the offer Fiona brings for Laveau is turned away before anything else happens. We’ll get more of this later on. Not too long afterwards, we see the Minotaur is still under care of Marie, who unchains him for “business” they have to take care of soon.
Cordelia and Hank are busy trying to do freaky rituals in order to get pregnant. They have kinky sex with black candles, a circle of black sand or something, and all that kind of wild stuff. Oh, and blood. I suppose being a witch can offer a bit of kink in the love life. This whole sequence is pretty creepy and full of sensual imagery. The sex, a snake egg cracks, fire ignites in the circle around them. Then as they finish, everything goes back to normal. Will it work? Who knows.
Zoe is busy rushing Kyle away from the morgue. The poor dude is having troubles, coming back to life is obviously not a walk in the park. Kyle smashes his body around in the car, as Zoe drives them off. She’s upset, trying to do her best and feeling she did the wrong thing bringing him back.
Luckily, Misty Day turns up in their backseat. She knows how to help Kyle transition back into life appropriately. Zoe brings them back to Misty’s shack, out in the swamps. Misty wipes dung all over Kyle, great healing properties she says. Leaving him with the resurrected witch, Zoe is conflicted about what ought to be done with Kyle in his newly living state; he looks monstrous, Evan Peters does such a fantastic job performing this character, amazing work.
A good conversation between Fiona and LaLaurie, as the latter laments now being above ground, her family dead and gone, everything changed and new to her completely. Lots of interesting things happening between these two. Cannot wait for more of their relationship to come out! And also just having LaLaurie’s presence around, in a day and age very far socially from where she was in the early 19th century. Exciting thematic things will unfold.
The next episode is called “The Replacements”, once again directed by series regular Alfonso Gomez-Rejon.
FX’s American Horror Story
Season 5, Episode 5: “Room Service”
Directed by Michael Goi
Written by Ned Martel
* For a review of the previous episode, “Devil’s Night” – click here
* For a review of the next episode, “Room 33” – click here
Greetings, friends – another night at Hotel Cortez, is it?
“Room Service” starts out back with Alex Lowe (Chloë Sevigny), whose recent path has taken her into the arms of The Countess (Lady Gaga). Remember last episode at the finish, Alex had taken the drink, she now has the ancient virus. Here, she sort of wanders the hospital where she doctors in a fugue. Her senses, especially sound, are heightened. I love the P.O.V shots we often get on American Horror Story, but these are so great. Alex can hear a woman’s pulse pounding in her neck, almost as if it could pop right through the skin.
Then – nasty – Dr. Lowe heads in to where the blood is stored. Kind of perfect, isn’t it? She’s a vampire now and essentially has an almost unending supply of blood without all the murder.
Yet she further decides to inject a young sick boy’s IV with a syringe full of blood. An unsettling moment, watching the boy shake around, speckled with what looks like measles possibly. And his eyes come upon, springing alive before the credits. A spooky sequence to start off this episode. Gotta love it.Donovan (Matt Bomers), with his mother Iris (Kathy Bates) in tow, shows up at the door of Ramona Royale (Angela Bassett). It seems the son wants to use his mom in order to help Ramona with her vengeance against The Countess. He is one truly scorned lover. I love how there are all these vampiric characters crashing against one another. Iris isn’t happy, though, she’s terrified. Though, Donovan brings up a good point: “She never looks at you. You‘re invisible.” Which is true, really. Iris is at the call of The Countess, but she is not a friend, barely an acquaintance. All boss. So this might be a damn good plan after all.
Does anything ever go the way it’s supposed to, though, in this series? No, no, no.
Then, in other ancient virus news, turns out the young boy Alex injected with the blood has made a speedy recovery. Well, is that a surprise? Certainly not.
Iris manages to get back to the Cortez where Liz Taylor (Denis O’Hare) chastises her a little. She can tell Iris is not feeling right, and mixes up “Liz‘s special sum‘in sum‘in.” Liz reveals the cocktail is blood with a splash of Triple Sec.
Poor Iris. Even though she was one of the people doing bad shit around the hotel (think: Swedish tourists), there’s been a consistently tragic aspect about her I find redeemable. The whole purpose of going to the Cortez in the first place, for Iris, was trying to save her son, and then she got roped into staying. And now – it’s for-e-ver.
Such a great meeting of the acting minds here with a solid scene of dialogue between Kathy Bates and Denis O’Hare. They’re two wonderful actors who I’ve enjoyed before American Horror Story. Yet Ryan Murphy/Brad Falchuk & Co. are able to bring out their best qualities here, giving them each very intriguing roles season after season.Oh, the bad little boy, Max, whom Alex saved has fed on his parents. Then off to school he goes. Awesome little scene right after we see his parents bled out on the floor, as Max digs his hands into eyeballs and guts at a table setup in his classroom; fake, of course. Still, there’s a creepy aspect to this moment. EVEN MORE INTENSELY UNNERVING – Max goes in a dark room with a young girl named Madeline, where he introduces her to a bit of the measles (or whatever the hell he had), as well as that tricky ancient virus. This begins on an insane outbreak of measles throughout the class. Plus, Max kills a couple teachers.
