The end is here. Who'll survive and what will be left of them?
FOX’s Scream Queens
Season 2, Episode 2: “Warts and All”
Directed by Bradley Buecker
Written by Brad Falchuk
* For a review of the Season 2 premiere, “Scream Again” – click here
* For a review of the next episode, “Handidates” – click here
With murder on the hospital grounds, Cathy Munsch (Jamie Lee Curtis) has more trouble on her hands again. Chanel #5 (Abigail Breslin) is being sweated by the police, even though she was stuck in the hydrotherapy tub the entire time. Lots of whodunnit already! Chanel #1 (Emma Roberts) and #3 (Billie Lourd) arrive to circle their other namesake, berating her about not getting any dick at all, especially in light of Dr. Cassidy Cascade (Taylor Lautner) and Dr. Brock Holt (John Stamos) respectively asking them out. Of course, it’s like nobody believes #5.
Back with Drs. Cascade and Holt, along with Zayday (Keke Palmer), the Chanels suffer through another consultation being insensitive as usual. This latest guy, Tyler (Colton Haynes), essentially has these tumours forming bumps like pebbles under his skin, all over. Wonder how this might play into the episode, or if it’s just a bit of background mess. In the meantime, Zayday worries about Munsch and her motives for running this hospital. Zayday doesn’t like how things sound about the latest murder, and well, she was around for Season 1. She knows what that crafty bitch gets up to now and then. “I think she wants revenge,” Zayday says re: Munsch. And she asks Chamberlain Jackson (James Earl) to help her out with a bit of low key investigating.
Out at the movies, Dr. Holt and Chanel #1 bond over being horrible people. Ironically The Hand is playing (as well as Pieces). We start seeing more of Brock’s “out of control hand” and she talks about “his hot mouth” – I can’t wait to see where this whole hand transplant thing is headed, because I love it. Meanwhile, #5 is bonding, too. With Tyler. And she comes round to deciding she’ll help him raise the money for the surgery he needs.
Late in the night, Chanel #1 is on duty at the nursing station. Power goes out. Screams. The Red Devil Killer shows up! He lifts his axe, and then removes his mask: it’s Dickie Dollar Scholar, Chad Radwell (Glen Powell), bitch. Who else?
Now that’s an interesting return. His buddy Randall can’t stop screaming, so there he is to get a bit of help. As well as discover that Dr. Holt and Chanel may be “boning.” This scene is god damn hilarious. When Brock keeps clicking the pen, showing off Randall’s exaggerated reactions. In between we find out that Chad’s started a band: “Gold–plated Nutsack.”
Zayday’s digging. Plus, Chamberlain went and got some of the microfiche for her to help, along with a machine setup downstairs. They come across the Halloween Massacre at the hospital. We zip back to 1986 with Dr. Mike (Jerry O’Connell) and a bunch of partygoers, other doctors, all rock out. When a couple of them head to take a few shots alone, they encounter the Green Meanie Killer who promptly chops them to bits. He then pulls a Michael Myers on Dr. Mike, lifting him off his feet impaled before chasing down his next victim to Tiffany’s “I Think We’re Alone Now” and tossing a machete through her midsection. Wickedly nasty sequence. Dig that.
Ingrid Hoffel (Kirstie Alley) asks suspicious questions about whether Zayday might let her know where the Chanels are at all times. She makes a case, but seems pretty sketchy. I wonder what her deal is, I hope she’s got an interesting story.
In the showers, Chad tries to stand his ground against Dr. Holt. They argue over the “dateable guy checklist” and who’s most fit to be dating Chanel #1. This scene gets more homoerotic by the second, as Chad gradually works his way further and further until literally being tip-to-tip with Brock in the shower stall. I laugh way too hard at Chad Radwell. He’s the ultimate douche and he’s written as such. Powell plays the role incredibly well.
With #1 and #3 convincing #5 that Tyler won’t like her anymore if he gets the surgery, #5 is quite on edge. She kicks the shit out of two dudes who make fun of Tyler in a diner before screaming: “I do not have teeth in my vagina.” Another role played way too funny, written wonderfully, is Chanel #5. Breslin is magic.
Munsch says she could “really use a friend” and so with Chamberlain and Zayday at her door, they agree to listen to her secrets. She tells them about having awful headaches, bad joint pain, a ton of various symptoms. So it looks like Cathy may be straight up this time around. Although there’s no telling if she’s even being truthful. You know how underhanded she can get. Oh, and a lurking figure outside – is it #1? Or is that Ms. Hoffel? – hears all. A little later in the dark corridors, Munsch winds up confronted with the latest Green Meanie Killer. Luckily she has some ass kicking experience. Fighting hard she downs him. When Dr. Cascade and #3 come across Munsch, this distracts her, and the killer gets away. In a meta moment, Curtis goes off on those moments when somebody kicks the killer’s ass and nearly unmasks him but gets distracted. Fucking awesome! This episode is full of fun writing.
Still, Drs. Cascade and Holt are trying to cure Randall of his screaming. In an aside, Brock’s hand acts up again, scrawling a note; that only Chad cares to read. Funny enough it seems to be a grocery list for a fancy dinner. Hmm. Afterwards playing squash, things get tense between Chad and Brock, though the latter asserts his dominance, as well as possibly a homicidal streak? We’ll see.
You know Denise Hemphill (Niecy Nash) is kicking around, apparently an FBI trainee at this point. She calls Zayday a “stone cold hoe” and believes it’s likely her killing people. Even though she already barked up that tree last season to no avail. But Nash is outrageously funny and I love every time she’s allowed to let loose.
And the moment we’ve all been waiting for – or at least I have – the return of Hester Ulrich (Lea Michele). They’ve got her in a Hannibal Lecter-like cell, even talking like Hopkins a bit and there’s plenty of homage dialogue, the dungeon cell area highly reminiscent of The Silence of the Lambs – a patient even throws… birthday cake mix… at Chanel #1. So the crazy Hester locked away has demands for helping with their case. One of which includes transferring to Munsch’s hospital. “Bitch, ain‘t nobody got time fo‘ dat,” Denise tells her. But I’m guessing they’ll be enlisting Hester soon enough.
So we get a good dose of story about the hand Holt has now. The guy was a world class squash player, finding people to play with and then killing them. That menu Brock wrote down is the last meal he had before going to jail. The guy was executed, a notorious serial killer, and gave up his organs for donation. Chad brings this newfound information to Dr. Holt and they have a bit of a face-off. We also see another tiny slice of that possible crazy person inside Brock.
Munsch talks of going to Papua New Guinea, which Zayday believes led to her having a disease cannibals get from eating human flesh. There’s nothing they can do: less than a year to live. Yikes. We further discover Ms. Hoffel has a bug planted in Munsch’s office, and she knows everything.
Seems as if Tyler’s been trying to help #5, finding information on the Green Meanie Killer. And then all of a sudden, his surgery is switched, someone wheels him off. Problem is that Drs. Cascade and Holt are gone home to have a “Handsome Contest.” With Tyler on the table, the Green Meanie puts an end to his prying. Tyler gets the laser all right. The Chanels are too late to stop his untimely death.
Loved this episode! Maybe one of my favourites of the entire series, honestly.
Excited for more. Next up is “Handidates” and I can only imagine what we’ll see judging by the title.
FOX’s Scream Queens
Season 2, Episode 1: “Scream Again”
Directed by Brad Falchuk
Written by Falchuk & Ian Brennan & Ryan Murphy
* For a review of the Season 1 finale, “The Final Girl(s)” – click here
* For a review of the next episode, “Warts and All” – click here
The bitches are back, bitches!
This season opens on October 31st, 1985 (just seven days after my birthday). In a hospital people are partying. But one woman’s husband is in trouble, and she can’t find anyone to take her seriously. Until they come across Dr. Mike (Jerry O’Connell), who – after a bit of prodding – takes care of the man. He and one of the nurses plan to dump a body out back in a swamp, let the animals and nature take care of him. She talks about the “Green Meanie” – an urban legend from when she was younger, a monster that stalked the swamps. Now, heading to the present, are we going to see someone taking revenge for this crime? You betcha.
It’s 2016. Cathy Munsch (Jamie Lee Curtis) is all over the place as the face of “new feminism.” Meanwhile, hands Doctors Cassidy Cascade (Taylor Lautner) and Brock Holt (John Stamos) are taking care of a Ms. Catherine Hobart (Cecily Strong); an unfortunate lady who’s had to deal with werewolf syndrome. So we come to find out it’s Dr. Cathy Munsch. She received the honorary doctorate they “stripped from Bill Cosby.” Mostly she’s a lot of talk. As usual. But she’s awesome, and she opened up the hospital. Via voice-over, Cathy takes us back through how she got to this point. A fun little romp with Jamie Lee Curtis; ever cool, ever hilarious in a dry, sly way.
And what about the Chanels? Chanel Oberlin (Emma Roberts), #3 (Billie Lourd), and #5 (Abigail Breslin). We go back over their court case, the involvement of Denise Hemphill (Niecy Nash) in her crack up testimony during trial. There’s a bit of Hester Ulrich (Lea Michele) on tape claiming “double jeopardy” while arguing with Denise: “It‘s single jeopardy!”
Then there’s Zayday Williams (Keke Palmer). She’s in med school, trying to get by like many students. Munsch is swooping in on her, offering to pay for her tuition, offering a position at the hospital. Too good to be true? Well, Zayday takes her up on it. Whether that’s a good thing will have to wait a while.
Starting her schooling, technically a direct entry residency, Zayday meets the obnoxious Dr. Cascade and the weird Dr. Holt. Particularly we get a story about how Holt actually lost a hand a few years back. Lost a ring in the sink, garbage disposal got turned on, and VOILA! These days he’s doing surgery like a magician. His speech is both tragic and hilarious – the way he keeps hitting things, scaring Cascade and Zayday made me laugh. Lots of eeriness, all the same. Cascade seems like an ass, as well as the fact he’s strikingly cold to the touch. Best is when Chamberlain Jackson (James Earl) shows up. His charm is undeniable, if not a bit in your face.
Zayday makes a big with Munsch to get more women around the hospital. You know what that means. Oh, yes.
