Tagged Denis O’Hare

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 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 – Hotel, Episode 12: “Be Our Guest”

FX’s American Horror Story
Season 5, Episode 12: “Be Our Guest”
Directed by Bradley Buecker
Written by John J. Gray

* For a review of the penultimate Season 5 finisher, “Battle Royale” – click here
screen-shot-2016-11-17-at-4-07-52-pmThis finale for the wild Season 5 begins with Liz Taylor (Denis O’Hare) talking about taking over the Hotel Cortez. Only she has her throat slit with a gloved hand, not unlike the one we’ve seen Countess (Lady Gaga) wear earlier in the season.
Cut to a couple checking in. Iris (Kathy Bates) and Liz woo them, with champagne on arrival, hoping to make the guests feel at home and ready for a wonderful time. They’re apparently from some website, one which reviews hotels. “It was going to take 4stars on the internet,” Liz tells us. All the rooms are newly redone, looking beautiful; even Egyptian Cotton on all the beds. Looks a far cry from where it was once.
Except Sally (Sarah Paulson) shows up from out of nowhere to greet the new guests, lazing around smoking in her usual leopard print. She’s even getting ready to shoot up, which soon does in one of the guests. The other one goes running in the halls, coming across Will Drake (Cheyenne Jackson). “Im new at this murder game and jesus christ is it a thrill,” he says before stabbing her to death. Seems like things aren’t exactly perfect at the Hotel Cortez, despite the beautiful surface.
A very wonderful start to this final episode for the season. Plenty more macabre, nasty fun to come, I hope.
screen-shot-2016-11-17-at-4-09-27-pmThe meeting is called, as Liz and Iris try to create order among the ghosts of the Cortez. They all meet at the bar, everyone wanting something different. Marcy wants a new room. Will and Sally would rather kill. The rest are too self-involved, but not those two. They’re more excited for killing: “Im dead,” Will tells them, “but Ive never felt more alive.”
Up turns James March (Evan Peters), wanting them all to stop the killing. Funny, right? He’s mostly concerned about what happens if the Cortez gets shut down, torn down, bulldozed. Where will they go? In the meantime, everyone’s aruging. Until March flips a lid and sets them all straight. They need to make it a historic landmark, March claims, only they’ve got to keep the building there another 10 years, until 2026. Sally needs a “soulmate,” though, and she doesn’t look poised to change. Even with the threat of March sicking the Addiction Demon on her, as once he did before.
Most interesting is how Iris shows Sally about the world outside, social media, which will help her not be so alone in the world. She can’t go out, but that doesn’t mean Sally can’t interact with the world. Great way to bring the issues of today into the show, instead of only relying on dates onscreen from time to time. Plus, it goes well with Sally’s 1990’s rock/grunge character, to think she might be someone who would fall into social media and all its trappings.
Mainly, everyone is now trying to figure out the way to head into the future. Liz has all but convinced Drake to stay holed up in the hotel, all “Howard Hughes” and such. In fact, Liz is now Will’s acting hand at his company. Amazing new age company being led by Ms. Liz Taylor. The fashion goes on, the clothing still coming out – even Sally models bits of his work, plus Ramona (Angela Bassett) and other ghosts in the Cortez.
But sadly, Liz misses Tristan. Then we’re introduced to an old, familiar face – Billie Dean Howard (Sarah Paulson) back from Season 1’s Murder House. What a beautiful return to the original season, another character linking things together. Great season for this sort of thing, with Queenie in the last episode, Marcy showing up from time to time, and more. This sequence sees Billie helping Liz to try reconnecting with his now lost, murdered love, Tristan Duffy (Finn Wittrock). But it seems Tristan isn’t willing to fully reconnect, he’s angered and doesn’t want to talk with Liz. Not right now, anyways.
But wait – it’s Donovan now reaching from the other side, talking of “pancakes with blueberries” and that it’s “always Saturday morning” wherever he is.


Gathering the ghosts together, Liz tells everybody she’s got prostate cancer; inoperable, “nothing to do.” All those ghosts are worried, but Liz absolutely has a plan. Of sorts. Weapons are out on the bed, ready for everyone. She wants to be hacked, bludgeoned, et cetera, to death. “Its not murder,” Sallys says to them: “She wants to be reborn.”
“The Ballad of Lucy Jordan” by Marianne Faithfull starts to play while everybody weapons up. Liz lays back on the bed, ready for the murder to take place. At the door, though, Countess arrives. “You were always my fondest creation,” Countess tells Liz. She’s there to join in on the fun: “I wanted to be here to help you transition.” Great word play all around with this sequence. Great, viciously bloody fun. This takes us back to that first scene, watching Liz have her throat cut open, the blood flying and beginning to run down onto the floor. Savagery – the best sort which Ryan Murphy and Brad Falchuk continually give us. And in death? Liz finds Tristan once more.
Down at the desk a woman shows up on Devil’s Night in 2022. She booked a room way in advance. In other news, Iris and Ramona are lamenting too much publicity after Billie Dean Howard’s specials aired on television, bringing out the weirdos, the perverts. Funniest is seeing John Lowe in league with them all, just another part of them. We get cuts back to Howard doing her various specials in Room 44, Room 64, and so on.
Now Lowe has got himself a plan. They call Billie Dean down for another taping, as she continues to try calling on the Ten Commandment Killer to reveal himself.
Then there’s Alex Lowe (Chloë Sevigny) and John’s family. They made things work in the outside world. Or at least, as best as it would work. They tried. Out on the streets, Lowe killed, stockpiling blood in coffee canisters, stalking the streets for more victims with which to feed the family. One night, he finds himself caught by the police. Bleeding, full of bullets, John tries his best to make it back inside the Cortez, to die in there. Instead of making it all the way, he’s left on the sidewalk. Returning on Devil’s Night, though, it is easy to see James March has a hand in it all. Another dinner party, perhaps?


Jeffrey Dahmer, John Wayne Gacy (John Carroll Lynch), Richard Ramirez, Aileen Wuornos (Lily Rabe), they’re all back! Gacy’s trying to teach Jeffrey to talk to guys, in such a creepy scene. The music in the background plays heavy, lazy. Everything is terrifying and dark. John introduces her around the place, acclimating her to the strange surroundings. The Zodiac is there, too. Quiet and chilling in the corner with his baghead costume on, totally silent. A surreal sequence here, as Billie Dean navigates through “all these dark spirits.” March appears soon enough to toast them all. Lots of fun! A top five favourite sequence out of this Hotel season.
This is all a way to get Howard to stop doing specials at the hotel. The ghosts all want, need, to be left alone. So they need to her to give up. None of the ghosts can leave, but Ramona shows up to tell her: “I can.” Seems ole Billie Dean has more to fear than a few ghosts. Best she start moving on, right?screen-shot-2016-11-17-at-4-15-39-pmIn Room 64, John keeps his family. His daughter has grown a few years, obviously, and the others sleep soundly. Must be strange for her to age while the family stays the same, forever. Yet she seems fine with that mostly. It’s nice for John and Alex, who have their son back and eternally get to sleep next to one another, just like a new family. A creepy finish, as John has to go away for a whole year until the next Devil’s Night, when the family will come back together in the Cortez, to enjoy each other’s company, to love one another for that single day. A semi-happy ending in one sense, but a deeply tragic one for Lowe.
The very end of the episode sees The Countess at a table in the lounge, drinking, smoking. Out of the dark hallways comes a man she likes the look of, so off she goes to sit next to him at the bar. He sort of looks like Donovan – hair slicked back, handsome, a bit of stubble. Is that the intention? I think so. “You have a jawline for days,” says the Countess, right before everything cuts to black. Beautiful.
screen-shot-2016-11-17-at-4-16-09-pmLoved the end to this season. An impressive full circle, but in a way that doesn’t only recall the beginning of the season, the beginning of character relationships, it also adds things on, making the layers deeper, more enticing. People complained a ton about this season. Me? I dig it. Totally. Stay tuned, we’ll see where Falchuk and Murphy go from here next season.

