Ryan Murphy revealed the title of the latest AMERICAN HORROR STORY season with a brief teaser on Instagram.
In Miami, Gianni Versace is shot in front of his villa by a young man, Andrew Cunanan.
FX’s American Horror Story
Season 6, Episode 10: “Chapter 10”
Directed by Bradley Buecker
Written by Brad Falchuk & Ryan Murphy
* For a review of Chapter 9, click here.
The cast of My Roanoke Nightmare attend Paleyfest, where Shelby (Lily Rabe) and Matt Miller (André Holland), Audrey (Sarah Paulson), Lee (Adina Porter), Dominic (Cuba Gooding Jr), Monet (Angela Bassett), William Van Henderson (Denis O’Hare), Rory (Evan Peters), Sidney James (Cheyenne Jackson) – they all answer questions for the crowd on a panel. The fans all go wild. One especially for Lee, who she feels has been unfairly judged. Shit. If the girl only knew.
The Lee fanatic posts online about the second series being “crass” instead of doing anything artistic. We also find out Lee’s headed for a murder trial. And the remaining Polk brother Lot intends on murdering her if the courts won’t do the job.
We get television special on Lee and her history. Her family, the addiction, the custody battle, her husband’s murder. Once Return to Roanoke: 3 Days in Hell was filmed, things changed, as we know. The trial went on. The video of her torture by the Polks was used to get her acquitted, playing sympathy to the juror. But the murder of her ex-husband Mason is still on the books. Her own daughter witnessed Lee crack her dad in the head with a rock: “You killed daddy,” she says on the stand. Only problem is that Flora sounds crazy because she saw ghosts in and around the Roanoke House. And so the verdict comes back Not Guilty.
Now we get Lana Winters (Sarah Paulson) back for another season! A survivor in her own right, she is now interviewing Lee Harris after her big murder trial. “Questions remain,” Lana explains. She’s come out of retirement and everything, just for the live TV interview. We get a very familiar looking format, makes the whole bit feel genuine. Lana asks her questions, starting off with soft lobs and working up towards the harder stuff. First, it’s about the custody. Secondly those murders still linger on in public consciousness. Then we get a Bloody Face namedrop, as Lee brings up Lana’s own history with maniacs.
Afterwards comes an intense moment. Lana asks where Flora is, after reports of the girl going missing just before they began their interview. Suddenly outside is the sound of assault weaponry. Lot Polk has arrived. He wants revenge. Lana tries talking him out of it and only gets knocked out with the butt of a gun. Luckily, a cop busts in and blows the guy away. Lee makes away again.
A show called Spirit Chasers takes Ashley Gilbert (Leslie Jordan), star in the original series’ reenactments, out to the Roanoke House in order to try figuring out: is it all real? A steel fence went up around the place trying to keep people out, but the show’s crew heads in on their own. During the Blood Moon. Isn’t that great? They head on in without understanding how real any of the madness there is, and surely something nasty is poised to happen. As night falls the crew go about their usual routine, detecting spirits and hoping to find conclusive evidence. Soon, the spirits start to wake. Doors slam shut. Air rushes through the rooms. Ashley even finds a bonnet laying around: “The Real McCoy,” he says and not a prop.
Craziest of all, Lee shows up from out of the blue. That is fucked up. She wants to find her daughter, and she looks crazy as hell. She warns the crew and Ashley away. The Spirit Chasers want to help her, although she isn’t too keen. On one of the crew’s thermal videos they see one of the Chen family, creeping around the walls. A recording captures the eerie voices of children, Priscilla to be exact. When Piggy Man turns up, game over! Ashley is dispatched first. Then another, as one of the Chens hauls them off. Police show up and by that time even The Butcher is carving people to bits.
It seem as if the whole thing’s turned into Lee in a hostage crisis. We get plenty news coverage on the ordeal, including Lana Winters at home recuperating well. People want all the reality they can get. From reality television series to complete reality. “When we latch onto something it becomes our destiny,” says Lana prophetically.
At the Roanoke House, Lee and Flora are inside just fine. Her mother asks about what she ate in the woods, how she survived. Mostly she tries to explain to Flora how things ever got so bad, what it’s like to be a parent trying to make the best life for her and her family. None of that is any good when the girl clearly saw her own mother murder her father. The hardest part of everything is the fact Flora still has Priscilla kicking around in her head, or y’know, right in front of her.