Chanel and her “idiot hookers” are back. Everybody hates them now to the point they’re having shit thrown at them in the streets. They majored in Communications, they all got jobs. Not exactly what you’d think. Especially after ending up poor, tired, and knocked down a few social pegs. Once Munsch shows up, everything changes. Naturally the girls are sceptical of the former Dean’s extending her hand, asking them to enrol as students and work at the hospital. But really, what else will they do? Their arrival throws Zayday for a loop, too.
So the fashion clash begins when the Chanels realise they have to wear scrubs. Although things feel more palatable after seeing Dr. Holt taking a shower. Curious: #5 notices a tattoo, sort of like a coat-of-arms with an H in the shield. Hmm. Anyway, the girls each have their jobs. After a bit of brutally funny banter on the term ‘ghosting’ as per Munsch: “Isn‘t ghosting when you do a number two and you look down at the paper and there‘s nothing there? And so you stand up and you look in the toilet and there‘s nothing there either because the turd somehow got shot down the hole before you even flush?”
The Chanels don’t have much bedside manner. Neither do Dr. Cascade or Dr. Holt, the first rambling on a Nietzsche-like thought and the other texting. Poor Catherine, the werewolf lady, is trying to get a bit of sense out of the doctors. Only one providing that is Zayday. We also get introduced to Ingrid Marie Hoffel (Kirstie Alley), R.N., who doesn’t have time for Chanel or any of their bullshit. Speaking of which, Munsch puts the Chanels on academic probation because of their treatment of Catherine earlier. Everything quickly feels like it’s crumbling beneath the Chanels after discovering they also don’t get paid, only free room, board, so on. So they head back to their room and brainstorm about what to do next: find a cure for “werewolf girl” first.
Chanel goes to talk with Dr. Holt about Catherine’s case. We see a bit of his weird, transplanted hand. In the midst of everything, Holt and Chanel figure out there may be a testosterone problem in Catherine, which prevents any further hand madness. Thus starts the fierce competition between Zayday and the Chanels. After a bit of treatment, Catherine loses ALL her hair. Not just a little. Every last bit. They give her a bit of a makeover, so that patches things up for now. Making Munsch’s hospital look great and pissing Zayday off.
#5 is on graveyard shift while the other two have dates. While she helps Catherine with a bit of hydrotherapy, someone watches in the shadows. #5 opts to get in one, as well. Both of them locked in a tub. Smart move, dummy. Then, a green-masked intruder appears with a couple blades in hand. He puts on a bit of music for the occasion. Before lopping Catherine’s head off.
And we end on a last chop: is it to #5? Or to the head? Or maybe just a last scare? We’ll find out next week.
An exciting, weird, creepy first episode for the second season of Scream Queens! Really loved this one. Can’t wait to see “Warts and All” next. Lots of promise, new characters, new setting, and a fun mask for a new killer, too.
FX’s American Horror Story
Season 6, Episode 1: “Chapter 1”
Directed by Bradley Buecker
Written by Brad Falchuk & Ryan Murphy
* For a review of Chapter 2, click here.
This year’s theme? My Roanoke Nightmare. Delicious.
We open on a series of talking heads. Almost seems like an Amityville Horror sort of thing, too. My Amityville Horror is a documentary by the man who was a child during the supposed Lutz story, and this seems to mirror its style a bit.
Well, Shelby (Rabe) and Matt (André Holland) are a married couple. They tell us about their relationship, what they do for a living, so on. They talk about the “worst night” of the their lives when Matt is randomly knocked out by some gang of kids. He nearly died because of their foolish brutality. We see Sarah Paulson playing Shelby and Cuba Gooding Jr. as Matt, like reenactments of that night. Sadly, Shelby lost her baby on that evening. After the event they took a trip out into the wilderness: “We weren‘t city folks,” Matt says.
Out in the woods is an old farm house. A massive backwoods mansion. The house is cheap, just like the one the Lutz family fell into buying in Amityville. They snatch it up, now owning a surely haunted house. Shelby knew it from the beginning, in the back of her mind.
Strange banging in the night already starts Shelby and Matt off on a rough note. Interracial couple, rednecks kicking around. They’ve had troubles before, but were more than willing to fend any trouble off. Nothing’s too great. When Shelby’s home alone it starts raining teeth. TEETH! That’s pretty fucking unsettling. Of course no teeth are left when Matt gets back. To be expected when you live in a haunted Southern mansion. I mean, even the house, the big windows upstairs, the shape, it’s so reminiscent of The Amityville Horror. Not in a bad sense. Dig the homage.
One evening while cooking, home alone, Shelby sees two young women pass in the hallway, staring at her. Nice bit of tension, as she goes to check out where the women went. Finding nothing, only a suspenseful moment or two. Later when she relaxes in the hot tub outside until somebody holds her under. She calls Matt, who gets home quick, and the police, of course. Although the police don’t care much. Lots of paranoia swirling already. The couple aren’t sure anymore what to believe. So I LOVE the cinematography so far this season – the house especially looks ominous even in how the shadows cast over everything, big windows everywhere like eyes, darkness crowding around them.
Living in the house only gets worse, as you’d imagine. Weird noises get Matt out of bed and he finds a mutilated pig on the porch outside. He doesn’t tell his wife, he assumes it was the redneck boys who wanted to buy the house. So like a smart person, he hooks up lots of cameras and a nice security system hooked to his phone. Better yet, he gets his sister Lee (Angela Bassett) to go out there and look after Shelby. Lee was a bad ass cop, whose injury from getting shot on the job led her to taking medication a bit liberally. One day, really lit up on pills, she chased a serial rapist and her addiction was discovered. This got her fired, before wreaking absolute havoc on her personal life; she lost her husband, even her daughter. A sad, human tragedy.
Nothing changes in the house. Just because a security system’s in place and a former cop is looking after Shelby doesn’t mean whatever inhabits that house is going away. Paranoia runs mad now with another person kicking around. Only makes it easier for Shelby to confuse ghostly apparitions with Lee moving things, walking around, et cetera. An added interest is that Lee is still an addict. She asks Shelby not to drink, though I’m not sure how well that will hold up. On the other side is the fact Lee is also sceptical of her sister-in-law.
Then the house starts working on Lee. A lone wine bottle rolls across the floor at her, so she assumes it’s Lee being a bitch. “Why would you do something like that?” she questions Shelby. Now the accusations fly between the both of them. Meanwhile, Matt gets a text from his automated security: people in hoods carrying torches have headed through the gate up to the house. Oh, my. He tries to call the ladies, but they’re too busy arguing.
Suddenly, Shelby and Lee are interrupted by a videotape playing on the television, the strange noises from the night coming out – then on the tape appears a pig-headed man in the wilderness, squealing and bloody. Like anybody would be, the women are terrified. The hooded people with their torches get inside the house while the pair hide, and Matt rushes from a couple hours away to try getting home. When the ladies finally come out of hiding there are tons of creepy stick figures a la Blair Witch Project hanging about the house. Cops once more do nothing.
When Matt is back he watches the video, only getting angrier at the local hillbillies. He still doesn’t want to leave; Shelby takes off in the car thinking only “fight or flight.” On her way she hits somebody in the road (it’s Kathy Bates and she just walks it off). Shelby chases her into the nearby woods and gets lost. She winds up finding more of the stick figures that were hung in the house, which sends her running into a place where the earth below seems to breathe. Deeper in she comes across a man missing some of his scalp and skull, brain exposed. And in the darkness lurks a man holding a torch, among many others holding torches – Wes Bentley’s character. We’ll just have to wait and find out who he is, as well as what happens to Shelby out there.
I don’t care what any of these other horror sites are saying – they probably won’t continue watching after the first episode of the series, anyways. So fuck ’em. This was a great start to the new series. Fun references, eerie shots and sequences, a bit of character intrigue and gritty development. “Chapter Two” will likely be good fun.
FX’s American Horror Story
Season 5, Episode 12: “Be Our Guest”
Directed by Bradley Buecker
Written by John J. Gray
* For a review of the penultimate Season 5 finisher, “Battle Royale” – click here
This finale for the wild Season 5 begins with Liz Taylor (Denis O’Hare) talking about taking over the Hotel Cortez. Only she has her throat slit with a gloved hand, not unlike the one we’ve seen Countess (Lady Gaga) wear earlier in the season.
Cut to a couple checking in. Iris (Kathy Bates) and Liz woo them, with champagne on arrival, hoping to make the guests feel at home and ready for a wonderful time. They’re apparently from some website, one which reviews hotels. “It was going to take 4–stars on the internet,” Liz tells us. All the rooms are newly redone, looking beautiful; even Egyptian Cotton on all the beds. Looks a far cry from where it was once.
Except Sally (Sarah Paulson) shows up from out of nowhere to greet the new guests, lazing around smoking in her usual leopard print. She’s even getting ready to shoot up, which soon does in one of the guests. The other one goes running in the halls, coming across Will Drake (Cheyenne Jackson). “I‘m new at this murder game and jesus christ is it a thrill,” he says before stabbing her to death. Seems like things aren’t exactly perfect at the Hotel Cortez, despite the beautiful surface.
A very wonderful start to this final episode for the season. Plenty more macabre, nasty fun to come, I hope.
The meeting is called, as Liz and Iris try to create order among the ghosts of the Cortez. They all meet at the bar, everyone wanting something different. Marcy wants a new room. Will and Sally would rather kill. The rest are too self-involved, but not those two. They’re more excited for killing: “I‘m dead,” Will tells them, “but I‘ve never felt more alive.”
Up turns James March (Evan Peters), wanting them all to stop the killing. Funny, right? He’s mostly concerned about what happens if the Cortez gets shut down, torn down, bulldozed. Where will they go? In the meantime, everyone’s aruging. Until March flips a lid and sets them all straight. They need to make it a historic landmark, March claims, only they’ve got to keep the building there another 10 years, until 2026. Sally needs a “soulmate,” though, and she doesn’t look poised to change. Even with the threat of March sicking the Addiction Demon on her, as once he did before.
