From Coven

American Horror Story – Coven, Episode 13: “The Seven Wonders”

FX’s American Horror Story
Season 3, Episode 13: “The Seven Wonders”
Directed by Alfonso Gomez-Rejon
Written by Douglas Petrie

* For a review of the previous episode, “Go to Hell” – click here
* For a review of the first episode of Season 4 “Monsters Among Us” – click here


The finale of Coven is upon us!
Fitting enough, Stevie Nicks shows up singing “Seven Wonders” by Fleetwood Mac. There’s a nice montage of all the young witches preparing for the big ceremony. In her room, Zoe (Taissa Farmiga) levitates the bed while studying. In the bathroom, Madison (Emma Roberts) plays it cool and bubbles the water, lighting candles and a fireplace with the snap of her fingers. Misty Day (Lily Rabe) dances in the basement and practices in the small garden Cordelia (Sarah Paulson) keeps. Then there’s Queenie (Gabourey Sidibe), who studies up on voodoo, and even keeps a little picture of Nan by her books. Love this opening and it works so well. This has been a very feminist type season, which I dig. And this opening for the finale gives us a nice bit of equal time with the young witches, highlighting them all and including each in a sort of happy light. Not something we often get on American Horror Story. Plus, it’s fun that Nicks has been kicking around singing Fleetwood Mac songs and being cool as hell.
Picture 7Consistently I get a great kick out of Myrtle Snow (Frances Conroy) who shares her belief that Leonardo da Vinci was a warlock. She serves up a beautifully rendered meal for everyone. Then Cordelia talks of the start of The Seven Wonders by telling all the girls: “Kick ass tomorrow.”
We start with TELEKINESIS. Kyle (Evan Peters) lights a bunch of candles, with all the girls lined up in front of the table. They’re meant to haul the candle via mind control, which each of them do without much trouble.
CONCILIUM is next, or MIND CONTROL – they pair up and have to make the other do what they wish, prompting slaps, hair pulling and all sorts of stuff you might expect from a few catty young women who want nothing more than to outdo the other. Fun moment sees Kyle being forced to lick Madison’s shoe, being tossed around the room by her and Zoe in a bid to be the best and meanest of the two, but finally Cordelia breaks it all up.


DESCENSUM or DESCENT INTO THE NETHERWORLD comes afterwards. “If your soul hasn’t returned to your body by sun up, you die,” Myrtle proclaims before readying the hourglass to start. The ladies all chant together and then head down into hell for their test. Queenie is back at the chicken shack again just like her encounter with Legba, easily bringing herself back first. Then Madison returns from a “live version of The Sound of Music“. Zoe does too from a breakup hell she barely escaped. But only Misty does not come back yet, she’s stuck in school being forced to dissect a frog; of course, she keeps bringing it back to life. She’s made to dissect the living frog, taunted by the other children, and then the cycle begins over again: over and over. Honestly, this vision of hell returning to your worst moments is terrifying, very great representation of the afterlife. Sadly, though, Misty is not coming back. She lies on the floor, her body limp, as Cordelia hugs her tight. But the sand in the glass runs out, Misty disappears into a black smoke and she’s dead, gone forever. Didn’t see that coming when the tests started out.


Not much mourning before TRANSMUTATION begins as the next challenge. The three remainders don’t seem to be too trouble by it all, quickly zipping around the property. That is until one of them mixes things up and transmutates to the wrong spot. Zoe finds herself impaled on the academy gates high above the ground. They take her corpse down to the basement in hopes of bringing her back. Queenie can’t resurrect her, putting her out of the competition. Cordelia wants Madison to bring Zoe back, in effect proving she must go on and finish The Seven Wonders. But of course, the young mean bitch Madison doesn’t want to do that and jeopardize her position as the next Supreme. She leaves Myrtle and Cordelia, and Zoe dead.


But all is not lost. Myrtle convinces Cordelia she ought to test herself on The Seven Wonders. Finally, someone with sense. Cordelia does several of them pretty quickly. When it comes to DIVINATION, Madison and Cordelia face off; Madison loses, packs up to leave and threatens to expose the witch coven to the outside world. However, Kyle makes sure that never happens: he strangles Madison to death for not reviving Zoe and in turn gives Spalding (Denis O’Hare) a new doll to keep. In the end, Cordelia’s last test is bringing Zoe back – VITALUM VITALIS – which she does. Then promptly passes out hard. But once she’s back, her eyes work again and she is the new Supreme; the one, the only.
After all the wonderful and grim events, Cordelia emerges as the queen witch of them all. She goes public to the world about the academy, about witchcraft, and now many young witches around the world begin to seek her and the academy out. Furthermore, Queenie and Zoe are a part of the new regime, aiding Cordelia in steering the coven correctly.
But then Myrtle, oh Myrtle! She wants to be punished, and I supposed ought to be, for killing the other Council members, Cecily and Quentin. She insists, even with Cordelia refusing to do such a thing. Finally after everything is said and done, Myrtle is resentenced to being burned at the stake, as she already had been earlier in this season. So they trot back out to the dunes where Myrtle is strapped to a stake, set ablaze, and burned, blackened once more. Vicious, yet highly noble on Myrtle’s part: her dedication to the coven is more than evident, time and time again. Her final word? “Balenciaga!” -y’know, for the fashion conscious folk.


I love the end with Fiona (Jessica Lange), as we see her own version of hell. She is forever stuck with the Axeman (Danny Huston), in a little mediocre house down by the river, eating fish for dinner every night. A perfectly normal everyday life, something absolutely unspeakable for a woman like Fiona, a needy narcissist and a woman who needs fame, fortune, who needs extravagance. It’s fitting, and brutal in its own way. Love the writing involved with this finale, it works quite well for Fiona and her final resting place in hell.


With the end of Coven, we see another happy finish. There are still losses, deaths to mourn, and so on. But as Cordelia tells a television interviewer: “We are strong women.” This whole season had a great feminine vibe, and if some male viewers can’t accept or handle that it’s their loss. I found it incredible, and the writing really shined every chance it had. Lots of strong female characters. Plus, there were several excellently placed male characters, even Kyle who Evan Peters played so well almost virtually silent in each episode until the end. Overall, I loved this season. And as Cordelia, Queenie, Kyle and Zoe welcome newcomers to the academy, I almost wish there were more episodes to this season. When I first watched it as it came on FX a couple years ago, I didn’t take to it hugely, though I did enjoy all the episodes. Now when I go back through, I realize how good the writing was, how fun the characters and situations were, and above all else how intricate the plots themselves came off. Great work all around.