Then the house begins to burn, out walks Flora safe and sound. Inside, Priscilla helps Lee dies, and the house blows nearly to smithereens, the top exploding with fire. While Flora is taken away from the old house her mother and Priscilla walk into the darkness together, torches light the woods, and the Lost Colony descend with the Blood Moon high in the sky.
I absolutely fucking adored this season! So many interesting things went on and the format really worked out in the end. Very fun to bring Lana Winters back, too. Such great stuff. I’m excited now to see what they’ll do next season. This series, for me, gets better each year. Some don’t agree, but I couldn’t care less. A spectacular bit of television, and this season was beyond expectation.
FX’s American Crime Story
Season 1, Episode 6: “Marcia, Marcia, Marcia”
Directed by Ryan Murphy
Written by D.V. DeVincentis
* For a review of the previous episode, “The Race Card” – click here
* For a review of the next episode, “Conspiracy Theories” – click here
This episode begins with Marcia Clark (Sarah Paulson) in court over her children. She starts to express herself “outside of protocol” and the judge is not pleased. But we’re seeing the warring parts of her life; she is a high profile, powerful woman, also not without her faults and flaws. I’m sure her husband wasn’t any better, though, we definitely get a glimpse of her obsession with the law over anything else in her life.
Marcia rushes on into the court, as everyone else is already seated. Judge Lance Ito (Kenneth Choi) gets everything rolling.
On the stand is a friend of Nicole, who recounts a vulgar moment about O.J. Simpson (Cuba Gooding Jr) grabbing Nicole by the crotch in front of a crowd. Johnnie Cochran (Courtney B. Vance) tries to keep everyone’s cool, including Robert Shapiro (John Travolta) who gets feisty. Johnnie tells O.J. and Bob that the woman is “crying on cue” and seems pretty confident when Christopher Darden (Sterling K. Brown) taunts a bit on his way out of court. I’m sure Cochran’s got a few tricks ready to roll out his sleeve.
At home, Marcia sees herself on television. Except it comes in the form of talk about her beauty, whether or not she dresses well, her style described as “frump incarnate” by one of the people on the news. This weighs on her, while she has other things that need attention, from family to the courtroom.
More custody troubles. Marcia finds her husband wanting further custody, as she’s so busy all the time. Particularly with the Simpson trial now. Lots of looking at Marcia in this episode already, excited for more.
Meanwhile, Johnnie is laying out his next strategy. Bob shows up late, then in typical Shapiro style glares at Cochran, as he goes on about his routine. Cut to Marcia on the stand, talking to Detective Phillip Van Atter (Michael McGrady), whom Johnnie cross-examines afterward. What comes out of the conversation here is that Cochran tries to draw Van Atter into admitting they quickly identified O.J. as a suspect, rather than a “husband to be notified” or anything else. For now, Johnnie is setting things up to show how the LAPD is lying about “small things” to get to the bigger things later in the questioning.
We get to see all sides of Johnnie, too. He’s a jack of all trades, hanging with police and laughing with the likes of Detective Tom Lange (Chris Bauer). He then turns around and puts Lange on the stand, grilling him; even bringing up that where Lange lives, where he took evidence for “6 hours” before logging it, is the same place where cops involved in the Rodney King case live. Any way he can draw doubt into the picture, he can, and he will. Major, major doubt now with Shapiro and Cochran double-teaming Lange over the evidence; something he’d not done before, that he “can recall“, anyways.
I dig seeing the relationship between Marcia Clark and Christopher Darden. She is very supportive of him, even after sort of using him on the case in a racial sense. However, Darden clearly cares for her, as both a friend and a colleague. What they both have in common is that they’re marginalized, in life and in the case. She brings up being judged – can’t be too uptight or they call her a bitch, can’t let loose and party or they’ll take her kids away. Same as Darden’s situation on the case, stuck between a rock and a hard place – seems a black man can’t judge O.J. or he’s a traitor of some kind versus the fact he’s black and a lawyer and doesn’t want to go against his best judgement simply due to him and O.J. both being black.