Most interesting is how Iris shows Sally about the world outside, social media, which will help her not be so alone in the world. She can’t go out, but that doesn’t mean Sally can’t interact with the world. Great way to bring the issues of today into the show, instead of only relying on dates onscreen from time to time. Plus, it goes well with Sally’s 1990’s rock/grunge character, to think she might be someone who would fall into social media and all its trappings.
Mainly, everyone is now trying to figure out the way to head into the future. Liz has all but convinced Drake to stay holed up in the hotel, all “Howard Hughes” and such. In fact, Liz is now Will’s acting hand at his company. Amazing new age company being led by Ms. Liz Taylor. The fashion goes on, the clothing still coming out – even Sally models bits of his work, plus Ramona (Angela Bassett) and other ghosts in the Cortez.
But sadly, Liz misses Tristan. Then we’re introduced to an old, familiar face – Billie Dean Howard (Sarah Paulson) back from Season 1’s Murder House. What a beautiful return to the original season, another character linking things together. Great season for this sort of thing, with Queenie in the last episode, Marcy showing up from time to time, and more. This sequence sees Billie helping Liz to try reconnecting with his now lost, murdered love, Tristan Duffy (Finn Wittrock). But it seems Tristan isn’t willing to fully reconnect, he’s angered and doesn’t want to talk with Liz. Not right now, anyways.
But wait – it’s Donovan now reaching from the other side, talking of “pancakes with blueberries” and that it’s “always Saturday morning” wherever he is.
Gathering the ghosts together, Liz tells everybody she’s got prostate cancer; inoperable, “nothing to do.” All those ghosts are worried, but Liz absolutely has a plan. Of sorts. Weapons are out on the bed, ready for everyone. She wants to be hacked, bludgeoned, et cetera, to death. “It‘s not murder,” Sallys says to them: “She wants to be reborn.”
“The Ballad of Lucy Jordan” by Marianne Faithfull starts to play while everybody weapons up. Liz lays back on the bed, ready for the murder to take place. At the door, though, Countess arrives. “You were always my fondest creation,” Countess tells Liz. She’s there to join in on the fun: “I wanted to be here to help you transition.” Great word play all around with this sequence. Great, viciously bloody fun. This takes us back to that first scene, watching Liz have her throat cut open, the blood flying and beginning to run down onto the floor. Savagery – the best sort which Ryan Murphy and Brad Falchuk continually give us. And in death? Liz finds Tristan once more.
Down at the desk a woman shows up on Devil’s Night in 2022. She booked a room way in advance. In other news, Iris and Ramona are lamenting too much publicity after Billie Dean Howard’s specials aired on television, bringing out the weirdos, the perverts. Funniest is seeing John Lowe in league with them all, just another part of them. We get cuts back to Howard doing her various specials in Room 44, Room 64, and so on.
Now Lowe has got himself a plan. They call Billie Dean down for another taping, as she continues to try calling on the Ten Commandment Killer to reveal himself.
Then there’s Alex Lowe (Chloë Sevigny) and John’s family. They made things work in the outside world. Or at least, as best as it would work. They tried. Out on the streets, Lowe killed, stockpiling blood in coffee canisters, stalking the streets for more victims with which to feed the family. One night, he finds himself caught by the police. Bleeding, full of bullets, John tries his best to make it back inside the Cortez, to die in there. Instead of making it all the way, he’s left on the sidewalk. Returning on Devil’s Night, though, it is easy to see James March has a hand in it all. Another dinner party, perhaps?
Jeffrey Dahmer, John Wayne Gacy (John Carroll Lynch), Richard Ramirez, Aileen Wuornos (Lily Rabe), they’re all back! Gacy’s trying to teach Jeffrey to talk to guys, in such a creepy scene. The music in the background plays heavy, lazy. Everything is terrifying and dark. John introduces her around the place, acclimating her to the strange surroundings. The Zodiac is there, too. Quiet and chilling in the corner with his baghead costume on, totally silent. A surreal sequence here, as Billie Dean navigates through “all these dark spirits.” March appears soon enough to toast them all. Lots of fun! A top five favourite sequence out of this Hotel season.
This is all a way to get Howard to stop doing specials at the hotel. The ghosts all want, need, to be left alone. So they need to her to give up. None of the ghosts can leave, but Ramona shows up to tell her: “I can.” Seems ole Billie Dean has more to fear than a few ghosts. Best she start moving on, right?In Room 64, John keeps his family. His daughter has grown a few years, obviously, and the others sleep soundly. Must be strange for her to age while the family stays the same, forever. Yet she seems fine with that mostly. It’s nice for John and Alex, who have their son back and eternally get to sleep next to one another, just like a new family. A creepy finish, as John has to go away for a whole year until the next Devil’s Night, when the family will come back together in the Cortez, to enjoy each other’s company, to love one another for that single day. A semi-happy ending in one sense, but a deeply tragic one for Lowe.
The very end of the episode sees The Countess at a table in the lounge, drinking, smoking. Out of the dark hallways comes a man she likes the look of, so off she goes to sit next to him at the bar. He sort of looks like Donovan – hair slicked back, handsome, a bit of stubble. Is that the intention? I think so. “You have a jawline for days,” says the Countess, right before everything cuts to black. Beautiful.
Loved the end to this season. An impressive full circle, but in a way that doesn’t only recall the beginning of the season, the beginning of character relationships, it also adds things on, making the layers deeper, more enticing. People complained a ton about this season. Me? I dig it. Totally. Stay tuned, we’ll see where Falchuk and Murphy go from here next season.
FX’s American Horror Story
Season 5, Episode 11: “Battle Royale”
Directed by Michael Uppendahl
Written by Ned Martel
* For a review of the previous episode, “She Gets Revenge” – click here
* For a review of the Season 5 finale, “Be Our Guest” – click here
The penultimate Season 5 episode “Battle Royale” begins with Liz Taylor (Denis O’Hare) and Iris (Kathy Bates) coming together, bed full of guns, just before the events of the previous episode’s finale, when The Countess (Lady Gaga) and Donovan (Matt Bomer) were reuniting briefly before getting gunned down, seemingly.
Here, revisiting those moments, we hear “Seconds” by The Human League. As the guns finally blaze, Liz and Iris get a few into The Countess, while Donovan also takes shots. Iris wants to help her soon who wants nothing else but to not die inside the Hotel Cortez. Naturally, right? The pair try and help Donovan, in an excellently filmed scene which almost puts you directly in his shoes, the waving camerawork, the point-of-view, all of it. Luckily they get him out onto the street where Donovan bleeds out – his final word? “Mom.” This season is winding up for a nice, and surely at times brutal finale.
For The Countess, there’s bullet removal by Hypodermic Sally (Sarah Paulson). Then later she wakes to flashes of nastiness before finally coming to all the way. Sally needs her to stick around because there’s all but literally no one else left for her; to use, to manipulate, whatever. Sally reminisces about a drug dealer, whose past included a first handjob from – you guessed it – the woman herself. This leads into a bit of backstory for her, a slight and tenuous bonding between her and The Countess.
Flashback to 1993 in Los Angeles, as Sally’s musician friends use her songs, record them, and go to the top. Meanwhile, she’s more like the nasty delinquent enabling the talented people around her to do all sorts of drugs, et cetera. Not that they weren’t eating it up, but still. “Do you trust me?” Sally asks them, before we see cuts of them sewing one another together, higher than the sky on drugs. Of course, then they both overdose, as Sally’s trapped between them, linked up. A sort of nasty Human Centipede-like homage except better, more fitting; Sally was truly trapped with addiction for five long days. This is where the Addiction Demon comes in, torturing her for days. Finally she ripped herself out of the bonds. WOW! Amazing, amazing story to Sally. Never expected such brutality. This episode is honestly one of the most filmic in the entire history of the series, to me. The way it’s filmed, the look, the heaviness, every bit amounts to an incredible masterpiece. And that’s only the first 12 minutes. Lots more to come.
Over at the Lowe household, John (Wes Bentley ) and Alex (Chloë Sevigny) bring their children home, to be “a family again.” Alex calls drinking blood taking medicine, though, young Scarlett knows better. But John’s committed to shedding his life as The Ten Commandments Killer, everything at the Cortez; he wants a normal family life again.
The Countess is still suffering. Sally brings in the little white haired children, saying she’ll have to use them for blood. Even though Countess doesn’t want that, the children agree: “Let us help, mommy.”At the same time, Iris is grieving the loss of her son. Liz helped by incinerating him, so as to not have to throw him down the chute with all the rest of the trash killed in the hotel. It’s funny how among all the horror, the murder, the blood, you can really feel for a character like Iris. She only ever came to the hotel for her son, now he’s gone, dust. He was her world. “We were so much alike,” she reminisces, “maybe that’s why we couldn‘t be close.” Afterwards, leaving Miss Evers (Mare Winningham) to clean up the mess she made with the ashes, Iris heads up on top of the hotel, looking out to the horizon. A sort of beautiful, weird moment all in one.
Dressed and made up, Liz strolls down the hall some time later with a now clean Iris. They head down the locked up hallway, where bodies are strewn everywhere, from that of Will Drake (Cheyenne Jackson) to the bunch of vampire children. Not to mention, Ramona Royale (Angela Bassett) who emerges strong and healthy from around a corner, blood stained, spiteful.
Up shows a witch from down in New Orleans – yes, it’s Queenie (Gabourey Sidibe). She’s going to do a bit of game show fun and all that Los Angeles type of stuff. Unfortunately, though, I think she checked into the wrong hotel.
“There‘s a lot of bad juju in this room,” says Queenie after entering the place she’s meant to stay all night. She doesn’t like the place, but Iris and Liz con her into staying. Then when Ramona comes out of the shower, slashing away at Queenie, there comes the voodoo doll stuff. Pretty interesting fight starts between the two – a sort-of-vampire versus a voodoo witch. Out of nowhere, James March (Evan Peters) stabs Queenie with a big blade from his cane – he’s a ghost, remember? So the rules are skewed. Ramona drinks Queenie’s blood, getting her fill. Then James says: “I want you to kill The Countess“… he’s got big plans. He doesn’t want to see his love walk away from the hotel.
