Jesus makes brutal plans while Viggo brings destruction to a town of deviants
Ever wanted to take a trip to hell? Well, wait for a better ride. Trust me.
FX’s American Horror Story
Season 3, Episode 12: “Go to Hell”
Directed by Alfonso Gomez-Rejon
Written by Jessica Sharzer
“Go to Hell” begins with a nice opening concerning The Seven Wonders. Filmed in black-and-white, looking like a genuine silent film including title cards in between scenes. Such an excellent sequence, which gives us background into the whole Seven Wonders ceremony and what it entails. It’s also a little creepy, too. Even if nothing weird is actually happening. Just a very good homage to the silent film era. On top of it all, one of my favourite classical piano pieces by Frédéric Chopin plays throughout – Nocturne in E Flat Major, Op. 9, No. 2. A great piece of music to have accompanying this sequence. As well, Fiona (Jessica Lange) comes in near the end via voice-over.
Then we’re back with her talking to Queenie (Gabourey Sidibe). But Queenie knows what the older witch is up to, that she only wants to figure out the new Supreme in order to kill her. I don’t think that has changed, at all. Best of all, Fiona calls Papa Legba a “half–baked Beetlejuice“. I laughed aloud at this line. Such a good one from writer Jessica Sharzer. But even more fun, Fiona announces to Queenie that this coming Saturday she will perform The Seven Wonders, “or die trying“. Looks like a true competition of powers is going to go down eventually between the remaining young witches at the academy. Will Misty Day (Lily Rabe) somehow return to compete? Or will it be Queenie, Madison (Emma Roberts) and Zoe (Taissa Farmiga) in a trio head-to-head?
Cordelia (Sarah Paulson) is trying to find out about Misty. She tries to touch Madison, to make use of her second sight. However, out of nowhere Madison teleports from one side of the room to the other. Manifesting new powers, huh? Well, Cordelia tells her not to “read too much” into all that. Finally, after a bunch of back and forth, Cordelia lays a hand on Madison. But nothing comes. We know the truth, so is Madison manifesting more powers giving her the ability to block thoughts, to control the thoughts of others?
Down in the basement, Queenie is looking for Marie. She can’t seem to find Laveau anywhere, though. Then she’s back upstairs with a creepy voodo book, on its front is the symbol of Papa Legba (Lance Reddick). She lies back on the bed and chants in a foreign tongue. She finds herself back at Chubbie’s Chicken serving food again, as if gone back in time literally, not just in thought. Outside there’s a seemingly never ending lineup of people around the building, inside. And at the front? Legba himself. This isn’t hell, though. Not “the hell“, he says, but “your hell.”
I love the conversation between Queenie and Legba. It’s sinister, but also pretty damn darkly comical. Reddick and Sidibe are both talented in their own respects, and this brief scene is a lot of fun. When she makes it out of the chicken shack hell, Legba is waiting. He explains all about Marie Laveau and the immortality of both her and LaLaurie; turns out Delphine chopped Marie into pieces to toss around New Orleans. Yowzah. Always a nasty, rough customer, that Delphine.
Papa Legba: “Time moves differently in hell“
Perhaps a favourite scene of mine takes us back to the old stomping grounds of Madame LaLaurie, where now Delphine herself is a guide. She has a different haircut, she wears a green suit jacket and black pants looking very modern. And hilariously, Delphine is now trying to rewrite her own history and past through touring people around the house and setting people straight on the true events; though, all she does is lie. We get a nice flashback to when Delphine has a confrontation with the former tour guide – a superbly eerie moment, as LaLaurie picks up a proper tool and bashes the woman in the head; plus, a little lick of her tongue to clean some of the blood that splashes her face. I mean, what an excellent and gruesome scene! Kathy Bates is a class act and I love seeing her do horror, it’s a true treat. I always thought her performance in Misery was perfect, now she gets lots of true and disturbing horror to work with in this series.
An even better sequence happens when Queenie talks to Delphine about repentance. There’s an inclusion of lots of popular culture controversies, as Delphine is seen watching television with the likes of Paula Deen and others crawling across the screen. Awesome writing.
Then Queenie stabs LaLaurie, who starts bleeding out profusely. What happens next? The formerly immortal Delphine may finally see death, now that she doesn’t want to die anymore.
