Tagged Gabourey Sidibe

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

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

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

 


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

 

Papa Legba: “Time moves differently in hell

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

 

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

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

 


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

 


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

 

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

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

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

You flush my shit, bitch.”

 


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

 


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

I love you more than jazz, baby doll.”

 


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

That aint magic. Thats an antihistamine.”

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

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

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

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

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

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

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

 


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

 


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

 


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

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

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

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

Love transforms

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


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

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

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


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

American Horror Story – Coven, Episode 3: “The Replacements”

FX’s American Horror Story
Season 3, Episode 3: “The Replacements”
Directed by Alfonso Gomez-Rejon
Written by James Wong

* For a review of the previous episode, “Boy Parts” – click here
* For a review of the next episode, “Fearful Pranks Ensue” – click here
screen-shot-2016-11-19-at-10-36-44-pmThis episode starts with a Fiona (Jessica Lange) who’s getting sicker with each passing day. She subdues all the pain with medication, prescribed and otherwise. Little drop of liquor here and there to take away the edge.
Nice flashback to Fiona’s younger days in 1971 New Orleans, during her time at the academy. Young Fiona (Riley Voelkel) has a conversation with the Supreme during her time, Anna-Lee Leighton (Christine Ebersole). We get more information about what the Supreme is, who she can be – turns out, witches can exemplify many powers at once, but that does not a Supreme make. What it takes is mastering “the Seven Wonders,” supposedly. Furthermore, we get insight into Fiona’s current life. Why she is so afraid of getting sick. It’s not just death: she is being succeeded. The stronger a new witch gets as Supreme, the more strength is zapped out of the current one. So naturally, Fiona is worried about being overtaken. Plus, Spalding (Denis O’Hare) witnesses a young Fiona kill Anna-Lee, so there’s a deep connection between them stemming from those old days. Something we’re without a doubt going to get a deeper explanation for at some point. For now, intrigue. Excellent opening.
screen-shot-2016-11-19-at-10-37-06-pmEven past the credits we’re still following along with Fiona. She is an important character. More than that, she has much to do with the storyline of this season. Ryan Murphy/Brad Falchuk & Co. are going into themes of the old relinquishing power to the young, something always evident in society from one generation to the next. So Fiona is naturally a great example of that: like some of the more ignorant Baby Boomers, for instance, she refuses to go into the long night quietly.
Watching Fiona listen to her doctor about surgery options is almost heartbreaking, except there’s already only three episodes into this season not much sympathy for her character. She seems very cold. We’ll find out more as the episodes wear on.
Then we find our way back to Zoe (Taissa Farmiga) who ends up tracking down the mother of Kyle (Evan Peters), Alicia Spencer (Mare Winningham). She’s pretty broken up about her son dying, though, a call from Zoe was able to save her life; she had her head almost in a noose at the time. Not sure how her character will work into things, but soon enough we’ll find out (I actually know because I’ve watched every season already; just playing the part for now).
Over at the academy, Madison (Emma Roberts), Queenie (Gabourey Sidibe) and Nan (Jamie Brewer) check out a handsome man moving in next door with his mother – Luke Ramsey (Alexander Dreymon) and the uptight, religious Joan Ramsey (Patti LuPone).
Inside it’s another story. LaLaurie (Kathy Bates) is their maid, weeping over Barack Obama on the television, hating having to serve Queenie, a “nigress” her food. Then eventually Fiona shows up to put things into perspective for racist Delphine: she’s now Queenie’s personal servant. Ouch for the old racist bitch.
At the same time, Misty Day (Lily Rabe) lies in bed with Kyle back at her shack. He’s been healing pretty damn well, though, the scars are evident in his skin. Still, the guy looks a lifetime better than he did in the previous episode. He doesn’t have the Frankenstein’s monster look going on anymore, just a bit of a rough exterior. Then there’s the fact he doesn’t speak much, or at all, outside of a little grunting and groaning. Kyle has a ton of rage issues, now a reanimated brain in a totally different body than he once inhabited. Of course he’s going to be slightly messed for a while.