John Lowe arrives home. In his trunk, he has a man whom he questions about being clean. Do you know what he’s got in store for him? I know I do. Some of that medicine Alex was talking about earlier. Is the new way for the Swiss Family Lowe? We’ll see. Inside, John finds nobody. Only a key for the Cortez hanging from a light fixture.
Cut to Lowe back at the hotel, running through the halls. Straight to Room 64. There on the bed is Sally, waiting. She claims March took his family – “One last kill and I can take you to your family,” says Sally. The final commandment left? Thou shalt not commit murder.Busy fitting Ramona Royale for a dress, Liz is preparing her for the coming slaughter. But Ramona has “witch‘s blood” flowing through her, she doesn’t want any of the assorted guns or weapons Iris and Liz have got kicking around.
With “I Wanna Be Adored” by The Stone Roses playing in the background, The Countess is having a reunion with Ramona. They talk of how their blood smells – “almonds” for Ramona, “black licorice” for The Countess. They miss one another, even if Ramona wants to kill the bitch. Likewise, Countess misses her, too. No matter what’s happened, or what may come next.
Just after the two make love, and The Countess is let free, she meets John Lowe when the elevator heads down. He blasts her away, letting her bleed on the elevator’s floor. Countess is the final commandment. Her head is now in a jar on the shelf upstairs, everyone reeling with pride over John’s accomplishments. Only Sally’s got further plans – thwarted after March stops her from stabbing him, keeping him there forever. Relieved? Well, John’s a killer, as well. Shouldn’t be too relieved for the man.
March sits at his table and asks Miss Evers about when she first discovered being a ghost. Then he gets upset over the dinner arrangements. At the door is The Countess, whose arrival at dinner has prompted James to be a little tempestuous, and Miss Evers to be get a bit saucy. Countess is adjusting to her “new state,” as March calls it.
Big reveal comes when we discover it was Miss Evers who called the police all those years ago. She wanted him, her jealousy got the better of her. “I wanted us to die together,” she wails. Only things went… a little differently, than expected. This leads to Miss Evers being banished from March’s presence, heading off into the darkness.
The episode finishes with March happy to have The Countess back. Although, she’s much less thrilled. Her eternity is relegated to a space where she’ll never be happy, ever again.
Excited to review the finale of Season 5, “Be Our Guest”. Looking forward to a weird, wild episode to finish off this bloody, violent, sexy and odd season. Stay tuned.
FX’s American Horror Story
Season 5, Episode 10: “She Gets Revenge”
Directed by Bradley Buecker
Written by James Wong
* For a review of the previous episode, “She Wants Revenge” – click here
* For a review of the next episode, “Battle Royale” – click here
Only a few more nights left at the Hotel Cortez.
Tonight we open with the wondrous Liz Taylor (Denis O’Hare) lamenting “forgotten hotels,” such as the Cortez, and what they’re good for – from drug deals to indiscretions of all kinds. Love that we’re getting more Liz because I find her spectacular. O’Hare is an enormously talented character actor who gives life and luxury to Liz. Here, we see more depth to her and all she is, as she tells us about one particular old couple who commit suicide/murder together in order to not have to see the twilight years come for them. After their brains are blown out, Iris (Kathy Bates) does lamenting of her own. Mostly about the time it’ll take to clean the blood out and scrub the walls. Meanwhile, Liz cries because she may “never be happy again,” unlike the happy couple who chose to go out on their own terms right there in that very room. She picks up a gun, wanting to die. But Iris reminds her that would only see her trapped in the Cortez for eternity. I’m glad Liz choose not to, at least not right now. She tells Iris there’s a little unfinished business that might be good to tend to: her son. The old life of Iris still lingers, that’s how much she obviously cares about his boy. Both she and Iris have their plans, together, for a grand finale to life.
Liz has Miss Evers (Mare Winningham) calling up his son. She can’t bear to talk to him herself, not just yet; after all it’s been 31 years. Liz says she’s “written letters” and “god knows I‘ve written cheques.” But we’ll see if this comes around to a good thing for her. For now, Miss Evers is giving Liz a hard time over lifestyle choices, et cetera. She fears Liz is expecting too much of her son, for him to be too understanding.
In other parts of the Cortez, John Lowe (Wes Bentley) is admiring his Ten Commandments work, while Sally (Sarah Paulson) watches on. We cut to John, knife in hand, approaching some – what looks like – Mexican faithfuls, whom he cuts down. He doesn’t have much work left to do before he’s free: “One more and you‘ll be free,” Sally tells him.
Then there’s Donovan (Matt Bomer) who approaches Rudolph Valentino (Finn Wittrock) in his motel room, all while Natacha (Alexandria Daddario) goes to see The Countess (Lady Gaga). Great editing back and forth between their two paralleled conversations. On the one hand, Rudolph and Donovan have a semi-manly confrontation. On the other hand, Countess seduces Natacha a little before they each take out a knife. Only when Rudolph produces a Middle Eastern style sword, Donovan replies “Bitch please,” along with a bullet, or a couple, to his face. At the hotel, Countess likewise slashes down Natacha. Ouch. How will The Countess react after she discovers Rudie dead?
Back to James March (Evan Peters), a late favourite of mine in this season. He’s suited up in his creepy leather mask with a new sacrifice at his hands. He lights a man on fire, who quickly perishes in flame. Right afterwards, Lowe shows up. They’re quite cozy now, the two buddies. Murderers in league. Nice special makeup effects here, too; some nasty burn work. That’s something I forget to mention often in these reviews. I love all the makeup and special effects work in general the series has done, from blood and gore to more understated stuff. Plus, there’s great costume and set design.
John is reunited with his wife Alex (Chloë Sevigny) for the time being. She has certainly changed. As has John, or perhaps he hasn’t changed just accepted his identity. He’s hurt by the lies she fed him, concerning their children. But at the same time, John has both accepted his new murderous identity, as well as accepted his own faults in everything. A dark turn of events. Regardless, the husband and wife are seemingly back on the same side. She admits to him what happened with the children, and the fact The Countess has threatened to kill her and their boy if she doesn’t control the vampire outbreak amongst the young ones. John has agreed to help. Will this be a husband-wife blood bath of some sort coming up? Can’t wait to find out.
Then Douglas (Josh Braaten) shows up at the Cortez, sitting down for a drink. Liz serves him up a drink, then they chat together a good long while. Douglas even talks about his father, who split, and that it was just he and his mother. He mentions about being in town to finally reconnect with his father. Such an emotional moment to watch Douglas walk away, Liz left wanting to say all the things that need to be said, only afraid to go ahead and do it.
But more importantly, John is helping Alex. They sneak into a house, which looks like the one where she last saw the kids. John is still in cop-mode, even holding his gun and flashlight like an officer of the law. There’s blood on the floor downstairs in huge splashes. Upstairs, John tries to find anything in terms of a clue. Out of nowhere, one of the kids shows up trying to stab Alex. More come after John appears. One of the young girls is very sick, dying, but the kids aren’t being any help obviously. The lead kid is upset about the dead girl, though, his other idiot friend seems hellbent against adult involvement.
The Countess is explaining to detectives where she last saw Will Drake (Cheyenne Jackson). He’s nowhere to be found. One cop says it could be “cold feet.” Yet Countess disagrees. Then, to her surprise, Will shows up in a slick black suit looking better than ever. The look on her face is worth a million words. “You murdered me, you bitch,” Will spits venomously at his wife. But she’s not happy how he treated Bartholomew, the things he said. Spiteful, no? She was going to do it anyway. Countess has it all figured out, or that’s what she’d have others believe.
Later on, John and Alex show up with the kids back at the hotel. Finally, the killer vampire children have been convinced to settle down. They lead the kids to a hallway and tell them there’s a room a ways down where they can rest, wait for some food. Reluctantly the children go inside, except the jerk, who John knocks on his ass into the hall. They’re locked away in the darkness by the Lowes. What follows is a descent into Lord of the Flies territory, only with vampire kids, and instead of an island a hotel’s forgotten hallway. Best of all? Ramona Royale (Angela Bassett) turns a corner, full of blood, and sees the children: “Mm. Mama smells appetizers.”
What I love about this entire sequence of scenes is the way John and his wife seem like a happy couple again, now that they’re both monsters of sorts. On top of all that, Sally shows up asking if he came inside her, or if he “shot it on her tits” the way he does with her, because “with a whore it‘s always on the tits.” So even with the happy couple dynamic, Sally is still kicking around as the mistress in John’s new fucked up world. Sally is a drug addicted ghost of some type, a demon even. Alex is a vampire. John is the Ten Commandments Killer. But Sally says “she doesn‘t know about you – not like I do.” He wants to do it for his family, though, we know that addiction is strong. And it never lets go easily. Sally and John end up having a knife-point confrontation; she isn’t pleased with his decision to be with Alex.
Then, the addiction demon briefly appears in flashes behind Sally in the hallway, its drill-bit dildo barely visible for a moment in time.
Douglas returns to the hotel. He reveals knowledge of his father; at first Liz is a little ashamed, but quickly comes to see things are okay. Well, not okay. But nothing crazy seems poised to happen. Liz is happy to see Doug is a well-adjusted, grown, responsible man. Doug isn’t outraged by his father, his lifestyle: “There‘s plenty of room for another woman in my life,” he tells Liz, who staggers back in emotion. Amazing. I hope this is all headed somewhere nice, a bit of a reprieve in the life of Liz.
Other seemingly happy times between Donovan and Countess at dinner. She talks about what she did to Will Drake, which he loves, of course. Lots of hilarious inclusion of modern talk and technology, modern phrases like “hate–watch” and “FaceTime.” Then, Countess finds Rudolph with his face shot to pieces at the motel. Brutal. Though, I don’t care about her pain. She deserves all she gets. Will she get revenge in this episode, or will another she get her revenge?
Over in a different room, Iris shows Liz a various assortment of guns, knives, poison possibly, slipknots, and so on. As well as a final video, tribute to her including good pictures and one of herself with a cat; all to be a “beacon of hope for my 3 follows on Instagram.” Only Liz doesn’t want to go out any longer. She wants a connection with Doug now. Now, Iris is abandoned once more; she feels as if everyone has left her behind. Liz has got other plans: “Dammit, we‘re the ones who should inherit the earth,” she tells Iris. Will these shes get revenge?
