Tagged Croatoan

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.

 

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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 – Murder House, Episode 11: “Birth”

FX’s American Horror Story
Season 1, Episode 11: “Birth”
Directed by Alfonso Gomez-Rejon
Written by Tim Minear

* For a review of the previous episode, “Smoldering Children” – click here
* For a review of the next episode, “Afterbirth” – click here
screen-shot-2016-11-11-at-11-48-41-pmThe very start of this episode shows us more of the relationship between Tate (Evan Peters) and Nora Montgomery (Lily Rabe). While a young Tate, very little, runs around Murder House while his mother leaves him on his own, he comes across the old child of the Montgomerys, lost and filthy and creepy in the basement. Nora shows up and tells Tate about how all he needs to do if the ghosts scare him is close his eyes, then tell them to go away. This sets up not just their relationship, which further compounds after Tate becomes a ghost himself in the house, it also goes deeper in this episode. Later, we’ll see where this comes into play even more.
screen-shot-2016-11-11-at-11-49-21-pmNow that Violet (Taissa Farmiga) is completely aware of her living dead situation, visually we’re seeing how it affects both her and her father Ben (Dylan McDermott). He tries taking her to go and see Vivien (Connie Britton), as well as bring her home finally, but naturally Violet cannot make it off the property. When Ben pulls out of the driveway, we pan around to Violet up in her window, talking with Tate. She’s slowly accepting the situation, however, that does not make it any better for her.
Moreover, Chad (Zachary Quinto) and Patrick (Teddy Sears) are also planning for the babies. They’re hilarious together, painting the room and the cribs and the dresser, et cetera. Great scene as Tate confronts them saying they ought not mess with Violet’s mother; I thought the way Chad gets in his face and says “What are you gonna do – murder me?” was darkly hilarious yet also just bad ass at the same time. Well written scene. I always enjoy how American Horror Story as a series overall both includes and confronts gay issues. This scene and the whole subplot of Chad/Patrick in Murder House is one small example of how well the series uses gay characters. And why not? Too many people get hung up on the fact they’re gay, instead of simply the fact they’re a human, they’re a person, a character. As long as they’re written well and enjoyable, who cares if the character is gay, straight, transgender, or whatever? I’m glad the writers have the ability to write the characters of Chad and Patrick well enough, they’re a great addition to the whole mix of ghosts traipsing around Murder House.
Also, their addition ups the ante even more, as it seems each and every ghost in the house has their own plan in regards to Vivien Harmon’s babies. It’s almost like an old western where a bunch of outlaws all end up in the same place, each angling to their own ends. Very cool episode in this sense because we get a good look at all that, out in the open.
Billie Dean Howard (Sarah Paulson) shows up to help Constance and Violent. I like how Billie is truly psychic, so she can tell Violet is dead. Neat little moment between them while they connect telekinetically.
My favourite part is a brief little bit where Billie tells Constance and Violet all about the supposed story behind Roanoke – the Lost Colony in the 16th century whose citizens all up and left, seemingly. Only the word ‘croatoan’ was left carved in a tree. Of course, Billie’s story is a fabrication, using the idea of spirits lingering to explain how they might purge the spirits o the house; particularly, Constance wants to get “the gays” out.
This all plays more into how the ghosts are all vying for the Harmon babies, each with their own misguided and mental plan to sort of start over and integrate the newborns into the ghostly, haunting family of Murder House.

 


Vivien’s doctor at the psychiatric hospital advises her and Ben she might need an emergency C-section. This is due to the fact one of the twins seems to be growing at an abnormally fast rate, while the other is growing weaker; the ‘alpha’ is draining all the nutrients, leaving the second to essentially wither away. And we all know what’s going on there, right? That little demon baby is sucking up everything useful, hoping to spring from the womb and deploy its evil.
Once Ben gets back to the house, Violet unfortunately has to make it painfully clear for her father in order for him to accept that she is dead. All the same, Ben doesn’t believe her. Everything comes down at once – right as she’s about to make him understand, Vivien’s water breaks and the birth is upon us.
I think this might be one of my favourite sequences in the entire first season of American Horror Story, maybe even in the series as a whole. Reason being is that it’s intensely chaotic, there are a hundred things happening all at once. We even get the original twins from the Pilot, who help Murder House by smashing up the Harmon vehicle, puncturing its tires and beating it to pieces. Then ole Charles Montgomery (Matt Ross) shows up, the dead 1968 nurses stab holes and all at his side to assist in the birth; they’re all present. It’s one of the most surreal group of scenes out of the season, and that is saying something.
The way it’s shot, half blurry bits as Vivien screams and prepares to give birth to her new twins, it is dark and weird, as well as absolutely beautiful. There is very sombre-like chamber music playing in the background, we get flashbacks to Vivien giving birth to Violet – a much happier time for Ben and Viv – and the whole aesthetic here is out of this world! The dark, candle lit birth is so weird. Shots here remind me of Rosemary’s Baby at times, when the titular character was experiencing those extremely strange dream-like moments (but they were no dreams); this is even more fun because I find there are other moments in Season 1 with Vivien which are definitely an homage to Roman Polanski’s classic psychological horror.

 


What I’m thrilled so much by is how Violet tries to use the whole Roanoke spell, courtesy of psychic Billie Dean Howard, and it fails hilariously on Chad – that scene was killer. Quinto is full of charisma. The thing I enjoy about that part so much is how Quinto hammers it home that basically there’s no getting rid of the ghosts; they’re doomed for eternity. Chad is stuck with Patrick, a man who doesn’t truly love him, for the rest of time, and so on, and so on. They each have their own burden to bear eternally, there’s no end to it. The pain simply goes on endlessly and there will be no rest. With all the dark comedy on Quinto’s end during that scene, it is actually a traumatic conversation in the end. Violet faces down the fact she’ll never find any sort of peace, ever again. The afterlife is merely an abyss, there’s no closure.
Then poor Vivien – after the savage birth of one stillborn and the child of Rubber Man Tate Langdon a.k.a the offspring of a human and a ghost – bleeds out and passes on to the other side. This moment falls with such heavy impact. Everything from the way it’s shot, to the sound design and dialogue. All those elements come together to make the finale ridiculously spooky. The best shot is how when Vivien finally dies, the camera reveals Ben Harmon alone – his wife pale and dead and the bed covered in blood between her legs and everywhere else – and now all the ghosts are gone. It’s an eerie set of shots.
Furthermore, Violet has been told the truth about her love – Tate the rubber rapist. More and more, she discovers what lies behind Tate. She thought he was merely “attracted to the darkness“, but Violet tells him: “You are the darkness.”
While Tate clearly does love her, he is still an awful and terrible ghost, one who has caused havoc in the afterlife as he so horrifically acted in flesh and blood. So I find the way he and Violet end things here both sad and highly interesting. Finally, she screams at Tate to go away, which we already know is the way to dispatch the ghosts who you don’t want to bother you.
The best part is another pan around reveal – once Violet screams Tate into the mist, the camera turns and sees Vivien caressing her daughter’s head, arm around her shoulder. They’re now together, perhaps even happier in a tragic ghostly sense than ever before.
screen-shot-2016-11-11-at-11-55-33-pmMassively impressive penultimate episode for the first season. The next episode and finale is fittingly titled “Afterbirth” and is directed by Bradley Buecker, a Ryan Murphy regular on GleeAmerican Horror Story, and also a producer on Nip/Tuck.
Excited to do a review for the finale, as well as to get on into the Season 2 reviews. Stay tuned for lots more horror and creepy stuff!