It all comes down to witches and warlocks at the end of the world
A look back at the past of the outpost, Michael Langdon, and a post-witch+warlock world.
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
This 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 4–stars 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). “I‘m 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.
The 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: “I‘m dead,” Will tells them, “but I‘ve 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. “It‘s 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?In 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.
Loved 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.
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
Only 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.
Liz 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 I‘ve 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 you‘ll 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 it‘s 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 doesn‘t know about you – not 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: “There‘s 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 “hate–watch” 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, we‘re 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.
Very 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!
FX’s American Horror Story
Season 5, Episode 9: “She Wants Revenge”
Directed by Michael Uppendahl
Written by Brad Falchuk
* For a review of the previous episode, “The Ten Commandments Killer” – click here
* For a review of the next episode, “She Gets Revenge” – click here
This episode begins with Countess (Lady Gaga) explaining that “women age differently than men do,” but the kicker is, of course, as we know she’s a vampire. Here, she stares into the walled off corridor where James March (Evan Peters) had sealed Natacha (Alexandra Daddario) and Rudolph Valentino (Finn Wittrock).
Countess is convinced to build “something new” and makes it clear: “I will not be managed.” Later downstairs, she’s talking about her upcoming wedding to Will Drake (Cheyenne Jackson). She wants it small. Yet he tells her “I‘m a showman” and he wants a big wedding. Finally, she agrees that he will design the gown, she will get everything else taken care of. Then there’s Liz Taylor (Denis O’Hare), who Countess wants to arrange the flowers. Liz does not want any part of her: “Buy your own damn flowerrrrs.” And why would she want to help the Countess, after the Tristan incident. Alex Lowe (Chloë Sevigny) is still kicking around, serving drinks, to a highly disaffected Countess who only grows more and more disdainful about the world around her.
Then Countess tracks down Rudolph Valentino at a motel. While simultaneously at home, she beds Donovan (Matt Bomer) again, screaming “I forgot how good you feel inside me.” They have a nice little bit of pillow talk. He asks that it only be him for her, forever; he needs commitment. Not in the way of just being with one person, but rather he wants to be the ONLY person she loves: “I swear it. But I won‘t make the same mistakes again,” she replies. Is this all a ruse on Donovan’s part? I’m sure he didn’t just switch back to loving her, did he? I imagine Ramona Royale (Angela Bassett) is lurking along the periphery of the Countess’ life, alongside Donovan. We’ll have to wait and see. For now, Donovan and Countess seem to be making a list – of who to murder.
Nice to Iris (Kathy Bates) again. She even tells the people at the front desk the “douche bag convention” is somewhere else. Proper. A couple pornstars show up with their disgusting director. Iris tells them she’ll bring up some “extra towels.” An AMAZING voice-over sequence after this, starting off with a Blue Monday cover and Iris talking about the “Sydney Pollack” of porn and how she went to see Deep Throat back in the day. She even calls herself “Dirty Harriet,” as well as gives us a little lesson on why pornography “hurts people,” what it does to the male and female psyches. Plus, afterwards she goes into the room and starts slitting throats, stabbing chests, and generally bloodying the place up. Good gore. Out of nowhere, Donovan appears. Very impressed with his mother. “You have clearly come into your own,” he tells her. Though, she warns about problems. We slip back to the Bartholomew incident, where that creepy little baby got out to wreak some havoc with its terrifying face; Iris gave up Ramona’s name to the Countess.
However, now we’re getting a bit of the real story. Donovan is definitely in love with the Countess. At the same time, he’s still looking for revenge. Will he get it? Or will the Countess figure it all out? Has she already? You can never tell fully.
Drake explains to his son Lachlan (Lyric Angel) about how the Countess understands him, gets him, all that. Then Miss Evers (Mare Winningham) shows up talking about how the Countess will only “bleed you dry“. It’s an eerie moment.
Then a flashback comes where Miss Evers talks about how she loved March. He claims that the Countess “is a creature from heaven” and tells her: “It‘s not your fault you were graced with… different gifts.” But back in the present, Will does not heed any of her warnings. Despite the fact we know the depth of the darkness into which he is about to plunge. I won’t quote her exact words because you NEED to experience them from her mouth; she lets Drake know exactly how she feels before leaving the room.
Down at the sealed, now unsealed, corridor, the Countess is trying to get a contractor to re-seal the hallway. After a bit of talk from him, March shows up to try and explain how it’ll all get done: “Make haste – much to accomplish!” Some people don’t like Evan Peters this season. Me, on the other hand, I think he is classic. At times he’s darkly funny. Others he is downright fucking terrifying, to me. Here he shows off a few more chops, as the Countess gives him an ultimatum, of sorts.
Donovan shows up at Ramona Royale’s place. He has an offering: the pornstar guy from the hotel. But she thinks Donovan is a big “pussy” in her words. Though, for all Donovan’s love for the Countess, and all the doubts Ramona may have, he actually seems to be against the Countess. He admits his “addiction” for her. Yet then Donovan claims he slipped enough ghb in her drink to “knock out an elephant.” He further admits he can’t “pull the trigger.” At least Ramona “appreciates a man who recognises his own weakness.” They seem together, toasting on the blood of the pornstar.
Another excellent flashback to Ramona in the ’90s, running back to her father (Henry G. Sanders) in L.A. Her mother (Marla Gibbs) and father helped straighten her out. Also, there’s sadness. Her parents are getting older, forgetting things, getting sick. Then her mother died and her father went further off the deep end in his mind. Such a tragic sequence, yet gives such an amazing depth to Ramona. There’s a break-in scenario and her father ends up getting hurt badly, which sees Ramona give the gift of the ancient virus to him. I saw this coming. I still found it effective, and beautiful in a sense. Eternally sad, though, as “a diseased brain is not a broken bone” and not everything can be fixed with vampirism. We see more and more how absolutely shattered inside Ramona is, having to effectively euthanize her own father so that he wouldn’t remain “frozen in amber.”
Alex Lowe is off doing her own thing, too. Not only serving up drinks for the Countess. She spies on a house, then makes her way inside only to find a bunch of dead, bloody corpses. Further in, there are a bunch of vampire kids with Max as the leader; remember, the kid from the hospital to whom she gave her blood? A few of the kids are getting sick, probably drinking bad blood. Earlier in the episode there was a news report about homeless people dead in the city: all the kids. Some of the kids don’t want to drink, they’re feeling worse and worse. They want Alex to help. Other kids are alive and thriving, one even saying they should “off them,” y’know – “all the sickies.” Such a creepy scene, evoking lots of the creepy children aesthetic. Makes things quite tense and eerie. The kids, most of them, don’t want anything to do with Alex.
Back at the Hotel Cortez, Ramona and Donovan stand outside the Countess’ room, as she lays just inside sleeping on the bed.
Then a double cross, I think? The Countess wakes up before Ramona can sink a knife into her. Donovan tasers Ramona and takes her downstairs. Iris is upset about it all. Donovan is in love and he actually fell into the abyss, even though I imagined he was on the straight and narrow. Ramona ends up locked in one of those neon-lit cages. “You‘re weak. I should‘ve let you die,” Donovan tells his mother getting a slap in the face as a response. Where’s this going to lead Iris and Ramona now?
Rudolph and Countess are having drinks at the motel. Meanwhile, Natacha is off with her head full of “shopping and Uber.” I feel even worse for Donovan now because he’s fallen back for the Countess, while she’s still wrapped up in a time almost a century ago when she and Rudolph had their first great love. All the same, Rudolph hates the modern world. He is disgusted with everything in it, no “enchantment left” anywhere. Countess claims to hate the modern world even more than him and wants to turn the Cortez into a “fortress” against it. Still there’s Natacha to deal with. She loves everything out there. Somehow the Countess begins to try reeling her in, though. Sets up a girls night for them both without Rudie. Hmm.
