Bloggers try finding the Roanoke House, although they have no idea what Season 2, Return to Roanoke, has in store for them.
Everything changes in this episode, as we go behind the scenes with Sidney James and discover a Season 2 is underway. Only nobody realises how much blood is coming.
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.
In 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: “It‘s 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: “He‘ll be back.”
So 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.At 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. “I‘d 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?Love 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.
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.
Last we left Matt and Shelby Miller (Cuba Gooding Jr. & Sarah Paulson in the “dramatic re–enactment“; 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.
We 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 she‘s 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 “You‘ve been warned” before blowing her brains out with a revolver. Now he’s seeing terrifying things, it isn’t only Shelby anymore.This 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: “They‘re 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 “I‘m 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.More 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?Very 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!
FX’s American Horror Story
Season 6, Episode 1: “Chapter 1”
Directed by Bradley Buecker
Written by Brad Falchuk & Ryan Murphy
* For a review of Chapter 2, click here.
This year’s theme? My Roanoke Nightmare. Delicious.
We open on a series of talking heads. Almost seems like an Amityville Horror sort of thing, too. My Amityville Horror is a documentary by the man who was a child during the supposed Lutz story, and this seems to mirror its style a bit.
Well, Shelby (Rabe) and Matt (André Holland) are a married couple. They tell us about their relationship, what they do for a living, so on. They talk about the “worst night” of the their lives when Matt is randomly knocked out by some gang of kids. He nearly died because of their foolish brutality. We see Sarah Paulson playing Shelby and Cuba Gooding Jr. as Matt, like reenactments of that night. Sadly, Shelby lost her baby on that evening. After the event they took a trip out into the wilderness: “We weren‘t city folks,” Matt says.
Out in the woods is an old farm house. A massive backwoods mansion. The house is cheap, just like the one the Lutz family fell into buying in Amityville. They snatch it up, now owning a surely haunted house. Shelby knew it from the beginning, in the back of her mind.
Strange banging in the night already starts Shelby and Matt off on a rough note. Interracial couple, rednecks kicking around. They’ve had troubles before, but were more than willing to fend any trouble off. Nothing’s too great. When Shelby’s home alone it starts raining teeth. TEETH! That’s pretty fucking unsettling. Of course no teeth are left when Matt gets back. To be expected when you live in a haunted Southern mansion. I mean, even the house, the big windows upstairs, the shape, it’s so reminiscent of The Amityville Horror. Not in a bad sense. Dig the homage.
One evening while cooking, home alone, Shelby sees two young women pass in the hallway, staring at her. Nice bit of tension, as she goes to check out where the women went. Finding nothing, only a suspenseful moment or two. Later when she relaxes in the hot tub outside until somebody holds her under. She calls Matt, who gets home quick, and the police, of course. Although the police don’t care much. Lots of paranoia swirling already. The couple aren’t sure anymore what to believe. So I LOVE the cinematography so far this season – the house especially looks ominous even in how the shadows cast over everything, big windows everywhere like eyes, darkness crowding around them.
Living in the house only gets worse, as you’d imagine. Weird noises get Matt out of bed and he finds a mutilated pig on the porch outside. He doesn’t tell his wife, he assumes it was the redneck boys who wanted to buy the house. So like a smart person, he hooks up lots of cameras and a nice security system hooked to his phone. Better yet, he gets his sister Lee (Angela Bassett) to go out there and look after Shelby. Lee was a bad ass cop, whose injury from getting shot on the job led her to taking medication a bit liberally. One day, really lit up on pills, she chased a serial rapist and her addiction was discovered. This got her fired, before wreaking absolute havoc on her personal life; she lost her husband, even her daughter. A sad, human tragedy.
Nothing changes in the house. Just because a security system’s in place and a former cop is looking after Shelby doesn’t mean whatever inhabits that house is going away. Paranoia runs mad now with another person kicking around. Only makes it easier for Shelby to confuse ghostly apparitions with Lee moving things, walking around, et cetera. An added interest is that Lee is still an addict. She asks Shelby not to drink, though I’m not sure how well that will hold up. On the other side is the fact Lee is also sceptical of her sister-in-law.
Then the house starts working on Lee. A lone wine bottle rolls across the floor at her, so she assumes it’s Lee being a bitch. “Why would you do something like that?” she questions Shelby. Now the accusations fly between the both of them. Meanwhile, Matt gets a text from his automated security: people in hoods carrying torches have headed through the gate up to the house. Oh, my. He tries to call the ladies, but they’re too busy arguing.