Nan brings a cake over to the Ramsey house, along with Madison who sluts it up once they meet Luke. He seems incredibly impressed with Nan, as well as the cake. Madison, the famous stuck-up bitch, is not impressed with this at all for her part. Then mother Joan shows up, flaunting their religion at the witches. Very fun contrast seeing a bit of witchcraft dropped in contrast with the religious nature of the Ramseys. On their way out, Madison discovers a new power: lighting things on fire. Pyrokinesis. Interesting – does this mean she may start vying for the spot of Supreme? Or just a red herring?
A nice sequence cuts mother-daughter duo of Fiona and Cordelia (Sarah Paulson) back-to-back. Each of them receives bad news from their doctor, each with their respective problems – Fiona basically dying, Cordelia unable to have a child. It’s all sad. Though, I feel worse for Cordelia who only wants a regular life, but has been burdened with the fate of being a witch. It’s certainly not all that they crack it up to be in the brochure.
Reanimated Kyle is dropped back at his mother’s doorstep. But a dreadful look on Kyle’s face speaks wonders, as dear ole mom brings him inside: should Zoe have held onto him, maybe left him with Misty? We’re soon going to discover what it’ll be like for Kyle, and his mom, now that he’s back to… normal.
Distraught over the “long term effects” of Madison’s choice of dress while visiting their home earlier, Joan Ramsey talks with Fiona, who obviously does not care much. This brings the current Supreme together with Madison. Uh oh. I can see where this is headed. Just the look in the eyes, the way Fiona stares at the young and virile witch in front of her, you can tell she is up to no good calling Madison over to sit down and hang with her at the table.
The trouble for Kyle starts at home, not long after his arrival. Mom clearly has no trouble opening the shower curtain on her naked son. Then she climbs into bed with him, commenting on his body. She snuggles up to him, a little too closely, then plants a more than motherly kiss on her son. So that earlier fear we saw in Kyle when she brought him inside, it had a heavy, horrible weight to it. Something Zoe could never have known. But it’s no wonder he didn’t like what his frat brothers were doing at the party; he knows the other side of assault and rape.


Cordelia’s gotten desperate enough in the quest for fertility she finds herself over seeking the help of Marie Laveau (Angela Bassett). There’s a sly conversation between the two. Cordelia wants a fertility spell performed. We get an awesome cut to a wild sequence. It shows us the ritual – including the husband’s “baby gravy,” two ounces to be exact. Plus there’s a ton of dancing people, unbelievably hot peppers, blood, and Bassett giving her all as a shaman-like voodoo conjurer, dancing around a fire, bringing out the spirits. The entire thing is pretty awesome, maybe the best large sequence yet so far in Coven. Because it’s not the typical witches dressed in black stuff. Something more akin to Wes Craven’s The Serpent and the Rainbow than to a traditional witchcraft film. But this is only imagery: Laveau will never perform the spell on a daughter of Fiona Goode, Marie’s “sworn enemy.”
screen-shot-2016-11-19-at-10-40-11-pmElsewhere, Fiona is drawing out the powers of Madison who is oblivious to the older witch’s true intentions. Can we be sure Fiona won’t do the same thing to Madison as she once did, in 1971, to Anna-Lee?
Lots of spooky business at the academy. Queenie eats in the kitchen while LaLaurie cooks. But the old woman sees the Minotaur outside, growling and lurking in the shadows. He’s come back for Delphine, let loose by his eternal master Marie Laveau. Now, he’s laying siege to the house trying to get in, smashing his horns against the door to hopefully bust in. LaLaurie reveals herself to Queenie, her true identity, and tells her how Fiona brought her back; naturally, a strong black woman such as Queenie isn’t too impressed with this immortal racist. And yet still she tries to defend the woman, offering to have a hand at confronting the Minotaur. Outside Queenie tries talking gently to him, and lures him out into Cordelia’s greenhouse building. Instead of calming the Minotaur, she has a violent sexual encounter with him.
At the Spencer house, things with mom and son aren’t exactly right. No surprise after what we’ve seen so far. Mom is sick, she’s not only attracted to him but has a strange love for him, real romance. It’s nasty. She doesn’t expect what’s coming, though. After trying to turn him on – gross – Kyle ends up beating her to death with a trophy off his shelf. Lots of bloody flying, wet, smacking sounds against the meat of her dead body. I can’t say she doesn’t deserve it.