And then, outside as she strolls away happily, there is Donovan. Will he finally see the light?
At the Cortez the wedding is about the be finished. Naturally, Liz objects with a hilarious quip: “Don‘t mind her. She drinks,” says the Countess. But the happy couple is proclaimed man and wife. The Countess wants to get the honeymoon started, so she plans to go get changed and get going. First, she gives over the flowers to Liz and gives off some nonsense about hoping she finds true love. Sad, to see Liz have to grin and bear it against this awful vampire of a woman.
Nice little meeting at the bar between Will Drake and James March. Very good stuff with James, having a little drink with Will in congratulations. “Here‘s to new worlds to conquer,” James toasts the newlywed gentleman. Even better is when March brings Will up to see Bartholomew in his black little crib. “What the hell is that thing?” Will draws back in terror after seeing the child-thing. Countess shows up and doesn’t like the “hateful things” Will has to say about little Bart: “I‘m going to make sure you suffer immensely,” she says before whacking him over the head.
Following this new development, Will finds himself down with Ramona. Only he’s on the floor while she stays locked up. But I’m sure he’ll be caged up right away, as soon as the Countess or March or whoever returns.
However, Drake doesn’t last long. He gets Ramona out, finds their in a sealed hallway, to which he quips: “Nobody knows we‘re in here. We‘ll starve.”
“I won‘t,” replies Ramona. She then pounces on him, starts to feast on his bloody neck. Miss Evers shows up to gloat, as the Countess watches on a screen up in her room comfortably. The end.
I’m interested to see who the she is in the next episode’s title, “She Gets Revenge”. Who will get it? Who will be revenged upon? Very exciting. Honestly, the haters can keep on hating this season. I’m digging it. Especially once we see more of John Lowe (Wes Bentley) next week. Curious to see where he goes now plot/character-wise after the revelation last episode that he is, for certain, the Ten Commandments Killer.
Stay tuned with me friends and fellow fans, more to come!
FX’s American Horror Story
Season 5, Episode 8: “The Ten Commandments Killer”
Directed by Loni Peristere
Written by Ryan Murphy
The end of the previous episode saw John Lowe (Wes Bentley) watch on helplessly as Wren (Jessica Belkin) ran into the road getting killed by a truck. Here, we begin with him dazed, everyone wondering what exactly happened.
Back at the Hotel Cortez, Liz Taylor (Denis O’Hare) deals with a belligerent Lowe. Sally (Sarah Paulson) shows up, too. He keeps demanding to see the Ten Commandments Killer, over and over. Until finally Sally agrees to take John to the killer, where “he‘s been hiding.” Ominous. They head up to Room 64. “Is this a joke?” Lowe asks. But Sally insists there are answers inside. She starts talking about James Patrick March (Evan Peters). Though, it can’t be him. He’s dead. In a secret chamber behind one of the walls, there are a bunch of dismembered body parts, teeth, brain, and so on; each inscribed with one of the Ten Commandments. There needs to be a successor. All of a sudden, John seems to be remembering all the murders as being committed by him – he is the Ten Commandments Killer.
Really, though? I’ve got to say, not that I didn’t see it coming a little. But I’m still not impressed. Because you can see this coming a mile away. Or is this the whole truth? Are we really being given such a wild revelation, a supposedly big one, in the opening of an episode? I’m not sure. We’ll see as the episode goes on. I just feel a little disappointed if this is the real case, if John is actually the killer.
“Nobody let him in: he had a key.”
Down at the morgue, John shows up to freak out his old partner Andy (Richard T. Jones) a bit. He wants to confess. First of all, he looks like absolute roadkill. So it’s creepy. Then he lays out a timeline of when he first went to the Hotel Cortez, a drunken night five years ago – 2010. Flash to that night with Liz tending bar, Sally hanging off it smoking and Donovan (Matt Bomer) lurking among the shadows. They all sort of descend upon him, eerie and foreboding. John sucks down drinks and finds himself invited to a party upstairs.
Meanwhile, the hilariously unsettling March has a monthly dinner with The Countess (Lady Gaga). They’re interrupted by Donovan, who brings along Detective Lowe. I suppose ole Jimmy loves when a man finds himself in despair, looking to “drink himself to death.” The attitude in which Lowe finds himself is perfect for March. He’s very intrigued by John and his lowly state of depression. They have a strange conversation, at times funny and others pretty creepy. March happens to repeat a phrase Iris (Kathy Bates) said a few episodes ago: “Black as the ace of spades.” I found that a little interesting, maybe nothing. But it was good. The entire sequence between Wes Bentley and Evan Peters is pretty damn awesome. I love them both as actors, personally. It took me a few episodes to warm to Peters’ March character, then after that I couldn’t get enough.
So John’s confessing all this to his partner. It appears to us that March and The Countess played into his madness. John losing his boy, or having him stolen, was all a part of their ruse. To apprentice him into being a successor to the throne of March, unlike Gacy, Ramirez or “that poof” Dahmer as March himself puts it.
Lowe talks about living two split lives: one at home with his wife, one at the Cortez with March. For the span of five years. March infiltrated his head with horrific ideas. He shows John around the hotel a little, by creepy candlelight, including a spot were he mounted the head of his former accountant. Naturally, John recoils at first. But slowly, his faith in the law slipping, the poor detective falls into March’s cold dark grip. On the anniversary of what he believed as his son’s death, John is back with March at the Cortez; current day 2015. “There’s no such thing as justice anymore,” says Lowe. March tells the tale of a pedophile who came to the hotel, which includes Polaroids Miss Evers (Mare Winningham) found. Lowe ends up at this man’s place – where the Oscar statuette was supposed to be purchased – and beats him to death. He then claims to have tried to hang himself, but Sally cut him down (she was actually watching him die; March cut him down). March and Hypodermic Sally/the Drill-bit Dildo Demon have a sort of pact, as well.
I’m starting to enjoy John as the killer. But where do we go from here? That’s my only question. Even though the “twist” was predictable to many, I don’t think it’s bad. At all. They tie everything back into itself, so many different little pieces, so well. It’s good writing, in my mind. More than that, I love the Bentley plays Lowe. Lots seem to disagree, but fuck ’em. He’s a solid actor, always has been, and here he gives a pretty unnerving performance as the man driven to complete insanity, to terrifying murder.
“You‘re home, John.”
With the end of this episode, we’re left with John as the killer. Is it real? Or is John only being manipulated into believing it so? I’m still unsure. But as I said, I’m easing into the idea of Lowe as the Ten Commandments Killer. Although, one little screenshot I included in this review does make me question, very subtly. Supposedly, though, this is the case. John is the killer. Just not sure where Ryan Murphy & Co. will be taking things from here.
Stay tuned for a review of the next episode, “She Wants Revenge.”
FX’s American Horror Story
Season 5, Episode 7: “Flicker”
Directed by Michael Goi
Written by Crystal Liu
* For a review of the previous episode, “Room 33” – click here
* For a review of the next episode, “The Ten Commandments Killer” – click here
Checking in at the Hotel Cortez for another week, are we? Join me, as we walk the halls.
You can already feel new revelations about the come to light. Construction has broke ground at the hotel under Will Drake (Cheyenne Jackson) and his management. Eventually, the crew comes upon a part of the hotel covered with steel, running along a whole section. Drake tells them to get the job done, knock it down. Once a couple of the construction guys make their way down a hallway uncovered after tearing the wall down, they discover creepy people(things) lurking in the darkness. Not long after, they have their throats chewed out.
One thing others are whining about is the blood and gore. Those elements do not a horror make. However, Ryan Murphy and Brad Falchuk have explored a lot of avenues with the 4 seasons preceding this one. They’ve stated this season is meant to have more intense brutality and gore. They said that. So, sorry you don’t like blood, but there ARE horror fans who LOVE that. I am one who can appreciate many sub-genres in horror, including the splatter stuff if it’s done well. The splattery nastiness here is done properly between the writers, the directors, and the Murphy-Falchuk banner. Dig it, hugely.