Fiona’s having her portrait painted for the academy wall. Then her nose starts to bleed out of nowhere, either from the cancer, or the cocaine. Or the cancer and the cocaine in equal amounts, who knows. She continually laments her own face, the way she looks. She’s nearing the end and all she worries about is whether or not she looks youthful. And it’s driving her towards being hateful. Only she and Cordelia have a nice little chat, which shows how much she does care about her daughter. Though, it can’t make up for a lifetime of neglect and hatefulness.
Regardless, Fiona gives her mother’s necklace to Cordelia, as a way of “saying goodbye.” Once it goes around her neck and Fiona touches her, Cordelia’s second sight returns. Only it shows her the thoughts in Fiona’s mind, the intentions – we see a massacre in the academy house, all the young witches dead, impaled, blood everywhere, even Misty returned and murdered. It’s a shocking sight, out of the blue. Even Cordelia is dead in the vision, bullet hole in her head, and Fiona is seen snatching the necklace from her neck. Returning to the light, Cordelia is now aware of what is inside Fiona, what she is really aiming at. Funny how, with the strength Fiona instilled in this scene early on, Cordelia eventually was able to realise her powers once again; all in order to figure out what her mother was actually up to. Love the irony.
But Cordelia has plans herself. She goes to see the Axeman (Danny Huston). She warns him about loving Fiona, how dangerous it can be for those who fall into the trap. Cordelia also saw more than just the massacre in Fiona’s head, she saw her plan to the Axeman behind, too. He is only a pawn to her, someone she can use to do her bidding, to get the dirty work done. “She used you,” Cordelia tells him bluntly. Will she try and use the Axeman to do away with Fiona once and for all?
At the same time, Cordelia’s also trying to track Misty down, unaware of her fate at the hands of Madison. Poor girl is still stuck down in that casket, singing to herself, over in the cemetery. So Cordelia takes Queenie out to the mausoleum, and the latter proves to have some more impressive powers. She hauls the coffin right out of the bricks. Yet Misty isn’t breathing. No worries: Queenie’s got this, baby. She also can resurrect the dead, it seems. Her voodoo game is strong.
“When the rest of the world sees a wall, we see a window.”
So Misty being back doesn’t spell much good for Madison, though, the young sassy lady is not worried too much. Then out of nowhere, Zoe and Kyle show up again. Clearly not in Florida anymore. On their way they had a confrontation with some homeless guy, which ended with Kyle snapping the guy nearly in half. Most of all, they came back because Zoe displayed a new power of her own: more resurgence. Now they all seem to be able to do intense things with their powers. Better yet, Misty shows up throwing fists at Madison, ready for a real fight. They wrestle around a little while the others watch; mostly, Misty kicks the shit out of Madison.
The Axeman shows up trying to swing his axe at everyone, pissed off and threatening to kill them all. The witches send him flying. But then notice he’s covered in blood already: Fiona’s blood. In a step backwards, we see the Axeman in his apartment with her. He’s on to her now, after his visit from Cordelia. She appears completely unaware until he mentions it. And eventually it comes – the death of Fiona Goode by the hand of her jilted lover, the Axeman.
Back at the academy with the girls, the Axeman has to be punished. His original death at the hands of the academy witches is recreated, and he dies a second, horrible, bloody death. Fitting, no?
Then we see both Madame LaLaurie and Marie Laveau in their own hell, each bound together in their eternity in the darkness. A truly awful, disturbing end for them both. They’re forever spending time with Papa Legba in hell. The two immortals are now dead – released from the chains of life, only to serve Legba for eternity in the same room. Day after day, over and over.
After Fiona’s portrait is hung on the wall, Myrtle alerts the girls: they will all perform, as I guessed, The Seven Wonders that Sunday at dawn. The next Supreme will be revealed, for better or for worse. And some of the others will certainly die.
Stay tuned for the next episode, the finale of Coven, fittingly titled “The Seven Wonders“.
FX’s American Horror Story
Season 3, Episode 10: “The Magical Delights of Stevie Nicks”
Directed by Alfonso Gomez-Rejon
Written by James Wong
* For a review of the previous episode, “Head” – click here
* For a review of the next episode, “Protect the Coven” – click here
This episode opens with Marie Laveau (Angela Bassett) being tended to with a cup of tea and a warm bed from Fiona Goode (Jessica Lange). Marie even admits to being over “300 years old.” They talk about their new situation only briefly. “Tomorrow we’ll draw the battle lines,” says Fiona. So we’re in for a good deal of interesting stuff.