On the radio next day, a DJ polls – “Is Marcia Clark a bitch or a babe?” This prompts Darden to call in and vote for babe. Although it seems he’s playing into it, he does so because of his feelings for her, obviously. They’re sort of cute together, Marcia and Christopher.
When Marcia calls Detective Mark Fuhrman (Steven Pasquale), things get sketchy. Cochran brings up a witness who has to be on the stand right away. Then “babysitting issues” for Marcia come up, as the personal side of her life spills into the public eye of the court. Gil Garcetti (Bruce Greenwood) tries to convince Marcia into letting go of the media; “stop watching tv,” he tells her sternly. He hates it and knows the whole thing is sexist, but there’s simply nothing he can do. Except to suggest some “media consultants” he could put her in touch with, causing a bit of embarrassment on both their parts with the whole office listening in. But again, Marcia has so many things, each bigger than the last, to tackle.
In court, Johnnie takes jabs at Marcia about “childcare issues” and she finally stands up to say it is offensive, “totally out of line“, making clear she will not stand for any his bullshit any longer. Finally, on comes the housekeeper, Ms. Lopez, whom Cochran wants on the stand. Marcia starts to unravel a bit of Ms. Lopez’s story concerning a ticket out of the country, then begins working on whittling down the timeline the housekeeper proposes: “Whatever Mr. Johnnie says I said,” she tells Clark. Then she can’t seem to remember. “Good enough for me,” says Marcia.
Outside Marcia receives a ton of media attention, women chanting out to her as she leaves the court. But it’s Johnnie who’s got the trouble – rumours of his own clash with domestic abuse in the past are about to hit the newsstand. Although, Marcia still has her trouble, too. Her ex-husband Gordon goes on the news revealing Marcia didn’t need to leave court to take care of her children, effectively spreading their dirty laundry in public.
Johnnie gives a call to a woman named Barbara. Obviously the one whom he abused. He ends up offering her the profits off selling a property he owns, that was her “pet project“, and putting the bribe out there for her to take.
At the prison, Johnnie, Robert Kardashian (David Schwimmer), F. Lee Bailey (Nathan Lane), and Bob Shapiro go meet with O.J. The Juice is not happy about the whole “Mr. Johnnie” incident in court with the housekeeper. He wants more control, to be involved with all the decisions. “When I wanna hear from you I‘ll rattle my zipper,” Simpson screams at Shapiro, yelling everybody out of the room.
Back over to the trial. In the lobby, Darden has it out with a black reporter who seems to only focus on Cochran. At the same time, Dominick Dunne (Robert Morse) pipes in for Darden, seeing behind the thin veneer of celebrity that lays over Simpson.
Marcia shows up with her new hairdo, which has everyone turning their head. Not necessarily in a great way, but turning nonetheless. She goes for a short, curly do, even more than before. And she digs it. Until Judge Ito makes a remark and her eyes reach around the room to see everyone mocking her. Darden writes her a sweet note, though, the papers next morning give her a brutal going over. Then she experiences NASTY sexism – at a store getting Tampax, a cashier makes a remark about her period and how the defense are in for rough times. Wow. Unbelievable writing, yet the situation is atrocious. Such blatant sexist talk, and it affects her deeply.
Detective Mark Fuhrman is on the stand now with Clark. He expresses distaste for the trial devolving into “personal issues” rather than “facts” and all the evidence. And so his testimony begins, recounting the crime scene, the evidence found, et cetera. Things go along smoothly. Stories of the white Bronco, the blood, and the police worrying O.J. himself may have been injured in whatever the incident had been. Of course Simpson and Cochran don’t think that’s too true.
Later during drinks, Bailey goes on about Fuhrman’s “tombstone” and how he’s going to ask the man about the word “nigger“, whether or not he uses it. As those of us know, this is exactly what Lee did during the trial, and is largely believed to be one of the nails in the coffin of this case later.
Back to court, where Bailey gets up to talk about Fuhrman’s service with the Marines. Seems Bailey was a Marine, too. Then he heads into hacking away at Fuhrman, attempting to make it look as if the detective possibly planted evidence, or even to put that seed of doubt in peoples minds. Finally, Bailey drops the question on Fuhrman, whose response is no, he doesn’t use the word nigger. Great editing and writing in this scene makes it quite exciting.