Alex Lowe (Chloë Sevigny) has brought her husband John (Wes Bentley) to the hospital. He’s almost in a trance-like state, walking in catatonia. He virtually mumbles everything coming out of his mouth. But rightfully so, he is definitely failing mentally. At the same time, most of his mental stress is being produced through his wife, through the hotel, through all the things he knows are real but just can’t prove. Not yet. He seems to have a plan, being checked in on purpose, though. I hope so hard he is NOT the Ten Commandments Killer after all. I don’t think he is, he seems to have an ace up his sleeve.
Back at the hotel, Iris (Kathy Bates) accompanies The Countess (Lady Gaga) over to where the construction crew are down two men. They don’t even know who did it, so that’s something I find interesting: Countess doesn’t even have the lid on everything happening under her roof. I’m sure James March (Evan Peters) knows all about the various comings and goings. But The Countess readily admits she’s not sure of what could’ve done the deed, and Iris notes how “I‘ve never seen you scared before.” Very intriguing little scene.
An impressive flashback to The Countess and her former life, 1925 in Hollywood. She is an extra on the set of a Ruldoph Valentino (Finn Wittrock) picture, admiring how beautiful the man is. They end up back at Valentino’s luxurious home. “Flickers are the future,” she says to him. He doesn’t buy her talk of immortality on the silver screen, commenting that in a century nobody will remember any of the movies they were in. We already know this not to be true, 90 years on; highly and almost categorically untrue, overall. Regardless, we’re treated to an excellent few classical film-like moments where the young Countess is whirled around dancing by Rudolph. Then, out of nowhere, Natacha Rambova (Alexandra Daddario) – his wife – shows up and makes the entire thing unpleasant, terribly awkward. This sex-laden season continues with a Rambova-Rudolph-Countess threesome.
Young Countess heads over to a celebration held by none other than Mr. James March. Here, in a brief scene, we get to see Evan Peters really do some excellent acting. I love him, and I’ve loved his performance in each season. Although, at the beginning of Hotel I was not sold on his March; I thought it was too hammy, or something. But more and more I’ve been drawn in. With this scene, and the one following with him/Gaga, I’m beyond pleased. There’s some element of these moments which I can’t escape, so damn infectious.
More than that, March and young Countess come together: man and wife. She doesn’t truly love him, still burning for Rudolph (who in this timeline has faked his death). Nevertheless, we see the beginning of the March-Countess murder double team, plus there is an excellent black-and-white old school sequence featuring Wittrock as Valentino; it reminds me of an actual silent movie from the early 20th century, fitted with an homage to F.W. Murnau’s Nosferatu. Not just an homage, it’s actually Murnau who is a vampire seeking to preserve Valentino. There’s lots of good stuff, including a blood orgy of vampires in the Carpathians.
But Valentino and Rambova have plans to whisk The Countess away with them. Will March let anything like that happen? I think not.
Over at the West Los Angeles Health Center, John Lowe is stumbling around, dazed and looking like any other patient. Only soon he knocks out a guard, making his way into a locked wing of the hospital looking for a patient named HAHN. Opening the door, he finds a young blonde girl dressed like all the other kids The Countess took. Her name is Wren (Jessica Belkin), she doesn’t “want to feed anymore.” More than all that, she has information about the Ten Commandments Killer apparently. Wren was present during one of the crimes, but says: “Nobody forced me to do anything.” She doesn’t seem to want to run from any of it, admitting to what happened and claiming it was nobody else’s fault except her own. There are scary parallels happening now, between Wren/The 10 Commandments Killer and John/his daughter. The visuals are awesome, with close-ups on John’s face, as well as Wren. Then she takes us back to a 1986 flashback where her father leaves her in a hot car outside the Hotel Cortez; when she met The Countess. Finally, Wren agrees to take Lowe to where the killer lives if they can escape.
Big surprise! The two creepy things that killed those construction guys are actually zombified, starving corpses, vampire corpses starving for blood… they are Rudolph and Natacha. Trying to get enough blood to return them to a state of beauty, they argue with one another. Natacha hates him for needing The Countess, bringing them into their now horrific state.
“What curious creatures”
“Like Colossus come to life“
James March and The Countess have a nice dinner together, a monthly tradition it seems. He’s very dapper and lovely, she is also gorgeous and looking elegant. She wanted to see him because of the plan to marry Drake. He feigns a bit of sincerity. Clearly, he does not like the idea. The Countess, to James, is his property. The dinner isn’t exactly wonderful or happy. Mostly, they’re tense with one another.
Then we see what could’ve been assumed – March had Natacha and Rudolph attacked, then brought to the Hotel Cortez. After which he proceeded to wall them up in that hallway, where they were left to perish for the rest of eternity. Or, at least until Drake decided to start renovating his latest acquisition. But even while I knew this was coming, I love the sequence. It’s haunting, harrowing even, to see these two lovers – assholes though they were – discovering themselves forever entombed behind a steel, a wall, then a ton of bricks. Best of all, March reveals all this to The Countess.
The finale of the episode is incredible. “Circles” by The Soft Moon plays as we first see Rudolph and Natacha stroll out of the hotel replenished with youthful vigour. Then, John Lowe gets Wren out of the hospital. But instead of any answers, Wren wants it all to end: she runs into the street and gets ran down by a transport truck. Cue the black screen.
Excited for the next episode, “The Ten Commandments Killer“. What do you think? Will John be the culprit? Or is it an unknown, hidden character lurking just beyond the periphery of our vision? Stay tuned with me and find out, horror heads!
FX’s American Horror Story
Season 5, Episode 6: “Room 33”
Directed by Loni Peristere
Written by John J. Gray
* For a review of the previous episode, “Room Service” – click here
* For a review of the next episode, “Flicker” – click here
This week’s episode, “Room 33”, begins with a nice flashback to 1926 in Los Angeles. The Countess (Lady Gaga) goes to – yes – MURDER HOUSE from Season 1. She’s pregnant, and ole Charles Montgomery (Matt Ross) has the solution.
I’m loving this return to the first season, such an excellent connection. It isn’t passing either, like the earlier episode with Marcy the realtor. This opening sequence is slightly gruesome, especially once Montgomery takes a good huff of the inhalants to get things going. But the real fun begins when the baby ripped from Countess’ womb attacks the nurse helping Charles with the abortion.
“Congratulations— it’s a boy.”
Biggest trip of all for John Lowe (Wes Bentley) comes after waking up in bed, his little lost boy Holden next to him. When he chases the kid downstairs, John finds his wife in one of the glass coffins in the empty pool. This prompts a good fainting spell, like it would.
Then we move to Liz Taylor (Denis O’Hare) and Tristan Duffy (Finn Wittrock) rolling around in bed together, having sex. Wow – did not expect this at all. Pretty wild scene. Not only that, there’s some strange connection between these two already. They each reminisce about what it’s like to see one another, both of them with their own sweet sort of poetry about the other. Strange moments, though, only because they’re so quickly coming on! Otherwise I think these two make an excellent pairing.
Meanwhile, The Countess has got Will Drake (Cheyenne Jackson) on her own bed, giving him the business. But naturally, he is a gay man: “My cock and my mind operate separately,” Drake tells her. She decides there’s a need for an extra hand in all the fun, sending a text to Tristan. Then he has to go upstairs, to help out with Will’s dick. Well Tristan continually tries denying he is gay, even though he isn’t opposed to having sex with a pre-op transsexual (nothing wrong with it – no judgement on my part – but he IS at least bisexual). And still, The Countess easily persuades him into doing the deed, then she says: “Just fluff him up a little. I‘ll finish him off.”