Even better, as Marie sleeps in the night up shows Papa Legba (Lance Reddick), the voodoo father. He looks incredibly, almost impossibly creepy. Apparently, Legba and Marie have some sort of agreement. He wants what’s coming to him, the terms of their bargain they made “so long ago.” Love the choice of having Reddick play this character. He is a great talent, who has showed it time and time again from The Wire to Oz and much more. Nice addition to this season, and so late in the game.
Then we see Marie saunter into a hospital ward, lightly crying babies behind a glass door. She voodoos her way in to where the unsuspecting infants lay. The music and the cinematography here are beyond eerie, setting such a perfectly unnerving sequence. Marie picks out a cute little baby, takes him away, and runs into some armed security guards. But they’ve got nothing on her. She rolls her eyes back, they go cloudy, and then BANG, BANG! The guards are dead. What does Legba want with the baby? Does he eat them? Oh, goody. Something new and sinister to add into the American Horror Story lexicon of weird and disturbing characters.
With the fallout from Hank Foxx (Josh Hamilton) comes a revelation by Marie to Fiona and Cordelia (Sarah Paulson): she hired him. Now, there’s no doubt going to be further tension and problems between Cordelia and her mother. Fiona sees it as a sign of weakness that Hank infiltrated them: “You‘re not just blind, you are wilfully blind. You married Hank to prove some childish point and brought a viper into this sacred house!” They’ve now go to face the task of finding “the hive,” as Fiona calls it. They need to take down the whole group of hunters, not just one; they travel in packs, like vultures.
In other news, Misty (Lily Rabe) is weary of getting too close to Fiona, whose murderous impulses aren’t exactly secret. Fiona tries to talk Misty up, but the swamp witch is not too interested. Is Fiona driving towards something here? Surely she can’t be trying to kill another one; can she? Well, Fiona brings Misty downstairs. She has a guest to meet her: it’s god damn Stevie Nicks, a white witch in her own right apparently. As they’re introduced, Misty faints. Excellently, Fiona steps over her claiming “You owe me $5” and giving Stevie a friendly smooch. This was hilarious, and fucking awesome. Even further, Stevie sings and plays “Rhiannon” on the piano as the young witches come home. Such a fun inclusion to have Nicks here, like a little treat on top of an already delicious ice cream that is Coven.
“I‘m a huge fan of Eminem. When‘s he get here?”
“Marshall? You‘re not his type. And more importantly, you‘re not the next Supreme.”
There’s new jealousy afoot. Madison doesn’t want any of Misty and her shit, she thinks she has what it takes; her heart murmur is even gone since coming back from the dead. Madison even gives Nan shit, which prompts Nan to use mind control almost ending with Madison jamming a cigarette in her vagina. Lots of inter-coven trouble happening.
But the witch hunters are still the biggest threat to anything, whether or not the young witches are all clamouring over who the next Supreme could end up being. Cordelia tracked down the Delphi Trust, the witch hunters hub. She found out who Hank was, the son of Harrison Renard; Renard is, of course, Francais pour Fox(x). So now, Marie, Cordelia and Fiona are scheming. Trying to figure out a way to get at the witch hunters. Shouldn’t be hard to take down some capitalist pigs, right? Fiona won’t have any help from Cordelia who she sees as “tainted.” There’s a violent emotional nature to the relationship between these two. Sad, because Cordelia is a tough, smart, capable witch. Doesn’t matter, though. Marie and Fiona together? Two bad witch bitches. They set up a cross between the Salem witchcraft and Marie’s Haitian voodoo, attacking the Delphi Trust at the source of their money and causing lots of problems for the hunters. Except it might take the good out of Fiona, who collapses after their spell is cast.
Now we get more talk between Fiona and Marie. Fiona talks about her new love, the Axeman (Danny Huston). Marie explains her debt to Papa Legba, who she conjured back when she thought she was “the shit” and “shockingly strong” magic. Then in the night, Papa showed up to give her eternal life and strength. Unknowingly she “made a deal forged in Hell.” Only problem then was, she had to provide Legba with his price: her baby. And after that she was shackled to their agreement, requiring her to give him an innocent child’s soul when he comes calling. Nasty, huh? But immortality has its prices. That’s a part of why I love this season, there are very interesting portrayals of immortality between the dead coming back, Marie herself and also the curse she threw on Delphine. So it’s fun to see how immortality isn’t all it’s cracked up to be. All these situations help us understand the horrifying aspect of living forever (it’s always been horrifying to me anyways).