Alex and John go to the weird video game room, where father is reunited with long lost son Holden. He cries and takes the boy in his arms, happily embracing the son he never thought he’d see again. John loves his family, even if two of its members are now vampires. But what will The Countess have to say about this? Is she simply going to let Holden leave, letting Alex go? And what about John – can he abandon his Ten Commandments work? On their way out of the hotel, the Lowes are confronted by an angry Sally who swears on her soul: “I will kill you.”
In the penthouse, Donovan rocks out to Drake’s “Hotline Bling” until being interrupted by The Countess’ cold, dark presence. She talks about Rudolph, her search for him over a century. She and Donovan exchange thoughts about “being trapped here“, inside the walls of the Cortez.
“He made me everything I am”
“And you made me, in his image.”
Before Countess can kill Donovan, in bust the two bad asses Liz and Iris, each wielding two guns, blasting at their nemesis. Though we don’t see what happens. Only a cut to black.
Very excited to see the next episode, “Battle Royale.” We’ll see what happens with Countess, Donovan, and the two new gangsters in Liz and Iris. Stay tuned with me, fellow fans!
FX’s American Horror Story
Season 4, Episode 12: “Show Stoppers”
Directed by Loni Peristere
Written by Jessica Sharzer
* For a review of the previous episode, “Magical Thinking” – click here
* For a review of the Season 4 finale, “Curtain Call” – click here
The penultimate Season 4 episode starts with a large party at the freak show. Elsa Mars (Jessica Lange) watches on and toasts her family and friends. As well as the new owner, Chester Creb (Neil Patrick Harris). Everyone is in attendance, from Marjorie to Maggie Esmerelda (Emma Roberts), Paul (Mat Fraser), Amazon Eve (Erika Ervin), Desiree Dupree (Angela Bassett) and the Tattlers (Sarah Paulson).
Elsa asks for time alone with the original freak family. She thanks Richard Spencer a.k.a Stanley (Denis O’Hare) for helping to change their lives. Only we know the truth. And now, Elsa knows, too. They’re reeling him in with food, drink, as well as entertainment – nice callback to Season 2 and The Sign of the Cross, as Legless Suzi (Rose Siggins) complains they don’t want to see that one again. But Stanley says he has to go, lots to do before their move to Hollywood. Elsa doesn’t want him to go, nobody does. They want to give him a nice present. Out comes a big, heavy box. They beg him to open.
And what’s inside? The head of the museum owner floating in a jar. Cut to a scene where Maggie and Desiree lured her in, before killing her. “Now it‘s your turn,” Desiree tells Stanley. He of course squirms like a snake about to be cut in half. He keeps flaring up the dreams of Hollywood, but Elsa won’t have it. He’s put up on the knife wheel, as Elsa tosses a few blades. Then things progressively get worse with Stanley cornered by the entire crew of freaks.
Let’s see where ole Stanley ends up after they’re finished with him.
“You tried to kill my dreams, but they cannot be murdered. But what you did – you brought death into this place, and for that you must pay.”
Jimmy Darling (Evan Peters) is turned onto what really happened with Richard a.k.a Stanley. Maggie gave herself up to everyone, too. But Jimmy is not happy. He is completely disfigured now and doesn’t want to be the leader Elsa says they need. She’s bringing an old friend who can help with his new predicament. Maggie’s left to help change the bandages on Jimmy, though, he would rather not have her around. Still, she tries her best to be there for him in his weakest time of need.
At the same time, Elsa is working on her show not having much luck with anything. Out of the darkness comes the doctor who helped her so long ago – Massimo Dolcefino (Danny Huston). He is the old friend come to help Jimmy with the missing hands. Elsa and Massimo embrace, having not seen each other for so long.
Switch over to Chester and the Tattlers having sex, while Marjorie (Jamie Brewer) is watching. Or at least Chester sees her as very real and embodied, looking on. He throws her on the floor, out of the way, as requested by Bette and Dot. Then the lovemaking gets more intense after Marjorie is out of the way. Afterwards, she’s not too impressed with Chester, who says he simply got “carried away.” The twins obviously don’t want to be watched by a creepy doll. But Marjorie convinces Chester, more and more, they’re only trying to twist him up. He doesn’t want to see it, though, I’m sure Marjorie will drive him to seeing things her way. Even if Chester still believes Alice/Lucy, his wife and her lover, were killed by Marjorie the doll.
QUICK CUT TO: Chester beating his wife’s lover to death with a hammer, blood everywhere. He remembers it. He just doesn’t want to, that’s all.
Dandy Mott (Finn Wittrock) pokes his head into the Tattler Twins’ tent. He has “relevant information” pertaining to Chester and his other life before the freak show. He appears like a friend would, trying to look out for them. Of course, we’re well aware of the true dark heart in Dandy. Even if he fakes some tears, saying he’s not “half the man” they deserve. Funny little line, I thought. Sadly, though, the guy has real information about Chester and the girls don’t heed his warnings. They’re not entirely above board, his intentions. But Dandy is sort of looking out for them, in his own backhanded way. And Chester is actually a psychopath, so y’know.But now we’re getting back to Elsa visiting Jimmy in his bed, feeding him a bit of liquor and telling him he “looks like shit.” Well, duh – he has no hands. Then she readies some penicillin as Massimo reveals himself. He is going to craft some new hands for Jimmy, to make his life a little more manageable with wooden hands.
Excellent flashbacks to Elsa’s past, in the black-and-white snuff films. More connection to Season 2 Asylum with a young doctor Arden (played here by John Cromwell; James’ son) leading the crew of people cutting the legs off Elsa. Massimo tracked down Arden, or Hans Gruber as he was known then. He tried to kill the doctor, but only received capture and hideous torture. Luckily, Massimo survived because a higher ranking general wanted a bookshelf, and he was needed to build it. Later he escaped to America and away from it all. Amazing story and a great inclusion of Danny Huston in this season, giving him more screentime than I originally imagined he would have.
At the carnival, the Tattler Twins are at odds over who Chester really is; Bette is worried, Dot thinks she is influenced too much by Dandy. They say they don’t want to be his assistants any more. This shakes Chester. He says they’ll be ‘sawed in half’ during his big finale, instead of a member from the audience. They don’t want any part of being in that box, refusing to do so. But Maggie says she’ll do it, she wants to be a “part of the show” and seems very eager.
Now, Chester is hallucinating it’s his wife, and then her lover getting in, not Maggie. This spells danger already. When the trick is being performed, Chester starts hallucinating more. He handcuffs Maggie at the feet. He sees Marjorie, the wife, the lover, Maggie, all in the box. Maggie is terrified and then he proceeds to saw her completely in half, blood spurting everywhere. Paul and the others are mortified by what has happened, as he hauls the box open and Maggie’s guts spill everywhere. Supremely nasty stuff. In the audience, Marjorie sits laughing: “That‘ll pack ‘em in, Chester.” No one is too broken up, as Maggie helped kill some of the freaks. Desiree tells the rest of the crew: “She had it comin‘.”
In his trailer, Chester finally stabs Marjorie to death. Or to splinters, I don’t know anymore.
Knowing the truth about Ethel’s murder, the rest of the freaks intend on taking revenge upon Elsa. The Tattler Twins discover her in her tent, finding out she is also a freak with her missing legs. But they tell her about the freaks coming for her, feeling indebted to her slightly. Then, Elsa is gone before they can find her.
At a police station, Chester walks in to confess the murder of Marjorie. How perfect.
Before fleeing Jupiter, Elsa meets with none other than Dandy Mott. She receives $10,000 in exchange for her carnival. And so Dandy loves every moment of it, prepared to take hold of the show himself. Afterwards, he finds Stanley who is now transformed into an homage to Tod Browning’s Freaks. Fitting, as it was referenced earlier on at the start of the episode. Very creepy scene with Stanley’s new body.
The finale sees Massimo give Jimmy his new hands: they are wooden lobster hands, like his original ones. Jimmy claims they’re perfect and comes to accept himself, in a new yet familiar form.
Excited for the next and final episode of Season 4, “Curtain Call”.
FX’s American Horror Story
Season 4, Episode 11: “Magical Thinking”
Directed by Michael Goi
Written by Jennifer Salt
* For a review of the previous episode, “Orphans” – click here
* For a review of the next episode, “Show Stoppers” – click here
Back to the moment where Stanley (Denis O’Hare) proposes an idea to “raise the funds” needed for a top notch lawyer to represent Jimmy Darling (Evan Peters). He tells Jimmy there’s a man who collects memorabilia belonging to freaks, but the kid has nothing. Stanley proposes cutting off just one hand. Jimmy rightfully says no. Except the greasy snake oil salesman in Stanley keeps edging it on. He produces a small glass bottle for Jimmy, telling him to take it and he’ll “take care of the rest.” And even sadder is the fact Jimmy sucks down whatever liquid sat in the bottle. Cut to an extremely sick Jimmy, while Stanley bullshits an office outside screaming for an ambulance to take Jimmy for some care. Outside, in an ambulance, sits Stanley’s boy toy who played the part of Dr. Sugar awhile back. “Don‘t worry, Jimmy,” says Stanley. “You‘re in my hands now.”
Waking up in a hospital bed to a cold nurse at his bedside, claiming her friend “Mirna was at that Tupperware party,” Jimmy discovers not only his left hand is gone, but also the right one, too. Each remaining a bloody stump. What a horrifying scene. Evan Peters’ characters get the shaft every season, even when they’re the good guys. I love his acting, he gets a great character this year and he is doing lots of fine work with Jimmy.
Bette and Dot Tattler (Sarah Paulson) are watching the rest of the freaks at the camp. Dot believes they are all wonderful people, who have fun and give themselves over to pleasure. Bette is back to being happy just having her sister there with her, gone back to the original brown hair Plain Jane look she and Dot share so well. “We are where we belong,” Dot writes in her diary. They’re both looking for sex now, trying to find the perfect guy to take their virginity once and for all.