Alex Lowe (Chloë Sevigny) drugged her husband up, put him back in the room and then set things to look as if he’d called her, probably drunk. Not as if she’s a vampire now, carrying that ancient virus, and sleeping in a glass coffin. She’s luring John into believing he is having a “psychotic break.” I feel so god damn bad for Dt. Lowe, and it only gets deeper when he heads down to the emptied pool – where, of course, not a single coffin is still lying on the floor. I’m constantly wondering how far this breakdown of John’s will go: is the Ten Commandments Killer, or is he just a good guy being done wrong by all the evil forces around him at Hotel Cortez?
Perhaps my favourite moment of the episode’s start is when Countess goes into a darkened room, picking up her supposed child, and tells him/her she’s going to Paris. Afterwards, they’ll have a massive amount of money it seems. But what is the child? Has it not grown since? It looks like a tiny infant still. Or is it another child? I doubt it. I imagine that’s still the child. So what, who, is it?
Finally, Donovan (Matt Bomer) and Ramona Royale (Angela Bassett) show up at the hotel in order to start enacting a bit of revenge. Ramona is clearly the most keen on doing in The Countess. She and Iris (Kathy Bates) are both surprised, for the worse, when they discover the kids in the coffins aren’t where they ought to be. A wrench is jammed into things for now. Although, between two feisty women like Ramona and Iris, I’m sure something will happen soon enough: Ramona wants the key to ROOM 33. Isn’t that where The Countess keeps her survived abortion baby?
At the same time, Donovan runs into the two Swedish girls who died at the hotel – they find out the tough way what’s really going on. I thought this whole sequence was awesome! Bomer is a great actor, in my opinion. He leads us into a scene with a girl named Carol who committed suicide at the Cortez – turns out, she came back and found a purpose in terrorizing guests. You never get to leave, sadly.
Ramona heads into Room 33, looking for little Bartholomew – The Countess’ feral abortion child. There’s a highly creepy scene here, with P.O.V shots from the baby, then a good one as it attacks Ramona. Everyone is in league, or almost everyone, against The Countess. Liz and Ramona are catching up, in a friendly way. Even Donovan, despite loving her and sniffing her panties, wants some revenge on the woman. Iris wants none of it, which is clear. So there is a lot going on against the lady of the house. Tristan is caught in the middle somewhere, I’m not sure if he’s going to fully fall in love with Liz, or if Countess will reel him back in. Either way, I feel a showdown at some point coming between Liz/Countess, as she may feel utterly betrayed by his loving Tristan. We’ll certainly see how things go from here.
The two dead Swedish girls find a purpose, or at the very least fun, in the hallways of the Cortez. They bang then kill a guy (well one of them bangs him), a bloody, nasty mess. After that, they unhappily talk with Alex Lowe about their purpose – she suggests crushing the minds of their prey, instead of so much gory murder. Apparently, Alex says she knows a guy who’s always wanted a threesome. Oh no…
John Lowe shows up at a new crime scene, asking his partner whether or not it’s a Ten Commandments Killer murder. But the cops don’t want or need him around, he’s obviously spinning into a downward descent. Back over at the Cortez, former Dt. Lowe lies around in the halls with a bottle of booze. He’s full of self pity, as well as self loathing. Then around the corner come the two Swedish walking corpses. They’re going to seduce John into bed, which they proceed to do. It’s a weird and bloody ride for Lowe, whose mind can’t handle whatever is happening. He takes off into the darkness,blood all over him, and heads to the front desk. Upstairs, Miss Evers (Mare Winningham) is cleaning up the bedroom, talking about the sheets and how full of blood they are, but ultimately it’s all about John losing his mind.
In the corner of the room, after everyone leaves, James March (Evan Peters) appears. Then quickly disappears. This almost drives John fully to the brink, banging his head off the wall. He knows he has to leave, so he begins to pack frantically. Will he make it through the doors and back out into the world alive?
“This is my breakdown— I‘m gonna have it!”
Before Lowe leaves, little Bartholomew climbs into his suitcase without him noticing. SHIT! Where is this going to lead?
At home, John arrives with his daughter Scarlett (Shree Crooks). The girl is obviously pissed with her whole family after the strange events of the past couple episodes, even worse she was left at a friend’s house indefinitely, so that’s never a fun thing for kids. You can see John wants to repair his family, if that’s even going to be possible with a vampiric wife/son, and an emotionally damaged daughter now.
But again, we see the perspective of Bartholomew creeping around the Lowe house. John tries to track it down and finds it in the kitchen. We don’t get to see the child-thing. We watch in horror as John sees it, his eyes widened. Then he fires off shots, scaring the shit out of his daughter and making her afraid of him. There’s no sign of Bartholomew. Only a bloody trail. More adding to John’s deteriorating mental state, except we know the truth.
After the daughter is carted off to the grandparents and John is deemed even more insane, Alex finds little Bartholomew in the grass. Still, we don’t get to see him! I love how it’s being drawn out. The suspense kills me, in the best sort of way.
Liz finally confronts The Countess about Tristan. There’s an awkwardness at first, and then we come face to face with her jealousy. They all meet in one of the hotel rooms, she wants to have it all out in the open. The Countess doesn’t like the taste of betrayal, which she says tastes like charred spots on meat. A great scene comes here with Tristan laying everything out there, telling Countess about his “real love” for Liz, as opposed to her method, the sort that only brings sadness and despair and agony.
Nothing lasts forever, though. She lets Liz have Tristan, but immediately slits the boy’s throat right there. A fantastically gory gush comes rushing out, flying everywhere. Poor Liz, I thought this was going to be a good thing for her.
Then, in Room 33, Alex has brought the child back for The Countess. They bond over saved sons, each saving the other’s now, I guess. Does Alex really feel this way? Is she merely playing a game to lull in The Countess? What will truly happen
FINALLY! We see the face of Bartholomew. An eerie shot to say the least.
Very excited to see the next episode, “Flicker”, which is directed by Michael Goi – he’s a regular Director of Photography on American Horror Story. Stay tuned with me for another creep next week, fellow fans!
FX’s American Horror Story
Season 5, Episode 5: “Room Service”
Directed by Michael Goi
Written by Ned Martel
* For a review of the previous episode, “Devil’s Night” – click here
* For a review of the next episode, “Room 33” – click here
Greetings, friends – another night at Hotel Cortez, is it?
“Room Service” starts out back with Alex Lowe (Chloë Sevigny), whose recent path has taken her into the arms of The Countess (Lady Gaga). Remember last episode at the finish, Alex had taken the drink, she now has the ancient virus. Here, she sort of wanders the hospital where she doctors in a fugue. Her senses, especially sound, are heightened. I love the P.O.V shots we often get on American Horror Story, but these are so great. Alex can hear a woman’s pulse pounding in her neck, almost as if it could pop right through the skin.
Then – nasty – Dr. Lowe heads in to where the blood is stored. Kind of perfect, isn’t it? She’s a vampire now and essentially has an almost unending supply of blood without all the murder.
Yet she further decides to inject a young sick boy’s IV with a syringe full of blood. An unsettling moment, watching the boy shake around, speckled with what looks like measles possibly. And his eyes come upon, springing alive before the credits. A spooky sequence to start off this episode. Gotta love it.Donovan (Matt Bomers), with his mother Iris (Kathy Bates) in tow, shows up at the door of Ramona Royale (Angela Bassett). It seems the son wants to use his mom in order to help Ramona with her vengeance against The Countess. He is one truly scorned lover. I love how there are all these vampiric characters crashing against one another. Iris isn’t happy, though, she’s terrified. Though, Donovan brings up a good point: “She never looks at you. You‘re invisible.” Which is true, really. Iris is at the call of The Countess, but she is not a friend, barely an acquaintance. All boss. So this might be a damn good plan after all.
Does anything ever go the way it’s supposed to, though, in this series? No, no, no.