Meanwhile, Madison takes Misty on a walk through New Orleans. Fittingly they stroll behind what looks like a music funeral, horns and drums ringing through the streets. Madison tries to fill Misty’s head with the concept that being Supreme will bring more needless stress than it does perks, such as plenty free “merch” and “swag“. Gotta watch out for Madison, though. They end up at a graveyard, deserted except for a couple groundskeepers. Madison wants to show Misty they have equal powers; she literally raises a man from out his coffin and back to life. Certainly impressive. Trusting Madison too much, Misty ends up knocked out by a brick and tossed into the casket; Madison returns the groundskeepers to normal after they were frozen in a spell, and Misty is entombed in a small grey mausoleum. Didn’t see that coming before this sequence, honestly. But should have. Madison is just as vindictive and paranoid as Fiona.
Zoe and Nan drop over to see Joan, after they discovered at the hospital Luke is now dead. Nan wants to see the body; she needs to find out what happened to him in the end. He was cremated, but Nan knows what happened: he was suffocated by his mother. Then Nan goes wild on Joan, forcing Zoe out of the way and making Joan drink down a few gulps of bleach. Yikes – though, I can’t say I hated it. Joan deserved what she got.
In the basement of the academy, Myrtle plays away on the theremin while she and Cordelia have another heart to heart. The younger of the two feels she has “nothing left to offer this coven.” But we know different, as does Myrtle.
The worst comes when Fiona conjures Papa Legba on her own. She wants to do whatever possible to attain eternal life. Only Legba can’t make a deal because she has no soul with which to bargain: “You have nothing to sell.”
Things get dicey now, as Fiona ends up determined to kill all the others in the coven if necessary, all in order to figure out who will be the next Supreme. She has truly gone over the edge. Is this going to do her in, or the others?
The finale sees Nan discovering a newborn child meant for sacrifice over to Legba. Marie and Fiona label her a threat. Then, Legba accepts her as a substitute. The two older witches drown Nan in the upstairs bathtub, and Papa Legba deems Marie/Fiona’s union as “big trouble.” No doubt. A sad and tragic end for a character like Nan, who could’ve been a contender for Supreme had she not been disturbingly murdered.
Very excited for the next episode titled “Protect the Coven” – more wildness to come!
FX’s American Horror Story
Season 3, Episode 2: “Boy Parts”
Directed by Michael Rymer
Written by Tim Minear
* For a review of the previous episode, “Bitchcraft” – click here
* For a review of the next episode, “The Replacements” – click here
“Boy Parts” begins with Misty Day (Lily Rabe) apparently risen from the grave herself. A couple gator hunters come across her in the swamps, Steve Nicks’ “Edge of Seventeen” playing in the background. She’s dancing and lamenting the killing of the beautiful creatures – gators hung from the trees, gutted, being skinned. When the hunters threaten her, she brings a gator back to life and then another comes out of the swamp, so bye bye hunters. Chomp chomp. I love that she’s back already, I thought we might have to go an episode or two before Misty cropped up once more. But here she is. Lily Rabe has been a revelation since the second season and I cannot get enough. Hopefully her character has lots to do coming up.
Back at Miss Robichaux’s Academy, Cordelia (Sarah Paulson) is waking all the girls up, readying everyone for a meeting. Poor Madison (Emma Roberts) is obviously still reeling from her gang rape, like any sensible young woman would. Then there’s Zoe (Taissa Farmiga), whose feelings for Kyle (Evan Peters) are obvious; he died, yet she knows he wasn’t a bad guy, he tried to do the right thing after he discovered what happened with his frat brothers.
Most intriguing, Fiona (Jessica Lange) has Madame Delphine LaLaurie (Kathy Bates), fresh out of the living grave, tied and gagged in her room. What’s the rub here? I’m so interested to find out where this is headed.
Flash to Queenie (Gabourey Sidibe) back in 2012, where she worked at a fried chicken place called Chubbie’s – a guy is giving her shit about not having enough pieces in his basket. Instead, she jams her hand into the boiling fat behind the counter, voodoo dolling the jackass yelling at her. Flashback to the young witches sitting around, talking to Cordelia and each other about where they came from before the academy.
