From Cuba Gooding Jr

American Horror Story – My Roanoke Nightmare: “Chapter 7”

FX’s American Horror Story
Season 6, Episode 7: “Chapter 7”
Directed by Elodie Keene
Written by Crystal Liu

* For a review of Chapter 6, click here.
* For a review of Chapter 8, click here.
screen-shot-2016-10-27-at-1-33-03-amReturn to Roanoke: 3 Days in Hell is well underway. Sidney James (Cheyenne Jackson) cheers behind the scenes watching footage like the greasy douche he is, and loving every minute of the drama. Of course nobody knows where Diana went – a.k.a dead. Not that Sidney gives a shit. The cameraman notices Rory Monahan (Evan Peters) getting stabbed, but can’t get his camera ready in time to catch anything. Then comes a scream in the night from their PA. In the dark we hear her choking, Sidney beckons the cameraman. They find the PA with her throat cut. And then Agnes Mary Winstead (Kathy Bates) in The Butcher’s clothing emerges, stabbing Sidney, as well as hacks the cameraman to unseen bits. She proclaims to the fallen camera: “I am the tree and the lightning that strikes it.”
screen-shot-2016-10-27-at-1-34-08-amAudrey Tindall (Sarah Paulson) and the others try finding Rory. Matt Miller (André Holland) keeps telling them that “R is for Rory.” You know nobody wants to hear that. Either way, he and Shelby (Lily Rabe), along with Audrey, Lee Harris (Adina Porter), Monet Tumuslime (Angela Bassett), and Dominic Banks (Cuba Gooding Jr.) all go searching the house for clues. They find a pool of blood upstairs. Audrey convinces everybody that Rory got that part and Sidney convinced him to do them a frighten in order to get their blood pumping. The poor wife is left believing her younger husband took off on her for better things. That’s sad.
Down in that cellar Agnes raves by firelight to a camera. She’s separated completely from reality now, don’t think she’s coming back ever again. Thomas White has taken over Agnes, full stop. She slips in and out of persona, yes, but ultimately The Butcher is becoming her primary personality. To devastating effect. “‘Cause the fans wanted more. And they wanted The Butcher.” However, things get spooky for even Agnes, as the ghosts of Roanoke’s Lost Colony start appearing around her, their wooden symbols hanging from the cellar’s low ceiling.
At the house nothing is getting any easier. Dominic edges up on Shelby, right as Matt appears out of nowhere: “Fuck her right here for all I care,” Matt tells them both defiantly. During an aside confessional, Dominic shows us that Sidney’s given him a body cam in the form of jewellery, to make things difficult for anybody and everybody. What’s better than screen time?
Shelby has a run in with Agnes in the bedroom. The old woman rages, going from The Butcher back to herself, and back again. A legitimately creepy moment. Agnes slices a piece out of Shelby, although Dominic takes her down before she can finish the poor woman off. All the while the cameras are everywhere, constantly rolling and catching the terror. Yet off into nowhere disappears Agnes.

 


Everyone’s becoming desperate. Nobody is coming to help, certainly, and we know why. They don’t know, though. For the time being they try and devise a plan how to get help, or simply get out of there. So several of the group head down into the tunnels below the house, where Edward Mott once supposedly led the Millers. Only they come across a screaming ghost, one that Lee’s gun can’t seem to take down. They rush out into the daylight, no longer fearing Agnes, wherever she’s hiding. Inside the Millers lament their lost marriage: “This place took something from me,” Matt confesses.
In the sky rises the Blood Moon. Lee, Monet, and Audrey finally stumble across the trailer, along with the gutted corpses of the crew and Sidney. No phones, no way to get out even in the car which is dead; you know it is! Then Agnes comes running at them from the woods. Lee shoots her into the dirt luckily, and the three women try to move on. Except torches in the woods alert them to ghosts of the Lost Colony. The Bloody Moon has begat spirits in flesh and blood. Meanwhile, as Audrey gives a Blair Witch Project-style confession to her phone’s camera, blood drips from overhead: from her dead husband. The ghosts still come for them sending the woman running into the darkness.
Or are they ghosts? No, it looks like humans in the night this time.
Oh, and Agnes, she’s survived a bullet in the chest, doing a little homemade surgery. You know that bad bitch isn’t going down. Perhaps it’s just more of the Blood Moon’s dark magic.

 