Then, in other ancient virus news, turns out the young boy Alex injected with the blood has made a speedy recovery. Well, is that a surprise? Certainly not.
Iris manages to get back to the Cortez where Liz Taylor (Denis O’Hare) chastises her a little. She can tell Iris is not feeling right, and mixes up “Liz‘s special sum‘in sum‘in.” Liz reveals the cocktail is blood with a splash of Triple Sec.
Poor Iris. Even though she was one of the people doing bad shit around the hotel (think: Swedish tourists), there’s been a consistently tragic aspect about her I find redeemable. The whole purpose of going to the Cortez in the first place, for Iris, was trying to save her son, and then she got roped into staying. And now – it’s for-e-ver.
Such a great meeting of the acting minds here with a solid scene of dialogue between Kathy Bates and Denis O’Hare. They’re two wonderful actors who I’ve enjoyed before American Horror Story. Yet Ryan Murphy/Brad Falchuk & Co. are able to bring out their best qualities here, giving them each very intriguing roles season after season.Oh, the bad little boy, Max, whom Alex saved has fed on his parents. Then off to school he goes. Awesome little scene right after we see his parents bled out on the floor, as Max digs his hands into eyeballs and guts at a table setup in his classroom; fake, of course. Still, there’s a creepy aspect to this moment. EVEN MORE INTENSELY UNNERVING – Max goes in a dark room with a young girl named Madeline, where he introduces her to a bit of the measles (or whatever the hell he had), as well as that tricky ancient virus. This begins on an insane outbreak of measles throughout the class. Plus, Max kills a couple teachers.
Some of the best gore we’ve seen yet in this episode! CREEPY CHILDREN – CREEPY CHILDREN EVERYWHERE. The part where they all attack and feed on the male teacher, blood spurting everywhere, his clothes soaked through… so damn good. Then, like there would be, absolute panic breaks out.
If anybody tells you there’s no wild horror in this series, promptly tell them to fuck off somewhere. Because this was one hell of a horrific sequence. It wasn’t all gore, either. Certain people want to try and act like the show simply goes for savagery over any substance. Wrong – the entire angle of what happens with the children, all those varied moments from the classroom to the chilling scene which follows as all the kids are brought out to their unsuspecting parents, they’re an amazing bunch of scenes. Truly full of gorgeous madness.
Detective John Lowe (Wes Bentley) is seeing the fallout from his little serial killer dinner party last episode. A Lieutenant (Robert Knepper; awesome) questions him on what exactly happened. Certainly the man is a bit disturbed by Lowe’s statements, involving John Wayne Gacy, Jeffrey Dahmer (et cetera). Lowe is a truly sympathetic character. Unless it turns out, as some believe online, John is the Ten Commandments Killer. Though, I think there are some time issues there that won’t play out correctly for that to be real. We’ll see! For now, I feel bad for John because he is being put through the ringer in so many different ways. He’s bound to snap, or fall into a vicious spiral which could lead to death.
A couple idiots show up to test Iris and her patience. Meanwhile, Tristan (Finn Wittrock) and The Countess are dressed up, to the nines, and heading out for Halloween; love Tristan’s Gary Oldman costume. Iris is clearly thrown off and nervous, while Tristan almost sniffs her out right there and then. Both of them, in fact.
What’s even better is the conversation Iris has afterwards with the douchebags who recently checked in. They want grilled salads and other things the hotel doesn’t offer. So, she enlists the help of Liz who really seems to know people well enough – these dummies are going to live to regret their stay, I would imagine.
“Bitches want pâté, pâté they shall have.”
Amazing bit of Liz Taylor here, as she gives us a look at the past, his old home life. Nick, her original name, was a medical representative. On trips out of town, he lived the life he WANTED while alone in the room. I can’t get enough of O’Hare. He is a constant treat, and it’s gold watching him do drag, the character finding himself.
Then once Countess shows up, things get even more interesting. She tells him “you smell like a woman“, but it’s not the perfume – “It‘s your skin, your blood,” she says. Such a dark yet also beautiful scene. We watch Nick become Liz Taylor in front of our eyes.
What’s most interesting to me here, above everything else, is how the Countess comes across as a helpful woman, someone who cares and loves and wants to be there for other people. Even when Liz is confronted in the hallway by the two men her former male self came to the hotel with, Countess kills them to save any trouble. Either way, Liz never went back to her life as Nick ever again. Neither did The Countess infect her. She and Iris bond over their respective strengths. He advises her to “teach that hipster couple some manners.” Oooh, I love this – delightful mischief! I won’t spoil this bit any longer. Wait and see the brutality for yourself.
Now former detective John Lowe wakes up in his bed, scratches across the chest, next to Hypodermic Sally (Sarah Paulson). He appears to not remember, until a moment later when the foggy memories of the previous night come back. Obviously Lowe went on a nasty bender, which led him up to the room where he surely had unprotected sex with a half-woman/half-ghost. All the while dildo drillbit man shows up in the mirror behind John to spook him out. Wouldn’t that be awful? Hard enough to get one off when you’re drunk, let alone seeing that eerie bastard around your room.
There are more rough nights ahead for John. I dread seeing the sad, tragic events which are bound to follow for him. But I’ll eat those words if certain internet theories come true later in this season.
Even sadder, Alex and Holden have a little moment together where the boy tells her “now you‘re like me.” It’s very touching, in the wrong sort of way. Not fuzzy. It is a dark conversation, especially with The Countess alongside. Slowly I think Alex is starting to comprehend the idea of eternity. All the same, I don’t think she’s fully grasping how long and drawn out that can be, and on top of that her son will grow old. He’ll be frozen as a child forever and she won’t ever watch him become a young adult, then a man.
An amazing episode. One of the best this season so far, I can easily say that. Excited to seem “Room 33”, as well as what “the thing” in there is – remember back in one of the first episodes, Iris made fleeting reference to something being kept in there? We’re going to find out next week.
Stay tuned with me, my fellow horror fanatics!
FX’s American Horror Story
Season 5, Episode 4: “Devil’s Night”
Directed by Loni Peristere
Written by Jennifer Salt
* For a review of the previous episode, “Mommy” – click here
* For a review of the next episode, “Room Service” – click here
Once more, another night at the Hotel Cortez – “Devil’s Night”, in fact.
In strolls Richard Ramirez (Anthony Ruivivar) for a stay. Apparently this is his third year back since perishing. Looks as if we’re going to have a savage night, aren’t we? He pops into the room of some guests and bashes in the man’s skull with a lamp. He asks the woman to “swear to Satan” she’ll be quiet, but of course that doesn’t work. A bit of cat-and-mouse until ole James March (Evan Peters) appears at the end of the hallway…
A nice slick opening sets up an obviously entertaining night ahead, especially for Detective John Lowe (Wes Bentley) who is still staying at the Cortez. A hotel full of dead serial killers on the move? Should get wild.
When Lowe wakes up for the day he talks with his daughter Scarlett (Shree Crooks). It seems as if there’s a bit of a divide now starting to creep between John and his family. He’s not quite right. Doesn’t help when he starts seeing a massive pool of blood forming on the ceiling, dripping down his wall.
Better yet, we get a look at the story of Miss Evers (Mare Winningham) – back in 1925, she seems quite the prissy, uptight mother. Her child is dressed up as the typical bedsheet-eye holed ghost. After taking time to blab on with some other woman, a man abducts the little ghost and speeds away. WHOA. That’s already disturbing enough, who knows what happens from there.
Zipping back to the present, Miss Evers has a bunch of bloody sheets in the bathroom trying to get the stains out, as usual. Lowe, bleary eyed and sort of ghostly looking himself, wonders what’s going on around the hotel. She’s only a blubbering mess, but he understands. They’ve both lost children.