Suddenly, Shelby and Lee are interrupted by a videotape playing on the television, the strange noises from the night coming out – then on the tape appears a pig-headed man in the wilderness, squealing and bloody. Like anybody would be, the women are terrified. The hooded people with their torches get inside the house while the pair hide, and Matt rushes from a couple hours away to try getting home. When the ladies finally come out of hiding there are tons of creepy stick figures a la Blair Witch Project hanging about the house. Cops once more do nothing.
When Matt is back he watches the video, only getting angrier at the local hillbillies. He still doesn’t want to leave; Shelby takes off in the car thinking only “fight or flight.” On her way she hits somebody in the road (it’s Kathy Bates and she just walks it off). Shelby chases her into the nearby woods and gets lost. She winds up finding more of the stick figures that were hung in the house, which sends her running into a place where the earth below seems to breathe. Deeper in she comes across a man missing some of his scalp and skull, brain exposed. And in the darkness lurks a man holding a torch, among many others holding torches – Wes Bentley’s character. We’ll just have to wait and find out who he is, as well as what happens to Shelby out there.
I don’t care what any of these other horror sites are saying – they probably won’t continue watching after the first episode of the series, anyways. So fuck ’em. This was a great start to the new series. Fun references, eerie shots and sequences, a bit of character intrigue and gritty development. “Chapter Two” will likely be good fun.
Malcolm X. 1992. Directed by Spike Lee. Screenplay by Lee & Arnold Perl.
Starring Denzel Washington, Angela Bassett, Albert Hall, Al Freeman Jr., Delroy Lindo, Spike Lee, Theresa Randle, Kate Vernon, Lonette MCKee, Tommy Hollis, James McDaniel, Ernest Thomas, Jean-Claude La Marre, O.L. Duke, & Larry McCoy. 40 Acres and a Mule Filmworks/Largo International N.V./JCV Entertainment Networks/Warner Bros.
Rated PG-13. 202 minutes.
Sometimes I’m not a fan of Spike Lee as a public persona, simply because he doesn’t always think before speaking. However, I’m usually a fan of his work as a director. He has a big, wide mind and puts that to work usually tackling issues within the African American community. There are too many of his movies to talk of in an introduction, but suffice to say I do think he is a great director. One of the greatest in his generation, and certainly one of the best African American directors out there, period.
And that’s perhaps why Malcolm X is the film out of his catalogue which resonates most. It isn’t necessarily his greatest. Yet there’s such a poignancy and depth to the work Lee does to portray Malcolm X (played wonderfully by Denzel Washington), not just as a powerful black leader, but also as a human being; one not completely above judgement, one not perfect as some might idealise him. Furthermore, we’re able to get a look at the inside of the Nation of Islam, as far as fiction allows. Many prominent figures in the life of X and circling the NOI, as well as the Civil Rights movement in general, are included, from cameo roles such as Nelson Mandela, Al Sharpton and others, to the portrayals of characters like Elijah Muhammad (Al Freeman Jr.) and Thomas Hagan (Giancarlo Esposito), among more. The nearly three and a half hour runtime of Malcolm X may seem daunting. If you’re sitting down to watch a film, you’ve really got to be prepared for this one, though it’s beyond worth the effort. For me, the 202 minutes rushes by in a beautifully shot and directed, phenomenally acted story that jams a whole man’s life into one screenplay. Not everything gets covered, and there’s also plenty of story to be told after X’s assassination. Above all else, the character of X comes out, as does his struggle. For some this was a stepping stone to learning more about the Civil Rights movements that began raging during the 1960s and 1970s, and onward. I won’t ever forget my first time seeing this one. It’s a classic that stands the test of time, telling an important, crucial story about America during the early latter half of the 20th century, and examining one of the more turbulent times of race relations in the country’s history. Sadly, some of what happened back then is still much too alive and much too well in American society, and if X were still alive he’d likely still be as fiery and determined as ever.
The best aspect of Malcolm X is the fact Lee doesn’t attempt to make him above reproach. As a person, X was not perfect. Nobody is, so Lee never tries to make him out to be anything else. Some worried that he would include X’s life before he converted to Islam, and that’s exactly part of what makes this story interesting and intriguing. There’s no sense in ignoring that part of his existence. X himself never did ignore it, he always kept himself open and honest and raw. That’s a huge part of why many did, and still do(/always will), admire him. He was not like most other leaders. He didn’t admit every one of his faults – again, he is only human. But on the whole, he never shied away from his once criminal past, as that in a way led him to where he went after and helped him attain the enlightenment of Islam.