Poor Matt and Shelby never should’ve agreed to go back to that place. In the middle of the night Matt takes a walk downstairs. As if on a mission. Against his best interest, Dominic follows along with that sneaky body cam. He sees Matt in the basement where the Witch stands in the shadows: “Ive been waiting for you,” says Matt. Right before she grabs him violently, pulling him out of sight in a flurry of fierce noises. Dominic goes to get Shelby, they head back down together. They find the Witch on top of Matt. When Shelby pulls her off Matt tells them he came back for her. This prompts Shelby to smash his head in with a hammer until it’s nothing but mush. Wow.
The hillbillies have got hold of Lee. Tied up, she’s at their mercy. Uh oh. These are the real hillbillies, not the reenactment crowd. They’re the real and nasty deal. The Polk family; living off blood and the land. Mama (Robin Weigert) has her boys get to work on Lee, starting with some thigh flesh. They grease her up, season her. Y’know, that good stuff for “tenderising.” Likewise they’re torturing Audrey and Monet a bit mentally. Surely they’ll be seasoned soon enough. First though, they’re force fed a bit of Lee.
Up at the house Agnes is preparing the place for burning. Behind her rally the ghosts of the Lost Colony. Nice note: a parallel shot of the real Shelby with the fake Matt matches one previously of the fake Matt and fake Shelby from those reenactments, as they watch the torches from the window. Problem now is for Agnes – the real Butcher has arrived, and she isn’t sharing places. Agnes begs that she “only wanted to be on TV.” Not good enough. You’re fucking axed in the face, Kathy!screen-shot-2016-10-27-at-2-12-26-amWhat a solid episode. This really turned things up a gory notch. With that excellent 6th episode the plot twisted, and after that the series did itself a favour by coming out with this blood soaked “Chapter 7” that explodes across the screen. We can only wonder what will happen next. I dig that they’ve shortened the season, too. Not that they couldn’t have stretched it more to 13 again, just that they’ve set themselves a decent round number of episodes, they halved the plot in a sense, and now we’re heading into the homestretch, where anything at all can happen.

 

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American Horror Story – My Roanoke Nightmare: “Chapter 5”

FX’s American Horror Story
Season 6, Episode 5: “Chapter 5”
Directed by Nelson Cragg
Written by Akela Cooper

* For a review of Chapter 4, click here.
* For a review of Chapter 6, click here.
screen-shot-2016-10-13-at-1-36-10-amWhere does the nightmare go from here?
Edward Philippe Mott – undoubtedly related to Dandy Mott from Season 4 – is the one who built the Big Shaker House, the house where Shelby and Matt Miller (Lily Rabe & André Holland) experienced their personal nightmare. We get flashes of this Mott, as a historian tells us about the old property.
And who is it that plays Edward Mott? In a dramatic re-enactment (remember this well; this re-enactment business has a purpose), Evan Peters plays the man himself.
The historian tells us Mott had severe social anxiety. So he went out into the woods to build himself a home, away from the hustle and bustle of the city. Even during the building process, things got strange. Like they would. Most interesting is that Mott had the house mostly to be with his homosexual lover, away from his family. He’s got lots of other things going on, though. Mott is gay; no big deal. It’s his madness I care about. Before the house starts fucking with him he’s already a bit insane.
Then the haunting begins. Poor Edward, he finds his paintings destroyed. The very things he’d only recently rambled about while in the tub with his lover. He interrogates his staff, not getting any of the answers he wanted. He locks them away like animals. That house is bringing out the worst qualities in him. “Do not judge me,” he tells his lover – a black man – who he also points out is only a servant. Harsh, dude. Fucking low.
Finally, in the night Edward hears sqeuals, noticing a fire outside. It’s Thomasin White (Kathy Bates) and her rowdy band of settlers. They do him in, stabbing a pike through his chest before setting him ablaze. Of course the poor servant gets the blame. They even find the other servants down in the cellar, only starved skeletons left. A truly, unbearably nasty history. Real estate nightmare.

 