The ghost was taken to a ranch and caged up, poor kid. Another snippet of true American Horror – the Wineville Chicken Coop Murders – plays the backdrop for Miss Evers and her personal story. A pretty horrifying story for her. Still I’m super intrigued to see how she actually ended up at the Cortez, as well as how she and Lowe will interact more given their similar loss of young children.
John’s wife, Alex (Chloë Sevigny) has brought little Holden (Lennon Henry) home from the hotel and its weird rooms, the glass coffins. She’s glad to have him. Examining him a little, finding his temperature to be very low, things are definitely in a lull before terror strikes. Holden tells mommy he’s thirsty, but is it juice he wants? Alex pours her son a big glass. I’m pretty sure he’d rather have a nice drink of blood, though. When she goes back in with the orange juice, he’s sinking teeth into the family dog and having a snack. He wants his other mommy, not Alex.
Poor John. Man, oh, man. He is being put through the ringer. His mental state keeps slipping, as he goes back to bring up the police files on Miss Evers’ story, only to discover it happened 85 years prior. I’m just waiting for something harsh to happen with him. I don’t want it to, just have the sneaking suspicion Lowe will fall further down the rabbit hole.
Alex goes back to the Cortez, where Holden giddily climbs into his coffin. The Countess (Lady Gaga) slips in unnoticed, only to invite Alex upstairs for a chat. We get a flashback to Holden’s disappearance – The Countess was standing nearby, watching them. Terrifying moment where we see her walking away with Holden and John screams out for his son. Even more terrifying is a subtle moment: Alex pulls a gun and holds it at the Countess, who only leans back in her chair, without words saying “Fuck you and your gun”. Just a real solid moment.
Love, love, love more Liz Taylor (Denis O’Hare)! She serves Lowe a bit of soda, as John decides: “I‘ll have a double martini.”
“Control is an illusion”
“Tonight I surrender to the illusion”
But glory glory hallelujah, Lily Rabe is back at the bar – literally – as Aileen Wuornos. She’s on her thirteenth year at the Cortez, dead since 2002. MY GOD, Rabe is a constantly amazing piece of work! Here, Wuornos sits down with Lowe for a drink. They have a bit of casual chit chat. Rabe is fucking incredible, she doesn’t copy Charlize Theron’s performance, but absolutely embodies Wuornos. For anyone who has ever seen the two documentaries about Eileen by filmmaker Nick Broomfield, you just can’t deny Lily Rabe rocks this role out of the park. The body movements, the look, the inflections in her speech and tiny idiosyncrasies about the way she performs… it’s perfect for this episode! Ruivivar did well with Ramirez, I dug that too. But Rabe is worth the price of admission this week. So great she’s back on American Horror Story. Weird, though, how Lowe ends up heading back to a room with her.
What follows is a bit of intensity that I won’t ruin with any more. See it, dig it.
Loved seeing the Zodiac Killer, dressed in the supposed getup the living victim saw him wearing all those years ago, stroll past Lowe through the lobby. Amazing episode, cramming all these infamous serial killers into the hotel. Perfect addition for the week in which Halloween falls! I’ve got a great t-shirt with this version of the Zodiac on it, very creepy. Such a nice brief shot of him going past Dt. Lowe, the costume design worked so well.
Naturally, John is weirded out by it all. Downstairs he gets an invitation from Liz Taylor for the big Devil’s Night Ball. Should be a grand time, no?
Oh my, the hits just keep on coming! John Wayne Gacy (John Carroll Lynch) talks about doing good sub-flooring with Ramirez – such an incredibly subtle way to introduce the story of Gacy, instead of having him immediately dressed as a clown or something. At the dinner table, March introduces the night with a bit of absinthe. Everyone drinks it back excitedly. Although Lowe is certainly confused. Then there’s Jeffrey Dahmer (Seth Gabel), too. Zodiac strolls in late, silent, being heckled by the other killers. JUST AN OUTRAGEOUSLY AWESOME FUCKING SCENE! Yes, there’s exposition to give us a bit of the newly introduced serial killers, but I think it comes in proper doses. Plus, Lowe eventually breaks in and starts ragging on everyone, still believing it’s all a Halloween costume party of some sort. I couldn’t get enough of this whole sequence, such a well written episode.
I won’t ruin more of the big dinner scene. There’s an excellently disturbing, grotesque sequence within it after “Sweet Jane” by Cowboy Junkies starts to play, and all the murderers get their toys out, start really enjoying themselves. So terrifying! Detective Lowe has to sit there, handcuffed due to Gacy’s saucy tricks, and watch it all go down right in front of them. Love how March gives short little explanations about how all the serial killers came to him at various periods in their lives; it gives us great context, however, it also shows us how wonderful Evan Peters is as March, he gets time to show off a bit and be “the master.” Loved this sequence with every macabre and morbid bone in my body.
John Wayne Gacy: “Johnny Depp likes my paintings!”
With a little under 10 minutes left to the episode, we see Hypodermic Sally (Sarah Paulson) having a smoke outside the hotel. Some Wall Street-looking guy wanders up to her and talks shit for a little. Turns out, he wants “whatever you’re selling“, so he says to Sally. Will this poor fella end up in one of those mattresses like the creepy skin and bones dude from “Checking In” and Gabriel (Max Greenfield), too? We’ll see how things go for this one.
Oh my, we didn’t need to wait long. Sally buys off being left alone at the hotel by bringing up a fresh carcass for the killers’ dessert. Everyone selects a knife, Gacy even gets his makeup on (nice to see Lynch as another clown; this time an arguably more sickening one), and then the fresh bloodletting begins!
Then out of nowhere, Sally seems to wake John up. He’s alone. No killers, nobody else except him in a dusty old room. What is real? What is not? He’ll never know, though, we’ve got a great idea ourselves: scary enough, it’s all too real. Once Sally has the detective out of the room, March and the others go back to business.
“Devil’s Night” finishes off with Countess bringing Alex into the fold – she’ll now be one of those carrying this “ancient virus.” With a sweet kiss, the Countess tells her to allow herself “to be ripped apart” before letting Alex feed on some of her blood. All in the name of being reunited with Holden “for all of eternity.” Or at least that’s the bullshit this particular vampire is selling. Notice how Countess weeps sort of, as we cut out on Alex’s newly opened eyes, the virus no doubt taking hold; interesting to see where this heads.
Stay tuned for next week’s “Room Service.” Cannot wait to watch it, this episode was incredible! See you then, fellow horror fans.
FX’s American Horror Story
Season 5, Episode 3: “Mommy”
Directed by Bradley Buecker
Written by James Wong
* For a review of the previous episode, “Chutes and Ladders” – click here
* For a review of the next episode, “Devil’s Night” – click here
Back for another night checking in at the Hotel Cortez.
Tristan Duffy (Finn Wittrock), former badboy model cum vampire, heads back to try and find Mr. James March (Evan Peters). He said he didn’t understand March, but now he does and is a self proclaimed “fan.” Tristan has obviously studied up on ole James, even going so far as to list off his birth date. Though, he chalks it up to Google (“That sounds obscene,” says March).
There’s comedy, dark, here in spades. At the same time most of it is creepy throughout this scene. Loved the Black Closet. Impressively morbid fun.Will Drake (Cheyenne Jackson) is bringing his high profile Vogue friend Claudia Bankson (Naomi Campbell) around the hotel for a tour. Naturally, they run into Tristan. Is this going to spell trouble for them, made even worse by the fact Tristan is falling into line as being an apprentice to James March? Absolutely, at least for Drake. March proclaims he can’t be allowed to “touch a single room“, so to preserve the legacy Tristan offers to take care of him saying “Don‘t worry, I got this.” Such a nonchalant attitude towards murder. A dark soul, that one.