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American Horror Story – Coven, Episode 12: “Go to Hell”

FX’s American Horror Story
Season 3, Episode 12: “Go to Hell”
Directed by Alfonso Gomez-Rejon
Written by Jessica Sharzer

* For a review of the previous episode, “Protect the Coven” – click here
* For a review of the next episode, “The Seven Wonders” – click here

 


“Go to Hell” begins with a nice opening concerning The Seven Wonders. Filmed in black-and-white, looking like a genuine silent film including title cards in between scenes. Such an excellent sequence, which gives us background into the whole Seven Wonders ceremony and what it entails. It’s also a little creepy, too. Even if nothing weird is actually happening. Just a very good homage to the silent film era. On top of it all, one of my favourite classical piano pieces by Frédéric Chopin plays throughout – Nocturne in E Flat Major, Op. 9, No. 2. A great piece of music to have accompanying this sequence. As well, Fiona (Jessica Lange) comes in near the end via voice-over.
Then we’re back with her talking to Queenie (Gabourey Sidibe). But Queenie knows what the older witch is up to, that she only wants to figure out the new Supreme in order to kill her. I don’t think that has changed, at all. Best of all, Fiona calls Papa Legba a “halfbaked Beetlejuice“. I laughed aloud at this line. Such a good one from writer Jessica Sharzer. But even more fun, Fiona announces to Queenie that this coming Saturday she will perform The Seven Wonders, “or die trying“. Looks like a true competition of powers is going to go down eventually between the remaining young witches at the academy. Will Misty Day (Lily Rabe) somehow return to compete? Or will it be Queenie, Madison (Emma Roberts) and Zoe (Taissa Farmiga) in a trio head-to-head?
Cordelia (Sarah Paulson) is trying to find out about Misty. She tries to touch Madison, to make use of her second sight. However, out of nowhere Madison teleports from one side of the room to the other. Manifesting new powers, huh? Well, Cordelia tells her not to “read too much” into all that. Finally, after a bunch of back and forth, Cordelia lays a hand on Madison. But nothing comes. We know the truth, so is Madison manifesting more powers giving her the ability to block thoughts, to control the thoughts of others?
Down in the basement, Queenie is looking for Marie. She can’t seem to find Laveau anywhere, though. Then she’s back upstairs with a creepy voodo book, on its front is the symbol of Papa Legba (Lance Reddick). She lies back on the bed and chants in a foreign tongue. She finds herself back at Chubbie’s Chicken serving food again, as if gone back in time literally, not just in thought. Outside there’s a seemingly never ending lineup of people around the building, inside. And at the front? Legba himself. This isn’t hell, though. Not “the hell“, he says, but “your hell.”
I love the conversation between Queenie and Legba. It’s sinister, but also pretty damn darkly comical. Reddick and Sidibe are both talented in their own respects, and this brief scene is a lot of fun. When she makes it out of the chicken shack hell, Legba is waiting. He explains all about Marie Laveau and the immortality of both her and LaLaurie; turns out Delphine chopped Marie into pieces to toss around New Orleans. Yowzah. Always a nasty, rough customer, that Delphine.

 

Papa Legba: “Time moves differently in hell

Picture 8Perhaps a favourite scene of mine takes us back to the old stomping grounds of Madame LaLaurie, where now Delphine herself is a guide. She has a different haircut, she wears a green suit jacket and black pants looking very modern. And hilariously, Delphine is now trying to rewrite her own history and past through touring people around the house and setting people straight on the true events; though, all she does is lie. We get a nice flashback to when Delphine has a confrontation with the former tour guide – a superbly eerie moment, as LaLaurie picks up a proper tool and bashes the woman in the head; plus, a little lick of her tongue to clean some of the blood that splashes her face. I mean, what an excellent and gruesome scene! Kathy Bates is a class act and I love seeing her do horror, it’s a true treat. I always thought her performance in Misery was perfect, now she gets lots of true and disturbing horror to work with in this series.
An even better sequence happens when Queenie talks to Delphine about repentance. There’s an inclusion of lots of popular culture controversies, as Delphine is seen watching television with the likes of Paula Deen and others crawling across the screen. Awesome writing.
Then Queenie stabs LaLaurie, who starts bleeding out profusely. What happens next? The formerly immortal Delphine may finally see death, now that she doesn’t want to die anymore.
Fiona’s having her portrait painted for the academy wall. Then her nose starts to bleed out of nowhere, either from the cancer, or the cocaine. Or the cancer and the cocaine in equal amounts, who knows. She continually laments her own face, the way she looks. She’s nearing the end and all she worries about is whether or not she looks youthful. And it’s driving her towards being hateful. Only she and Cordelia have a nice little chat, which shows how much she does care about her daughter. Though, it can’t make up for a lifetime of neglect and hatefulness.
Regardless, Fiona gives her mother’s necklace to Cordelia, as a way of “saying goodbye.” Once it goes around her neck and Fiona touches her, Cordelia’s second sight returns. Only it shows her the thoughts in Fiona’s mind, the intentions – we see a massacre in the academy house, all the young witches dead, impaled, blood everywhere, even Misty returned and murdered. It’s a shocking sight, out of the blue. Even Cordelia is dead in the vision, bullet hole in her head, and Fiona is seen snatching the necklace from her neck. Returning to the light, Cordelia is now aware of what is inside Fiona, what she is really aiming at. Funny how, with the strength Fiona instilled in this scene early on, Cordelia eventually was able to realise her powers once again; all in order to figure out what her mother was actually up to. Love the irony.

 

But Cordelia has plans herself. She goes to see the Axeman (Danny Huston). She warns him about loving Fiona, how dangerous it can be for those who fall into the trap. Cordelia also saw more than just the massacre in Fiona’s head, she saw her plan to the Axeman behind, too. He is only a pawn to her, someone she can use to do her bidding, to get the dirty work done. “She used you,” Cordelia tells him bluntly. Will she try and use the Axeman to do away with Fiona once and for all?
At the same time, Cordelia’s also trying to track Misty down, unaware of her fate at the hands of Madison. Poor girl is still stuck down in that casket, singing to herself, over in the cemetery. So Cordelia takes Queenie out to the mausoleum, and the latter proves to have some more impressive powers. She hauls the coffin right out of the bricks. Yet Misty isn’t breathing. No worries: Queenie’s got this, baby. She also can resurrect the dead, it seems. Her voodoo game is strong.

When the rest of the world sees a wall, we see a window.”