With Thomasin right outside the house where we last left the Millers, Shelby and Matt (Sarah Paulson & Cuba Gooding Jr.) wait at their window, calling 9-11. Ambrose White (Wes Bentley) calls out to them about a “merciless reckoning.” The couple try to enact a plan to escape, although splitting up is never good; at least not for the victims of horror. And when Flora (Saniyya Sidney) gets snatched up by a terrifying, ghostly figure that scampers away on all fours, nothing is looking good for anybody. Then the fucking Pig Man shows up, the dead hunters. All the ghosts and ghouls come out to play, commanded by Thomasin and her power. From nowhere comes Mott, leading the Millers into a tunnel downstairs; is he on their side, or that of The Butcher? “I will keep her from killing you, no more, no less,” explains Edward. He wants solitude. Too many souls kicking around in the house. Y’know, practical ghost shit.
Side note: check out the effects on Peters’ eyes as he moves the torch around, very cool.
Out in the woods after Mott leaves them, the Millers and Flora try to find a way elsewhere, but surprise, surprise – they’re stopped, bags over their head and knocked out.screen-shot-2016-10-13-at-1-54-23-amWaking up, they’re at the farm where the feral boys were found. Elias Cunningham (Denis O’Hare) is on a table, bleeding, in terrible fucking shape. He tells Matt: “Mama took my leg.” He warns to leave, before she comes back. Mama Polk sounds like a real butcher in her own right. And Mama, she turns up again: it’s Frances god damn Conroy, baby! She’s as bad ass as ever, trying to serve up a bit of questionable jerky. Oh, you know what it is. A little bit of Elias. To boot, he’s bad meat. BAD MEAT! BAD MEAT!
The head smash here is one of the greatest. Ever. Some legitimately enviable practical effects work. Kudos to the technical team here because this is awesome, in the grisliest horror way possible. JUST. WOW.
Anyway, Mama’s kin made a pact with The Butcher around “200 years ago.” She needs new blood each year. Their family helps, now and then. The crops are the whole deal, so that keeps them going. But cannibals is cannibals; they like doing their thing. Problem is the hillbilly Polks are upset about their feral children being taken away. Mama keeps calling Shelby “sweet meat” and that’s pretty creepy.
Lee (Angela Bassett) got stuck talking to the police, due to Shelby cluing them into her possibly having something to do with Mason’s death, Flora gone. Of course we know the truth, but none of them know what’s been going on back at the Miller place and the Polk farm.screen-shot-2016-10-13-at-2-06-43-amLots of blood tonight! As the Polks take Shelby, Matt, and Flora who knows where, Matt takes advantage, sending a shotgun blast into the cab, as his wife puts one of the men over the truck’s pan into the road. But where can they go?
In the forest they hide. Meanwhile, Lee knows something isn’t right. Mama and her remaining kin take the Millers out to subdue them until they can get to The Butcher. Then Mama goes ahead and nearly chops Shelby’s foot clean off. So. Brutal. This episode has really brought its A-Game in terms of gore.
They’re brought back to the house, again. The Butcher and her colony waiting for blood. Flora is being readied for sacrifice. When Lee arrives, the policeman takes off on her; what a bitch! She’s left to try saving her family on her own. From nowhere, Ambrose smashes his mother with a block of wood, grabbing hold to her and puling her into the fire with him, as they burn alive. Mott frees the Millers, as Lee flies in to save her girl from the Pig Man; to save them all.screen-shot-2016-10-13-at-2-18-15-amSo that takes us to the end of the story at the house. The Roanoke Nightmare is over, right? Oh, I doubt that.
Shelby has recurring nightmares, long after their experience. Nothing can quite that it away. “We escaped with our lives that night, but I never completely got over it. Im not sure I ever will,” the real Shelby explains. And that makes a lot of sense to me.
screen-shot-2016-10-13-at-2-21-02-amHow do you think the re-enactments will play into the overall season arc? I feel the actors playing the parts are going to be affected by their roles in the re-enactments, in how you always hear about plagued movie productions. I see the actors themselves being haunted further later on. Who knows. I hope it’s a nice surprise either way.
Excited for Chapter 6!

 

 

 

American Horror Story – My Roanoke Nightmare: “Chapter 4”

FX’s American Horror Story
Season 6, Episode 4: “Chapter 4”
Directed by Marita Grabiak
Written by John J. Gray

* For a review of Chapter 3, click here.
* For a review of Chapter 5, click here.
screen-shot-2016-10-06-at-1-26-34-amIn the talking head interviews, Matt (André Holland) relates how Shelby (Lily Rabe) was pissed after supposedly seeing him having sex with a woman in the woods. During the reenactments, Shelby (Sarah Paulson) confronts Matt (Cuba Gooding Jr.) until he breaks down: “Its like a part of my brain was cut out.” She comforts him, though the real Shelby affirms that she knew there was something not right, at all. What she saw was real.
That night Shelby sees the Pig Man. And he is also very real. Matt wrestles with him briefly before the couple get away. They’re saved by Dr. Elias Cunningham (Denis O’Hare), from out of nowhere. He uses the “Croatoan” spell, shouting it and dispelling the creature. But warns: “Hell be back.”
screen-shot-2016-10-06-at-1-29-36-amSo Dr. Cunningham tells us about Croatoan. How it was left when Roanoke Colony disappeared. Really, it’s blood magic. Spooky. The doctor quickly relays that he’s the so-called guardian of the house, trying to make sure people know about its history. Matt’s eager to kick him out, although Shelby has seen the Pig Man before. Through the craziness, she believes Elias. In the basement, he shows them some of his work: all the “paranormal activity” that’s occurred in and around the house. Essentially, a history of horror and torture concerning various families that were unfortunate enough to have bought the house over the years. Like the Chens, who were taken by surprise once the Pig Man showed up. And once Thomasin “The Butcher” White (Kathy Bates) came by? Shit. Things got much, much worse. Cunningham tells Shelby and Matt about how even those nasty nurses were afraid of the place. The Butcher did them in good, too. Real medieval style. On and on and on the tales go. He mentions the “Dying Grass Moon” as being when the disappearances and murders take place.
Lee (Angela Bassett) is on the hook for her missing daughter, though Matt and Shelby wanted to get to the bottom of the whole Priscilla mystery. Something with which Elias can help. Lots of creepiness when Matt spies the strange woman (Lady Gaga) from afar. Shelby chases her until eventually getting lost and running into some hunters – the ones Dr. Cunningham told her about, who once stayed in the house and turned their guns on each other. Well, they’re still wearing those wounds. Quite graphically; dig it. Shelby didn’t, and tried using the Croatoan spell. Doesn’t work because of the lunar cycle, so says Elias. Then in the middle of the forest they see Flora with a bunch of ghosts (people who’ve died or disappeared in the house), the Pig Man, and of course Ms. Priscilla. A horn begins to blow soon. An arrow, or three, are plugged into the poor doctor. While the couple run off there’s no doubt we’ll see Elias again. I’d bet on it.screen-shot-2016-10-06-at-1-44-14-amAt the house, Cricket Marlowe (Leslie Jordan) is ready to rock. They’re obviously ready to do whatever they can to get Lee’s daughter back. He tells them about talking to The Butcher. She’s pretty ready to rock, as well. Y’know, with the bloody moon rising and all. “Id kill for a Coke Zero right now,” Cricket says as he tries to get psyched up about what to do next. He takes off only to return hours later: “I met the bitch with the real power.” It’s that strange woods woman. She temporarily blinds him, puts a knife to his throat. Tricky lil’ Marlowe’s able to get himself out of it, after discovering a few things first. She shows him a vision. They’re in a cornfield. Hundreds of years ago. At the Lost Colony in Roanoke. This is where they came, to where the house now stands. They did terrible things, such as sacrificing little children; Cricket witnesses The Butcher smash a girl to death with a rock. Yikes. Her own son Ambrose (Wes Bentley) wasn’t pleased with the new path, under tutelage of that strange woman, the woods witch. The Butcher then pretended to repent for her wrongdoings, only to kill everyone. Even her boy. She puts a cleaver right in his chest to boot before slashing anybody not fully dead yet right into the grave. She binds them to their new land with blood. Lots of it. Her own, too. She lets the woods witch cut her throat, “bonding” the whole colony to the land “for all eternity.” Cricket says he’s got the spell to clue everything up.
Yeah, right. In his Uber on the way home Cricket spies Flora running across the road. So he gets out of the car and now you know he’s not getting back to the Millers any time soon.