Dr. Alex Lowe (Chloë Sevigny) continues to deal with the anti-vaxxer parents. One child has come down with the measles, all due to the pseudoscientific approach to parenting and medicine so many seem to be adopting in the 21st century, more and more. This is, again, a reason why I love American Horror Story in general. Ryan Murphy/Brad Falchuk & Co. always manage to work in present day issues of relevance with each season. It’s part of why I keep coming back, aside from the horror and the psychosexual thriller aspects.
Furthermore concerning Dr. Lowe, she recounts the tragedy of her son, from the way he affected her life coming into it to how devastating it was to see him go out of it. This is an incredible sequence, very intense and dramatic. I love Chloë Sevigny, even if she says some wild shit as a famous personality (I won’t go into that here; she’s said a few dumb things during her time in the spotlight). She is a great actress who is not at all afraid to take risks. Coupled with her, literally in terms of character, is Wes Bentley as Detective John Lowe. He is great, too. Always been a fan of him since American Beauty, and he keeps doing great work in each of these episodes. He and Sevigny have excellent chemistry, working well as a troubled married couple.
Oh, Claudia Bankson. I feel bad for her. She’s obviously a high class type woman. Now here she is staying at the Cortez, a hotel which may as well be a tourist stop on the Dante vacation guide. When she lays down to go to bed, poor Gabriel (Max Greenfield) emerges screaming from the mattress after having been sewn in last episode by Sally (Sarah Paulson). Even worse? He stabs Claudia to death in a mad rage. Wow. I expected her to go, just didn’t see her getting slashed so quickly into the episode. Fair enough, though. A vicious and welcomed surprise.
In another part of the city, Dt. Lowe and his partner Dt. Hahn (Richard T. Jones) investigate more work by the serial killer they’re hunting. Once Lowe arrives back at the Cortez, though, out comes Gabriel painted in blood, panting, falling into the unsuspecting detective’s arms. Another whoa moment and I dig it. Later at the hospital things get crazy – Lowe’s given little morsels of information before Gabriel dies on a gurney suggesting Sally did something to him, as well as the fact there was a murder.
But I’m genuinely worried for Will Drake. The newly vampirised Duffy is lurking around, tempting weak-willed Will with a bit of skin and seduction. Out of nowhere, The Countess (Lady Gaga) emerges to cut off Tristan’s fun.
Another interesting dynamic so far in Season 5 is the one between Hypodermic Sally and Detective John Lowe. There are several things at play in their tenuous relationship at the Cortez. First, we have Lowe as cop versus Sally the criminal. Secondly there’s Lowe as a man who is trying hard to abstain from alcohol, while Sally is – clearly – an relentless junkie. And finally we don’t know how deep Sally’s influence goes, how embedded in the hotel she truly is in terms of what her ultimate power holds.
The other team I’m loving is Iris (Kathy Bates) and Donovan (Matt Bomer), the troubled mother-son relationship. Iris is stuck at the hotel by necessity, not in terms of the supernatural like it seems Sally is trapped. She wants to be close to Donovan. On the other side of things, Donovan himself would rather be far away from her. Within all the supernatural/ghostly this is some of the solid real life drama happening among a cast of pretty kooky (though awesome) characters.
“Fine, you make a list of all the ways I failed you. And you know what I say to your list? Shit on it. ‘Cause my list beats yours. Item 1: I gave you life. Item 2: I saved your life.”
“I wanted to die!“
More good music in this episode with “Rich Kids Blues” from Lykke Li playing over a scene where Donovan feeds on whoever he can along the streets, wandering where he pleases. Except he stumbles across someone he never expected, a woman named Ramona Royale (Angela Bassett) who immediately tasers him before he can do anything with the knife he wields.
Liz Taylor (Denis O’Hare) is always a treat to see. We’re going to find out more about her soon, I guarantee. She serves up some soda pop for Dt. Lowe, whose troubles are beginning to get worse. Meeting with Alex, she brings him divorce papers, which seem a huge surprise to him; he is devastated, actually. This is more of the solid acting from Bentley especially. He does a fantastic job with the emotional aspects of his characters, I’ve found that even in the worst of the films he’s been in over the course of his career; here, with Dt. Lowe, we’re able to see a lot of his range come out because of the insane situation he’s found himself in at the Cortez. Their situation gets murkier with each step throughout “Mommy.”
Alex wanders down one of the hallways to find a bloody Claudia Bankson standing there, mocking. Creepy enough for you? She then sees Holden down another corridor. Just what she needs after all the horrible tension and resentment happening between her and husband John.Up in the penthouse, The Countess meets with Drake – “What if I told you Will Drake had to die?” she asks him. Figuratively? Literally? Either way some saucy stuff is happening in a dangerous triangle between Tristan, The Countess and Drake.
Apparently The Countess has moved on, once more. Obviously to Drake now because of his money. It’s amazing how they work Bernie Madoff into the script as the reason The Countess has depleted funds in the old life savings account. Turns out Bernie did her in, similar to Kevin Bacon and Kyra Sedgwick and many other less famous victims. So that’s a fun little modern addition. Turns out she’s now planning on marrying Will – which has begun with her trying to switch him from the gay team (seriously?) – before killing him. No wonder she stopped Tristan earlier. She needs that cash before they can feast on his delicious blood.
Possibly the most strange and shocking moment in “Mommy” comes when Sally is readying herself to shoot Iris up with heroin. Apparently Iris has decided there are no reasons left to live. Following the huge altercation earlier with her son, Iris obviously doesn’t see any point in going on (Iris: “I just don‘t get the joke anymore… I am the joke?”). Will Sally help Iris, or is she going to do something terrible with her like she did with Gabriel, and who knows how many countless others before him?
Once the weary Donovan wakes up, he finds Ramona Royale in his face. He’s strapped to a chair by the neck. She is pumping his blood, trying to clean him out for some purpose. Then we have an amazingly executed sequence where Angela Bassett playsa very Pam Grier type character; I could not get enough of this, at all! She’s on a set very similar to something like Coffy and playing a definite homage, at certain points, to Grier. I have no doubt about that.
CAN YOU SAY HOLY FUCK? A lesbian love scene between Bassett and Gaga? I mean, that’s just unreal. But the whole sequence here is what’s worth it – they’re together, as lovers and partners, throughout decades, falling apart eventually because of The Countess’ never ending need for variety. Then it moves into Ramona and her new lover, which becomes something DEVASTATING. I won’t spoil this any further. Totally need to see it yourself.
What I’m very intrigued about now is how the relationship between Donovan and Ramona will work going forward. There’ll definitely be a lot of fun happening from here on in. Even though it seems things end between them here, I can almost certainly say we’ll find them together again soon enough.
The episode’s finish is a real gut punch, as Donovan finally comes to find love for his mother once she has died in Sally’s room. He cuts his wrist and pours blood into her mouth. Now she won’t be able to die, well at least not easily anyways according to the rules set out last episode by The Countess. An interesting last minute development in “Mommy”, which made it more enjoyable than I found most of the episode. A good one, just not as good as either of the first two.
Can’t wait for the next episode titled “Devil’s Night” directed by the man himself Ryan Murphy. Stay tuned and I’ll be back for another review next week, my fellow horror fans!
FX’s American Horror Story
Season 5, Episode 2: “Chutes and Ladders”
Directed by Bradley Buecker
Written by Tim Minear
* For a review of the previous episode, “Checking In” – click here
* For a review of the next episode, “Mommy” – click here
After the first and at times devastating premiere episode in Hotel, “Chutes and Ladders” (definitely a reference to the original owner of the hotel based off H.H. Holmes) begins with Hypodermic Sally (Sarah Paulson) shambling around her room. She appears to be sowing Gabriel (Max Greenfield), still alive, into a mattress. Ah, the same fate as that terrifying man from “Checking In.” It’s a disturbing moment, watching Sally push Gabriel’s face down inside the mattress.