American Horror Story – Hotel, Episode 11: “Battle Royale”

FX’s American Horror Story
Season 5, Episode 11: “Battle Royale”
Directed by Michael Uppendahl
Written by Ned Martel

* For a review of the previous episode, “She Gets Revenge” – click here
* For a review of the Season 5 finale, “Be Our Guest” – click here
screen-shot-2016-11-17-at-3-53-25-pmThe penultimate Season 5 episode “Battle Royale” begins with Liz Taylor (Denis O’Hare) and Iris (Kathy Bates) coming together, bed full of guns, just before the events of the previous episode’s finale, when The Countess (Lady Gaga) and Donovan (Matt Bomer) were reuniting briefly before getting gunned down, seemingly.
Here, revisiting those moments, we hear “Seconds” by The Human League. As the guns finally blaze, Liz and Iris get a few into The Countess, while Donovan also takes shots. Iris wants to help her soon who wants nothing else but to not die inside the Hotel Cortez. Naturally, right? The pair try and help Donovan, in an excellently filmed scene which almost puts you directly in his shoes, the waving camerawork, the point-of-view, all of it. Luckily they get him out onto the street where Donovan bleeds out – his final word? “Mom.” This season is winding up for a nice, and surely at times brutal finale.
screen-shot-2016-11-17-at-3-53-45-pmFor The Countess, there’s bullet removal by Hypodermic Sally (Sarah Paulson). Then later she wakes to flashes of nastiness before finally coming to all the way. Sally needs her to stick around because there’s all but literally no one else left for her; to use, to manipulate, whatever. Sally reminisces about a drug dealer, whose past included a first handjob from – you guessed it – the woman herself. This leads into a bit of backstory for her, a slight and tenuous bonding between her and The Countess.
Flashback to 1993 in Los Angeles, as Sally’s musician friends use her songs, record them, and go to the top. Meanwhile, she’s more like the nasty delinquent enabling the talented people around her to do all sorts of drugs, et cetera. Not that they weren’t eating it up, but still. “Do you trust me?” Sally asks them, before we see cuts of them sewing one another together, higher than the sky on drugs. Of course, then they both overdose, as Sally’s trapped between them, linked up. A sort of nasty Human Centipede-like homage except better, more fitting; Sally was truly trapped with addiction for five long days. This is where the Addiction Demon comes in, torturing her for days. Finally she ripped herself out of the bonds. WOW! Amazing, amazing story to Sally. Never expected such brutality. This episode is honestly one of the most filmic in the entire history of the series, to me. The way it’s filmed, the look, the heaviness, every bit amounts to an incredible masterpiece. And that’s only the first 12 minutes. Lots more to come.
Over at the Lowe household, John (Wes Bentley ) and Alex (Chloë Sevigny) bring their children home, to be “a family again.” Alex calls drinking blood taking medicine, though, young Scarlett knows better. But John’s committed to shedding his life as The Ten Commandments Killer, everything at the Cortez; he wants a normal family life again.
The Countess is still suffering. Sally brings in the little white haired children, saying she’ll have to use them for blood. Even though Countess doesn’t want that, the children agree: “Let us help, mommy.”
screen-shot-2016-11-17-at-3-56-02-pmAt the same time, Iris is grieving the loss of her son. Liz helped by incinerating him, so as to not have to throw him down the chute with all the rest of the trash killed in the hotel. It’s funny how among all the horror, the murder, the blood, you can really feel for a character like Iris. She only ever came to the hotel for her son, now he’s gone, dust. He was her world. “We were so much alike,” she reminisces, “maybe that’s why we couldnt be close.” Afterwards, leaving Miss Evers (Mare Winningham) to clean up the mess she made with the ashes, Iris heads up on top of the hotel, looking out to the horizon. A sort of beautiful, weird moment all in one.
Dressed and made up, Liz strolls down the hall some time later with a now clean Iris. They head down the locked up hallway, where bodies are strewn everywhere, from that of Will Drake (Cheyenne Jackson) to the bunch of vampire children. Not to mention, Ramona Royale (Angela Bassett) who emerges strong and healthy from around a corner, blood stained, spiteful.

Up shows a witch from down in New Orleans – yes, it’s Queenie (Gabourey Sidibe). She’s going to do a bit of game show fun and all that Los Angeles type of stuff. Unfortunately, though, I think she checked into the wrong hotel.
Theres a lot of bad juju in this room,” says Queenie after entering the place she’s meant to stay all night. She doesn’t like the place, but Iris and Liz con her into staying. Then when Ramona comes out of the shower, slashing away at Queenie, there comes the voodoo doll stuff. Pretty interesting fight starts between the two – a sort-of-vampire versus a voodoo witch. Out of nowhere, James March (Evan Peters) stabs Queenie with a big blade from his cane – he’s a ghost, remember? So the rules are skewed. Ramona drinks Queenie’s blood, getting her fill. Then James says: “I want you to kill The Countess“… he’s got big plans. He doesn’t want to see his love walk away from the hotel.
John Lowe arrives home. In his trunk, he has a man whom he questions about being clean. Do you know what he’s got in store for him? I know I do. Some of that medicine Alex was talking about earlier. Is the new way for the Swiss Family Lowe? We’ll see. Inside, John finds nobody. Only a key for the Cortez hanging from a light fixture.
Cut to Lowe back at the hotel, running through the halls. Straight to Room 64. There on the bed is Sally, waiting. She claims March took his family – “One last kill and I can take you to your family,” says Sally. The final commandment left? Thou shalt not commit murder.screen-shot-2016-11-17-at-4-01-59-pmBusy fitting Ramona Royale for a dress, Liz is preparing her for the coming slaughter. But Ramona has “witchs blood” flowing through her, she doesn’t want any of the assorted guns or weapons Iris and Liz have got kicking around.
With “I Wanna Be Adored” by The Stone Roses playing in the background, The Countess is having a reunion with Ramona. They talk of how their blood smells – “almonds” for Ramona, “black licorice” for The Countess. They miss one another, even if Ramona wants to kill the bitch. Likewise, Countess misses her, too. No matter what’s happened, or what may come next.
Just after the two make love, and The Countess is let free, she meets John Lowe when the elevator heads down. He blasts her away, letting her bleed on the elevator’s floor. Countess is the final commandment. Her head is now in a jar on the shelf upstairs, everyone reeling with pride over John’s accomplishments. Only Sally’s got further plans – thwarted after March stops her from stabbing him, keeping him there forever. Relieved? Well, John’s a killer, as well. Shouldn’t be too relieved for the man.
March sits at his table and asks Miss Evers about when she first discovered being a ghost. Then he gets upset over the dinner arrangements. At the door is The Countess, whose arrival at dinner has prompted James to be a little tempestuous, and Miss Evers to be get a bit saucy. Countess is adjusting to her “new state,” as March calls it.

 

 

 


Big reveal comes when we discover it was Miss Evers who called the police all those years ago. She wanted him, her jealousy got the better of her. “I wanted us to die together,” she wails. Only things went… a little differently, than expected. This leads to Miss Evers being banished from March’s presence, heading off into the darkness.
The episode finishes with March happy to have The Countess back. Although, she’s much less thrilled. Her eternity is relegated to a space where she’ll never be happy, ever again.
screen-shot-2016-11-17-at-4-06-27-pmExcited to review the finale of Season 5, “Be Our Guest”. Looking forward to a weird, wild episode to finish off this bloody, violent, sexy and odd season. Stay tuned.