 

 


Matt and Shelby wait for him. But he never comes. Night comes, Matt’s feeling a little creeped out. Foolishly, he heads outside – though with a gun – after hearing things, seeing fleeting images. The sounds they draw him to the cellar out in the woods. He finds the witch there, waiting. “Debts must be paid,” she tells him. Oh, you know what she means! Don’t pretend. A little later Shelby wakes and can’t find her husband. He’s stuck down in the cellar, mesmerised by her story. She was a “descendant of the Druids and their Roman conquerors.” Instead of being a victim, she slaughtered the soldiers keeping her captive. Anyway, Matt was lured into the honey trap. Meanwhile Shelby’s laid siege to by The Butcher and her ghostly hordes, Flora in their grasp. When Matt finally tears himself out of the spell, they get some help from Priscilla; she manages to get Flora away from them.
But poor Flora, she’s frightened. Then outside they all see Cricket. The Butcher rips his guts open while the Millers watch from inside. The colony gets truly medieval on Mr. Marlowe. Absolute savagery.
Things aren’t looking good for Matt and Shelby. We know they survive it. Yet even in the real footage of their interviews – are so sure they’ll be safe in the near future?screen-shot-2016-10-06-at-2-06-26-amscreen-shot-2016-10-06-at-2-07-15-amLove this season so much! Lots of creepiness, a bit of gore. Some strange oddities of various types. Can’t wait for more in the next chapter.

 

American Horror Story – My Roanoke Nightmare: “Chapter 3”

FX’s American Horror Story
Season 6, Episode 3: “Chapter 3”
Directed by Jennifer Chambers Lynch (ChainedSurveillance)
Written by James Wong