Then we zip through the vents, down to where one of the Swedish tourists, caged in the neon contraption, is being fed on by the little blonde haired children. They’re sucking at her wrists. One of them turns away: “Yuk. Tastes gross.” Only because, as Iris (Kathy Bates) makes clear – they’re dead.Liz Taylor (Denis O’Hare) brings the new fresh body into a room with Iris and ghostly maid Miss Evers (Mare Winningham) dump the body down a chute. It sails downward through the hotel, into a big basement, landing dusty on a pile of other bodies.
What’s creepiest is the white room again, where the children eat treats and play games and watch things on the massive screens – Iris filters off a bit of blood into a nice crystal decanter. Bringing it upstairs, The Countess (Lady Gaga) and Donovan (Matt Bomer), the latter trying his best to avoid his mother, have a tall glass of the red stuff. A little while afterwards, The Countess heads out to a function, not for the art but “for the hunt”. I love the way Gaga plays the character, I’m not even a fan of hers regularly yet I feel Ryan Murphy & Brad Falchuk did a great thing casting her in this role; just how she sort of moves through every scene, elegant and scary at once.
Dr. Alex Lowe (Chloë Sevigny) is out giving house calls. It’s excellent how the writing incorporates our modern day issues in this season. For instance, Lowe has to deal with anti-vaccination parents. I find this a great touch, and as always there are issues brought out in American Horror Story which are absolutely prevalent in society today.
Over at the Cortez, Detective John Lowe (Wes Bentley) wakes up in Room 64. Everything is pretty eerie. As if out of nowhere, Miss Evers comes in asking if he needs anything. Then suddenly, a quick glimpse of the wretched, disfigured creature (that raped Gabriel in “Checking In”) standing just above Lowe’s face, steel drillbit dildo protruding out. In the shower, Lowe witnesses to dead people having sex. But then he wakes up again in bed, radio on once more.
I feel bad for John Lowe. He’s obviously scarred by the disappearance and loss of his boy Holden (Lennon Henry). The worst part of that being Holden, we know, is in the hotel. Lowe continuously sees the little boy running around the halls yet can never seem to catch up with him.
He ends up having a brief run-in with Sally and a bar-tending Liz Taylor, trying his best not to fall off the wagon. Basically in this scene, Sally makes him talk about his worst days, the hardest times of his life, and it stirs him up. Though, for now Lowe leaves. For now…
Dt. Lowe receives a package from the Cortez where he’s staying back at the station – inside is what looks like an Academy Award stained with bits of blood. Hmm.
Over at the grand Cortez Hotel, Will Drake (Cheyenne Jackson) has a big party happening, lots of guests such as Vogue’s Claudia Bankson (Naomi Campbell). Things seem to be bumping in the lobby with a ton of people lounging, chatting, and so on. When Sally turns up, not allowed into the party, she mysteriously eyes Lowe’s young daughter Scarlett (Shree Crooks) – perhaps another little blonde child for the Countess? I hope not, I already feel viciously bad for Dt. Lowe. He’s seen some hard times.
At the huge fashion show Drake is putting off, we’re introduced to model Tristan Duffy (Finn Wittrock), whose presence there is somewhat of a major draw. Of course, Duffy is a fiendish cokehead and all around playboy, walking the runway as if every single person there wants to bed him. Amazing change for Wittrock in this season, compared to his also amazing portrayal of Dandy Mott in last year’s Freak Show. Even in that first scene, from the back room to the catwalk, he is fantastic. After his disastrous walk, Drake confronts him backstage; Duffy only cuts his face with a straight razor and announces his retirement from modelling. Savage!
Little Scarlett is taken to see something interesting by Lachlan Drake (Lyric Lennon), Will’s son. They end up in a strange room, like a pool but emptied out. He takes her down to see these strange glass coffins, where the little blonde children are sleeping. There, she sees her brother Holden who opens his eyes intensely. Spooky moment! This goes on to lead her on a bit of a journey alone.
Up in the penthouse, Duffy is scavenging for cocaine (a nice little reference to Lars Von Trier; a favourite director of mine). He’s interrupted by Donovan, they have a bit of a row. But the Countess shows up as well to stop anything further from happening, letting Duffy wander off. She’s playing a bit of catch and release, I believe, no? When former model Duffy finds himself a bit lost in the darkness of the Cortez’s shadowy corridors, things go from a little unsettling to a whole other level of madness. First, it’s a sandwich from room service he tries to eat in the hallway – it looks good to him, but after it’s in his mouth the sandwich appears rotten, full of maggots wriggling in and out of the bread.
But secondly, when Duffy goes into a room to try and look for more cocaine, or anything else, he runs into Mr. James March (Evan Peters) whose Old Hollywood charm is more than evident. It’s only after a few minutes, the situation becomes murderous. Miss Evers brings in a tied up prostitute and March orders Duffy to kill her, but he refuses. Revealing a nasty neck wound, March then kills her himself. This sends Duffy back into the darkness of the halls until he’s snatched up by the Countess herself.Scarlett Lowe manages to get back to the Cortez on her own. When she locates the room where Lachlan brought her during the fashion show, the coffins are open, empty. Where are the children? Are they in the sterile white room? Well, Holden is anyways. Scarlett enters and meets him, again after all this time. She shows him a picture of their family all together. She further wonders why Holden hasn’t grown up thought she has herself. Instead of being happy, though, Holden is very happy at the hotel telling her “I am home.” The kicker comes when she tries to take a picture of her and Holden, he leans in almost to bite her neck; you just know the picture will not be coming out correctly.
One of the nastier scenes comes when Scarlett runs into the hall – Sally scares her with a huge smile, a laugh, and then grinds her own teeth and gums into a bloody mess. What a freaky shot! Great, great makeup effects, as usual.
The Countess has turned Tristan Duffy into a vampire like her and Donovan. They have an intense bit of sex afterwards, Tristan loving the new life of vampirism. Will this cause some tension now between these two and Donovan, between the Countess and Donovan more so? You bet your ass it will. Almost more animosity comes from Donovan towards Duffy, though. They’re the boy toys of the Countess and neither are hugely happy about them both being in contention for her attention.
We’re also privy to the rules of American Horror Story‘s vampires, such as the sun doesn’t kill but should be avoided, coffins aren’t needed as long as you’ve got nice black-out curtains, you can die though being immortal can be achieved through being smart and intelligent about how one handles the effects and responsibilities of being a vampire. This whole sequence is fucking awesome! Not only are Gaga and Wittrock incredible together chemistry-wise, we further get to hear more about the Countess, her birthdate, all the wild stuff she did back in the day, what she lived through, and more. Real good writing here that I found super intriguing!
Dt. Lowe tries to leak information out of Iris – after Scarlett returns safely, obviously her parents are livid. She gives him the lowdown on Evan Peters’ new character, James March; the original builder/owner of the hotel.
For those who don’t know, this character is hugely based on H.H. Holmes, right down to his appearance – he built a massive murder hotel, essentially, including chutes for dropping bodies, secret passages, and so much more. Here, we get a look at 1925 when James March built the hotel. Excellent, eerie scenes shot in black-and-white showing us a brief glimpse of March and his strange ideas about how the architecture of the hotel ought to be constructed. When a construction foreman asks questions about the strange design, March brings him up to this office, stabs him in the neck, then slides his body down a chute where the body heads to the basement. There was asbestos lining the walls, thick to dull out any sound, hallways which lead nowhere, plus tons of other creepily constructed torturous elements. A vicious and interesting sequence from its beginning to end. There are some savage moments, some funny ones, and lots of intensity.
Most fun of all? Room 64 is the office of James March, exactly where Lowe is staying.
“Just ‘cause I‘m sucking on a dude doesn‘t mean I‘m gay.”
I won’t spoil all the fun. Great episode, especially the Countess and Tristan together near the finale. Could not get enough!
Look forward to the third episode, “Mommy”, directed by Bradley Buecker once more. Stay tuned for more madness, my friends!