American Horror Story – Hotel, Episode 10: “She Gets Revenge”

FX’s American Horror Story
Season 5, Episode 10: “She Gets Revenge”
Directed by Bradley Buecker
Written by James Wong

* For a review of the previous episode, “She Wants Revenge” – click here
* For a review of the next episode, “Battle Royale” – click here
screen-shot-2016-11-17-at-3-43-42-pmOnly a few more nights left at the Hotel Cortez.
Tonight we open with the wondrous Liz Taylor (Denis O’Hare) lamenting “forgotten hotels,” such as the Cortez, and what they’re good for – from drug deals to indiscretions of all kinds. Love that we’re getting more Liz because I find her spectacular. O’Hare is an enormously talented character actor who gives life and luxury to Liz. Here, we see more depth to her and all she is, as she tells us about one particular old couple who commit suicide/murder together in order to not have to see the twilight years come for them. After their brains are blown out, Iris (Kathy Bates) does lamenting of her own. Mostly about the time it’ll take to clean the blood out and scrub the walls. Meanwhile, Liz cries because she may “never be happy again,” unlike the happy couple who chose to go out on their own terms right there in that very room. She picks up a gun, wanting to die. But Iris reminds her that would only see her trapped in the Cortez for eternity. I’m glad Liz choose not to, at least not right now. She tells Iris there’s a little unfinished business that might be good to tend to: her son. The old life of Iris still lingers, that’s how much she obviously cares about his boy. Both she and Iris have their plans, together, for a grand finale to life.
screen-shot-2016-11-17-at-3-44-10-pmLiz has Miss Evers (Mare Winningham) calling up his son. She can’t bear to talk to him herself, not just yet; after all it’s been 31 years. Liz says she’s “written letters” and “god knows Ive written cheques.” But we’ll see if this comes around to a good thing for her. For now, Miss Evers is giving Liz a hard time over lifestyle choices, et cetera. She fears Liz is expecting too much of her son, for him to be too understanding.
In other parts of the Cortez, John Lowe (Wes Bentley) is admiring his Ten Commandments work, while Sally (Sarah Paulson) watches on. We cut to John, knife in hand, approaching some – what looks like – Mexican faithfuls, whom he cuts down. He doesn’t have much work left to do before he’s free: “One more and youll be free,” Sally tells him.
Then there’s Donovan (Matt Bomer) who approaches Rudolph Valentino (Finn Wittrock) in his motel room, all while Natacha (Alexandria Daddario) goes to see The Countess (Lady Gaga). Great editing back and forth between their two paralleled conversations. On the one hand, Rudolph and Donovan have a semi-manly confrontation. On the other hand, Countess seduces Natacha a little before they each take out a knife. Only when Rudolph produces a Middle Eastern style sword, Donovan replies “Bitch please,” along with a bullet, or a couple, to his face. At the hotel, Countess likewise slashes down Natacha. Ouch. How will The Countess react after she discovers Rudie dead?
Back to James March (Evan Peters), a late favourite of mine in this season. He’s suited up in his creepy leather mask with a new sacrifice at his hands. He lights a man on fire, who quickly perishes in flame. Right afterwards, Lowe shows up. They’re quite cozy now, the two buddies. Murderers in league. Nice special makeup effects here, too; some nasty burn work. That’s something I forget to mention often in these reviews. I love all the makeup and special effects work in general the series has done, from blood and gore to more understated stuff. Plus, there’s great costume and set design.
John is reunited with his wife Alex (Chloë Sevigny) for the time being. She has certainly changed. As has John, or perhaps he hasn’t changed just accepted his identity. He’s hurt by the lies she fed him, concerning their children. But at the same time, John has both accepted his new murderous identity, as well as accepted his own faults in everything. A dark turn of events. Regardless, the husband and wife are seemingly back on the same side. She admits to him what happened with the children, and the fact The Countess has threatened to kill her and their boy if she doesn’t control the vampire outbreak amongst the young ones. John has agreed to help. Will this be a husband-wife blood bath of some sort coming up? Can’t wait to find out.

 

 


Then Douglas (Josh Braaten) shows up at the Cortez, sitting down for a drink. Liz serves him up a drink, then they chat together a good long while. Douglas even talks about his father, who split, and that it was just he and his mother. He mentions about being in town to finally reconnect with his father. Such an emotional moment to watch Douglas walk away, Liz left wanting to say all the things that need to be said, only afraid to go ahead and do it.
But more importantly, John is helping Alex. They sneak into a house, which looks like the one where she last saw the kids. John is still in cop-mode, even holding his gun and flashlight like an officer of the law. There’s blood on the floor downstairs in huge splashes. Upstairs, John tries to find anything in terms of a clue. Out of nowhere, one of the kids shows up trying to stab Alex. More come after John appears. One of the young girls is very sick, dying, but the kids aren’t being any help obviously. The lead kid is upset about the dead girl, though, his other idiot friend seems hellbent against adult involvement.
The Countess is explaining to detectives where she last saw Will Drake (Cheyenne Jackson). He’s nowhere to be found. One cop says it could be “cold feet.” Yet Countess disagrees. Then, to her surprise, Will shows up in a slick black suit looking better than ever. The look on her face is worth a million words. “You murdered me, you bitch,” Will spits venomously at his wife. But she’s not happy how he treated Bartholomew, the things he said. Spiteful, no? She was going to do it anyway. Countess has it all figured out, or that’s what she’d have others believe.
Later on, John and Alex show up with the kids back at the hotel. Finally, the killer vampire children have been convinced to settle down. They lead the kids to a hallway and tell them there’s a room a ways down where they can rest, wait for some food. Reluctantly the children go inside, except the jerk, who John knocks on his ass into the hall. They’re locked away in the darkness by the Lowes. What follows is a descent into Lord of the Flies territory, only with vampire kids, and instead of an island a hotel’s forgotten hallway. Best of all? Ramona Royale (Angela Bassett) turns a corner, full of blood, and sees the children: “Mm. Mama smells appetizers.”

 

 


What I love about this entire sequence of scenes is the way John and his wife seem like a happy couple again, now that they’re both monsters of sorts. On top of all that, Sally shows up asking if he came inside her, or if he “shot it on her tits” the way he does with her, because “with a whore its always on the tits.” So even with the happy couple dynamic, Sally is still kicking around as the mistress in John’s new fucked up world. Sally is a drug addicted ghost of some type, a demon even. Alex is a vampire. John is the Ten Commandments Killer. But Sally says “she doesnt know about younot like I do.” He wants to do it for his family, though, we know that addiction is strong. And it never lets go easily. Sally and John end up having a knife-point confrontation; she isn’t pleased with his decision to be with Alex.
Then, the addiction demon briefly appears in flashes behind Sally in the hallway, its drill-bit dildo barely visible for a moment in time.
Douglas returns to the hotel. He reveals knowledge of his father; at first Liz is a little ashamed, but quickly comes to see things are okay. Well, not okay. But nothing crazy seems poised to happen. Liz is happy to see Doug is a well-adjusted, grown, responsible man. Doug isn’t outraged by his father, his lifestyle: “Theres plenty of room for another woman in my life,” he tells Liz, who staggers back in emotion. Amazing. I hope this is all headed somewhere nice, a bit of a reprieve in the life of Liz.
Other seemingly happy times between Donovan and Countess at dinner. She talks about what she did to Will Drake, which he loves, of course. Lots of hilarious inclusion of modern talk and technology, modern phrases like “hatewatch” and “FaceTime.” Then, Countess finds Rudolph with his face shot to pieces at the motel. Brutal. Though, I don’t care about her pain. She deserves all she gets. Will she get revenge in this episode, or will another she get her revenge?
Over in a different room, Iris shows Liz a various assortment of guns, knives, poison possibly, slipknots, and so on. As well as a final video, tribute to her including good pictures and one of herself with a cat; all to be a “beacon of hope for my 3 follows on Instagram.” Only Liz doesn’t want to go out any longer. She wants a connection with Doug now. Now, Iris is abandoned once more; she feels as if everyone has left her behind. Liz has got other plans: “Dammit, were the ones who should inherit the earth,” she tells Iris. Will these shes get revenge?

 

 


Alex and John go to the weird video game room, where father is reunited with long lost son Holden. He cries and takes the boy in his arms, happily embracing the son he never thought he’d see again. John loves his family, even if two of its members are now vampires. But what will The Countess have to say about this? Is she simply going to let Holden leave, letting Alex go? And what about John – can he abandon his Ten Commandments work? On their way out of the hotel, the Lowes are confronted by an angry Sally who swears on her soul: “I will kill you.”
In the penthouse, Donovan rocks out to Drake’s “Hotline Bling” until being interrupted by The Countess’ cold, dark presence. She talks about Rudolph, her search for him over a century. She and Donovan exchange thoughts about “being trapped here“, inside the walls of the Cortez.

He made me everything I am
And you made me, in his image.”

Before Countess can kill Donovan, in bust the two bad asses Liz and Iris, each wielding two guns, blasting at their nemesis. Though we don’t see what happens. Only a cut to black.
screen-shot-2016-11-17-at-3-52-06-pmVery excited to see the next episode, “Battle Royale.” We’ll see what happens with Countess, Donovan, and the two new gangsters in Liz and Iris. Stay tuned with me, fellow fans!