And then up shows Chester Creb (Neil Patrick Harris). He’s been showing Paul (Mat Fraser), Amazon Eve (Erika Ervin) and the gang a bunch of chameleons. He has a hothouse back home where they were bred. But Chester has issues, that much is clear. He hallucinates two entirely different heads on the Tattlers, shaking it off quickly; he was on Normandy Beach in the Second World War and has a metal plate in his head. PTSD? We’ll see. Either way, Harris is an amazing addition to this Season 4 Freak Show cast. He is an interesting talent and has a ton of range, despite what anyone else may say. I don’t particularly watch anything else with him in it, I just love his charisma and his willingness to be weird (i.e. the Harold and Kumar flicks). Plus, now Bette and Dot have a bit of sexy love interest.
Down at the hospital, Dell Toledo (Michael Chiklis) runs to his son. He finds the boy now disfigured. Dell warns him about Stanley, or Richard as he’s known around Jupiter these days. He tells Jimmy Stanley is a “lying prick.” Worst of all this is the fact I’m sure Stanley will leave Jimmy up the creek. Best of all? We’re treated to a tender father-son moment between this once distant pair. Jimmy is fed his hospital food by Dell, who eagerly sits down to help his son. He even reminds Jimmy “prosthetics are good these days.” They make light of things and try to smile a little bit. Turns out, even in a Lobster Claw Clan like the Toledos, Dell was actually the outcast; no claws, no family. He was the “black sheep” and as Jimmy puts it “a freak for being normal.” Dell ran off because of Jimmy’s claws, lamenting “I‘m 50 years old and I‘m feeding my son for the first time.”
Over with Elsa Mars (Jessica Lange), the newly arrived Chester shows off terrible magic tricks. She does not want to see any of those. Then he produces his puppet Marjorie – voiced by the wonderful and returning Jamie Brewer. It seems there’s a little more to all this than what appears to us up front. The voice indicates there’s something either wrong with Chester, or wrong with the doll— anticipating it’s probably mostly the former. Chester desperately tries to get Ms. Mars to take him in, even showing off a book of numbers to give her a taste of his profits. She would rather have him as a bookkeeper, and a warm-up act for their crowd. He is properly “speechless” (even though he has plenty to say), sharing the joy with Marjorie the puppet, as if she were completely real, as if she were his partner. Creepy stuff already from Harris and his Chester character.
In his new tent, we hear Chester go back and forth with Marjorie. She’s not happy about their new billing; she isn’t on it, only him. Paul walks in while Chester is supposedly “rehearsing,” giving him tips on makeup, at which Marjorie laughs and taunts him. Interesting, and I want more of these two now. They’re definitely building towards something weird, macabre, and specific.
Elsa is still packing up, preparing for Hollywood along with some help from her freaks. Then Dell appears telling Elsa what happened to Jimmy’s hands. She is terrified, as the others are pretty damn upset. Amazon Eve stops Dell, telling him they ought to do the “strongman strongwoman” act after all – she wants to help his son.
Before any of that, we’re back to Chester, only now he’s introducing himself to the lovely Tattler Twins. Both of them seem pretty impressed with him, as he brings a little music box with ballerinas inside for them. Even the usually cold, distant Dot is into it. Out in the old forgotten props tent, Chester also found himself a sawing box; y’know, the trick box magicians used to “saw a lady in half.” This brings on a GREAT EDIT of the Tattler Twins having the surgery to separate, very quick. Until Chester corrects them, saying he only wants to do a trick with it. He wants them as his assistants, to distract the audience – that’s what magic is all about. He’s proper struck with their beauty and wants them as a part of his life, a part of his act, all of it.
Quick flashback to Chester’s former life. Two women are kissing, touching one another, as Chester sits smoking in an armchair watching on in his army uniform. He doesn’t look too happy, though. And he’s got Marjorie on his lap, too. A supremely unsettling scene with just enough to whet our appetite. For a character brought in near the season’s close, we’re getting lots of good stuff already, so I’m intrigued to see where Chester brings the other characters – specifically the Tattler Twins – in the next couple episodes before the finale.
One amazing sequence comes afterwards, as two police take Jimmy out of the hospital in the night to bring him back to jail. Too bad for them, as Amazon Eve and Dell take out their vehicle, then murder both of the officers. Dell particularly smashes in one of their faces in a horrifying bloody mist. Then, the surprised Jimmy is let free by his father.
Now, we cut back to Chester who is yelling at Marjorie. Then interrupted by the Tattler Twins, who think he’s just practicing throwing his voice. They kiss him urgently, wanting him sexually. Full of desire: “We chose you to deflower us,” Dot tells him. But Chester’s metal plate makes his head go haywire, a ringing in his ears. He clearly has strange things going on up there, and way more strange than any metal doctors put in after the war. But we already know Chester has some sort of issues related to two women in bed – not exactly good for the Tattlers, is it? We cut back more to the two women Chester is watching, sitting there “like a dummy” along with Marjorie the dummy on his lap. There are rules set down for a possible threesome, but Chester gets up and wants to go to the garage, to do some magic. Cut back to the present and Chester’s head is on fire with noise. He can’t even tell reality from his past, from his hallucinations. The more Bette and Dot get involved with him, the more I worry for every single one of the freaks at the carnival.
And now more Dandy Mott (Finn Wittrock). The police officer he now has hired brings him information on the Tattler Twins and their new flame, Chester. “They were supposed to be mine,” cries Dandy. Uh oh. But uh oh for the twins or Chester? Or all of them?
At the same time, Chester is trying to put Marjorie to rest a little. The dummy has other ideas: “I‘ll tell,” she says. Then we’re cutting back to the past with Chester, looking for Marjorie who is not in her case. The woman sleeping with his wife is taunting him, labeling him a “pervert” and “insane” and so much more. Then Marjorie, in human Jamie Brewer form, appears saying they have to kill her, to keep her quiet. Now I’m seeing more and more of his insanity come out.
Over in Elsa’s tent, we find out more about Chester – he’s buying up her Cabinet of Curiosities. She talks lots of bullshit, misguided egoism and so on. Y’know, the type of stuff she usually does. Then there’s Chester, continually insisting Marjorie is a real person, without outright saying it. A contract is drawn up by Elsa who wants things to remain almost the same as they were under her management, which Chester sees as absolutely fine.
Next, Marjorie goes missing, and Chester is not happy.
The police show up at the freak show tent city looking for Jimmy Darling. Only Elsa reacts appropriately. She knows nothing of where he is. Right after that, Chester comes out raving about his missing Marjorie; the cops and Elsa are equally disturbed, as are Paul and the others. The law plans to tear up the tents looking for any sign of Jimmy. But there’s nothing to find.
Chester is by far the second most psychotic character in this season, next to Dandy. Only fitting they’re coming together now in a horrifically dangerous way. Dandy shows up in a big fur coat, claiming to Chester that Marjorie is mad, that she’s leaving and running away; she isn’t happy about what happened, “with the twins.” Dandy has info on Chester, thanks to the officer on his payroll – he murdered his wife and lover, leaving a note claiming “Marjorie did it“. Excellent cut to a scene where Chester imagines seeing Marjorie in the bedroom hammering his wife and her love to pieces: bloody, bloody pieces. “They should‘ve let us join in,” she says to Chester. “We should‘ve been included.”
But Dandy is setting up more madness. Chester finds Marjorie in the big tent, apparently eating grapes. She wants him to get rid of the people in their way, separating them and driving them apart. She wants more blood and murder.
Maggie comes to Elsa in the night saying “there‘s something I have to show you.” Meanwhile, Desiree (Angela Bassett) confronts Dell in their trailer with a gun. “Who‘ve you killed since we got here, Dell?” she asks. She knows about what he did, to Ma Petite. She’s seen it with her own eyes. Simultaneously, Maggie reveals Ma Petite in a jar to Elsa. Do we have a final revenge coming on Dell? The gun is drawn, he admits what he did to Desiree. Only Elsa sneaks in behind him and blows a hole through his head: “That‘s all I needed to hear,” she exclaims coldly.
Another solid episode, bringing change even at a later stage in the season. It’s great and I dig everything happening. Next episode is “Show Stoppers”.
FX’s American Horror Story
Season 4, Episode 10: “Orphans”
Directed by Bradley Buecker
Written by James Wong
* For a review of the previous episode, “Tupperware Party Massacre” – click here
* For a review of the next episode, “Magical Thinking” – click here
With only a few episodes left, the freak show in Jupiter is experiencing all sorts of madness descending upon it, from Elsa Mars (Jessica Lange) and her dangerous ties with Stanley (Denis O’Hare), to Jimmy Darling (Evan Peters) who now finds himself at the mercy of the police; so, so much is happening. And still, there’s more!
This episode commences with the death of Salty (Christopher Neiman). Poor Pepper (Naomi Grossman) is devastated, clinging to his corpse on his beautiful deathbed. Paul (Mat Fraser) and Amazon Eve (Erika Ervin) try to tear her away, though, she misses him obviously. Elsa claims to know the “depth of that girl‘s soul” even if others don’t always. We get a couple very sad moments where Pepper discovers Salty dead during sleep, a stroke they assume. Such a tragic thing, to see two people who loved each other in spite of the world around them, now one of them left alone to remain on earth.
But we get more of Stanley looking for specimens, as he takes the body of Salty, chopping off its head, and sending it over to the Museum of Morbid Curiosities. Where the head is displayed next to Ma Petite, floating in a jar of formaldehyde. More of a sad end in the life of Salty.
Over at the camp, Pepper lays in bed while Desiree Dupree (Angela Bassett) reads her a bedtime story. The part-newly changed Dell (Michael Chiklis) shows up, moved by her reading the book and claiming she’ll be “a great mom someday.” He’s still a bad guy, but to see this shift in him is a bit incredible. For all the terribleness that is Dell, he still cares for Desiree, as well as seems to have started caring for the freaks around him after finally admitting that he, essentially, is just as much a freak. Inside the tent, Pepper cries while Desiree has to leave to prepare for the night’s show.
Elsa and Desiree have a drink together, talking a little about Pepper’s dilemma. Further, they chat about Elsa’s new move off to Hollywood, or at least what Elsa believes is her coming big break. Will Stanley, a.k.a Richard, do anything for her? We’ll see. For now, we get more flashbacks into the life of Elsa Mars and her first days in America playing in a group from Boston. Soon enough, though, Elsa found her niche, proclaiming the circus owners as “morons” and saying they couldn’t “see the future.”