 


So Misty being back doesn’t spell much good for Madison, though, the young sassy lady is not worried too much. Then out of nowhere, Zoe and Kyle show up again. Clearly not in Florida anymore. On their way they had a confrontation with some homeless guy, which ended with Kyle snapping the guy nearly in half. Most of all, they came back because Zoe displayed a new power of her own: more resurgence. Now they all seem to be able to do intense things with their powers. Better yet, Misty shows up throwing fists at Madison, ready for a real fight. They wrestle around a little while the others watch; mostly, Misty kicks the shit out of Madison.
The Axeman shows up trying to swing his axe at everyone, pissed off and threatening to kill them all. The witches send him flying. But then notice he’s covered in blood already: Fiona’s blood. In a step backwards, we see the Axeman in his apartment with her. He’s on to her now, after his visit from Cordelia. She appears completely unaware until he mentions it. And eventually it comes – the death of Fiona Goode by the hand of her jilted lover, the Axeman.
Back at the academy with the girls, the Axeman has to be punished. His original death at the hands of the academy witches is recreated, and he dies a second, horrible, bloody death. Fitting, no?

 


Then we see both Madame LaLaurie and Marie Laveau in their own hell, each bound together in their eternity in the darkness. A truly awful, disturbing end for them both. They’re forever spending time with Papa Legba in hell. The two immortals are now dead – released from the chains of life, only to serve Legba for eternity in the same room. Day after day, over and over.
After Fiona’s portrait is hung on the wall, Myrtle alerts the girls: they will all perform, as I guessed, The Seven Wonders that Sunday at dawn. The next Supreme will be revealed, for better or for worse. And some of the others will certainly die.
Stay tuned for the next episode, the finale of Coven, fittingly titled “The Seven Wonders“.

 

American Horror Story – Coven, Episode 11: “Protect the Coven”

FX’s American Horror Story
Season 3, Episode 11: “Protect the Coven”
Directed by Bradley Buecker
Written by Jennifer Salt

* For a review of the previous episode, “The Magical Delights of Stevie Nicks” – click here
* For a review of the next episode, “Go To Hell” – click here
screen-shot-2016-12-11-at-6-30-40-pm
Another flashback at the top of this episode, with Delphine LaLaurie (Kathy Bates) coming back from Paris, though reluctantly. She rambles on about the lack of “intellect” and “inner light” present in the slaves, as well as the loathing of her own family. Nobody seems on her level, I suppose; that’s funny. It’s 1830. Delphine has a chicken brought over for slaughter, ending up cutting the head off herself. She feels its blood run warm over her hands. Then cut to up in the dank attic, a slave has a deep injury to his leg, blood pooling out of it. Looks like this is the first time Delphine realized her inner bloodlust. There’s no other slaves kept in cages there as of yet, so it must have been long before her disgusting habits became regular; in fact, this is when she first arrived. Very interesting to see the start of her love of blood. She doesn’t help the poor injured servant, only knocks him out to keep for further use. She bleeds him out and just from the sound of her breathing, it’s exciting to her. “I think I’m gonlike it here,” she tells the gagged and moaning man in front of her. Eerie start to this episode, giving us more glimpses back into the history of LaLaurie and her murderous impulses.
screen-shot-2016-12-11-at-6-32-50-pmFiona Goode (Jessica Lange) and Marie Laveau (Angela Bassett) show fake sympathy for the dead Nan (Jamie Brewer), who is being laid to rest in the cemetery. All the witches are present. Queenie (Gabourey Sidibe) shows up with LaLaurie reconnected at the head and on a leash; brutally, darkly funny. Everyone is sort of pissy. Myrtle (Frances Conroy) is naturally suspicious of any death in the coven, Cordelia (Sarah Paulson) backing her up nowadays. Zoe (Taissa Farmiga) has Kyle (Evan Peters), who might as well be on a leash. But they all leave after the brief funeral, still wondering where Misty Day (Lily Rabe) could be.
Across town at the Delphi Trust, Harrison Renard (Michael Cristofer) receives word from his right hand man David (Mike Colter) that the story on Hank and his death will be covered up; he was, on record, as a homeless veteran with post-traumatic stress disorder.
Back at the academy, Fiona and Marie are still scheming to get the witch hunters. For once, for good. All the while, we get an excellent voice-over from LaLaurie who goes about the house cleaning up after everyone, lamenting every last minute of it. Even better there are great moments such as Myrtle tasting a beautiful soup made by Delphine, then when Delphine is given a cute little black baby to hold by Marie. So many perfect scenes, it’s a great sequence that lasts almost 5 minutes; the score underneath it all is so good, such an intense and emphatic bit of work.
But the best? A gardener comes in from outside, his hand bleeding; a black man, it so happens. Right as Delphine wonders “what fed my soul back then.” Perhaps a bit too perfect. She’s taken up residence in Spalding’s old room upstairs. The whole voice-over has been Delphine talking to the poor black man she has tied up currently. Such an expertly written sequence, I’m beyond impressed with this episode. This is my second time watching this season again and I’m noticing how well it was actually written. Great job in particular this episode by Jennifer Salt, who is a frequent writer every season in the series.

You flush my shit, bitch.”

 


Zoe wants to find out what happened to Nan. Like we’d expect, Madison doesn’t care at all. She’s more concerned with Kyle and his sex. But then Kyle resists, he claims to love Zoe. Is there a fight brewing? Madison gets the room quaking, things flying. A lamp cracks Zoe in the back of the head. Then Myrtle shows up, a little verbal spar with Madison. All three of them – Myrtle, Kyle, Zoe – they see the threat that is Madison. Some sort of devastation is coming. Not sure, though, in which form it will come.
Over with the Axeman (Danny Huston), Fiona lounges in discontent. He seems pretty focused on being able to “give up the axe” and Fiona giving up the coven. He wants to help her sort out who is becoming the next Supreme, to kill her. No good can come of that, either.
Then up in the attic, Spalding (Denis O’Hare) appears to Delphine. He’s impressed with her, what he calls, “art.” Spalding is upset with the new alliance between Laveau and Fiona. He hates that Fiona has forgotten herself, forgotten who she’s supposed to be. A new bond is now forming between Spalding and LaLaurie. They’re forging an agreement.
More news in the house sees Queenie still growing further from the coven, now even more so due to her hating Marie, too. She doesn’t want any of Cordelia’s nice talk and they have a slight confrontation. I hope this doesn’t hurt Queenie because I do love her character, though, I can understand why she’s sort of saying fuck everyone. Nobody has been fully treating her with the respect she deserves.