* For a review of Chapter 2, click here.
* For a review of Chapter 4, click here.
screen-shot-2016-09-29-at-1-46-49-amWith Lee’s (Adina Porter) little girl disappeared, nothing in that house is going well. In the talking head interviews, the real Lee tells us about the horrifying feeling involved with a lost child, as if it’s not hard to tell just from the tears running out of her. The dramatic reenactment shows us Lee (Angela Bassett), Matt (Cuba Gooding Jr.), and Shelby (Sarah Paulson) dealing with the aftermath. Not easy. The local police aren’t too keen about helping, though they do. But that house is getting a bad reputation, as well as those living in it. Either way, Lee does her best to help with the search, along with Matt and Shelby.
Then they come across the doll Lee’s daughter Flora had, torn to bits on the ground, with a circle of blood and pig’s head to go with it. Oh, the macabre finds in those terrible woods! Naturally they’re all terrified. A ways off they find a “skeleton of a farm” where there’s more strangeness. Such as the other portions of the doll, and a pig. When the trio go inside there’s only squalor with every turn of the head. Nobody home, either.
Out in the barn, though, they find something odd and sickly. Two mentally feeble young kids left sucking on a pig’s nipples, feeding. One of the most disturbing images yet.
screen-shot-2016-09-29-at-1-55-09-amscreen-shot-2016-09-29-at-1-59-04-amSo now the police believe there’s a bit of horror really going on. Finally. The two boys from the barn are useless for help. They only scream: “Croatoan!” The real Matt (André Holland) explains they now, in the present day, understand what they didn’t at the time – this was a warning. Other than that the search goes on, even if Lee and her ex-husband Mason (Charles Malik Whitfield) are losing hope, plus at odds. He is not buying what’s going on, believing it a power play on Lee’s part, a kidnapping to regain custody somehow. For her part, Shelby tries defending her sister-in-law. Matt mostly keeps quiet, not wanting to get too involved until Mason near punches his ex-wife to the ground. The real Shelby (Lily Rabe) points out the obvious: “We were all on edge.”
In the night, Matt gets a call about a body. Is it Flora’s, or no?
Certainly not. It’s her father, Mason – strapped to a symbolic wheel and burned to a crispy bit of charcoal. Holy fuck. That’s rough. Well, what’s troubling is that last night the cameras picked up Lee heading out for several hours at quite a suspicious time. Now Shelby wonders about her sister-in-law. Matt believes something is urging them to leave, and they ought to listen. Just then a stranger turns up: Cricket Marlowe (Leslie Jordan). He claims to have been called there to help find Lee’s girl. A psychic who’s often helped the FBI in tough cases. When Shelby checks him out, he appears legitimate. Then he can hear something, guessing correctly about Flora hiding in the upstairs crawlspace. He also finds a bonnet and knows about Priscilla: “She died in the late 1500s.” You know what this leads to, a good ole fashioned seance.
Cricket gets a typical seance happening, dripping some blood into a candle, all that stuff, y’know. He calls out to Priscilla, but instead gets the response of a “horrible woman.” She speaks to him and reveals herself as The Butcher (Kathy Bates). Cricket tries to ward her off. She then splits a candle in two in front of everybody making believers out of them. “I shall stack the bodies high as cord wood,” The Butcher claims. She tells them they are but trespassers. Screaming out “CROATOAN“, Cricket sends the spirit fleeing – the same word those deformed boys screamed, the same spell Violet tried using unsuccessfully in Murder House.screen-shot-2016-09-29-at-2-05-52-amExcept now Cricket is asking for $25K to track down Flora. So Matt doesn’t want to deal with his bullshit con artist tricks. Cricket’s telling the truth, but sadly this is not the time for greed. Game changes once Lee has enough, pulling a gun to get her answers. Matt talks her down before tossing the psychic out. Before leaving he whispers something to Lee quietly: “Emily says hello. She wonders why you quit looking for her all those years ago.” Hmm, the first daughter of Lee. Secrets. The real Lee explains about having a daughter at seventeen. When Emily was four, Lee went into a store only to come back and find her daughter gone; never to be seen again. Turns out that Lee later sprung for the $25K to pay Cricket.
We learn more about The Butcher from Cricket. Her “Christian name” was Thomason White – wife to governor of Roanoke, The Lost Colony. She was in charge until her husband came home from a journey. Things were getting scarce, people around her worried. Of course Lee doesn’t care about any of that, but Cricket advises not all the public’s been told about Roanoke is true. Seems that back in Thomason’s day she was overtaken. Even her own son Ambrose (Wes Bentley) is forced to turn his back on her. They left her in the forest by herself as they travelled inward somewhere better. There, a strange woman (Lady Gaga) saves her, killing a wild pig that tries to kill her, before feeding Thomason a beating heart and asking for her soul.
And thus began the revenge of Thomas White, The Butcher. She tracked down the men who left her to die, chopping them down one by one. Ambrose is the last left, whom she asks to “beg for a reprieve.” It’s only the fact he is her son that saves him; this time. Where does this get us? Cricket tells that the colony then moved inland, right to where the big house stands today. Dun-dun-DUNNNN!screen-shot-2016-09-29-at-2-33-44-amOut amongst the darkness Cricket calls out to Priscilla, only finding The Butcher and her people. She entertains Cricket’s questions about Flora. A moment later, Lee even says they’ll burn the house down as long as they get her daughter back.
But out of nowhere, Matt disappears. In present day he says he can’t remember ever leaving. When Shelby finds him he’s in the trees having sex with that strange woman who visited The Butcher, animal skull on her head, and two hillbillies watching, masturbating. Good LORD! Present day Shelby looks appropriately torn up.
When Matt shows up he has no clue about what Shelby saw. She’s obviously going crazy, and he’s clueless. No time to worry about that, though. Lee’s being hauled off by the police, and Matt believes it was Shelby, which it was likely. Oh, this is about to get very, very paranoid from here on in.

 

 

 

 


Another stunningly creepy episode for this season. Loving My Roanoke Nightmare, plenty of eerie, juicy, wild, weird stuff going down!
Excited for “Chapter 4” and whatever it brings.

American Horror Story – My Roanoke Nightmare: “Chapter 2”

FX’s American Horror Story
Season 6, Episode 2: “Chapter 2”
Directed by Michael Goi
Written by Tim Minear