At the office, Gil shows Marcia a paper that published a nude picture of her. And it’s real. The husband before Gordon took them. Now they’re in the public eye, like the rest of her life; now it’s her body. Gil seems thrown off. Not as much as Marcia.
Everything is weighing hard on her. She’s about to break, as the tears well in her eyes and Darden tries to comfort her. Ito sees it. The defense sees it. Luckily, the judge graciously breaks the court for recess until the next day. An act of mercy on his behalf.
Afterwards, Marcia weeps in her office on the floor. Darden goes to see her, to try and be of some help. She breaks down further: “I‘m not a public personality, this isn‘t what I do. I don‘t know how to do this. And those other guys, they‘re flashy hot shots. They‘re used to it. But I – I just can’t take it.” He sits with her, a literal shoulder on which to rest her head. At least they’re in it together.
Amazing episode, so much focus on Marcia while still pushing the entire narrative forward. Wonderful writing and lots of nice direction from Ryan Murphy. Stay tuned with me for the next one, “Conspiracy Theories” – see you next week.
FX’s American Crime Story
Season 1, Episode 2: “The Run of His Life”
Directed by Ryan Murphy
Written by Scott Alexander & Larry Karaszewski
* For a review of the premiere, “From the Ashes of Tragedy” – click here
* For a review of the next episode, “The Dream Team” – click here
After an excellent premiere episode, American Crime Story‘s first season continues with “The Run of His Life” (also the title of the book this series is purportedly based on). Last we left O.J. Simpsons (Cuba Gooding Jr), he was finally in the infamous white Bronco heading out onto the Los Angeles freeway, running instead of surrendering to the police. Also, he’s got a gun.
This episode starts on Robert Kardashian (David Schwimmer) who prays for his dear friend O.J. Then downstairs, there’s Robert Shapiro (John Travolta) trying to talk things down with Gil Garcetti (Bruce Greenwood). Gil, for his part, is pretty damn upset. As is expected. Everyone’s up in the air now with O.J. on the road. Shapiro and Kardashian meet in a darkened room, as the latter gives the lawyer O.J’s supposed suicide note: “Who the hell signs a suicide note with a happy face?” laments Shapiro.
The news is already spreading that Simpson is on the run. Garcetti claims it’s worse than when he received his cancer diagnosis. Marcia Clark (Sarah Paulson) is adamant the Juice “can‘t hide forever – everyone knows his face“. Meanwhile, Detectives Van Atter (Michael McGrady) and Lange (Chris Bauer) are loaded down with tips, everything from O.J. being with Magic Johnson to even crazier mentions. And at the grave of Nicole Brown, people come to lay all sorts of presents, flowers, anything at her tombstone.
Up alongside the cemetery lane appears the white Bronco, slow, skulking. It drives away after a moment.
Garcetti gives a press conference to make clear that O.J. is a fugitive. We get a glimpse into Johnnie Cochran (Courtney B. Vance) and his office watching the news coverage, some claiming “they‘re just trying to tear down another black man“. At home, Christopher Darden (Sterling K. Brown) rushes in to watch the conference. There are stakes at play here, for so many. Shapiro is worried for his reputation. Some of Cochran’s team are upset at the racial angle.
But Shapiro gets ahead of the tidal wave. He holds his own conference, exclaiming how he is a man of his word. Cochran watches on at the office and tells his colleagues to never abandon a client, as Shapiro does on live television. We get to see two different sides of the law and justice here with both Cochran and Shapiro being a fairly strong juxtaposition against one another.
Kardashian reads the statement for O.J’s fans, and at the same time the Kardashian name rockets to fame. We get little flicks back and forth to the Kardashian house, where a young Kim and her siblings sit around watching their father. Nice little moment, even though I couldn’t care any less about their family. Still, pop culture and all.
Two people in a VW van spot a white Bronco on the freeway. Inside is not Simpson, however, but Al Cowlings (Malcolm-Jamal Warner). Police fly out after the vehicle, guns drawn and approaching. O.J. is in the backseat, not at the wheel. A tense situation occurs before Cowlings speeds off. One of the cops ask if they ought to shoot, but the other office replies: “I‘m not shooting at O.J. Simpson unless somebody authorizes it.”
