Tag Archive for AHS Coven

American Horror Story: Coven Recap: “Protect the Coven” (Season 3, Episode 11)

With only a few storytelling hours left to go before Coven wraps up, the writers are (as in every season, apparently) throwing things at the wall to see what sticks. Wednesday’s episode brought Queenie and Delphine back into the mix (of course); it also supposedly conquered the “Big Bad” while re-introducing a minor villain. It didn’t bother tackling Misty Day – even Myrtle and Fiona, who were pretty convinced Misty is the new Supreme, didn’t bat an eye toward the fact that she disappeared suddenly, and that known scheming trollop Madison Montgomery was the last person to see her. My notes for this episode are all over the place because the showrunners are cruising us through important scenes so quickly your head’ll spin. Further, I’m pretty sure Murphy is playing around in Greek mythology (see below). Join me for this week’s batshittery!

Kathy Bates as Delphine LaLaurie

Delphine? Shady? NEVER. Photo courtesy Michele K. Short/FX.

In the opening scene, we for some reason enter Delphine LaLaurie’s head; her narration provides the main plot thread through the episode. Aside from giving Bates more screen time (I’m in favor, obviously), there seems to be little reason for this. It’s enough to know she’s an evil, torturing racist. We don’t need the back story. Delphine, the product of “two prominent members of Parisian society,” is forced to move to New Orleans, “this shithole,” in 1830, during the halcyon years of ham-hock sleeves and black people as property. When her daughter, well, chickens out on slaughtering a chicken (sorry), a grouchy Delphine discovers she has a taste for blood. After she chops off the rooster’s head, she fingers the arterial spray lovingly, her eyes going distant. Murphy then cuts straight to an injured slave screaming in the attic, blood spurting from his knee. Delphine obviously knocks him over the head and tortures him brutally, muttering that perhaps she’ll like it here after all.

Back in the present day the witches, dressed in their best black, proceed to one of New Orleans’s gorgeous cemetaries to pay their last respects to Nan, “who fell in the tub,” Fiona says nonchalantly. “Amen,” agrees Marie with a shrug. Myrtle and Cordelia murmur about Misty’s mysterious whereabouts, and Madison assures them transparently that they shouldn’t bother. Meanwhile, Misty’s probably trapped in a tomb a few hundred feet away. The cemetary provides a brilliant backdrop to all this murderous jockeying for first place. I mean, let’s recap for all the witches present in this scene: Fiona slashed Madison’s throat, Misty brought Madison back, Madison “killed” Misty; Marie tried to kill them all, and then Marie helped Fiona kill Nan. Delphine murdered Marie’s lover, and Marie cursed and then cut off Delphine’s head and hand. Queenie put Delphine back together (her talents are indeed getting stronger, as there are no scars), and Delphine wants nothing more than to murder black people. Oh right, and Fiona murdered Myrtle (whom Misty reanimated). Am I missing anyone? Basically, shit is cray, and you all are idiots. Read more

American Horror Story: Coven Recap: “Head” (Season 3, Episode 9)

Well, we’ve hit that point in the season when the writers start to toss things at the wall willy-nilly. In last year’s Asylum¬†it was in episode nine (“Coat Hanger”) that, as ScreenRant put it, the writers started leaping “from dangling plot thread to dangling plot thread in an attempt to set up all the pieces for the push into the final episodes.”

Myrtle in American Horror Story: Coven

How did your hair grow back after you were burned at the stake and resurrected? “Honey, I’ve been buying in bulk in Korea for years!” Photo copyright 2013, FX Networks.

“Head” opens on an idyllic father-son camping trip in the Chattahoochee National Forest; they share coffee from a thermos as sunlight filters through the dust motes hanging in the air. They speak earnestly of hunting, of a desire “not to miss.” When the time comes, though, little Hank hesitates a bit too long while a jaundiced, pale witch with a halo of red hair begs him to let her live; she almost kills both father and son before Daddy shoots her in the head. Does it strike anybody else odd that witch hunters would be able to just, you know, find a national forest and literally hunt witches like they were game? “Got a nine-pointer, son!”

Kyle Cooper’s Prologue Films¬†created the titles for The Walking Dead, Sleepy Hollow, Prometheus, and a number of others. Before that, Mr. Cooper designed the titles for Se7en, which have stuck with me as a profoundly spooky, entirely unsettling sequence that drops you face first into the deeply dark world of Fincher’s film. A friend pointed out that perhaps the “scariest” part of American Horror Story is the opening credits. The show isn’t about terror, jump moments, or psychological thrills. It’s about making you feel as bloody uncomfortable as possible. The credits succeed at that – slivers of imagery, jerky movement, artfully timed shots so that just when you’ve got your head around a severed goat’s head or an insectile, humanoid creature in the trees, it flips to the next spooky-ass thing. Beneath the images a ghastly series of sounds plays, subwoofers prodding at your eardrums as dripping water synthesizes a rhythm and a guitar squeals discordantly. The effect is chilling and discomfiting, and you can’t look away. The credit sequence is near-perfect (but the rest of the show certainly isn’t).

http://www.youtube.com/watch?feature=player_detailpage&v=mmRXT7w2C1s Read more