* For a review of Chapter 1, click here.
* For a review of Chapter 3, click here.
screen-shot-2016-09-22-at-1-56-18-amLast we left Matt and Shelby Miller (Cuba Gooding Jr. & Sarah Paulson in the “dramatic reenactment“; André Holland & Lily Rabe in the documentary-style clips), things were bad. Shelby’s lost in the woods, finding a strange torch wielding cult (including Wes Bentley) and a man whose skull has been… partially removed. The strange woman Shelby thought she’d run over chants in the darkness (Kathy Bates), a group of people surround a man having a pigtail nailed to him. Terribly creepy little cuts.
After running and running, Shelby stops a moment. Only to find more madness. “I never thought about what could be in the wilderness, hiding in the dark,” the real Shelby recounts. We see Bates’ character lead a strange ceremony involving a man put up on a cross, a pig’s head stuck on his shoulders. Shelby takes off again until passing out in the middle of the road, where Matt’s sister Lee (Angela Bassett) finds her. Of course it all sounds mad to the police and everyone else. Poor Shelby. God damn. Ultimately she too believes it’s the “mountain men” trying to drive them out of the house.
A very bad, tragic misunderstanding.
screen-shot-2016-09-22-at-1-59-39-amscreen-shot-2016-09-22-at-2-01-50-amWe get to see more about Lee now, she and her ex-husband Mason (Charles Malik Whitfield) exchange their daughter Flora (Saniyya Sidney) for a while. Yeah, that’s a great fucking idea. Bring a little girl into a haunted house, or at the very least a house out in the country being laid siege to by hillbillies. Anyway, things kick off real quick once Lee finds Flora talking to somebody upstairs. Who? Oh, just somebody named Priscilla. Who isn’t there. A ghost? Or something more? Lee does the smart thing and pries a bit. “She said shes tired of all the blood,” Flora responds when questioned about Priscilla and her bonnet. When Lee literally finds one laying around, she gets spooked.
The great thing about any haunted house film or show is that part of everything is the human, psychological drama happening. There’s Lee and her girl, as well as Matt and Shelby, everyone with their own issues, taking things in differently.
That night more pig noises come from outside. Shelby takes action and insists on tracking them down, so Matt tags along. In the dark, out amongst the trees, they get separated. As one would expect from any horror. When they find each other, they come across a large stick figure with a pig’s head on top, roasting in fire; the skin and meat hanging below dripping into the flames. “This was beyond having a cross burned on your lawn. There was something demonic about it.” the real Matt speaks through voice-over.
With a bit more evidence this time, the police reluctantly look into what’s happening around the Miller’s place. Then a phone call comes through to Matt in the night. Except the phone’s disconnected. In the shadows, he finds an apparition: mean nurses tending to an old, frail and sickly woman named Margaret (Irene Roseen). They can’t hear Matt, but he watches on as one of the nurses tells their patient “Youve been warned” before blowing her brains out with a revolver. Now he’s seeing terrifying things, it isn’t only Shelby anymore.screen-shot-2016-09-22-at-2-14-57-amThis incident sets things into a frenzy. The police, as suspected, can’t find anything to backup Matt’s story. He starts questioning the integrity of his brain, literally, after the incident in the city. Problem is the cops are gradually getting less interested in helping, which isn’t all that abnormal by real world standards.
When Mason shows up for Flora, they can’t find her. It used to be a game she played with them. This time, not finding her may have something to do with the house. They find Flora in a crawlspace talking to Priscilla, who disappears quickly. Apparently Flora tried to make a trade: a doll for their lives. Seems Priscilla is homicidal. And it’s not just her. Flora warns her parents: “Theyre going to kill us all. And save me for last.” Fuck. That’s eerie. Dad hauls his daughter off and things aren’t looking any better for Lee as a mother. Especially considering she started drinking afterwards, off the wagon again. She broke a few things. Shelby’s not happy to find knives in the ceiling, although we can guess that probably wasn’t Lee. Those nurses are creeping about, too. In her drunken state Lee sees a lot of things from pigtails to pig heads and it’s one bad hangover she’s headed for in the morning.
There’s a little girl hanging around outside to boot, which sends Matt and Shelby outside. They come to a trap door with a ladder leading below ground a ways; hmm. Inside are a number of things including tapes in a camcorder. On them is a man named Dr. Elias Cunningham (Denis O’Hare). He speaks frantically saying things like “Im not what I am” and generally in distress over “forces that will not let me sleep.” He speaks of the house and its forces wanting to kill him. He further assures the viewer he’s not crazy. Then Cunningham tells us of his book about two nurses – Miranda and Bridget Jane. Oh yes, you guessed which nurses. Twisted bitches. They killed people with specific names to spell out MURDER. Everything got even wilder as it went on turning into one of those epic, insane tales of true crime.screen-shot-2016-09-22-at-2-24-14-amMore craziness to set the Millers off. Peeling away wallpaper, Matt finds the unfinished word MURDE written on the wall. Everything gets more real at this point. They keep on listening to Cunningham’s rambling tape. Doesn’t help any, except to frighten the shit out of them further. Scariest yet is when the tormented doctor heads inside the house with only his camcorder, night vision on, to guide him through the silent hallways. “Show yourself,” he yells to whatever’s in the dark. Before something, someone appears and startles him. And downstairs, a butcher’s knife with blood on it is stuck in the front door.
They just wanted to leave. Not so easy, though. No getting out of that mad house. Everything amps up a notch after Lee shows up with Flora again. When she’s clearly not supposed to have here there. More of that impulsive Lee behaviour already. Her brother tries to talk sense into her. Shelby tries talking the ex-husband down from calling the cops.
But can Mason get there to take his daughter away before anything worse happens? The little girl whom I assume to be Priscilla beckons Flora to come outside, out near the trap door in the field. Then she goes missing. The adults start to search frantically.
In a clearing, Lee finds her daughter’s yellow sweater at the top of a thin, ridiculously tall tree, its trunk looking almost stained with blood. They stand below, not sure what to do next.
And what can they do?screen-shot-2016-09-22-at-2-42-05-amscreen-shot-2016-09-22-at-2-42-58-amVery pumped for “Chapter 3” next week. Some people keep complaining, and I have no idea why. I love the re-enactment stuff, it adds a fun twist to the show. I’m still feeling like there’s going to be an angle to all that. Just like My Amityville Horror had its drama, My Roanoke Nightmare is going to bring something with that faux-documentary posing as a real documentary. Mark my words.
Also, did you catch Lady Gaga in her brief appearance? She shows up a couple times early on. Very unnerving look to her character. Can’t wait for more, of everything!