Some of the best gore we’ve seen yet in this episode! CREEPY CHILDREN – CREEPY CHILDREN EVERYWHERE. The part where they all attack and feed on the male teacher, blood spurting everywhere, his clothes soaked through… so damn good. Then, like there would be, absolute panic breaks out.
If anybody tells you there’s no wild horror in this series, promptly tell them to fuck off somewhere. Because this was one hell of a horrific sequence. It wasn’t all gore, either. Certain people want to try and act like the show simply goes for savagery over any substance. Wrong – the entire angle of what happens with the children, all those varied moments from the classroom to the chilling scene which follows as all the kids are brought out to their unsuspecting parents, they’re an amazing bunch of scenes. Truly full of gorgeous madness.
Detective John Lowe (Wes Bentley) is seeing the fallout from his little serial killer dinner party last episode. A Lieutenant (Robert Knepper; awesome) questions him on what exactly happened. Certainly the man is a bit disturbed by Lowe’s statements, involving John Wayne Gacy, Jeffrey Dahmer (et cetera). Lowe is a truly sympathetic character. Unless it turns out, as some believe online, John is the Ten Commandments Killer. Though, I think there are some time issues there that won’t play out correctly for that to be real. We’ll see! For now, I feel bad for John because he is being put through the ringer in so many different ways. He’s bound to snap, or fall into a vicious spiral which could lead to death.
A couple idiots show up to test Iris and her patience. Meanwhile, Tristan (Finn Wittrock) and The Countess are dressed up, to the nines, and heading out for Halloween; love Tristan’s Gary Oldman costume. Iris is clearly thrown off and nervous, while Tristan almost sniffs her out right there and then. Both of them, in fact.
What’s even better is the conversation Iris has afterwards with the douchebags who recently checked in. They want grilled salads and other things the hotel doesn’t offer. So, she enlists the help of Liz who really seems to know people well enough – these dummies are going to live to regret their stay, I would imagine.
“Bitches want pâté, pâté they shall have.”
Amazing bit of Liz Taylor here, as she gives us a look at the past, his old home life. Nick, her original name, was a medical representative. On trips out of town, he lived the life he WANTED while alone in the room. I can’t get enough of O’Hare. He is a constant treat, and it’s gold watching him do drag, the character finding himself.
Then once Countess shows up, things get even more interesting. She tells him “you smell like a woman“, but it’s not the perfume – “It‘s your skin, your blood,” she says. Such a dark yet also beautiful scene. We watch Nick become Liz Taylor in front of our eyes.
What’s most interesting to me here, above everything else, is how the Countess comes across as a helpful woman, someone who cares and loves and wants to be there for other people. Even when Liz is confronted in the hallway by the two men her former male self came to the hotel with, Countess kills them to save any trouble. Either way, Liz never went back to her life as Nick ever again. Neither did The Countess infect her. She and Iris bond over their respective strengths. He advises her to “teach that hipster couple some manners.” Oooh, I love this – delightful mischief! I won’t spoil this bit any longer. Wait and see the brutality for yourself.
Now former detective John Lowe wakes up in his bed, scratches across the chest, next to Hypodermic Sally (Sarah Paulson). He appears to not remember, until a moment later when the foggy memories of the previous night come back. Obviously Lowe went on a nasty bender, which led him up to the room where he surely had unprotected sex with a half-woman/half-ghost. All the while dildo drillbit man shows up in the mirror behind John to spook him out. Wouldn’t that be awful? Hard enough to get one off when you’re drunk, let alone seeing that eerie bastard around your room.
There are more rough nights ahead for John. I dread seeing the sad, tragic events which are bound to follow for him. But I’ll eat those words if certain internet theories come true later in this season.
Even sadder, Alex and Holden have a little moment together where the boy tells her “now you‘re like me.” It’s very touching, in the wrong sort of way. Not fuzzy. It is a dark conversation, especially with The Countess alongside. Slowly I think Alex is starting to comprehend the idea of eternity. All the same, I don’t think she’s fully grasping how long and drawn out that can be, and on top of that her son will grow old. He’ll be frozen as a child forever and she won’t ever watch him become a young adult, then a man.
An amazing episode. One of the best this season so far, I can easily say that. Excited to seem “Room 33”, as well as what “the thing” in there is – remember back in one of the first episodes, Iris made fleeting reference to something being kept in there? We’re going to find out next week.
Stay tuned with me, my fellow horror fanatics!