The people around Simpson are crumbling, almost as bad as him. Kardashian sits in his car before going back into O.J.’s place, where friends and family wait, and screams into the steering wheel. He tells everyone about how upset O.J. was before running off, and that now they “have reason to believe he has killed himself“. But then on the television up pops the white Bronco. Live coverage follows Cowlings driving, reporting that Simpson is in the back with a gun to his head. Relief? A little. Not much, though.
White Bronco-mania is raging. Every station on television, even the ones with sports ongoing, are all focused on the Simpson situation. Channel to channel the television is blocked. I like that actual footage from those moments is being used, not solely the recreated filming Murphy & Co. did. Because it adds more authenticity among all the factual stuff that’s stretched out a bit here and there.
Inside the Bronco, Cowlings tries to talk O.J. down. Simpson is out of his mind, keeping the barrel of the gun stuck against his forehead. Al assures his friend he’ll do what’s necessary, but things are still scary.
As for the people in media, the NBA finals gets switched quickly for O.J. coverage. We see a live reaction at a bar, as people go from mad to enthralled after the game is changed. Every eye is captivated with Simpson and his debacle. Not Marcia Clark, though. She just wants to sink her teeth into the legal justice against Nicole Brown and Ronald Goldman’s killer. Most everyone in her office is glued to the television, and the look on her face speaks volumes.
From the Bronco comes a call to Kardashian. His friend O.J. just called to say “I love you, Bobby“. There’s an incredible emotion in Cuba Gooding Jr’s performance. He captures the human element of the man, behind everything else from the news coverage, to the media slant, to everyone and their personal opinions on him. Gooding draws out our empathy, essentially saying goodbye to Rob, to everyone else through his friend. It is an intense moment to watch and hear. Gooding is an amazing actor and it’s a shame he hasn’t done more great stuff since winning his Oscar. This is definitely his best role since then.
Cochran walks into a newsroom where he sees two men compiling a R.I.P segment for Simpson. Trying to “stay ahead of the news“, as they say. But Cochran is disgusted, clearly. He goes on air to talk about the way police mishandle things, as well as how O.J. isn’t used to being arrested, he is a larger than life personality, and so perhaps he’s scared, nervous, “fragile” even. Now, out comes the racial angle with Johnnie putting it out there about a black man who was gunned down years ago by police, comparing that situation to O.J: “His only crime was the colour of his skin.”
Finally, Dt. Lange gets O.J. on the phone. Simpson is actually apologetic, saying he didn’t want to get everyone out on the run, acknowledging they work hard, have lives, families and so on. Lange attempts to get O.J. to toss the gun, but Simpson relies: “I deserve to get hurt.”
Cut to the Darden family gathering where Christopher talks with others about O.J. They seem to have rosy-coloured glasses on about Simpson, due to his football skills. Although, Christopher manages to keep his head on straight and offers rebuttal to their cheers for Juice. The neighbourhoods of Los Angeles are alive, many people out by the freeway cheering on Simpson in the Bronco, shouting “Go O.J! Go O.J!” over and over. None of this comforts the man himself, who weeps in the backseat as Cowlings keeps driving full speed.
Back at the house in Brentwood, the Bronco pulls in. He won’t exit the vehicle, no matter what. He sits in the backseat with the gun in his hand, crying harder now. His son runs out the vehicle, but is thrown back by police. Everything goes dark. Cochran watches on at the office and says “They don’t want us to see“. Clearly is afraid of a deadly end to the situation. With O.J. one step away from blowing his brains out, Kardashian calls his friend outside.
Once everything is settled, the gun is left inside the Bronco, O.J. gets out. He is clearly scared, but we still can’t tell: is it fear of guilt, or fear of the situation mounting against him? Very difficult to understand, which is why I love the performance Gooding Jr gives in this series so far.
Then a cop spots a gun – or so he says. Kardashian runs to tell them “They‘re pictures! They‘re pictures of his kids!” and you can feel a thick tension hanging in the air, almost like they were about to blow him away and be done with it all. Would have been a far different story, that’s for sure. Inside the house, the police stand guard with their guns, Rob gets his friend a phone to talk with his mother, and O.J. asks for a glass of – you guessed it – orange juice. I thought that was a great little moment.