But Elsa could. She understands entertainment, what people want, what they crave, even the darker things. “Most people don‘t see beauty in someone like Pepper. They see shame, they see human garbage,” Elsa tells Desiree. This is where she arrived at an orphanage to find Pepper alone in a corner, playing with blocks by herself. Such a touching scene, highly emotional to see Elsa connecting with Pepper in those first beginnings of their long relationship/casual friendship. She was Elsa’s “first monster,” one who made her feel real and unconditional love for the first time, as well. Moreover, Elsa saw the maternal instincts in Pepper grow, but knew she couldn’t have children.
Then came Ma Petite (Jyoti Amge), who satisfied the curiosity of Elsa, and also helped to quell the maternal longing of Pepper. What a beautiful sequence where we see the origins of these freak show relationships! Such fun to see Ma Petite back, too. Even when she’s traded for 3 cases of delicious Dr. Pepper into Elsa’s arms. But, although Petite became a part of a carnival of so-called freaks, she was let off the leash to which she’d been held by the Indian prince, and so I say: good. One of the most emotionally challenging and intense sequences out of this season, as we get this really romantic and nostalgic sort of thing happening throughout these scenes. Especially after Salty is first introduced to Pepper, and they fall in love at first sight! They have a nice carnival wedding, officiated by Elsa and flowers tossed around by the sweet little Ma Petite. Definitely a favourite overall from Season 4 Freak Show, with an extended sequence stretching out a bit. This gives more depth to the other characters. It also makes Elsa a little more human, regardless of her terrible faults.Still, Desiree suggests maybe Pepper’s sister may take her back in now that she’s older, not eighteen and hard to handle anymore. But, as we know, Pepper later ends up in Briarcliff during Season 2 Asylum. Are we to see that transition in this season, better yet in this episode?
Maggie Esmerelda (Emma Roberts) receives Desiree and Angus T. Jefferson (Malcolm-Jamal Warner) in her tent, looking for a reading of their future. Shyster Maggie shows off her skills, or at least her skills of excellent perception; pretending to look at the crystal ball, only gleaning facts about him from looking at his shoes, his coat, et cetera. She feeds them both a good line of bullshit, as they lap it up eagerly, loving on one another. But then Maggie’s own feelings work into the reading, talking about how their perfect little little will go “all to shit.” Because that’s life. They have no time for her nonsense, even Angus claiming he’s a “God–fearing Christian” who doesn’t believe reading the future is possible. Yeah, like he didn’t love it before that.
Outside, Maggie and Desiree have a confrontation. Then Maggie reveals: she and Stanley are “on the grift,” and they’ve been working together since 1941. A little flashback to Maggie’s days grifting as a young sneak selling papers, supposedly, as a boy. Stanley yanks her out of trouble, then makes her his partner; for a bad price on her part. Maggie is upset, but Desiree knows there’s something nasty afoot on their part, and threatens the younger woman – if she finds out anything happening at the carnival, the freak deaths, has something to do with her and Stanley, there will be hell to pay.
In her tent, Maggie is awaited by Bette and Dot Tattler (Sarah Paulson). They want her to do right by Jimmy. They have money to pay for a lawyer, so he won’t “turn out like Meep,” which finally frightens Maggie into helping. Or at least so it seems.
At Jimmy’s cell, up turns Stanley. He says he’s there to help and knows exactly how Jimmy feels. He reels off a story about losing his mother, being an orphan. Is it more sleek sales pitch, or is it real? I doubt that. Jimmy doesn’t remember killing those women in his drunken rage. Though, he can’t be sure. He had a long blackout. “I didn‘t kill them. Did I?” Jimmy asks Stanley. The latter says he has an attorney for Jimmy, one who wants a retainer. Stanley is greasing his way towards something: what is it? He says he has an idea on how to “raise the funds”, after which we get a flip-screen shot zooming in Jimmy’s hands. NO! Is Stanley going to do what I think he’s out to do? Will he convince Jimmy to cut the hands off? Will Jimmy die? Oh, man. I can’t handle that.
In tent city, Desiree is busy cooking for all her fellow freak family. She and Maggie are still flitting around each other. Maggie wants to help Jimmy and tries to gain Desiree’s trust: “Everyone in this entire camp will be dead soon if you don‘t listen to me,” Maggie tells her.
Mare Winningham returns to the Ryan Murphy-Brad Falchuk universe as Pepper’s sister, Rita Gayheart. She seems a very prim, proper type, an upper class housewife in the 1950s with a nice hairdo, high heeled shoes, and a drink during the afternoon with a little cherry in it. Elsa doesn’t want to leave her there evidently, but seems to believe it’s best for Pepper. Rita, for her part, is not too interested. Especially seeing as how her husband has no idea Pepper exists. “Pepper is a gift,” Elsa says and tries to express how Pepper needs someone now, after suffering “great losses.” More emotions flow again now, as Elsa says a teary goodbye to her friend, her companion Pepper, who also shows that she will miss her. But the trouble has only begun for dear Pepper.
In other news, Maggie brings Desiree to the museum where Stanley unloads all his freak bodies and body parts. Sad to watch Desiree walking around, seeing Ma Petite and Salty in their jars, dead and gone. Right as they’re moving around from one exhibit to another, up shows a new exhibit: lobster hands. Maggie faints, but is this real? ARE THOSE JIMMY’S FUCKING HANDS?
Before figuring it all out, we snap back to Rita who is with a familiar face: Sister Mary Eunice McKee (Lily Rabe). What a treat! I love Rabe, and her presence in the American Horror Story universe is incredible, as always. We’re flashing to 1962, at Briarcliff, where Rita talks about how she finally got pregnant after not thinking she could get pregnant. Unsuspectingly, Rita has a child. Only the baby was slightly deformed, and later little baby Lucas became more of a problem.
Rita claims Pepper was helping out with the infant. Though, we get shots of Pepper trying to do so while Rita lies drunk in bed calling for “another martini.” In Season 2 Asylum, we heard Pepper supposedly murdered the baby, cutting its ears off or something similarly nasty. Here, we see the truth. Rita was a mess, her husband Larry Matthew Glave) was possibly molesting Pepper. The baby was left mostly to Pepper, who is accused by Rita as being a murderer. Yet in reality, Larry and Rita want the baby gone; he leads things, but she certainly doesn’t try to stop him. They concoct a little scheme to have the baby gone, to have Pepper gone, too. Larry asks his wife: “What if I had a way to kill two birds with one stone?” I won’t say any more. But this whole sequence is very morbid, frightening, and entirely too sad. Pepper’s tragic history is a weepy one, no doubt. Which left her rotting in the hell-hole that is Briarcliff Asylum.
At the hospital, the snake pit, Sister Mary Eunice makes Pepper her “special project.” And while sorting magazines there, Pepper sees a Life Magazine from 1958 with Elsa Mars on it, calling her the Queen of Friday night television.
What a beautiful and painful episode, all at once.
Looking forward to reviewing the next one, “Magical Thinking”.
FX’s American Horror Story
Season 4, Episode 9: “Tupperware Party Massacre”
Directed by Loni Peristere
Written by Brad Falchuk
* For a review of the previous episode, “Blood Bath” – click here
* For a review of the next episode, “Orphans” – click here
Once again, we come back to Elsa Mars (Jessica Lange) and her treacherous Cabinet of Curiosities.
This chapter starts with Maggie Esmerelda (Emma Roberts) doing a reading for the psychotic Dandy Mott (Finn Wittrock), who last we saw murdering his mother, bathing in her blood. We get a nice, creepy cut to an Avon saleswoman at Dandy’s door, who he invites in to keep his mother “company.” What proceeds is Dandy building his own “puppet mother,” standing in as a two-headed corpse simulating Bette and Dot Tattler (Sarah Paulson). But Maggie foretells: “Your indiscretion will soon be forgotten.” He gives her a hundred dollar bill, “a hundred thank yous“, and tells her not waste the powers she holds inside of her. Which we know, or at least are pretty sure, are total bullshit anyways.
Over with Ima Wiggles (Chrissy Metz) sits being fed by Jimmy Darling (Evan Peters), who has a glass of liquor nearby. Paul (Mat Fraser) and Amazon Eve (Erika Ervin) are worried about his state. When Dandy shows up at the tent city, Jimmy goes on a drunken, sad rant, ending up on the ground after trying to swing a punch. Everyone’s worried about the twins, but now Dandy has showed up to tell Jimmy clearly: “I am your god, and I have decided you need to suffer.”
The Tattler twins are holed up in a motel room with Elsa and the greasy moustached Stanley (Denis O’Hare). They’ve whisked Bette and Dot off in the dark of night, after tossing through Ethel’s things back at the camp in Jupiter. Elsa claims Dr. Sugar is on his way there, he can perform the surgery. Although, Bette doesn’t look too happy about it.
At camp, Desiree Dupree (Angela Bassett) and Maggie are interrupted by Angus T. Jefferson (Malcolm-Jamal Warner). He has a thing for Desiree, seemingly hot and heavy. He’s her “beau.” But they run into Jimmy who has Ima bent over and is giving it to her pretty good. He’s drunk and off his head unfortunately.
Cut to Jimmy at a little house party where women are again paying him for pleasure. Only he’s hammered and can’t get the job done. He stumbles out seeing a vision of his mother Ethel (Kathy Bates) chastising her son for being drunk, for “wasting his life grieving” over her. It’s a surreal scene where even the other women seem to be talking to Ethel. Except Jimmy snaps out of it – all the women scared, telling him to leave quietly. And so he does. Poor Jimmy.
Even worse for him is the fact right after they usher him out, Dandy comes knocking and says his car has broken down. He needs to call “the auto club.” Will this be the episode’s name coming to bear: a true Tupperware party massacre after all?
What little humanity is left in Elsa melts away before our eyes. We flash from present to the near past, where Stanley essentially talks Elsa into bringing the girls for the surgery. Then back to the present again, Stanley continues pumping bullshit into everyone around him, trying to convince the twins they’ll be able to live, each of them, on their own. Bette does not like the idea whatsoever. And you can see a little worry in Dot’s eyes, as they’re left in a shed by Stanley and Elsa, alone in the dark.