Speaking of unsuspecting, Madison is out on the town with the older version of herself, Miss Fiona. They’re both having a great time. Only not so much for the older of the pair, she sees how men are drawn to Madison, almost like magnets. There’s a great edit where Fiona sees Madison morph into the young Fiona, right before her eyes. Just another great instance where the editing in this series is spot on, something you can easily see throughout any given episode.
The finale was a shock to me when I first watched this one, back as it aired the first time. Now, I still enjoy it. Such a brutal and great scene between two excellent actors, each of their own generation; two strong women. Lange and Roberts compliment one another so well, this whole episode with them together is a treat, but especially at the episode’s close. I won’t spoil it any further, most of you will have probably already seen it, anyways. Just a solid finish for “The Replacements”, a full, grim circle of an episode.


Next episode is titled “Fearful Pranks Ensue“, directed by Michael Uppendahl.

American Horror Story – Coven, Episode 2: “Boy Parts”

FX’s American Horror Story
Season 3, Episode 2: “Boy Parts”
Directed by Michael Rymer
Written by Tim Minear

* For a review of the previous episode, “Bitchcraft” – click here
* For a review of the next episode, “The Replacements” – click here
screen-shot-2016-11-19-at-10-13-21-pm“Boy Parts” begins with Misty Day (Lily Rabe) apparently risen from the grave herself. A couple gator hunters come across her in the swamps, Steve Nicks’ “Edge of Seventeen” playing in the background. She’s dancing and lamenting the killing of the beautiful creatures – gators hung from the trees, gutted, being skinned. When the hunters threaten her, she brings a gator back to life and then another comes out of the swamp, so bye bye hunters. Chomp chomp. I love that she’s back already, I thought we might have to go an episode or two before Misty cropped up once more. But here she is. Lily Rabe has been a revelation since the second season and I cannot get enough. Hopefully her character has lots to do coming up.
screen-shot-2016-11-19-at-10-16-01-pmBack at Miss Robichaux’s Academy, Cordelia (Sarah Paulson) is waking all the girls up, readying everyone for a meeting. Poor Madison (Emma Roberts) is obviously still reeling from her gang rape, like any sensible young woman would. Then there’s Zoe (Taissa Farmiga), whose feelings for Kyle (Evan Peters) are obvious; he died, yet she knows he wasn’t a bad guy, he tried to do the right thing after he discovered what happened with his frat brothers.
Most intriguing, Fiona (Jessica Lange) has Madame Delphine LaLaurie (Kathy Bates), fresh out of the living grave, tied and gagged in her room. What’s the rub here? I’m so interested to find out where this is headed.
Flash to Queenie (Gabourey Sidibe) back in 2012, where she worked at a fried chicken place called Chubbie’s – a guy is giving her shit about not having enough pieces in his basket. Instead, she jams her hand into the boiling fat behind the counter, voodoo dolling the jackass yelling at her. Flashback to the young witches sitting around, talking to Cordelia and each other about where they came from before the academy.
Up show the police looking to talk with Madison and Zoe about their presence at the frat party. Things are getting tense. Even worse, Zoe gets awkward and nervous and breaks down, telling the police everything. And I mean EVERYTHING! Yet luckily, she is a witch. Among witches. After things go awry, Fiona struts in to undo it all with that sweet feminine magic. Or straight up devilish magic, either way it works. Then she goes back to the girls’ room, tosses Zoe and Madison at the walls and lays down the law about how things are going to go from here on in: shape up, or ship the fuck out.