American Horror Story – Freak Show, Episode 12: “Show Stoppers”

FX’s American Horror Story
Season 4, Episode 12: “Show Stoppers”
Directed by Loni Peristere
Written by Jessica Sharzer

* For a review of the previous episode, “Magical Thinking” – click here
* For a review of the Season 4 finale, “Curtain Call” – click here
screen-shot-2016-11-24-at-3-20-43-pmThe penultimate Season 4 episode starts with a large party at the freak show. Elsa Mars (Jessica Lange) watches on and toasts her family and friends. As well as the new owner, Chester Creb (Neil Patrick Harris). Everyone is in attendance, from Marjorie to Maggie Esmerelda (Emma Roberts), Paul (Mat Fraser), Amazon Eve (Erika Ervin), Desiree Dupree (Angela Bassett) and the Tattlers (Sarah Paulson).
Elsa asks for time alone with the original freak family. She thanks Richard Spencer a.k.a Stanley (Denis O’Hare) for helping to change their lives. Only we know the truth. And now, Elsa knows, too. They’re reeling him in with food, drink, as well as entertainment – nice callback to Season 2 and The Sign of the Cross, as Legless Suzi (Rose Siggins) complains they don’t want to see that one again. But Stanley says he has to go, lots to do before their move to Hollywood. Elsa doesn’t want him to go, nobody does. They want to give him a nice present. Out comes a big, heavy box. They beg him to open.
And what’s inside? The head of the museum owner floating in a jar. Cut to a scene where Maggie and Desiree lured her in, before killing her. “Now its your turn,” Desiree tells Stanley. He of course squirms like a snake about to be cut in half. He keeps flaring up the dreams of Hollywood, but Elsa won’t have it. He’s put up on the knife wheel, as Elsa tosses a few blades. Then things progressively get worse with Stanley cornered by the entire crew of freaks.
Let’s see where ole Stanley ends up after they’re finished with him.

You tried to kill my dreams, but they cannot be murdered. But what you didyou brought death into this place, and for that you must pay.”

screen-shot-2016-11-24-at-3-21-33-pmJimmy Darling (Evan Peters) is turned onto what really happened with Richard a.k.a Stanley. Maggie gave herself up to everyone, too. But Jimmy is not happy. He is completely disfigured now and doesn’t want to be the leader Elsa says they need. She’s bringing an old friend who can help with his new predicament. Maggie’s left to help change the bandages on Jimmy, though, he would rather not have her around. Still, she tries her best to be there for him in his weakest time of need.
At the same time, Elsa is working on her show not having much luck with anything. Out of the darkness comes the doctor who helped her so long ago – Massimo Dolcefino (Danny Huston). He is the old friend come to help Jimmy with the missing hands. Elsa and Massimo embrace, having not seen each other for so long.
Switch over to Chester and the Tattlers having sex, while Marjorie (Jamie Brewer) is watching. Or at least Chester sees her as very real and embodied, looking on. He throws her on the floor, out of the way, as requested by Bette and Dot. Then the lovemaking gets more intense after Marjorie is out of the way. Afterwards, she’s not too impressed with Chester, who says he simply got “carried away.” The twins obviously don’t want to be watched by a creepy doll. But Marjorie convinces Chester, more and more, they’re only trying to twist him up. He doesn’t want to see it, though, I’m sure Marjorie will drive him to seeing things her way. Even if Chester still believes Alice/Lucy, his wife and her lover, were killed by Marjorie the doll.
QUICK CUT TO: Chester beating his wife’s lover to death with a hammer, blood everywhere. He remembers it. He just doesn’t want to, that’s all.
Dandy Mott (Finn Wittrock) pokes his head into the Tattler Twins’ tent. He has “relevant information” pertaining to Chester and his other life before the freak show. He appears like a friend would, trying to look out for them. Of course, we’re well aware of the true dark heart in Dandy. Even if he fakes some tears, saying he’s not “half the man” they deserve. Funny little line, I thought. Sadly, though, the guy has real information about Chester and the girls don’t heed his warnings. They’re not entirely above board, his intentions. But Dandy is sort of looking out for them, in his own backhanded way. And Chester is actually a psychopath, so y’know.screen-shot-2016-11-24-at-3-23-08-pmBut now we’re getting back to Elsa visiting Jimmy in his bed, feeding him a bit of liquor and telling him he “looks like shit.” Well, duh – he has no hands. Then she readies some penicillin as Massimo reveals himself. He is going to craft some new hands for Jimmy, to make his life a little more manageable with wooden hands.
Excellent flashbacks to Elsa’s past, in the black-and-white snuff films. More connection to Season 2 Asylum with a young doctor Arden (played here by John Cromwell; James’ son) leading the crew of people cutting the legs off Elsa. Massimo tracked down Arden, or Hans Gruber as he was known then. He tried to kill the doctor, but only received capture and hideous torture. Luckily, Massimo survived because a higher ranking general wanted a bookshelf, and he was needed to build it. Later he escaped to America and away from it all. Amazing story and a great inclusion of Danny Huston in this season, giving him more screentime than I originally imagined he would have.
At the carnival, the Tattler Twins are at odds over who Chester really is; Bette is worried, Dot thinks she is influenced too much by Dandy. They say they don’t want to be his assistants any more. This shakes Chester. He says they’ll be ‘sawed in half’ during his big finale, instead of a member from the audience. They don’t want any part of being in that box, refusing to do so. But Maggie says she’ll do it, she wants to be a “part of the show” and seems very eager.
Now, Chester is hallucinating it’s his wife, and then her lover getting in, not Maggie. This spells danger already. When the trick is being performed, Chester starts hallucinating more. He handcuffs Maggie at the feet. He sees Marjorie, the wife, the lover, Maggie, all in the box. Maggie is terrified and then he proceeds to saw her completely in half, blood spurting everywhere. Paul and the others are mortified by what has happened, as he hauls the box open and Maggie’s guts spill everywhere. Supremely nasty stuff. In the audience, Marjorie sits laughing: “Thatll packem in, Chester.” No one is too broken up, as Maggie helped kill some of the freaks. Desiree tells the rest of the crew: “She had it comin‘.”
In his trailer, Chester finally stabs Marjorie to death. Or to splinters, I don’t know anymore.

 

 


Knowing the truth about Ethel’s murder, the rest of the freaks intend on taking revenge upon Elsa. The Tattler Twins discover her in her tent, finding out she is also a freak with her missing legs. But they tell her about the freaks coming for her, feeling indebted to her slightly. Then, Elsa is gone before they can find her.
At a police station, Chester walks in to confess the murder of Marjorie. How perfect.
Before fleeing Jupiter, Elsa meets with none other than Dandy Mott. She receives $10,000 in exchange for her carnival. And so Dandy loves every moment of it, prepared to take hold of the show himself. Afterwards, he finds Stanley who is now transformed into an homage to Tod Browning’s Freaks. Fitting, as it was referenced earlier on at the start of the episode. Very creepy scene with Stanley’s new body.

 


The finale sees Massimo give Jimmy his new hands: they are wooden lobster hands, like his original ones. Jimmy claims they’re perfect and comes to accept himself, in a new yet familiar form.
screen-shot-2016-11-24-at-3-29-28-pmExcited for the next and final episode of Season 4, “Curtain Call”.

American Horror Story – Freak Show, Episode 10: “Orphans”

FX’s American Horror Story
Season 4, Episode 10: “Orphans”
Directed by Bradley Buecker
Written by James Wong