 

 

 

American Horror Story – My Roanoke Nightmare: “Chapter 1”

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.
screen-shot-2016-09-15-at-1-23-25-amThis 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 werent 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.
screen-shot-2016-09-15-at-1-23-34-amStrange 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.
screen-shot-2016-09-15-at-1-45-55-amscreen-shot-2016-09-15-at-1-59-43-amWhen 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.

American Crime Story – Season 1, Episode 10: “The Verdict”

FX’s American Crime Story
Season 1, Episode 10: “The Verdict”
Directed by Ryan Murphy
Written by Scott Alexander & Larry Karaszewski

* For a review of the previous episode, “Manna From Heaven” – click here
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Finally, the last episode of American Crime Story: The People v. O.J. Simpson has arrived!
We begin as O.J. (Cuba Gooding Jr) gets dressed for the big day. Johnnie Cochran (Courtney B. Vance) advises him how they’ll proceed from here. In court, Judge Lance Ito (Kenneth Choi) is faced with letting O.J. address the court. Marcia Clark (Sarah Paulson) is not happy with that, believing the defense is trying to get facts to the jury improperly. Everybody watches on, as O.J. speaks awhile. Until Marcia shuts that shit down.
In the defense camp, death threats are rolling in for Johnnie – twenty and counting. He’s not concerned, though. Too busy rehearsing and writing his famous “if the glove doesnt fit you must acquit” speech that, as we all know now, was so Cochran-like. He love rhymes and alliteration, he had an almost theatrical quality.

 


Over in court, Marcia’s doing the best she can to convince the jury, one last time, that her sides is the right side. She pleads that the testimony concerning Dt. Mark Fuhrman (Steven Pasquale) not poison the well entirely. With her in court she has a nice board made up stating its UNREFUTED EVIDENCE that Simpson is the murderer. The jury is swayed, back and forth. Clearly many of them, especially the African-American citizens, are on the side of Cochran and Simpson. But Marcia makes a good case. She does, indeed. As much as Johnnie can talk the talk, Marcia can, too. She can walk that walk, as well.
More of Christopher Darden (Sterling K. Brown), also pleading their case for the jury. He is another man whose passionate and plain way of speaking is an evident advantage as a prosecutor. But it’s the whole racial angle around the trial that’s interesting when considering Darden. He was faced with being a supposed Uncle Tom-like figure, when he was simply there on the side of justice: “This case is not about the Nword. It is about O.J. Simpson and the M word: murder.” Darden brings up many great points about Nicole Brown and her relationship with Simpson; his jealous, his anger towards her, the previous domestic abuse and the fact she filled up a safe deposit box with pictures of her injuries from those incidents, and so on.
Johnnie proceeds to stand on the high horse about domestic abuse. Ironic? Well, he moves on and gets loose, he orates like a man onstage reading Hamlet. Moreover, he again uses this as a chance to slag on the LAPD. He’s not only trying to get O.J. off, he wants to use this as a soapbox for the things he already fights against. He pops off the infamous glove line, then finishes up, the whole place hushed.

 


So now, they wait.
F. Lee Bailey (Nathan Lane) is off to Laguna Beach, Johnnie has a flight to catch. Then Bob Shapiro (John Travolta) rambles about Oscar De La Hoya, and everyone leaves him all alone, almost without a word. They’re done with him and his bullshit, I suppose. Who wouldn’t be?
The jury starts to deliberate. Not Guilty keeps coming out, over and over. Out of the whole lot only two jurors claimed O.J. as Guilty. More of the black v. white stuff happening. Also there’s plenty of doubts about the trial itself, the weird things going on. But some of the Africa-American jurors are unwilling to budge, particularly because of racist Fuhrman and his absolutely despicable testimony.
Everyone’s surprised by the mere four hours the jury deliberated. Everyone’s worried, too. Naturally. Because it isn’t clear, at all, at any point what’s been about to happen in the trial. Meanwhile, Shapiro and Cochran are at each other’s throats again, as the latter has involved Louis Farrakhan and the Nation of Islam in their protection because of the volatile nature of the trial and its surroundings. For their part, Marcia and Chris try keeping a positive spirit, hoping the quick deliberation means the best for the prosecution.
In jail, Simpson preps for the “big day” – “biggest,” as he says. Even signs a ball for one of the guard’s kids. The guard also seems to give up a bit of good news from a friend guarding the jurors. Uh oh.