I couldnt toast a piece of bread with the heat they were putting on you

To try mending Zoe’s sadness over Kyle, the usually hateful Madison has a plan to help. She takes them to the city morgue, in order to return the favour of Zoe killing the guy who raped her. In one room there are the pieces of all the guys killed in the crash. Kyle was dismembered terribly, so they’ve got to mix and match a few pieces in order to get him back together. The title of this episode “Boy Parts” comes to bear on their process, as Madison decides they’ll find the best pieces then top it all off with Kyle’s head: the ideal Ken doll.
Meanwhile, Cordelia and her husband Hank Foxx (Josh Hamilton) are trying to put together their own boy, or girl – they want a baby, no matter what. However, Cordelia can’t seem to get pregnant. Her womb has troubles, for whatever reason. Hank seems supportive, but wants her to use the witchcraft to make things possible for them. Cordelia’s against it, not wanting to turn into her own mother; someone who has taken the shortcuts of life at every turn.


Finally, LaLaurie has to come to terms with what Marie Laveau (Angela Bassett) did to her all those years ago.
We flash back to after Delphine first took the vial and drank it. She wakes up to find her worst fears coming true: her family is killed, while she’s been given eternal life. They were all hung. Now, Delphine is left by Laveau to spend life in a box underneath the earth, never to die. Only Fiona has dug her back up and let her free. Well, not free. She’s essentially under the slavery of the Supreme for now.
Over at the morgue, Madison and Zoe have a Kyle Frankenstein monster put together. They’re gearing up for some type of witchcraft ceremony, in which they intend to bring him back to life again. Things don’t go exactly as planned, though.
Kyle comes back to life, all right. He just doesn’t come back like he was, at all. He is more similar to Frankenstein’s monster than ever before.

Did we just barter with the Devil? ‘Cause I don’t know if I’m down with that.”

Nan’s psychic powers lead her to find LaLaurie upstairs tied in the closet, which starts a bit of chaos. First, Delphine cracks Queenie over the top of the head, knocking her out. But Fiona is across town at the home base of Marie Laveau, they’re having a bit of a head-to-head confrontation. They drop a bit of knowledge on us about shamans, necromancy, Haitian voodoo and such. Plenty of history in a few minutes of dialogue between Lange and Bassett – another classic pairing we’re able to enjoy courtesy of Ryan Murphy and Brad Falchuk & Co. Though, the offer Fiona brings for Laveau is turned away before anything else happens. We’ll get more of this later on. Not too long afterwards, we see the Minotaur is still under care of Marie, who unchains him for “business” they have to take care of soon.
screen-shot-2016-11-19-at-10-19-05-pmCordelia and Hank are busy trying to do freaky rituals in order to get pregnant. They have kinky sex with black candles, a circle of black sand or something, and all that kind of wild stuff. Oh, and blood. I suppose being a witch can offer a bit of kink in the love life. This whole sequence is pretty creepy and full of sensual imagery. The sex, a snake egg cracks, fire ignites in the circle around them. Then as they finish, everything goes back to normal. Will it work? Who knows.
Zoe is busy rushing Kyle away from the morgue. The poor dude is having troubles, coming back to life is obviously not a walk in the park. Kyle smashes his body around in the car, as Zoe drives them off. She’s upset, trying to do her best and feeling she did the wrong thing bringing him back.
Luckily, Misty Day turns up in their backseat. She knows how to help Kyle transition back into life appropriately. Zoe brings them back to Misty’s shack, out in the swamps. Misty wipes dung all over Kyle, great healing properties she says. Leaving him with the resurrected witch, Zoe is conflicted about what ought to be done with Kyle in his newly living state; he looks monstrous, Evan Peters does such a fantastic job performing this character, amazing work.