 


Still, Cordelia is tough and she is a woman with a vision. Even if that vision comes at a price: her eyes. Down in the greenhouse she tries more herbal magic, but breaks down in the middle. Then, to regain her second sight, Cordelia stabs herself in the eyes with a gardening shear. She ruins her own eyeballs to find the power again. Fiona shows up worried once more about her daughter, even after shunning her previously for the debacle with Hank. But as Myrtle makes clear, she should only be worried if “harbouring bad thoughts.”
Up in the eerie attic playhouse of Spalding, he receives the item he asked for. Delphine brings him back a doll baby, which drives him to near ecstasy. Such a creepy moment, he even sniffs the thing. Very “unsavoury” in the words of Delphine.
In the basement, Myrtle gives Zoe some sort of sapphire ornament to keep. “To hawk in case of emergency,” she says. She also wants Zoe and Kyle to leave, to get away from the coven somewhere.  Myrtle warns of both Madison and Fiona, each of them with murderous intent towards any next emerging Supreme. Probably smart, really. Is being the next Supreme worth all of that deadly competition?
Harrison Renard, his right-hand David and a bunch of other suited gentleman go to meet Fiona and Marie. The two sassy women against all those unsuspecting dummies. Very calmly, Marie and Fiona talk with Harrison, who is pretty damn on edge. He offers up a century long truce. Fiona counters: “You disband this little merry troupe of assholes, vowing never to harm another witch from now until the end of time.” The ladies play with them a bit before David tries laying down the line. Fiona tells them plainly: “Then here’s my other offer: you can all just die.” After which the Axeman, tending bar unnoticed, turns and chops everyone to death, except for Harrison. Renard has a cup of coffee trying to be nonchalant, his last words being a spit and “Go to hell, witch bitch.” But Fiona has the last word, planting her man’s axe right in the side of Harrison’s neck. A beautifully gory end to their boardroom meeting.

I love you more than jazz, baby doll.”

 


At the academy, Marie is getting drunk on French 75 made by Delphine, as Fiona takes off to “hail the conquering king” who “swung a mighty axe” for them. Although, LaLaurie has other plans. She stabs Marie with a huge kitchen knife right in the chest. But a little medication and a knife are nothing compared to the Voodoo Queen. When Marie goes after Delphine, Spalding shows up and cracks Laveau over the head and sends her over the stairs. He tells Delphine to bury her and make sure she can’t dig her way out, similar to what she had done to her. Then creepy Spalding goes back to the way things were for him. Except now he has a little baby to dress up, too. So he gets in his baby outfit, puts the baby in one, and they sit in a rocking chair like two weird babies together. “Finally, a living doll all my own,” says Spalding while they rock back and forth. Wow – damn unsettling, and I dig it. Denis O’Hare is a wonderfully talented actor.

That aint magic. Thats an antihistamine.”

screen-shot-2016-12-11-at-6-58-52-pmZoe has to try and convince Kyle to go with her, away from the academy. He’s afraid that he may hurt her, or someone else. He has uncontrollable feelings boiling up inside of him all the time. He doesn’t want any of that to inexplicably come out and affect the world around him. Poor FrankenKyle, he’s made up of a bunch of different parts, all warring against one another inside I’m sure. But there’s something about Zoe which calms him.
Then they’re off, running to the bus for Orlando, Florida. The future is ahead of them, bright and gleaming. Is it meant to be? We’ll see.
screen-shot-2016-12-11-at-6-59-13-pmAnother solid episode. I’m looking forward to more developments closer to the season finale in the next episode, titled “Go to Hell”. Stay tuned, friends and fellow fans!

American Horror Story – Coven, Episode 10: “The Magical Delights of Stevie Nicks”

FX’s American Horror Story
Season 3, Episode 10: “The Magical Delights of Stevie Nicks”
Directed by Alfonso Gomez-Rejon
Written by James Wong

* For a review of the previous episode, “Head” – click here
* For a review of the next episode, “Protect the Coven” – click here
screen-shot-2016-12-10-at-8-26-27-pmThis episode opens with Marie Laveau (Angela Bassett) being tended to with a cup of tea and a warm bed from Fiona Goode (Jessica Lange). Marie even admits to being over “300 years old.” They talk about their new situation only briefly. “Tomorrow we’ll draw the battle lines,” says Fiona. So we’re in for a good deal of interesting stuff.
Even better, as Marie sleeps in the night up shows Papa Legba (Lance Reddick), the voodoo father. He looks incredibly, almost impossibly creepy. Apparently, Legba and Marie have some sort of agreement. He wants what’s coming to him, the terms of their bargain they made “so long ago.” Love the choice of having Reddick play this character. He is a great talent, who has showed it time and time again from The Wire to Oz and much more. Nice addition to this season, and so late in the game.
Then we see Marie saunter into a hospital ward, lightly crying babies behind a glass door. She voodoos her way in to where the unsuspecting infants lay. The music and the cinematography here are beyond eerie, setting such a perfectly unnerving sequence. Marie picks out a cute little baby, takes him away, and runs into some armed security guards. But they’ve got nothing on her. She rolls her eyes back, they go cloudy, and then BANG, BANG! The guards are dead. What does Legba want with the baby? Does he eat them? Oh, goody. Something new and sinister to add into the American Horror Story lexicon of weird and disturbing characters.
screen-shot-2016-12-10-at-8-28-14-pmWith the fallout from Hank Foxx (Josh Hamilton) comes a revelation by Marie to Fiona and Cordelia (Sarah Paulson): she hired him. Now, there’s no doubt going to be further tension and problems between Cordelia and her mother. Fiona sees it as a sign of weakness that Hank infiltrated them: “Youre not just blind, you are wilfully blind. You married Hank to prove some childish point and brought a viper into this sacred house!” They’ve now go to face the task of finding “the hive,” as Fiona calls it. They need to take down the whole group of hunters, not just one; they travel in packs, like vultures.
In other news, Misty (Lily Rabe) is weary of getting too close to Fiona, whose murderous impulses aren’t exactly secret. Fiona tries to talk Misty up, but the swamp witch is not too interested. Is Fiona driving towards something here? Surely she can’t be trying to kill another one; can she? Well, Fiona brings Misty downstairs. She has a guest to meet her: it’s god damn Stevie Nicks, a white witch in her own right apparently. As they’re introduced, Misty faints. Excellently, Fiona steps over her claiming “You owe me $5” and giving Stevie a friendly smooch. This was hilarious, and fucking awesome. Even further, Stevie sings and plays “Rhiannon” on the piano as the young witches come home. Such a fun inclusion to have Nicks here, like a little treat on top of an already delicious ice cream that is Coven.

Im a huge fan of Eminem. Whens he get here?”
Marshall? Youre not his type. And more importantly, youre not the next Supreme.”