 


Everyone sits, waiting, hearts in every throat, pulse throbbing. Every single person looks stressed, both figuratively and literally on the edge of their seats. The verdict is handed over. Time slows down from O.J’s perspective. Each person watches the verdict pass over to the jury from the bailiff. Everything is by the book. This sequence is super tense, very well filmed and written, so as to draw things out. Even while knowing the verdict already it is still thrilling. The editing even cuts things to a higher level of intensity, too.
When the verdict is read out loud, everyone reacts in amazingly different ways. The racial tension is completely obvious. The editing cuts back and forth between jurors, family members, friends, the streets. An impressive little montage of edits within this scene that made the impact even more weighty. When one of the jurors holds up the Black Panther sign it comes as a whopper to both O.J. and Marcia; especially the former, who finally sees it wasn’t his supposed innocence that got him off, it was the fact he’s black. Therefore, nothing will change, people – some of them – will still see him as a cold-blooded murderer.
In the bathroom, Robert Kardashian (David Schwimmer) loses his lunch, clearly doubting his old dear friend’s guilt. So many reactions that it’s just a gumbo of different opinion all over the place. But even those closest to Simpson have their doubts. Hell, Shapiro was never sure to begin with, so it’s not surprising.

 


The fallout of the trial is different for everyone, as well. Gil Garcetti (Bruce Greenwood) feels his career will be defined by their loss. Marcia says she’s “ashamed” of herself. Darden wants nothing to do with going out and facing the press. But they stick together. Gil even compliments lark on her class, for not stooping to the level of the press, nor that of the defense and their tactics. Obviously, though, she feels the weight of the decision against her. Amazing acting in this scene, Sarah Paulson gives us more of her excellent portrayal of Marcia Clark; some of the highlights of the series as a whole in this first season.
Many are devastated by the jury’s decision. The Goldmans, The Browns, Garcetti and his entire team, many in the community. They can only pick up the pieces and move on from there, learn from their mistakes and errors in judgements. Clark and Darden do their best to give a press conference, under all the emotion they suffer. Another emotionally charged moment out of this great finale. Then from the crowd someone asks: “Gilyou gonna look for the real killer now?” Whoa. That is a big one, and it hits Garcetti off guard.

 


On the streets people celebrate. But so many, like The Goldmans, are left wondering how to move on. How can they reconcile what they feel they know deep in their hearts with the verdict? And after so much madness throughout the course of the trial.
Very interesting is the meeting between Cochran and Darden. The faith Chris has in the law doesn’t waiver, yet he has no faith in the theatrics of Cochran and his tactics. But Johnnie is able to sleep at night knowing he’s slightly changed things. When he sees President Bill Clinton on the news talking about the LAPD, the black experience, he knows things may shift. If only he were still alive today, he’d know nothing ever fully changes. Not when it’s embedded like racism.
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Darden: “This isnt some civil rights milestone. Police in this country will keep arresting us, keep beating us, keep killing us. You havent changed anything for black people here. Unless, of course, youre a famous, rich one in Brentwood.”
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Marcia and Chris lick their wounds together. Neither of them is totally sure how to process what’s happened, even if it’s something they understand, how it came about, what went on during the trial. We get some insight into Clark, though. She reveals to Darden her rape, years ago, in Italy at the hands of a waiter. She tells him how there’s a “thing” in her seeking “vengeance for victims“, and that is her idea of justice, to get the justice those victims deserve, that they need. Although, the Simpson trial is really shaking her to the core, her beliefs wavering in the face of such injustice for Nicole’s murder after all the domestic abuse, the fighting, et cetera. Sad to see a strong person like Clark beaten down by a major case.
Simultaneously, O.J. gets out of jail. Funny enough, the only person waiting is Kardashian. He can’t even hide his feelings, almost weeping right there. But they head home, bringing Simpson back to his place in Brentwood. Big party, a “rager” is about to happen ’cause O.J. wants to get down. Only the reception is not what he’d expected. People in his upper class neighbourhood aren’t happy. So he’s experiencing the many-edged sword of race. The predominantly white neighbourhood of Brentwood isn’t exactly impressed with the verdict, not like the reactions in the inner city.

 


There’s a neat juxtaposition of things at the end here in this finale. We inally see O.J. back at home – the first time we’ve really seen him free the entire series. But he is alone. He cries to himself. Even he doesn’t know exactly how to go on after everything.
At his party afterwards things are even more telling. The only person on his defense team that’s present is Kardashian, who doesn’t even stay too long. A moment with a waiter is also pretty interesting, revealing more racial undertones to every relationship which O.J. engages in. Also, his last look with Kardashian is extremely heavy, as Simpson can tell his good friend no longer has faith; at least in him ,anyways.
In the backyard, O.J. stares up at his statue, long and hard. A larger than life figure, both him and the statue. In his head are the sounds of his old days on the field, the crowd roaring. How far he has fallen.

 


An impressive series that I loved, start to finish. I look forward to seeing what they’ll do for next season, which is rumoured to be centered on Hurricane Katrina. Also dig the end where they showed everyone with their real life counterpart side-by-side. Lots of great writing, acting, editing, the whole thing was nearly perfect, only a couple rare missteps. I see some awards in this series’ future.