A good conversation between Fiona and LaLaurie, as the latter laments now being above ground, her family dead and gone, everything changed and new to her completely. Lots of interesting things happening between these two. Cannot wait for more of their relationship to come out! And also just having LaLaurie’s presence around, in a day and age very far socially from where she was in the early 19th century. Exciting thematic things will unfold.
screen-shot-2016-11-19-at-10-29-31-pmThe next episode is called “The Replacements”, once again directed by series regular Alfonso Gomez-Rejon.

American Horror Story – Coven, Episode 1: “Bitchcraft”

FX’s American Horror Story
Season 3, Episode 1:
 “Bitchcraft”
Directed by Alfonso Gomez-Rejon
Written by Brad Falchuk & Ryan Murphy

* For a review of the next episode, “Boy Parts” – click here
screen-shot-2016-11-19-at-9-56-12-pmThis season, Coven, begins with Madame Delphine LaLaurie (Kathy Bates) in 1834 New Orleans. If you don’t already know who she was, then saddle up.
Quickly there are shots of Delphine brushes blood all over her face. She complains the blood isn’t fresh, though. But even worse, there’s been indiscretions on the part of one of her daughters; the young girl slept with a black man, the help. Madame LaLaurie was viciously racist. But Ryan Murphy/Brad Falchuk & Co. have taken it up a notch – or twelve. In a spooky attic, LaLaurie has her slaves all in various states of torture. Most disturbing is when a young black boy brings in a stag’s head and she has it placed on the man who had sex with her daughter, Bastien (Ameer Baraka). She explains it’s all inspired by the Minotaur in Greek mythology. One of the most unsettling openings to any season, what a brutal start.
screen-shot-2016-11-19-at-9-56-50-pmWe’re introduced now to Zoe Benson (Taissa Farmiga). She brings a boy home, they sneak upstairs making out. Of course it goes to the next level. But then the guy’s nose starts to bleed. Everything bleeds, and he goes into shock.
Cut to Zoe on a train. Headed elsewhere. She’s come to discover her lineage is that of witchcraft; her grandmother had the same affliction. Nice little sequence with Zoe reading a book about the Salem Witch Trials, a few brief black-and-white clips. Zoe’s mom ends up shipping her off, bound for a school where she’ll be taken care of appropriately. Myrtle Snow (Frances Conroy) has facilitated the new shift in life for Zoe. She’s headed to New Orleans – Miss Robichaux’s Academy for Exceptional Young Ladies.
Upon arrival, the other girls already there decide to have a bit of fun at Zoe’s expense. There’s young, famous & bitchy Madison Montgomery (Emma Roberts), sweet little Nan (Jamie Brewer) and the ever so chill Queenie (Gabourey Sidibe). At first it’s as if they’re about to sacrifice her – only a joke. Sort of an initiation, I guess. Why not? They’re a bunch of witches. It’s Cordelia Foxx (Sarah Paulson) who runs the place, though. Along with the help of perpetually silent servant Spalding (Denis O’Hare).
We get lots of tidbits on the Murphy-Falchuk witches. There are regular witches, then there is, once a generation, a Supreme – who embodies ALL the possible powers of witches.
Even better is a short scene with Misty Day (Lily Rabe), who has the ability to resurrect the dead. Certainly the Southern folk who witnessed her abilities were progressive enough to hang her out in a field, douse the poor girl with gasoline and light her on fire. So this is how Cordelia explains witches as “being under siege” and advises them to “know this or face extinction.” Sets up lots of great societal style tension, which will no doubt come up more and more throughout this season.