There’s new jealousy afoot. Madison doesn’t want any of Misty and her shit, she thinks she has what it takes; her heart murmur is even gone since coming back from the dead. Madison even gives Nan shit, which prompts Nan to use mind control almost ending with Madison jamming a cigarette in her vagina. Lots of inter-coven trouble happening.
But the witch hunters are still the biggest threat to anything, whether or not the young witches are all clamouring over who the next Supreme could end up being. Cordelia tracked down the Delphi Trust, the witch hunters hub. She found out who Hank was, the son of Harrison Renard; Renard is, of course, Francais pour Fox(x). So now, Marie, Cordelia and Fiona are scheming. Trying to figure out a way to get at the witch hunters. Shouldn’t be hard to take down some capitalist pigs, right? Fiona won’t have any help from Cordelia who she sees as “tainted.” There’s a violent emotional nature to the relationship between these two. Sad, because Cordelia is a tough, smart, capable witch. Doesn’t matter, though. Marie and Fiona together? Two bad witch bitches. They set up a cross between the Salem witchcraft and Marie’s Haitian voodoo, attacking the Delphi Trust at the source of their money and causing lots of problems for the hunters. Except it might take the good out of Fiona, who collapses after their spell is cast.

 


Now we get more talk between Fiona and Marie. Fiona talks about her new love, the Axeman (Danny Huston). Marie explains her debt to Papa Legba, who she conjured back when she thought she was “the shit” and “shockingly strong” magic. Then in the night, Papa showed up to give her eternal life and strength. Unknowingly she “made a deal forged in Hell.” Only problem then was, she had to provide Legba with his price: her baby. And after that she was shackled to their agreement, requiring her to give him an innocent child’s soul when he comes calling. Nasty, huh? But immortality has its prices. That’s a part of why I love this season, there are very interesting portrayals of immortality between the dead coming back, Marie herself and also the curse she threw on Delphine. So it’s fun to see how immortality isn’t all it’s cracked up to be. All these situations help us understand the horrifying aspect of living forever (it’s always been horrifying to me anyways).
Meanwhile, Madison takes Misty on a walk through New Orleans. Fittingly they stroll behind what looks like a music funeral, horns and drums ringing through the streets. Madison tries to fill Misty’s head with the concept that being Supreme will bring more needless stress than it does perks, such as plenty free “merch” and “swag“. Gotta watch out for Madison, though. They end up at a graveyard, deserted except for a couple groundskeepers. Madison wants to show Misty they have equal powers; she literally raises a man from out his coffin and back to life. Certainly impressive. Trusting Madison too much, Misty ends up knocked out by a brick and tossed into the casket; Madison returns the groundskeepers to normal after they were frozen in a spell, and Misty is entombed in a small grey mausoleum. Didn’t see that coming before this sequence, honestly. But should have. Madison is just as vindictive and paranoid as Fiona.
screen-shot-2016-12-10-at-8-47-27-pmZoe and Nan drop over to see Joan, after they discovered at the hospital Luke is now dead. Nan wants to see the body; she needs to find out what happened to him in the end. He was cremated, but Nan knows what happened: he was suffocated by his mother. Then Nan goes wild on Joan, forcing Zoe out of the way and making Joan drink down a few gulps of bleach. Yikes – though, I can’t say I hated it. Joan deserved what she got.
In the basement of the academy, Myrtle plays away on the theremin while she and Cordelia have another heart to heart. The younger of the two feels she has “nothing left to offer this coven.” But we know different, as does Myrtle.
The worst comes when Fiona conjures Papa Legba on her own. She wants to do whatever possible to attain eternal life. Only Legba can’t make a deal because she has no soul with which to bargain: “You have nothing to sell.”
Things get dicey now, as Fiona ends up determined to kill all the others in the coven if necessary, all in order to figure out who will be the next Supreme. She has truly gone over the edge. Is this going to do her in, or the others?

 


The finale sees Nan discovering a newborn child meant for sacrifice over to Legba. Marie and Fiona label her a threat. Then, Legba accepts her as a substitute. The two older witches drown Nan in the upstairs bathtub, and Papa Legba deems Marie/Fiona’s union as “big trouble.” No doubt. A sad and tragic end for a character like Nan, who could’ve been a contender for Supreme had she not been disturbingly murdered.
screen-shot-2016-12-10-at-9-09-35-pmVery excited for the next episode titled “Protect the Coven” – more wildness to come!

American Horror Story – Coven, Episode 9: “Head”

FX’s American Horror Story
Season 3, Episode 9: “Head”
Directed by Howard Deutch
Written by Tim Minear

* For a review of the previous episode, “The Sacred Taking” – click here
* For a review of the next episode, “The Magical Delights of Stevie Nicks” – click here
screen-shot-2016-12-10-at-8-05-49-pmAfter the head of Delphine LaLaurie (Kathy Bates) showed up at the witches doorstep last episode, we get a chance of pace in this one.
“Head” starts off with a father and son hunting in 1991. They’re sitting at camp and having some coffee together. The father calls the son Hank – is this the young version of Josh Hamilton’s character, husband to Cordelia (Sarah Paulson)? And what exactly are they hunting here? I may know, considering Hank’s dear ole dad loads the gun up with silver bullets. Then out from the woods comes a woman in tattered clothes, dad yelling to young Hank: “Put her down!” Before he can get the job done the woman, a witch, sets fire to the grass between her and the boy. Father jumps in, killing her and reminds his son: “Never forget what they are.”
Ominous past for Hank, whose entrance into the family business of witch hunting certainly began at an early age.
screen-shot-2016-12-10-at-8-06-09-pmFiona (Jessica Lange) shows up over at the salon to see Marie Laveau (Angela Bassett). She has Delphine’s head in town in the box. Out back, the body of Delphine still stands rotting in her cage, swatting flies off her bloody neck wound. Fiona wants an alliance between the coven and Marie’s voodoo powers. But Marie believes “witch hunters is white womensworry!” There are lots of fun things happening in the dynamic between Marie and Fiona, the dual sects of witchcraft and so on.
Poor Cordelia is having a hard time as a blind woman. She and Myrtle (Frances Conroy) have a heart to heart. Myrtle worries Cordelia still might believer she had something to do with blinding her. However, she knows Myrtle would never hurt her, which is good. They need one another, especially in the new landscape of their existence with witch hunters right outside the academy’s doors.
Excellent sequence involving Hank going to see his father, Harrison Renard (Michael Cristofer). There’s “Sarabande” by Handel playing in the background, the Delphi Trust headquarters, all the witch hunting talk and much more. I love this whole aspect because I didn’t want it to simply sit in the background, as an anonymous entity Hank worked for; rather, we get a sense of an elaborate war between these hunters and the witches they pursue. And it’s not all hugely expository. We get bits and pieces from the writing which leads us to our own conclusions. They don’t go too far with it, other than to make them a viable threat and install them as a proper part of the story. Great stuff.