One of my favourite moments happens between Malcolm X’s speeches. A young white woman approaches him, admiring his work, and wondering what a white person without prejudice might do to help further his cause: “Nothing,” he says smiling before walking on. This is such a brief, powerful moment. I’m reminded of watching a recent documentary about the KKK, where they also spotlighted the Black Lives Matter movement and the shooting in Charleston; one scene shows a white woman, with a mixed race child, trying to march in solidarity, who’s told by a black woman to go home – she does in fact leave after, though the black lady gives her a hug and seemingly explains this is just not the time or place for her presence. There’s a stand-off element to X and his feelings for white people. Again, that changed once he went to Mecca on his Hajj, and then essentially transformed into a full blown humanitarian. Yet Lee never strays away from that inflammatory perspective X held towards white American society, and makes clear it’s simply about black people gaining back their power, or retaining what they have, not so much about hating white people. So in that scene where X shrugs the white woman off, it represents the idea that white people may want to help, but black people don’t need their help. They sometimes just need white people to stand back, let them do their thing and settle the issues on their own. That’s not always the case. Particularly in the time of X, there were tough things happening (not that there still aren’t in this day and age), so this was a stance he felt black society needed to take in those times of near racial war. Not long after X, once Elijah Muhammad was out of his life, he made clear the black community had to unite first, then they could work more on white-black relations. That scene with the white girl epitomises this concept.
I love the inclusion of the conk hairstyle at the beginning with Malcolm and his buddy Shorty. Not simply because African American culture at the time saw a lot of young black men styling their hair that way. What’s most interesting is that Malcolm X later spoke about conk and its double edged sword-like effect on the black community. On the one hand, conk – because of its threat of chemical burns and scarring, hair loss, et cetera – was seen as a ritual of manhood, going from a boy to a grown adult. On the other hand, he and other African American scholars came to see conk also as a way of erasing oneself in order to become more white. This latter idea is presented in the screenplay after the conk is put in, washed out, then Malcolm admires his new hair in the mirror and says to the men in the barbershop: “Looks white, don‘t it?” The whole concept of the conk plays into how we see Malcolm ultimately reject everything white. And yes, he said incredibly inflammatory things about white people. But things can change, people can. He didn’t turn into who he was later because of a hate for white people. Effectively, he hated injustice. The white man, the white culture, the white HAIR, it all comes down to representing the white world that he lived in and found himself subject to at every turn, on a daily, minute-to-minute basis. So the conk is simply one element of the white superstructure that Malcolm came to reject. A great inclusion on Lee’s part to show that. It could’ve been a basic scene that shows us where he came from, his beginnings. Instead the scene represents a microcosm of that influence white culture had (/still has) on black people that are brainwashed into feeling as if ‘white is right’ or any of that other sadness. Later when Malcolm is in jail, the conk becomes a sticking point when he’s confronted by an inmate who tries to help him, out of the life of a gangster and moving towards something better, which is the Nation of Islam; a huge influence in his life during prison, as well as afterwards. It may seem a superficial, brief moment in the 202 minute runtime of this epic biography. And it’s a drop in the pond, really. Although, it is highly significant to the overall themes surrounding the film and X himself as a Civil Rights leader.
This is one of the best movies of the 1990s, certainly one of Spike Lee’s best, too. Malcolm X is a dissection of a cult of personality. It is a film that attempts to get to the core of what X and his struggle represented. Without all the denial some insist on upholding in regards to X’s personal history, who he was, who he became. The movie is not totally perfect, though it is perfect where it counts. Likewise, Lee concentrates on not inflating X as a leader. Rather he takes an inclusive look at the man, not ignoring the good and the bad alike. He dives into the an era where things were different, and somehow not enough has changed as of this writing in 2016. Watching this movie again now, 24 years after its release and concerning a subject decades older, it’s almost sad to watch and think how hard X would roll over in his grave were he able to witness some of the scary racist madness that’s still going on in the streets of America. Love this movie, love Denzel, and Spike is near his best here. A positively entertaining piece of biography, history, all combining to make a well executed film in every respect.
FX’s American Horror Story
Season 3, Episode 12: “Go to Hell”
Directed by Alfonso Gomez-Rejon
Written by Jessica Sharzer
“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 “half–baked 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“
Perhaps 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“.