Finally, Jessica Lange!
She’s back once more as Fiona Goode. It seems Ms. Goode is getting ill, or has been ill anyways. She has a doctor named David (Ian Anthony Dale) working on a cure, but the race is on. Immediately there’s a suspense about her situation. You can even just see it right on Lange’s face in the performance. But right afterwards there’s a glimpse into Fiona, who she is and how she deals with things: booze, coke, dancing. And it is obvious her witch power is strong, the way she deals with David. Such an amazing scene with the lights, how Fiona shuts the doors and lights her cigarette, throwing David around – all while “In a Gadda da Vida” by Iron Butterfly rocks in the background. Love this entire sequence because you get such a great deal of Fiona and her character in this one big introduction.
Then there’s an awesome dinner table scene with the young witches. Nan is clairvoyant, Queenie is a “human voodoo doll.” But then poor Zoe gets roped into hanging out with Madison, whose high class bitchiness knows no bounds. They’re headed to a frat party later, and Zoe looks positively thrilled. Slash not.
Fiona Goode is actually Cordelia’s mother. Over at the academy they reunite. We get more information now, such as the fact Fiona is also the reigning Supreme. Plus there’s a ton of tension between daughter and mother. Doesn’t take much exposition to figure out Fiona has been, most likely always, a neglectful mother. There’s a war coming, according to Fiona, so she wants to come back to the academy and help the young witches harden. On the contrary, Cordelia prefers more peaceful, quiet, subtle ways of witchcraft. We’ll see lots of them butting heads this season. Always love the acting pair of Paulson and Lange, they’re fantastic together onscreen.
screen-shot-2016-11-19-at-10-03-51-pmAnother series regular, Evan Peters returns as Kyle Spencer, a sort of decent jock who takes a sober night in order to look after all his dudebros ready to party. He ends up at the party where Zoe and Madison head for the evening. In fact, Kyle finds his eye on Zoe, but she’s naturally – due to her witchy death vagina – a bit apprehensive.
But it’s Madison who needs to watch out. A couple of the frat guys set their eye on her, not in the gentleman-like way. She treats everyone like shit. This doesn’t make anything that happens to her appropriate. However, unknowingly her attitude makes the piece of shit frat guy even worse than he’d already been. Popping a pill into Madison’s drink, he drags her off into a room after she gets lightheaded and wobbly.
After a gang rape upstairs, Madison and Zoe are outside while the frat idiots jam into the bus. Trying to do the right thing Kyle gets knocked out and taken along with them. Although, Madison takes charge – out in the street she flips the bus, smashing it to bits and crushing a load of the guys inside to death or to bits. Pretty wild, and deserved. Except for Kyle, I feel bad for him being lumped in like that.
Back at the academy, Fiona has all the girls dress in black for a field day out on the streets of New Orleans. She knows all about what Madison has done, just like psychic Nan. She wants to teach action, but also needs to instil in the girls a sense of subtlety.
She takes the girls over to a museum dedicated to Madame LaLaurie. Y’know, for a little tour. We get a few flashbacks to LaLaurie’s methods of staying youthful, draining the blood of her slaves for skin cream. Also, there comes an introduction to another excellent character – Marie Laveau (Angela Bassett). She comes into LaLaurie’s life promising more ways of staying young. Except hers isn’t some quick fix, nothing cosmetic. No, Marie has an eternal method, which she cons Delphine into with a vial of sweet tasting liquid. A more existential torture came for LaLaurie, we’ll see more on this later.
It’s Fiona who is interested in all this – she brought them to the museum in order to find where Delphine was finally buried, something no one else has ever found out. Nan, with her abilities, is able to track down the exact spot. What is Fiona up to?
Zoe heads to the hospital where the frat guys, some of them anyways, are in rough condition. When she finds one of the guys who raped Madison, there’s some nastiness in store. She uses her deathly sex to make sure he doesn’t ever recover, nor will he ever assault another woman again.


Pretty savage, intense finale to the episode with Zoe at the hospital. Tops everything off with Fiona having LaLaurie dug up, bringing her back out of the ground. Delphine was given the gift of immortality by Marie Laveau, then buried alive it seems. So with this resurrection of sorts, what does Fiona stand to gain?


We’ll continue on with the next episode, “Boy Parts”, so stay tuned!