Many people have their ideas of what’s happening now. The people at the Darden place think he was framed, all but Christopher. Marcia smokes happily and says: “We‘re taking him to trial.” And then the police finally take Simpson into custody, as he rides in the back of the squad car, lights flashing behind him and a steady, grim look in his eyes. But again, grim for what reason? Did he do it? Or is he falling apart because he is an innocent man?
The next episode is titled “The Dream Team” and will clearly start focusing on the trial about to start, with Clark, Darden, Cochran and others coming to play a bigger role. We’ll see what happens together. Excited for more. Love when true events are made into impressive series’ or films because we get a look inside the inner workings. Yes, dramatized, but for good reason. It was a highly emotional and dramatic situation, this particular case. Look forward to see what Murphy & Co. have in store for us going forward.
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
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 gon‘ like 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.
Fiona 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 ain‘t magic. That‘s an antihistamine.”
Zoe 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.
Another 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!
FOX’s Scream Queen
Season 1, Episode 7: “Beware of Young Girls”
Directed by Barbara Brown
Written by Ryan Murphy
* For a review of the previous episode, “Seven Minutes in Hell” – click here
* For a review of the next episode, “Mommie Dearest” – click here
And we’re back at Kappa House for another night of horrors, plus a good few laughs.
Chanel Oberlin (Emma Roberts) is consistently hilarious. She’s beyond oblivious, but to the point it’s comical. They all are really. Chanel #2 (Ariana Grande) is being laid to rest. Instead of a nice eulogy, Chanel #1 rants and raves about the “dumb dead whore” in the casket. It’s such a grim crack-up to me. Others will say it’s overkill. Not me. Totally in line with who Chanel #1 is and her personality is meant to be awful.
The others aren’t particularly upset. Chanel #5 (Abigail Breslin) is more concerned with stirring shit; between suggesting a seance to mend things with #2 from beyond the grave, to bringing up how #2 banged Chad (Glen Powell).
Chanel #3 (Billie Lourd) leads their little Ouija board ceremony, alongside #1, #5, and Hester (Lea Michele). Things start to get a bit spooky once neither of them can admit to moving the Ouija. It spells out the unfaithfulness of Chad. Oh, I get it… obviously the girls are trying to mess with their fearless leader’s head.
More and more, the true character of Gigi Caldwell (Nasim Pedrad) comes out. She makes clear their game – her and the Red Devil(s) – is not kidnapping: it is murder. This is wild. Not just that, she and Wes Gardner (Oliver Hudson) are moving along quickly. They’ve got a serious relationship going now. Might spell trouble for Wes, as well as his sweet daughter Grace (Skyler Samuels).
Speaking of Grace, she is trying her hardest to get close with Gigi. Though, the more Grace tackles Gigi’s terrible fashion sense, the closer they’re becoming… the more Gigi digs her nose into things. She’s attempting to push Grace, and reporter Pete (Diego Boneta), towards Dean Cathy Munsch (Jamie Lee Curtis).
Then we get a nice little Rosemary’s Baby visual homage with Feather McCarthy (Tavi Gevinson) looking so similar to Mia Farrow. Gigi suggests going to talk to her, a former Kappa Sister. Pete and Grace meet with her. She opens up a new little subplot involving Dean Munsch – turns out Feather slept with Munsch’s husband, creating an incredibly tense situation. Apparently, Cathy would then show up everywhere dressed like Feather, terrifying the young girl and everyone else. Lots and lots of stuff pointing towards Munsch as being involved with the Red Devils. But can we believe this? I feel there’s something more devious, more dark at play. But who can tell.
Back at Feather’s house, she discovers an ominous bloody arrow on the floor, a severed arm and motions to go THIS WAY. Further and further she heads upstairs, only to find more chopped body parts, more bloodily written directions on the wall. Inside one of the rooms, there is Steven Munsch (Philip Casnoff) – former husband of the Dean – his head cut off and in a fish tank.
Cut to Chanel #1, who walks in on Chad… in his boxers, lying in bed with a pink-collared goat. I honestly can’t get enough of Chad Radwell. He is a piece of shit, a misogynistic, terribly dumb man. But Chad’s so funny, he is the evisceration of brodom, of the dudebro code and all it represents. Then there’s Chanel – she represents the equally stupid and vicious type of girl who often, too often, falls for a guy like Chad. Together they’re downright ridiculous, which makes me laugh, over and over.