* For a review of the previous episode, “Tupperware Party Massacre” – click here
* For a review of the next episode, “Magical Thinking” – click here
screen-shot-2016-11-21-at-4-30-16-pmWith only a few episodes left, the freak show in Jupiter is experiencing all sorts of madness descending upon it, from Elsa Mars (Jessica Lange) and her dangerous ties with Stanley (Denis O’Hare), to Jimmy Darling (Evan Peters) who now finds himself at the mercy of the police; so, so much is happening. And still, there’s more!
This episode commences with the death of Salty (Christopher Neiman). Poor Pepper (Naomi Grossman) is devastated, clinging to his corpse on his beautiful deathbed. Paul (Mat Fraser) and Amazon Eve (Erika Ervin) try to tear her away, though, she misses him obviously. Elsa claims to know the “depth of that girls soul” even if others don’t always. We get a couple very sad moments where Pepper discovers Salty dead during sleep, a stroke they assume. Such a tragic thing, to see two people who loved each other in spite of the world around them, now one of them left alone to remain on earth.
But we get more of Stanley looking for specimens, as he takes the body of Salty, chopping off its head, and sending it over to the Museum of Morbid Curiosities. Where the head is displayed next to Ma Petite, floating in a jar of formaldehyde. More of a sad end in the life of Salty.
screen-shot-2016-11-21-at-4-31-32-pmOver at the camp, Pepper lays in bed while Desiree Dupree (Angela Bassett) reads her a bedtime story. The part-newly changed Dell (Michael Chiklis) shows up, moved by her reading the book and claiming she’ll be “a great mom someday.” He’s still a bad guy, but to see this shift in him is a bit incredible. For all the terribleness that is Dell, he still cares for Desiree, as well as seems to have started caring for the freaks around him after finally admitting that he, essentially, is just as much a freak. Inside the tent, Pepper cries while Desiree has to leave to prepare for the night’s show.
Elsa and Desiree have a drink together, talking a little about Pepper’s dilemma. Further, they chat about Elsa’s new move off to Hollywood, or at least what Elsa believes is her coming big break. Will Stanley, a.k.a Richard, do anything for her? We’ll see. For now, we get more flashbacks into the life of Elsa Mars and her first days in America playing in a group from Boston. Soon enough, though, Elsa found her niche, proclaiming the circus owners as “morons” and saying they couldn’t “see the future.”
But Elsa could. She understands entertainment, what people want, what they crave, even the darker things. “Most people dont see beauty in someone like Pepper. They see shame, they see human garbage,” Elsa tells Desiree. This is where she arrived at an orphanage to find Pepper alone in a corner, playing with blocks by herself. Such a touching scene, highly emotional to see Elsa connecting with Pepper in those first beginnings of their long relationship/casual friendship. She was Elsa’s “first monster,” one who made her feel real and unconditional love for the first time, as well. Moreover, Elsa saw the maternal instincts in Pepper grow, but knew she couldn’t have children.
Then came Ma Petite (Jyoti Amge), who satisfied the curiosity of Elsa, and also helped to quell the maternal longing of Pepper. What a beautiful sequence where we see the origins of these freak show relationships! Such fun to see Ma Petite back, too. Even when she’s traded for 3 cases of delicious Dr. Pepper into Elsa’s arms. But, although Petite became a part of a carnival of so-called freaks, she was let off the leash to which she’d been held by the Indian prince, and so I say: good. One of the most emotionally challenging and intense sequences out of this season, as we get this really romantic and nostalgic sort of thing happening throughout these scenes. Especially after Salty is first introduced to Pepper, and they fall in love at first sight! They have a nice carnival wedding, officiated by Elsa and flowers tossed around by the sweet little Ma Petite. Definitely a favourite overall from Season 4 Freak Show, with an extended sequence stretching out a bit. This gives more depth to the other characters. It also makes Elsa a little more human, regardless of her terrible faults.screen-shot-2016-11-21-at-4-34-10-pmStill, Desiree suggests maybe Pepper’s sister may take her back in now that she’s older, not eighteen and hard to handle anymore. But, as we know, Pepper later ends up in Briarcliff during Season 2 Asylum. Are we to see that transition in this season, better yet in this episode?
Maggie Esmerelda (Emma Roberts) receives Desiree and Angus T. Jefferson (Malcolm-Jamal Warner) in her tent, looking for a reading of their future. Shyster Maggie shows off her skills, or at least her skills of excellent perception; pretending to look at the crystal ball, only gleaning facts about him from looking at his shoes, his coat, et cetera. She feeds them both a good line of bullshit, as they lap it up eagerly, loving on one another. But then Maggie’s own feelings work into the reading, talking about how their perfect little little will go “all to shit.” Because that’s life. They have no time for her nonsense, even Angus claiming he’s a “Godfearing Christian” who doesn’t believe reading the future is possible. Yeah, like he didn’t love it before that.
Outside, Maggie and Desiree have a confrontation. Then Maggie reveals: she and Stanley are “on the grift,” and they’ve been working together since 1941. A little flashback to Maggie’s days grifting as a young sneak selling papers, supposedly, as a boy. Stanley yanks her out of trouble, then makes her his partner; for a bad price on her part. Maggie is upset, but Desiree knows there’s something nasty afoot on their part, and threatens the younger woman – if she finds out anything happening at the carnival, the freak deaths, has something to do with her and Stanley, there will be hell to pay.
In her tent, Maggie is awaited by Bette and Dot Tattler (Sarah Paulson). They want her to do right by Jimmy. They have money to pay for a lawyer, so he won’t “turn out like Meep,” which finally frightens Maggie into helping. Or at least so it seems.
At Jimmy’s cell, up turns Stanley. He says he’s there to help and knows exactly how Jimmy feels. He reels off a story about losing his mother, being an orphan. Is it more sleek sales pitch, or is it real? I doubt that. Jimmy doesn’t remember killing those women in his drunken rage. Though, he can’t be sure. He had a long blackout. “I didnt kill them. Did I?” Jimmy asks Stanley. The latter says he has an attorney for Jimmy, one who wants a retainer. Stanley is greasing his way towards something: what is it? He says he has an idea on how to “raise the funds”, after which we get a flip-screen shot zooming in Jimmy’s hands. NO! Is Stanley going to do what I think he’s out to do? Will he convince Jimmy to cut the hands off? Will Jimmy die? Oh, man. I can’t handle that.
In tent city, Desiree is busy cooking for all her fellow freak family. She and Maggie are still flitting around each other. Maggie wants to help Jimmy and tries to gain Desiree’s trust: “Everyone in this entire camp will be dead soon if you dont listen to me,” Maggie tells her.
Mare Winningham returns to the Ryan Murphy-Brad Falchuk universe as Pepper’s sister, Rita Gayheart. She seems a very prim, proper type, an upper class housewife in the 1950s with a nice hairdo, high heeled shoes, and a drink during the afternoon with a little cherry in it. Elsa doesn’t want to leave her there evidently, but seems to believe it’s best for Pepper. Rita, for her part, is not too interested. Especially seeing as how her husband has no idea Pepper exists. “Pepper is a gift,” Elsa says and tries to express how Pepper needs someone now, after suffering “great losses.” More emotions flow again now, as Elsa says a teary goodbye to her friend, her companion Pepper, who also shows that she will miss her. But the trouble has only begun for dear Pepper.
In other news, Maggie brings Desiree to the museum where Stanley unloads all his freak bodies and body parts. Sad to watch Desiree walking around, seeing Ma Petite and Salty in their jars, dead and gone. Right as they’re moving around from one exhibit to another, up shows a new exhibit: lobster hands. Maggie faints, but is this real? ARE THOSE JIMMY’S FUCKING HANDS?

 

 


Before figuring it all out, we snap back to Rita who is with a familiar face: Sister Mary Eunice McKee (Lily Rabe). What a treat! I love Rabe, and her presence in the American Horror Story universe is incredible, as always. We’re flashing to 1962, at Briarcliff, where Rita talks about how she finally got pregnant after not thinking she could get pregnant. Unsuspectingly, Rita has a child. Only the baby was slightly deformed, and later little baby Lucas became more of a problem.
Rita claims Pepper was helping out with the infant. Though, we get shots of Pepper trying to do so while Rita lies drunk in bed calling for “another martini.” In Season 2 Asylum, we heard Pepper supposedly murdered the baby, cutting its ears off or something similarly nasty. Here, we see the truth. Rita was a mess, her husband Larry Matthew Glave) was possibly molesting Pepper. The baby was left mostly to Pepper, who is accused by Rita as being a murderer. Yet in reality, Larry and Rita want the baby gone; he leads things, but she certainly doesn’t try to stop him. They concoct a little scheme to have the baby gone, to have Pepper gone, too. Larry asks his wife: “What if I had a way to kill two birds with one stone?” I won’t say any more. But this whole sequence is very morbid, frightening, and entirely too sad. Pepper’s tragic history is a weepy one, no doubt. Which left her rotting in the hell-hole that is Briarcliff Asylum.
At the hospital, the snake pit, Sister Mary Eunice makes Pepper her “special project.” And while sorting magazines there, Pepper sees a Life Magazine from 1958 with Elsa Mars on it, calling her the Queen of Friday night television.

 


What a beautiful and painful episode, all at once.
Looking forward to reviewing the next one, “Magical Thinking”.