You havent forget what she is? What you are?”

Myrtle is having Quentin Fleming (Leslie Jordan) and Cecily Pembroke (Robin Bartlett) over to the academy for dinner. They’re thrilled to see her back, with better skin than ever, as well as very excited to hear all about Misty Day (Lily Rabe), the powerful girl hiding out in the swamps. But after a moment or two, Cecily freezes up in mid-sentence. To no surprise on Myrtle’s part. Almost as if this were planned, right? Quentin soon freezes up, too. A little “monks wood“, she tells them while they remain like statues. She has at them with a good few jabs, not for revenge, but mostly for Cordelia. Okay – a little for revenge. She uses the melon baller to scoop out some eyes.
Upstairs afterwards, Cordelia comes to and has her sight once more. The ravaged sockets where her previously muddied eyes sat, scarred skin all around them, now are beautiful and wide eyes once again. Fiona is happy to see her daughter restored, though, there’s still tension between herself and Myrtle. Luckily it seems as if Cordelia is now most concerned with the witch hunters prowling around, no longer so focused on her mother’s indiscretions and faults. Sadly, though, Cordelia no longer has second sight; her new eyes have changed all that.
We’re also privy to a nasty, gory cut-scene where Myrtle disposes of the two former Council members, chopping them to bits and throwing them into a tub of acid down in the basement. Brutal, yet amazing!

Good luck. Call the CouncilI hear theyre not seeing anyone right now.”

 


Nan (Jamie Brewer) is waiting at the hospital. She wants to see Luke Ramsey (Alexander Dreymon), but his mother Joan (Patti LuPone) won’t have any of it. When Zoe (Taissa Farmiga) and Madison (Emma Roberts) show up, Madison doesn’t want her to take that. They barge in and hear a bunch of nonsense from Mrs. Ramsey, but the witches overpower her. With reason. In addition, there’s a great little moment where Nan hears Luke talk to her, as we see him literally standing behind her, whispering in her ear. Instead of another big confrontation, we finally see Joan give in. She sings the song Nan brought up, the one Luke told her about a moment before, and then calls Nan to her side. It’s actually a beautiful scene in the end, and I have to say – great choice to have LuPone play this part, she is an amazing actor.
Contrasted with such seriousness, after this comes Queenie starting off a film festival for the stationary Delphine’s severed head: Mandingo, The Color Purple, B*A*P*S, and to start, Roots. Hilarious, brief scene. Delphine starts singing Dixieland to try and contrast the “jungle music,” as she calls it.
Then bam, we get another intense sequence – all of a sudden, Hank Foxx is plagued by a voodoo-style attack, his bones cracking, his body bleeding. Marie Laveau is not happy with what their former agreement is yielding so far, having one of the white witches show right up at her doorstep. So, even though Hank is a piece of shit, I feel bad watching him get bent and torn out of shape.
Back at the academy, Cordelia is helping Misty with some of her powers. Nice visuals with the flowers growing, the bright colours of the greenhouse in the basement, plus the look of the small garden itself. Very cool set design. Then, Hank shows up crawling back like a slug to Cordelia. He’s happy her eyes are back, of course. But who cares what he thinks, certainly she doesn’t, and nor should she at all. He is not just a cheater. He’s a god damn witch hunter! Even though she doesn’t know that full extent yet. Regardless, Cordelia is not having any of Hank and his drama.

 


Neither is Fiona. Though, she’s never had any liking for the man. She brought home an attack dog. That doesn’t last long, not after she meets Kyle (Evan Peters), who hugs the dog a bit too hard like Steinbeck’s Lenny and cracks her neck. Uh oh.
But Fiona does one better, making a real guard dog – she slightly fixes Kyle, enough to make him competent for protection, and a good game of cards.
Cut to Nan and Joan at Luke’s side in the hospital. We find out more about the dark side to Joan Ramsey. Luke discovers, in the afterlife, her father did not die by accident. Seems Luke’s dad was having an affair with another woman, someone he actually loved. Then Joan set him up to die: trapping him in his car with bees, to which he was allergic, prompting a deathly reaction. Whoa, did not expect that! Although I was sure Joan had something seriously wrong with her either way.
Hank is gearing up to lay waste to the witches. Only now his sights aren’t set firmly on Cordelia and Fiona and their coven. He’s headed directly for Marie Laveau. The guns come blazing, blood flies over the walls and the mirrors; first a shotgun blast, then Hank takes out two dual pistols. Even Queenie gets a shot in the stomach. All the while, “Oh Freedom!” is sung over top, LaLaurie’s head watching footage of civil rights marches. Queenie manages to pick up a gun and blow Hank’s head off right before he can manage to do Marie in for good. A truly incredible sequence, complete with a teary eyed Delphine and an equally sad Harrison Renard mourning his now dead son Hank.
And at the very end of this bit, Luke wakes up accusing his mother of killing his father. Then, Joan puts him back to sleep. And puts a pillow over his head, smothering him.
The finale sees Marie Laveau now show up at the academy for a chat with Fiona. What will this bring? A real alliance finally?

 


A great, great episode. The next one is titled “The Magical Delights of Stevie Nicks”. Stay tuned for a fun one!

American Horror Story – Coven, Episode 8: “The Sacred Taking”

FX’s American Horror Story
Season 3, Episode 8: “The Sacred Taking”
Directed by Alfonso Gomez-Rejon
Written by Ryan Murphy

* For a review of the previous episode, “The Dead” – click here
* For a review of the next episode, “Head” – click here
screen-shot-2016-11-26-at-1-33-20-amWith Delphine LaLaurie (Kathy Bates) at the savage mercy of Marie Laveau (Angela Bassett), and Queenie (Gabourey Sidibe) on her side too, things seem to be changing in New Orleans.
Out under the cover of the city’s darkness, Queenie is searching for something. Under a bridge somewhere she lurks among the homeless community, the destitute and drugged up washouts either on the bottle or on the pipe. From one of the little tents comes a terrifying man, looking to “carve her up“. But Queenie easily fends her off with voodoo doll shit. From out of nowhere come Madison (Emma Roberts) and Zoe (Taissa Farmiga). They don’t want her to leave, they seem to want her back and actually appreciate her. They know she’s tough. Still, Queenie has things to do for Laveau: she cuts open the aforementioned homeless guy, apparently a rapist, and hauls a heart out; no problem. Apparently it’s going to help her gain power, some kind of ceremony Marie is planning.