Up show the police looking to talk with Madison and Zoe about their presence at the frat party. Things are getting tense. Even worse, Zoe gets awkward and nervous and breaks down, telling the police everything. And I mean EVERYTHING! Yet luckily, she is a witch. Among witches. After things go awry, Fiona struts in to undo it all with that sweet feminine magic. Or straight up devilish magic, either way it works. Then she goes back to the girls’ room, tosses Zoe and Madison at the walls and lays down the law about how things are going to go from here on in: shape up, or ship the fuck out.
“I couldn‘t toast a piece of bread with the heat they were putting on you“
To try mending Zoe’s sadness over Kyle, the usually hateful Madison has a plan to help. She takes them to the city morgue, in order to return the favour of Zoe killing the guy who raped her. In one room there are the pieces of all the guys killed in the crash. Kyle was dismembered terribly, so they’ve got to mix and match a few pieces in order to get him back together. The title of this episode “Boy Parts” comes to bear on their process, as Madison decides they’ll find the best pieces then top it all off with Kyle’s head: the ideal Ken doll.
Meanwhile, Cordelia and her husband Hank Foxx (Josh Hamilton) are trying to put together their own boy, or girl – they want a baby, no matter what. However, Cordelia can’t seem to get pregnant. Her womb has troubles, for whatever reason. Hank seems supportive, but wants her to use the witchcraft to make things possible for them. Cordelia’s against it, not wanting to turn into her own mother; someone who has taken the shortcuts of life at every turn.
Finally, LaLaurie has to come to terms with what Marie Laveau (Angela Bassett) did to her all those years ago.
We flash back to after Delphine first took the vial and drank it. She wakes up to find her worst fears coming true: her family is killed, while she’s been given eternal life. They were all hung. Now, Delphine is left by Laveau to spend life in a box underneath the earth, never to die. Only Fiona has dug her back up and let her free. Well, not free. She’s essentially under the slavery of the Supreme for now.
Over at the morgue, Madison and Zoe have a Kyle Frankenstein monster put together. They’re gearing up for some type of witchcraft ceremony, in which they intend to bring him back to life again. Things don’t go exactly as planned, though.
Kyle comes back to life, all right. He just doesn’t come back like he was, at all. He is more similar to Frankenstein’s monster than ever before.
“Did we just barter with the Devil? ‘Cause I don’t know if I’m down with that.”
Nan’s psychic powers lead her to find LaLaurie upstairs tied in the closet, which starts a bit of chaos. First, Delphine cracks Queenie over the top of the head, knocking her out. But Fiona is across town at the home base of Marie Laveau, they’re having a bit of a head-to-head confrontation. They drop a bit of knowledge on us about shamans, necromancy, Haitian voodoo and such. Plenty of history in a few minutes of dialogue between Lange and Bassett – another classic pairing we’re able to enjoy courtesy of Ryan Murphy and Brad Falchuk & Co. Though, the offer Fiona brings for Laveau is turned away before anything else happens. We’ll get more of this later on. Not too long afterwards, we see the Minotaur is still under care of Marie, who unchains him for “business” they have to take care of soon.
Cordelia and Hank are busy trying to do freaky rituals in order to get pregnant. They have kinky sex with black candles, a circle of black sand or something, and all that kind of wild stuff. Oh, and blood. I suppose being a witch can offer a bit of kink in the love life. This whole sequence is pretty creepy and full of sensual imagery. The sex, a snake egg cracks, fire ignites in the circle around them. Then as they finish, everything goes back to normal. Will it work? Who knows.
Zoe is busy rushing Kyle away from the morgue. The poor dude is having troubles, coming back to life is obviously not a walk in the park. Kyle smashes his body around in the car, as Zoe drives them off. She’s upset, trying to do her best and feeling she did the wrong thing bringing him back.
Luckily, Misty Day turns up in their backseat. She knows how to help Kyle transition back into life appropriately. Zoe brings them back to Misty’s shack, out in the swamps. Misty wipes dung all over Kyle, great healing properties she says. Leaving him with the resurrected witch, Zoe is conflicted about what ought to be done with Kyle in his newly living state; he looks monstrous, Evan Peters does such a fantastic job performing this character, amazing work.
A good conversation between Fiona and LaLaurie, as the latter laments now being above ground, her family dead and gone, everything changed and new to her completely. Lots of interesting things happening between these two. Cannot wait for more of their relationship to come out! And also just having LaLaurie’s presence around, in a day and age very far socially from where she was in the early 19th century. Exciting thematic things will unfold.
The next episode is called “The Replacements”, once again directed by series regular Alfonso Gomez-Rejon.