American Horror Story – Freak Show, Episode 9: “Tupperware Party Massacre”

FX’s American Horror Story
Season 4, Episode 9: “Tupperware Party Massacre”
Directed by Loni Peristere
Written by Brad Falchuk

* For a review of the previous episode, “Blood Bath” – click here
* For a review of the next episode, “Orphans” – click here
screen-shot-2016-11-21-at-4-23-05-pmOnce again, we come back to Elsa Mars (Jessica Lange) and her treacherous Cabinet of Curiosities.
This chapter starts with Maggie Esmerelda (Emma Roberts) doing a reading for the psychotic Dandy Mott (Finn Wittrock), who last we saw murdering his mother, bathing in her blood. We get a nice, creepy cut to an Avon saleswoman at Dandy’s door, who he invites in to keep his mother “company.” What proceeds is Dandy building his own “puppet mother,” standing in as a two-headed corpse simulating Bette and Dot Tattler (Sarah Paulson). But Maggie foretells: “Your indiscretion will soon be forgotten.” He gives her a hundred dollar bill, “a hundred thank yous“, and tells her not waste the powers she holds inside of her. Which we know, or at least are pretty sure, are total bullshit anyways.
Over with Ima Wiggles (Chrissy Metz) sits being fed by Jimmy Darling (Evan Peters), who has a glass of liquor nearby. Paul (Mat Fraser) and Amazon Eve (Erika Ervin) are worried about his state. When Dandy shows up at the tent city, Jimmy goes on a drunken, sad rant, ending up on the ground after trying to swing a punch. Everyone’s worried about the twins, but now Dandy has showed up to tell Jimmy clearly: “I am your god, and I have decided you need to suffer.”
screen-shot-2016-11-21-at-4-24-51-pmThe Tattler twins are holed up in a motel room with Elsa and the greasy moustached Stanley (Denis O’Hare). They’ve whisked Bette and Dot off in the dark of night, after tossing through Ethel’s things back at the camp in Jupiter. Elsa claims Dr. Sugar is on his way there, he can perform the surgery. Although, Bette doesn’t look too happy about it.
At camp, Desiree Dupree (Angela Bassett) and Maggie are interrupted by Angus T. Jefferson (Malcolm-Jamal Warner). He has a thing for Desiree, seemingly hot and heavy. He’s her “beau.” But they run into Jimmy who has Ima bent over and is giving it to her pretty good. He’s drunk and off his head unfortunately.
Cut to Jimmy at a little house party where women are again paying him for pleasure. Only he’s hammered and can’t get the job done. He stumbles out seeing a vision of his mother Ethel (Kathy Bates) chastising her son for being drunk, for “wasting his life grieving” over her. It’s a surreal scene where even the other women seem to be talking to Ethel. Except Jimmy snaps out of it – all the women scared, telling him to leave quietly. And so he does. Poor Jimmy.
Even worse for him is the fact right after they usher him out, Dandy comes knocking and says his car has broken down. He needs to call “the auto club.” Will this be the episode’s name coming to bear: a true Tupperware party massacre after all?
What little humanity is left in Elsa melts away before our eyes. We flash from present to the near past, where Stanley essentially talks Elsa into bringing the girls for the surgery. Then back to the present again, Stanley continues pumping bullshit into everyone around him, trying to convince the twins they’ll be able to live, each of them, on their own. Bette does not like the idea whatsoever. And you can see a little worry in Dot’s eyes, as they’re left in a shed by Stanley and Elsa, alone in the dark.
But first, back to the bloody massacre at the Tupperware party. A husband comes home to find Dandy left the place in quite a mess. His wife, and all the Tupperware friends, are floating in a bloody pool.
Over at the Mott residence, Dandy is filling his bathtub with a little water and a lot more blood. Up shows Regina Ross (Gabourey Sidibe), who quickly gets the confession: “I killed your mother.” He reassures Regina her mother was buried “weeks ago“, the blood in the room was mostly his mother’s who is now dead, and some blood from “some lovely ladies” he’s putting into the bath. Very eerie scene watching Dandy prance around, raving, stripping down for a bloody bath saying “I AM A GOD. A god who was chosen to walk among men.” I don’t every usually use this word, but that whole scene is god damn epic. He sends Regina running, alive, and doesn’t worry; not only is he god, apparently, he screams “I AM THE LAW!”screen-shot-2016-11-21-at-4-26-55-pmBette and Dot are at odds, regarding the separation. Bette knows they both can’t survive, she isn’t stupid. Dot knows it, too, we already understood that. Bette tries to convince her they can do anything together: “How much would you give for the health and happiness of the one you love?” And she further tells her sister she couldn’t survive alone, not without her. She says she’d give her life for Dot, if there had to be a choice mad. They love one another unconditionally, despite all that’s happened in their lives.
Stanley still has Dell Toledo (Michael Chiklis) under his thumb. Because Dell, for all his faults, has started to gain a conscience. Of some sort. Then out of nowhere, Stanley whips out his apparently massive penis. “Youre a freak,” utters Dell. He’s tempted, you can see. In the present moment, he’s writing a note to Desiree, saying he “cant go on” with a noose hung up behind him and Ma Petite (Jyoti Amge) coming to him in ghost form. Even Ethel’s ghost haunts the trailer, eternally disappointed in her ex-husband. And when Dell finally tries to hang himself, the light almost closing in and taking him, Desiree comes in and cuts him down: “Sorry,” he tells her.
Meanwhile, Stanley is with another man friend, dressed up as a very unprofessional doctor. He’s practicing to be Dr. Sugar: memorizing the Brody names, the various things he’ll have to say. Very nasty intentions here, but Stanley simply calls it “euthanasia.”
A police officer and Regina show up at Dandy’s door. He invites the man in, offers a drink, but the officer wants some answers. Then we get a little lesson in what 1950s Florida felt like for any people of colour. Dandy spirals his way through a conversation about his power, his white power. “I have seen the face of God and he is looking at me from the mirror,” says Dandy. The rich young man offers the officer a million dollars to “dig a hole” for Regina, and easy as that: the cop blows a hole through her head and asks for a shovel.

 

 

 

 

 


At the carnival, Jimmy is stumbling around drunk. He finds Bette and Dot returned, they don’t want to be separated anymore, neither of them. They want to stay together, as a family. And they want Jimmy to be a part of their lives. He is headlong in despair, he needs something to ground him, but can’t seem to find it anywhere else. Turns out, though, Dot has loved him since first sight. She loves his tenderness. She slips off her clothes, telling Jimmy how “different but special” he is. He politely asks how Bette feels about it, to which she replies they can have privacy, and she is also totally with her sister, she wants her happiness. Strange, yet romantic in a sense, as well. Only Jimmy says he can’t be with them after a short kiss and embrace; he says he’s in love with somebody else. So sad, especially considering Dot does not easily let her emotions free like that. A heart breaking situation. At least she has Bette in the end.
The police show up for Jimmy Darling, claiming he murdered all those women at the Tupperware party. They found his glove at the scene of the crime. But we know it was all Dandy behind the massacre. The cops whisk Jimmy off to jail, as the rest of the freak show is left reeling and worried for him, his life.
screen-shot-2016-11-21-at-4-29-18-pmLooking forward to the next episode, “Orphans”. We’re going to see a familiar face in the American Horror Story series come back to link Asylum with Freak Show.