War is coming. And youre gonna lose.”

screen-shot-2016-11-26-at-1-33-27-amFiona (Jessica Lange) is slowly getting sicker and sicker. All the treatments and the medications, the chemotherapy, it’s making her feel “as if I’ve been dipped in the River Styx.” She writhes on the floor and in a voice-over laments that her body is no longer her own, she has given herself over to terminal illness, which will take her away from the earth soon enough. Cordelia doesn’t care, only taunting her over Thanksgiving cooking. The only one who does care is the dear ole Axeman (Danny Huston), who lays with her in bed smoking, looking at her with a swollen twinkle in his eye and longing only for a life with her, anywhere, somewhere. “Youre watching me decay,” says Fiona. He doesn’t see it that way, though, the illness is destroying any bit of faith she once had. All that’s keeping her living and breathing properly at the moment is spite, not wanting to give her daughter or anyone else the satisfaction of leaving a moment too soon.
More creepiness comes by way of Luke Ramsey (Alexander Dreymon) and his mother Joan (Patti LuPone). She is upset, in all her puritanical glory, about her son’s newfound uncleanliness. She mixes up a chemical cocktail in a hot water bottle, connected with a catheter-like tube, and then has him lay down in the tub. We don’t exactly see what happens, or where exactly the tubing goes. However, we can easily assume it’s a nasty way of Joan cleansing her son and his sinfulness, y’know, all that deep grimy sin on the inside. Yuck. I’m guessing it was an enema, not anything in the front end.
At the academy, Misty Day (Lily Rabe) shows up in a panic, feet filthy, raving a little. After she was able to get Myrtle (Frances Conroy) resurrected, turns out a man with a gun came to get her. A man trying to shoot witches? No doubt witch-hunter Hank Foxx (Josh Hamilton). When Cordelia meets Misty, she sees everything with her newly gained sight, all the troubles she’d seen up until then. Now she is a part of the coven. Even better, Myrtle is back with them again like old times, back from the burning dead. Also, there are conflicting thoughts on who will be the next Supreme. Who could it be? Is it Misty? Or Zoe? Or who else? We’ll see what happens.
They start a ceremony called The Sacred Taking, title of the episode. It’s meant to prove Misty is the next Supreme. The whole thing starts with Cordelia talking about the ceremony is meant to also help the survival of the coven, starting back in the days of the Salem Witches. Great little sequence here with a black-and-white flashback to the Invoking of the Sacred Taking.

 


Poor Fiona is losing her hair, throwing up, and she thinks maybe losing her mind. A cover of “Season of the Witch” by Donovan plays and Madison, red dress belonging to Fiona, dances around the room: “Surprise bitch,” she exclaims. She talks about breaking in her new bed, and so on, being the new Supreme and all. Claiming she brought herself back and the Council ought to be called. Such a surreal scene the way they shot everything, which adds to the fact Fiona probably believes her mind is caving in. Sad to see Fiona try and open a door, the thing barely moving a few inches. Madison tries to convince her to kill herself with a bottle of pills. Furthermore, Myrtle shows up to freak Fiona out. But she takes it fairly well, all things considered; not sure if they’re back to life, or she’s in hell. Fiona plans to go away with the Axeman, while Myrtle fills her head with visions of him getting tired of the smell of her death, tired of waiting around.

You guys suck balls

After Nan (Jamie Brewer) storms off, upset that she’s not even being considered as in the running for Supreme, we see Hank waiting outside, lurking in the darkness. She finds Luke in his house, tied up. What’s happening?
We cut back to Fiona, who wants to die now. She wants to give up, asking Myrtle to look out for her daughter as best she can. Taking all the pills to plummet to her death, Fiona goes to sleep. But eventually comes to, as Spalding (Denis O’Hare) wakes her. He explains his tongue, his death, and reveals Madison was revived by Misty and they are exploiting Fiona, trying to kill her and make way for the new Supreme. With help from Spalding she purges the pills. Then vows revenge for them both against the coven.

 

 


Back over at Marie’s salon, Queenie brings Delphine – now locked in a cage for regular bleedings – some food. Before they can have any meaningful conversation, and LaLaurie can get any answers, Marie shows up and squashes that situation. Marie plans to keep Delphine, who of course cannot die, and make her suffer. Starting now with a chop of the hand and a warning there is much, much more to come for the immortal racist.
Now we switch back quickly to Nan and Luke, who are prevented from going anywhere by the religiously psychotic Joan. Not for long, though. Soon a rifle’s laser points through the windows. Joan is shot twice, Luke takes a bullet trying to make sure Nan survives.
At the academy, Cordelia and the others await Fiona’s death. Only the Supreme is still quite alive. She saunters through the living room, asking about Misty. Which leads her over the commotion next door. Cordelia ends up discovering the bullets were meant for witches, not the Ramseys.

 


My favourite part of this episode, though, is the very end. The academy receives a package at the door. When Fiona answers and opens it, there is the head of Delphine LaLaurie, staring up at her, and whispering to be helped. Very ominous. A horrific message from Laveau. Is a war coming between the voodoo sect of witches and the descendant witches from Salem? Looks like it.
screen-shot-2016-11-26-at-2-08-34-amStay tuned for the next episode with me, titled “Head” directed by Howard Deutch and written by Tim Minear.

American Horror Story – Coven, Episode 7: “The Dead”

FX’s American Horror Story
Season 3, Episode 7: “The Dead”
Directed by Bradley Buecker
Written by Brad Falchuk