Let’s get back with Munsch, though. Cathy has a bad knee, complaining she fell down drunk last night. But Detective Chisolm (Jim Klock) and all the other cops are determined she killed her ex-husband. In turn, they speculate her to be the Red Devil Killer. I still don’t buy it. She obviously did something stupid a couple decades ago by covering up what happened to that poor pregnant girl in the bloody bathtub. I just do not think she’s part of the killings, moreover I’m convinced she’s a target.
Grace and Pete are already jerking each other off over their supposed victory. Everyone is settled: Dean Cathy Munsch is the killer. Case closed.
Oh, really? Well Munsch wants to see both Grace and Pete in the morning.
At the asylum ward, where Cathy’s now setup painting and relaxing with other patients, the place is rough. It’s part church, part snake pit. Seems like “therapy twice a day, plenty of time to rest and dream again” has started making a difference for the Dean. A bit of a revelation, really. Lots of creepy goodness here slash a few laughs.
Cathy breaks it down for the “crackerjack reporters“, letting them know nothing has been solved. Typical to the slasher sub-genre the police are being lazy, everybody is looking elsewhere than towards the proper directions. Either way, Pete and Grace are playing along for now. Munsch is way too smug to be the real killer, it’s as if she has no fear about any true conviction in the murders, so I’m inclined to keep believing she’s more a target of the Red Devil(s) than anything.
More good tackling of the slasher horror tropes – Pete ends up getting access to a ton of police files, pictures, et cetera, because of the detective’s utter laziness. I find Ryan Murphy & Co. do a great job lampooning so many aspects of the slasher movies we know and love (or hate).
More Ouija board for the Chanels. It only makes them go a little crazy. I’m not sure now if any of them were moving the board because they’re freaked out. Then Hester drops a bomb, saying they have to kill Chanel #1. A couple awesome suggestions from a Sugar Party to poisoning her through the nipples. They’re wasting no time, though. After #1 falls asleep, the ladies plan on murdering her.
Then we get a trippy little sequence where Chanel #1 sees #2 come back. ALSO HILARIOUS! Carl Sagan sits at the front desk of Hell. #2 has to spend eternity picking food out of the Husseins beards with her teeth. SO MANY great lines of dialogue with Ariana Grande delivering them: “She was probably just mad ’cause Adolf Hitler was motorboating my boobs.” Best of all – #2 advises #1 about the upcoming murder plot the girls are planning, apparently off getting a bowling ball to smash her head in. Tricky, tricky! I love that there are supernatural-like aspects coming into play, makes things into even more classic slasher style.
Hmm. We get a scene where Grace and Pete try to find more evidence. He mentions to her a feeling of faintness around blood. Is this purposeful on his part? Or is it a real clue to the fact he can’t be a Red Devil?
Doesn’t matter right now. Munsch is exonerated, back on campus. Little Feather doesn’t appear to be who she seems. Could she be the one who was on the phone with Gigi earlier? Is Feather a Red Devil in league with Gigi? There’s certainly something wild happening around the events at Kappa House.
Chanel #1: “See this is why you turdlets need me. You’re not even competent enough to kill one lousy sorority president.”
Lots of speculation on different parts. The Chanels start to believe Grace and Zayday (Keke Palmer) are the killers. Meanwhile, there’s Munsch and the cops/Grace and Pete who are believing Feather is the one responsible.
The finale of the episode has Dory Previn’s song “Beware of Young Girls” playing, as Munsch prances around back at home. SHOCKER: She did kill her husband! Holy christ, I did not see that coming. What a saucy minx Munsch is, she spun Feather around her finger almost from day one, and then she used the Red Devil(s) killings in order to kill her husband. On top of that, Feather is thrown into a glass jar at the asylum.
Dean Munsch: “Here’s to young girls getting what they had coming to them. Yuu know what they say: nothing tastes as good as revenge feels. Actually they don’t say it, I just sort of made that up, but here’s something they do say: Hell hath no fury like a woman scorned.”
Such an awesome finale. This is one of my favourite episodes yet in this first season. Excited to see how things start expanding on the new developments in the next episode, “Mommie Dearest”, which I hope will bring more revelation.
Stay tuned with me, friends!