American Horror Story – Freak Show, Episode 8: “Blood Bath”

FX’s American Horror Story
Season 4, Episode 8: “Blood Bath”
Directed by Bradley Buecker
Written by Ryan Murphy

* For a review of the previous episode, “Test of Strength” – click here
* For a review of the next episode, “Tupperware Party Massacre” – click here
screen-shot-2016-11-21-at-4-12-00-pmAfter the blood already shed, an episode titled “Blood Bath” sounds quite promising.
Opening on Gloria Mott (Frances Conroy), we begin with her lamenting about Dandy (Finn Wittrock) to a psychiatrist. He believes institutionalizing the young man may be in order, but she won’t have that word bandied about in the same sentence as his name. We see flashback to a young Dandy playing sadistically with a young version of Gabourey Sidibe’s character. She claims no was “an affront” to him, a “battle cry”. He had a history back then of killing small animals, as well as terrorizing others. Until one day a boy he played with frequently vanished, no doubt as a result of Dandy’s nasty predilections. The boy was “never seen again.” She, of course, does not reveal all the “recent incidents” to her psychiatrist which brought on all her worries. No, let’s not mention all the murder.
Just a little note: the more I watch the opening each episode, the more I think Freak Show‘s credit sequence is the creepiest to me. Very unsettling with all the messed up animation and the clowns and the macabre imagery. I loved Coven, and all of them, but this one is particularly wild.
screen-shot-2016-11-21-at-4-14-00-pmEveryone is out searching for Ma Petite (Jyoti Amge) – Jimmy Darling (Evan Peters), even Dell (Michael Chiklis), Amazon Eve (Erika Ervin) is there too. Out in the woods, Jimmy stumbles across the clothing of the little one. It is brought back to Elsa Mars (Jessica Lange) in a box. She weeps for the tiny girl, who they all believe was taken and killed by some animal in the night. A sad scene, especially knowing what we know after last episode. Although, Ethel (Kathy Bates) seems unimpressed. She thinks it’s all bullshit: “Thought youd be high as a Limehouse whore by now,” she says dryly entering Elsa’s tent. A slap across the face for Ethel comes later; we know the truth, but I can understand how Ethel believes all that’s precious to Elsa is “the roar of the crowd.” Only problem is this will cause undue friction between these two, and it makes me worry when anyone crosses paths in any way with Elsa. She’s out for herself and herself only.
Things get tense between Ethel and Elsa. Eventually when the situation gets very hot, ready to boil over, a gunshot goes off putting a hole right through Elsa’s leg; the wooden part, anyways. To the surprise of Ethel, who didn’t even realize he own supposedly close friend was a so-called freak herself.
Another of my favourite sequences this season comes with more flashbacks to Elsa and her past in Germany. We get more Danny Huston, who comes back as a doctor who made Elsa new legs after they were taken from her by the sick men who made those vile films. I think there is such amazing chemistry between Huston and Lange, they are two incredible acting talents and I love that Ryan Murphy/Brad Falchuk brought them together once again after Coven giving them another romance, yet an entirely different kind of one. Such power in this black-and-white flash back sequence.
And then, before Ethel can get revenge on Elsa for betraying her trust, Elsa wings a knife right into her eye. Ethel dies then and there. The titular bath of blood has commenced.
Enter Stanley (Denis O’Hare). His greasiness helps Elsa cover up the murder of Ethel, staging it as a suicide and featuring a performance from Ms. Mars to rival any other performance of hers before. She steps up the dramatics in order to match the ridiculousness of their cover-up plan. Everyone is devastated, not least of which is her son Jimmy (Evan Peters), whose life only gets worse and worse as the time goes on. Headlong into depression Jimmy goes, pushing Maggie (Emma Roberts) away. During the reveal of what happened we go between the present and when Elsa/Stanley set up the scene to have Ethel’s body decapitated in one of the most strange suicides ever.
Elsa is out recruiting once more in the hospital wards. She finds a large woman named Barbara (Chrissy Metz) who gets invited into the troupe. She’s renamed Ima Wiggles and gets fed on the hour every hour. Even more than that, Jimmy begins to fall into her arms in an eerily Oedipal lust for a large woman after his mother died.

 


Over at the Mott House, Dandy is entertaining Regina Ross (Gabourey Sidibe). Her housekeeper mother hasn’t phoned in so long. Gloria shows up, nervous as usual and especially so seeing as how she knows exactly where mama Dora is buried. She tries to convince Regina her mother is off buying squash somewhere. Not going to work at all. Then Dandy ends up in psychoanalysis with Gloria’s psychiatrist, but it’s all sort of under wraps. Only he figures it all out, he’s not exactly stupid: just fucking crazy. This drives him further mad. He talks about tribes in Papa New Guinea and how they would eat the defeated tribe, their chief – he wonders if it’s possible to “take someones power by eating their flesh” or if you could just get it done by “bathing in their blood.” Hmm, will we see a true to life blood bath tonight? Certainly seems like now that Regina threatens she’ll go to the police if her mother isn’t back by suppertime tomorrow.

 


Possibly my favourite bit of this season sees the fed-up freak women join together – Eve, Desiree Dupree (Angela Bassett), Legless Suzi (Rose Siggins; RIP, she passed away today), along with the newly minted ‘Lizard Girl’ Penny (Grace Gummer). First they come together over Ethel, who was a “survivor since the day she was born.” Desiree gives an impassioned speech to the women about how they must rise up, take hold of their lives, because the law doesn’t care about them. They decide to go and kidnap Penny’s father Vince (Lee Tergesen). They will have their cathartic revenge against all terrible men by taking revenge upon Vince for what he had done to his own flesh-and-blood. They attack him in his home, drag him back to one of the trailers at the tent city. Then, Vince experiences a good old fashioned tar and feathering. Such a savage and intense moment, yet it’s perfect; Vince deserves everything he gets.

 


Later on, Dandy goes home. He is enraged with life, his mother, everything. He reveals he’s the product of incest, and a father who did things “to those little girls.” Gloria is astounded by his demeanour. As he goes to put the gun to his head, she cries that she couldn’t go on in life without him. To which he replies with a bullet through her forehead.
Afterwards, we see the titular bathing, as Dandy bathes in a white tub in his lavish room: filled to the brim with his mother’s blood.

I was born of deadly sin. You knew what father had done to those little girls. You knew the risks of breeding with your cousin. Youre no better than the Roosevelts.”
How dare you say that name in this house!”

screen-shot-2016-11-21-at-4-22-15-pmAs the insanity escalates, Father Gore’s looking forward to the next episode, “Tupperware Party Massacre.”

American Horror Story – Coven, Episode 6: “The Axeman Cometh”

FX’s American Horror Story
Season 3, Episode 6: “The Axeman Cometh”
Directed by Michael Uppendahl
Written by Douglas Petrie

* For a review of the previous episode, “Burn, Witch. Burn!” – click here
* For a review of the next episode, “The Dead” – click herescreen-shot-2016-11-24-at-9-02-39-pm
This episode begins with a flash to 1919 in New Orleans. We hear the voice of Danny Huston, undeniable. He types a letter, and talks about being the titular Axeman. He tells everyone via his letter that anyone playing jazz will be safe on a specific night, everyone else will be murdered. The girls at Miss Robichaux’s Academy plan to make sure the Axeman does not kill anyone else. They’re witches, they’re tough, and plan to make their Salem ancestors proud.
No jazz plays on the street around the school. The Axeman walks through the neighbourhood, eventually making his way inside the big plantation style house. Upstairs, one of the witches listens to classical opera. The Axeman does not like that. The trap is set and all the women of the house stab him to death on the floor against the firelight.
So if he died in the house, will his spirit linger? I’m sure we’re going to find out now with new young witches boarding at the academy.
screen-shot-2016-11-24-at-9-03-34-pmZoe (Taissa Farmiga) picks around through the old belongings of Madison Montgomery (Emma Roberts). In the process, she finds old things belonging to the previous schools of witches, as well as a Ouija board – or a Spirit Board. First, to Nan (Jamie Brewer) and Queenie (Gabourey Sidibe), she brings up the fact the number of witches have gone down progressively each year. Now there’s only three of them. So they make a pact over absinthe, agreeing to watch one another’s backs. The three young witches play a game with the board. Soon, they come in contact with – you guessed it – a spirit. It writes out: AXEMAN. Quickly, the whole thing is stopped by Queenie, who knows better than to mess around too hard with the board.
Fiona (Jessica Lange) is having troubles. Taking chemotherapy alongside other patients, she suddenly has the gift of mind reading, attributing it to the medication. It’s all too much for her. A doctor manages to sit her back down, but clearly Fiona does not want to do it for herself, only for Cordelia (Sarah Paulson) who actually needs her for once in a lifetime.
Zoe wants to release the Axeman in order to find out what happened to Madison. Although, nobody else is at all keen on the idea. But Zoe’s stuck on witches banding together, no matter what the consequences. She goes downstairs with the Spirit Board again, except by herself now. Dangerous things at play here. And then, she’s finding her way into the attic where Spalding (Denis O’Hare) keeps his play things: both porcelain and deceased. The air is thick with a deathly reek, dolls lining the shelves. And finally, Zoe uncovers Madison’s body. Only Spalding intercepts her.
Meanwhile, Cordelia is back at home, walking cane and glasses and all. Hank (Josh Hamilton) can’t touch her without flashes in Cordelia’s head of his infidelity; all she can see is the woman he cheated on her with. She has a “different kind of clarity,” as if she’s experiencing the memories firsthand when they come to her. Strong woman, eyes and face burned yet still not afraid to stand up for herself.
Up in the attic, the young witches interrogate the “twisted tea-serving necrophiliac” Spalding, whose arms and legs are tied to a chair. Zoe scalds his chest with a metal spatula, left over a hot burner. He boasts about his first sex was with Madison; disgusting. This whole scene is nasty, in so many ways. But a great, gritty part to a larger story.