* For a review of the previous episode, “The Axeman Cometh” – click here
* For a review of the next episode, “The Sacred Taking” – click here
screen-shot-2016-11-24-at-9-12-50-pmThis episode begins with a flashback to Kyle (Evan Peters) and his bros at a tattoo shop, back before they were smashed to bits after most of them gang raped Madison (Emma Roberts). Kyle rocks out to Toto, deflecting awkward jokes about his mother – who we now know molested him – as well as shares his aspirations to be an engineer. And that’s why he does not want to get a tattoo: “I got one life, and I’m not wastinit.” Even as a man with tattoos, I respect him for that, wanting to go into a particular career path and wanting to do everything as straight and narrow as possible. Particularly it’s admirable because he wanted to get away from his mother, who caused him terrible pain. Then we flash to the now Frankenstein-like Kyle; he wails after finding the tattoos of his friends on his newly pieced together body.
But will he live much longer? Zoe (Taissa Farmiga) is armed with a gun in hand coming down to the basement of the academy. And it looks as if she intends to put poor Kyle out of his misery.
screen-shot-2016-11-24-at-9-14-51-pmMadison is back. She doesn’t seem too pleased, though. In a voice-over, she talks about the Generation of Entitlement, supposedly, the Millenials. There is a great sadness in watching her sort of haunt the halls of Miss Robichaux’s Academy, trying to find a way to not “look like Marilyn Manson anymore.” She can’t feel anything, holding a lighter under her palm as it fries. Not a thing, not since coming back from the dead.
Downstairs, Zoe tells Kyle: “You know how this has to go, right?” And he sort of does, cowering at the sight of the gun. The sad part about this is that Zoe doesn’t have any idea what Kyle’s mother did to him, she thinks he’s just gone crazy and that coming back from the dead like this made him into an animal. But deep down she doesn’t want him gone, she doesn’t want him to die.
One of the funniest scenes in this season yet comes when Delphine (Kathy Bates) and Queenie (Gabourey Sidibe) go to a fast-food restaurant. The way LaLaurie reacts to the drive thru speaker is a crack up. More than that, the way LaLaurie talks about Queenie never being a real part of the coven because she’s black, it resonates with Queenie. You can tell this is going to start causing some problems.
Worse problems yet are the ones Hank Foxx (Josh Hamilton) plans on bringing. He has a ton of guns, he’s drinking. Will it be absolute savagery? Or will someone prevent a massacre?screen-shot-2016-11-24-at-9-15-42-pmMeanwhile, Cordelia (Sarah Paulson) runs into Madison in the halls and discovers Fiona (Jessica Lange) was the one who killed her. Bam. But her dear mother is still with the Axeman (Danny Huston). They’re back at his place listening to some music, having a drink together. Despite being a brutal mass murderer, this guy has style; how could he not, played by Huston? I love him and Lange playing off one another in a scene. They are two incredibly respectable actors in their own rights. To see them as a pair onscreen is like a treat, one of a magnitude we rarely see on television. Plus, it’s interesting to see where this new relationship is headed. To what end will the Axeman’s character play a part? He’s got bodies in the bathtub, she’s the reigning Supreme, a murderer and cancer patient.

Love transforms

Zoe is trying to teach Kyle to talk again, almost as if he were an infant. They use little cards like a child might. But he gets angry, smacking them out of her hands. He’s frustrated, naturally. I love the interpretation of the Frankenstein type story of Kyle, how he learns to be a person again after coming back from the grave. Because there’s a juxtaposition with others who come back to life, in particular Madison. Whereas she has her own troubles, Kyle is really fucked up because he’s only partly himself; other bits are made up of other people, friends he once knew sadly. So I thought this was great writing, the way each person depending on how they died/how they come back has a different sort of disposition. We’ll see more of this to come with another character.
Over at the hair salon, Queenie shows up to see Marie Laveau (Angela Bassett). Of course more of the racial divide shows up now, with Marie stoking the flames – as well as making what looks like awesome gumbo. However, she makes sense at times. While Queenie isn’t exactly mistreated over at the academy, nobody truly appreciates her. She takes a backseat to the other white witches, when I’m sure Marie could easily integrate her into the house of voodoo she has going over there. Still, might take more than that to completely convince Queenie. You can see she wants to go. Yet some reservation, though. Either way Marie wants her to bring Delphine back to her. Not saying why, or what she’ll do. But she wants that old racist woman in the palm of her hand.


Cordelia’s new sense of sight has brought her more assertiveness. She and Zoe have a frank chat, as Cordelia tips a bit of liquor in her own tea. A little more of a lax type Cordelia now. With all the threats to the coven, and from Fiona no less, she’s finally making sure these young witches are ready for what comes next. Or what’s coming for them. Then there’s more tension between the witches, after Zoe finds Kyle violently humping Madison. Two walking corpses having sex, wow.

Kill her once. Kill her good. Kill her dead.”

More romance for Fiona and the Axeman. He reveals to her how long his admiration has been growing. Ever since Fiona was a little girl, he watched her in the house and looked out for her. His fondness for Fiona began so long ago, now the Axeman grew out of a fatherly sense of love for her into one of romantic intention; seeing her become a gorgeous young lady, a bonafide woman, he had to have her. So in a sense it’s an eerie, creepy type of voyeur relationship on his part. At the same time, he doesn’t creep on her. He is very charming. Especially considering she’s at the end of her days, Fiona might consider this a good thing. Only she takes it all as insult, as if he “watched her grow old.” Though, he tells her in such a loving way. But she believes he haunted her life.
Up in the attic of the academy, Zoe seems to have found a tongue – belong to, of course, Spalding (Denis O’Hare). Now she has him tied up to his bed in that creepy little room he keeps, his tongue back in working condition. In fact, it was in a box belonged to the recently crispy Myrtle Snow (Frances Conroy). Only Myrtle couldn’t bring it back. Zoe’s powers are stronger and she managed to put it back in place; a very neat and weird little sequence, which I loved. Except after the tongue is back in Zoe compels Spalding to say only truths, looking for information, and he gives it up – Fiona killed Madison. Then he gives up his life. Not willingly, though.


Queenie asks Delphine what the worst thing she ever did was, which prompts a story about one of the slaves who used to serve in her home, back in the day. Turns out LaLaurie had an unfaithful husband whose extramarital affairs involved a servant. A super unsettling moment where Delphine has a new batch of bloody makeup, revealing exactly where it came from to her frightened servant girl; this prompted the poor girl to commit suicide the next morning, jumping off the balcony. Hearing all this, as it would, disgusts Queenie. LaLaurie tries to justify it as being in a “different time” and a “different world.” She genuinely seems to be repentant in how she talks to Queenie, but still. She did atrocious things.
Then there is the new problem between Zoe and Madison. Although, Madison doesn’t seem attached to Kyle. She only wanted to have sex, I guess. It makes her feel something, as opposed to nothing else making her feel anything, at all. She proposes they share Kyle. He’s basically meat in this season, which is fine. There’s always a great powerful female vibe in each season, but I dig how Coven most of all has a very female-centred plot and how the men sort of play these peripheral, yet at times important roles. Overall, it’s all about the ladies and I find it refreshing.
The episode’s end comes with a finale that shocked me, in a great way. Queenie brings LaLaurie out on the town – dressed in a hilarious bedazzled tiger shirt – except they end up at Laveau’s place, in the salon. Now we can see Queenie is giving herself over to the voodoo queen. There are genuinely terrible things about to happen to Delphine, not that I can say she doesn’t deserve it. She does. But it’s sad to see her and Queenie fall out, I thought somehow, some way, Queenie might take a higher road. All the same, I don’t blame her really. Further than that it makes things interesting heading into the next episode. Where will this lead? What more intensity will this bring? Well before the episode finishes, Laveau is applying her own bloody makeup, made from the drained essence of LaLaurie herself. How the tables have turned.screen-shot-2016-11-24-at-9-19-39-pmStay tuned with me for the next episode, “The Sacred Taking.”