But first, back to the bloody massacre at the Tupperware party. A husband comes home to find Dandy left the place in quite a mess. His wife, and all the Tupperware friends, are floating in a bloody pool.
Over at the Mott residence, Dandy is filling his bathtub with a little water and a lot more blood. Up shows Regina Ross (Gabourey Sidibe), who quickly gets the confession: “I killed your mother.” He reassures Regina her mother was buried “weeks ago“, the blood in the room was mostly his mother’s who is now dead, and some blood from “some lovely ladies” he’s putting into the bath. Very eerie scene watching Dandy prance around, raving, stripping down for a bloody bath saying “I AM A GOD. A god who was chosen to walk among men.” I don’t every usually use this word, but that whole scene is god damn epic. He sends Regina running, alive, and doesn’t worry; not only is he god, apparently, he screams “I AM THE LAW!”Bette and Dot are at odds, regarding the separation. Bette knows they both can’t survive, she isn’t stupid. Dot knows it, too, we already understood that. Bette tries to convince her they can do anything together: “How much would you give for the health and happiness of the one you love?” And she further tells her sister she couldn’t survive alone, not without her. She says she’d give her life for Dot, if there had to be a choice mad. They love one another unconditionally, despite all that’s happened in their lives.
Stanley still has Dell Toledo (Michael Chiklis) under his thumb. Because Dell, for all his faults, has started to gain a conscience. Of some sort. Then out of nowhere, Stanley whips out his apparently massive penis. “You‘re a freak,” utters Dell. He’s tempted, you can see. In the present moment, he’s writing a note to Desiree, saying he “can‘t go on” with a noose hung up behind him and Ma Petite (Jyoti Amge) coming to him in ghost form. Even Ethel’s ghost haunts the trailer, eternally disappointed in her ex-husband. And when Dell finally tries to hang himself, the light almost closing in and taking him, Desiree comes in and cuts him down: “Sorry,” he tells her.
Meanwhile, Stanley is with another man friend, dressed up as a very unprofessional doctor. He’s practicing to be Dr. Sugar: memorizing the Brody names, the various things he’ll have to say. Very nasty intentions here, but Stanley simply calls it “euthanasia.”
A police officer and Regina show up at Dandy’s door. He invites the man in, offers a drink, but the officer wants some answers. Then we get a little lesson in what 1950s Florida felt like for any people of colour. Dandy spirals his way through a conversation about his power, his white power. “I have seen the face of God and he is looking at me from the mirror,” says Dandy. The rich young man offers the officer a million dollars to “dig a hole” for Regina, and easy as that: the cop blows a hole through her head and asks for a shovel.
At the carnival, Jimmy is stumbling around drunk. He finds Bette and Dot returned, they don’t want to be separated anymore, neither of them. They want to stay together, as a family. And they want Jimmy to be a part of their lives. He is headlong in despair, he needs something to ground him, but can’t seem to find it anywhere else. Turns out, though, Dot has loved him since first sight. She loves his tenderness. She slips off her clothes, telling Jimmy how “different but special” he is. He politely asks how Bette feels about it, to which she replies they can have privacy, and she is also totally with her sister, she wants her happiness. Strange, yet romantic in a sense, as well. Only Jimmy says he can’t be with them after a short kiss and embrace; he says he’s in love with somebody else. So sad, especially considering Dot does not easily let her emotions free like that. A heart breaking situation. At least she has Bette in the end.
The police show up for Jimmy Darling, claiming he murdered all those women at the Tupperware party. They found his glove at the scene of the crime. But we know it was all Dandy behind the massacre. The cops whisk Jimmy off to jail, as the rest of the freak show is left reeling and worried for him, his life.
Looking forward to the next episode, “Orphans”. We’re going to see a familiar face in the American Horror Story series come back to link Asylum with Freak Show.
FX’s American Horror Story
Season 4, Episode 8: “Blood Bath”
Directed by Bradley Buecker
Written by Ryan Murphy
* For a review of the previous episode, “Test of Strength” – click here
* For a review of the next episode, “Tupperware Party Massacre” – click here
After the blood already shed, an episode titled “Blood Bath” sounds quite promising.
Opening on Gloria Mott (Frances Conroy), we begin with her lamenting about Dandy (Finn Wittrock) to a psychiatrist. He believes institutionalizing the young man may be in order, but she won’t have that word bandied about in the same sentence as his name. We see flashback to a young Dandy playing sadistically with a young version of Gabourey Sidibe’s character. She claims no was “an affront” to him, a “battle cry”. He had a history back then of killing small animals, as well as terrorizing others. Until one day a boy he played with frequently vanished, no doubt as a result of Dandy’s nasty predilections. The boy was “never seen again.” She, of course, does not reveal all the “recent incidents” to her psychiatrist which brought on all her worries. No, let’s not mention all the murder.
Just a little note: the more I watch the opening each episode, the more I think Freak Show‘s credit sequence is the creepiest to me. Very unsettling with all the messed up animation and the clowns and the macabre imagery. I loved Coven, and all of them, but this one is particularly wild.
Everyone is out searching for Ma Petite (Jyoti Amge) – Jimmy Darling (Evan Peters), even Dell (Michael Chiklis), Amazon Eve (Erika Ervin) is there too. Out in the woods, Jimmy stumbles across the clothing of the little one. It is brought back to Elsa Mars (Jessica Lange) in a box. She weeps for the tiny girl, who they all believe was taken and killed by some animal in the night. A sad scene, especially knowing what we know after last episode. Although, Ethel (Kathy Bates) seems unimpressed. She thinks it’s all bullshit: “Thought you‘d be high as a Limehouse whore by now,” she says dryly entering Elsa’s tent. A slap across the face for Ethel comes later; we know the truth, but I can understand how Ethel believes all that’s precious to Elsa is “the roar of the crowd.” Only problem is this will cause undue friction between these two, and it makes me worry when anyone crosses paths in any way with Elsa. She’s out for herself and herself only.
Things get tense between Ethel and Elsa. Eventually when the situation gets very hot, ready to boil over, a gunshot goes off putting a hole right through Elsa’s leg; the wooden part, anyways. To the surprise of Ethel, who didn’t even realize he own supposedly close friend was a so-called freak herself.
Another of my favourite sequences this season comes with more flashbacks to Elsa and her past in Germany. We get more Danny Huston, who comes back as a doctor who made Elsa new legs after they were taken from her by the sick men who made those vile films. I think there is such amazing chemistry between Huston and Lange, they are two incredible acting talents and I love that Ryan Murphy/Brad Falchuk brought them together once again after Coven giving them another romance, yet an entirely different kind of one. Such power in this black-and-white flash back sequence.
And then, before Ethel can get revenge on Elsa for betraying her trust, Elsa wings a knife right into her eye. Ethel dies then and there. The titular bath of blood has commenced.
Enter Stanley (Denis O’Hare). His greasiness helps Elsa cover up the murder of Ethel, staging it as a suicide and featuring a performance from Ms. Mars to rival any other performance of hers before. She steps up the dramatics in order to match the ridiculousness of their cover-up plan. Everyone is devastated, not least of which is her son Jimmy (Evan Peters), whose life only gets worse and worse as the time goes on. Headlong into depression Jimmy goes, pushing Maggie (Emma Roberts) away. During the reveal of what happened we go between the present and when Elsa/Stanley set up the scene to have Ethel’s body decapitated in one of the most strange suicides ever.
Elsa is out recruiting once more in the hospital wards. She finds a large woman named Barbara (Chrissy Metz) who gets invited into the troupe. She’s renamed Ima Wiggles and gets fed on the hour every hour. Even more than that, Jimmy begins to fall into her arms in an eerily Oedipal lust for a large woman after his mother died.
Over at the Mott House, Dandy is entertaining Regina Ross (Gabourey Sidibe). Her housekeeper mother hasn’t phoned in so long. Gloria shows up, nervous as usual and especially so seeing as how she knows exactly where mama Dora is buried. She tries to convince Regina her mother is off buying squash somewhere. Not going to work at all. Then Dandy ends up in psychoanalysis with Gloria’s psychiatrist, but it’s all sort of under wraps. Only he figures it all out, he’s not exactly stupid: just fucking crazy. This drives him further mad. He talks about tribes in Papa New Guinea and how they would eat the defeated tribe, their chief – he wonders if it’s possible to “take someone‘s power by eating their flesh” or if you could just get it done by “bathing in their blood.” Hmm, will we see a true to life blood bath tonight? Certainly seems like now that Regina threatens she’ll go to the police if her mother isn’t back by suppertime tomorrow.
Possibly my favourite bit of this season sees the fed-up freak women join together – Eve, Desiree Dupree (Angela Bassett), Legless Suzi (Rose Siggins; RIP, she passed away today), along with the newly minted ‘Lizard Girl’ Penny (Grace Gummer). First they come together over Ethel, who was a “survivor since the day she was born.” Desiree gives an impassioned speech to the women about how they must rise up, take hold of their lives, because the law doesn’t care about them. They decide to go and kidnap Penny’s father Vince (Lee Tergesen). They will have their cathartic revenge against all terrible men by taking revenge upon Vince for what he had done to his own flesh-and-blood. They attack him in his home, drag him back to one of the trailers at the tent city. Then, Vince experiences a good old fashioned tar and feathering. Such a savage and intense moment, yet it’s perfect; Vince deserves everything he gets.
Later on, Dandy goes home. He is enraged with life, his mother, everything. He reveals he’s the product of incest, and a father who did things “to those little girls.” Gloria is astounded by his demeanour. As he goes to put the gun to his head, she cries that she couldn’t go on in life without him. To which he replies with a bullet through her forehead.
Afterwards, we see the titular bathing, as Dandy bathes in a white tub in his lavish room: filled to the brim with his mother’s blood.
“I was born of deadly sin. You knew what father had done to those little girls. You knew the risks of breeding with your cousin. You‘re no better than the Roosevelts.”
“How dare you say that name in this house!”
As the insanity escalates, Father Gore’s looking forward to the next episode, “Tupperware Party Massacre.”