 


Over at the camp of Misty Day (Lily Rabe), there’s a nice big flower bed planted, she’s watering it and making sure it’s tended. Underneath stirs Myrtle Snow (Frances Conroy). And out of the blue, Franken-Kyle (Evan Peters) turns up, mumbling, filthy and needing a bath, scared as usual. Misty gladly takes him back in, helping him get clean. But memories of his mother come back, he trashes the place and throws things around, smashing the little music player Misty kept. Luckily, though, Zoe shows up – able to take Kyle, also needing Misty.
Zoe chains Kyle up down in the basement, and shows Misty the corpse of Madison. She wants Misty to bring the girl back to life. Although, poor Madison’s been dead for ages. Still after a bit of work, Misty and Zoe manage to pull her back from the afterlife and into the world of the living once again.
Big surprise: Hank is in cahoots with Marie Laveau (Angela Bassett). His wife’s new second sight is causing problems, threatening to reveal their working relationship. We get a flashback to Cordelia meeting Kaylee (Alexandra Breckenridge), the one Hank killed after having sex with earlier in the season; she was, in fact, a witch. Hank’s helping to kill all the descendants of Salem, a job done in conjunction with Laveau. But now, she wants all the witch bitches dead, their heads for trophies.

 


The girls are trying to bring Madison back to consciousness. She can’t drink anything properly, even ginger ale. All she remembers from before death was a red blur, nothing more. And at the same time, Cordelia is confronted in her bedroom by none other than the Axeman himself. He wants release, he doesn’t want to be trapped inside those “four ugly walls,” not any longer. He’s been promised release by Zoe, but nothing has come yet. He is one mad jazz-man. Hearing Cordelia’s screams, Zoe, Nan and Queenie rush to help. Stupid Zoe, she’s the one who did this with her lies. Then she finds a spellbook, releasing the Axeman from the house back out onto the streets. Is this any good, at all? To have this maniac out wandering New Orleans? Especially when jazz isn’t exactly as prominent, even in the South, as it once was back in his day.
At a bar where Fiona is lamenting her illness, literally pulling off a handful of hair, the Axeman sits down for a drink. Will there be vengeance to come? And for whom?

 


Next episode is “The Dead”, directed by Bradley Buecker.

American Horror Story – Coven, Episode 5: “Burn, Witch. Burn!”

FX’s American Horror Story
Season 3, Episode 5: “Burn, Witch. Burn!”
Directed by Jeremy Podeswa
Written by Jennifer Sharzer

* For a review of the previous episode, “Fearful Pranks Ensue” – click here
* For a review of the next episode, “The Axeman Cometh” – click here
screen-shot-2016-11-19-at-11-15-48-pmThis episode begins back when Madame LaLaurie (Kathy Bates) brings a possible suitor for her daughter through a nasty little chamber of horrors, featuring real eyeballs, bloody entrails and such. While the big party rages on, her own flesh and blood are plotting to get out from underneath the wretched reign of their mother. Borquita LaLaurie (Jennifer Lynn Warren) and her sisters are brought to the place where the slaves are caged up and tortured. Mama LaLaurie promises to let them out: next year.
Cut back to current day. LaLaurie is seeing her own daughters, risen from the grave, banging at the door. Inside, Nan (Jamie Brewer), Queenie (Gabourey Sidibe), Luke (Alexander Dreymon), and Zoe (Taissa Farmiga) try to keep them out.

 


We can’t forget, poor Cordelia (Sarah Paulson) was attacked with acid, right in the face, while she and Fiona (Jessica Lange) were out having drinks. I feel as if Cordelia’s whole acid burned clouded eye look is Lucio Fulci-esque; anyone agree?
At the hospital, the doctor tells Fiona her daughter is blind, her face is scarred. Nothing we couldn’t have already anticipated.
But the main problem is back at the school, where the zombies shamble more and more towards everyone inside. Marie Laveau (Angela Bassett), meanwhile, is levitating and doing some crazy shit to conjure up the undead hordes. Furthermore, a couple young dudes wander onto the lawn of the witches school, and Luke is out trying to reason with the zombies. SO much happening. Brave Nan tries her best to help Luke, too.
At the same time, Fiona is wandering around in the hospital on an especially dismal, grim floor. A patient wanders by and mumbles: “You didnt throw the acid but you might as well have.” Then Fiona finds her way into a room where a woman had a stillborn child. All the guilt of her life tumbles down, right on top of her. She makes the woman hold her baby, and conjures up the life inside it again. It’s a strange yet touching moment. While Fiona’s daughter is blinded, scarred for life, this woman has a fresh start, her daughter allowed new life. Fiona’s done too much damage to her own daughter, at the very least she can give another woman a new one.
screen-shot-2016-11-19-at-11-16-39-pmZoe helps lure the zombies away from Nan and Luke, cowering in a smashed up car, but backs herself into a corner. In the house, Spalding (Denis O’Hare) helps get Queenie settled away. Downstairs, LaLaurie confronts her dead daughter Borquita face-to-face, or rotted face to living face. It’s a sad scene, even as terrible as Delphine was before immortality and all that followed. Borquita, the walking dead, doesn’t care either way. She attacks and chokes her mother. Upstairs, zombies keep pressing towards Spalding, then Queenie. Though in the end, LaLaurie saves the day somehow, fire poker-ing the corpse to (its second) death.
Managing to get her hands on a chainsaw, Zoe cuts through a ton of the zombies, saving Nan and Luke. Too much zombie guts and juice in the chain, so the thing goes dead at the worst time. But all of a sudden Zoe hauls out a strange sort of spell, a strong one, knocking Marie Laveau out of whack and stopping the march of the corpses.
When Cordelia finally wakes up, she has a further sight, despite losing that of her eyes. Husband Hank (Josh Hamilton) touches her hand, and Cordelia sees all his indiscretions.
All the corpses are burned, things are being put back together at the witch house. Worst of all, the Council has arrived once more. Quentin Fleming (Leslie Jordan), Cecily Pembroke (Robin Bartlett) and Myrtle Snow (Frances Conroy) show up to unseat Fiona from her title of Supreme. Clearly things have unraveled, to the furthest degree. However, Fiona has things to say. She believes the one who blinded Cordelia was Myrtle. What? Seriously, Fiona? I’m more inclined to believe she’s off her rocker right now, than to see Myrtle as a murderer. Especially once Fiona starts dropping information about Myrtle being in town before anyone else knew, about Myrtle hiding in a motel under a false name. Fiona reveals Myrtle’s hand: burned, presumably from the acid used on Cordelia.

 


So the witch shall be burned! “Right Place, Wrong Time” by Dr. John plays as Myrtle is lead to the stake, the entire coven along to watch. Then Fiona tosses the last of her cigarette, igniting her old rival into a flaming pillar. Nasty, brutal way to go. Did she really disfigure Cordelia? Or is it more Supreme magic on Fiona’s part?
We find out quickly it was Queenie who helped Fiona – some voodoo doll type stuff. Queenie keeps seeing Myrtle burning, smelling it on the air. She obviously is traumatised by Fiona’s violent ruling of their coven. The older witch convinces Queenie that she could possibly be the next Supreme, putting ideas in her head. I can venture to say this is more of her fiendishness. She needs others along for the ride in order to get the mean deeds done.

 


In other news around the weird house, Spalding sprays down his room a good deal. In the treasure chest still sits Madison Montgomery (Emma Roberts), long dead, rotting away. In fact, trying to pull her out Spalding tears an arm clean off.
Speaking of corpses, Misty Day (Lily Rabe) finds the charred remains of Myrtle at the stake. She lays hands on her, and the eyes come alive.
Myrtle’s back!
screen-shot-2016-11-19-at-11-31-28-pmNext episode is titled “The Axeman Cometh”.