AHS: Ready for the end game . . . .

FX_AHS_ImageGallery_0000_03Last night I was laid low with a migraine and didn’t live tweet American Horror Story: Coven, though I was watching and shrieking right along with everybody else.  So I’m thinking maybe now, as we go into the long dry spell that is the holiday break, might be a good time to stop and take stock of where we are in more than 140 characters.

Regular readers of the blogness might recall that I started off the season after the premiere saying that I loved this new story of the New Orleans witches and the voodoo queens who loathe them even though it punched nearly every button on my hate list for horror.  Poisonous poontang, crazy church ladies, rape rape and more rape, and anal atrocity when all else fails to shock – those tropes are all still there in almost every episode, and I don’t like’em any better now than I did in October.  But the good still outweighs the bad, and even if it didn’t, I couldn’t give up this story without finding out how it comes out to save my sanity.

So, the bad:

  • When Queenie begged the Minotaur to “love” her in the garden shed and ended up with even lower self esteem and obvious internal injuries.  They almost lost me with that one.  Queenie deserved better as a character, and though she did a fantastic job of playing the scene without flinching, Gabourey Sidibe deserves better as an actress.   In a recent episode when Queenie slaughtered a would-be rapist, I saw what they did there, contrasting the old Queenie with the new.  But it still felt clumsy, cruel and unnecessary.
  • All those damned crazy mamas.  What. The. Fuck, Y’all?  Did Mare Winningham lose a bet?   And unless she’s going to rise up with something brilliant in the final act, the Patti Lupone character is a waste of space put in for no better reason than to make mean fun of Christian fundamentalism in all its repressed, Lysol-wielding glory.  All I can say is bleah.
  • The way nobody on the voodoo side of New Orleans has any personality except Marie Laveau.  Over at Miss Robichaux’s Academy, even the portraits hanging on the walls have an intricate backstory.  At Marie Laveau’s, people just come in to get their hair done and get shot.
  • The pacing on the witch hunter plot.  While the writers may have known about Hank’s family history and the big bad Delphi Trust from the beginning, it felt like this was a great big daemon ex machina brought in last night to push everything to a crisis for the final act, a brilliant notion that occurred to somebody over their Thanksgiving turkey.  I like it; it works; it just seems like too big a plot point to have been a secret until this point in the story.  But I’m willing to be talked out of this one; this may just have been a slow reveal on Hank.

But enough nitpicking; on to the Very, Very Good:

  • Kathy Bates, Kathy Bates, and ever more Kathy Bates.  No other actress could have played the character arc of The Education and Dismemberment of Delphine LaLaurie and made it not only make sense but be genuinely moving.  We know she’s a monster, the worst on display here, and yet we’re rooting for her; we want her to get better; we want Queenie to save her soul.  Last night watching her disembodied head weep to hear Odetta sing about freedom should have been Grand Guignol comedy, but it wasn’t.  Intercut with the horrific images of Hank’s massacre in the hair salon, it made me cry.  And that’s the thing about this whole story, the thing that makes it better than the first season.  It’s not just cool and edgy and scary and shocking – it’s human and heartfelt, too.
  • Every little thing about Fiona.  Speaking of touching scenes, nothing has gotten to me more all season than Fiona helping the grieving mother in the hospital resurrect her stillborn daughter.  I love her twisted love for Cordelia; I love her desperate love for herself; I love the way she loves the Axe Man and the way he loves her back.  This part was obviously written purely as a love letter to Jessica Lange, and she’s proving she’s worth every word.
  • The weird-ass love triangle between Zoe, Kyle (better known at our house as Frankenwiener), and Madison.  It tickles me to see these two teen-age girls, one outwardly shy and inwardly certain, the other just the opposite, create their own version of Prince Charming and share him like a toy.  Extra points for the way Fiona has taken him up as a pet.
  • Every moment between Queenie and Delphine.
  • Every shot of Angela Bassett’s exquisitely beautiful face which somehow manages to be stony and expressive at the same time.
  • Myrtle, the most specific and cuckoo version of the classic crone figure I’ve ever heard tell of.
  • All the incredible visual details and layers of gorgeous horror, from Madison’s outfits to the sight of Myrtle burning at the stake – this is what gothic should always look like.  For once, a piece of art lives up to its title sequence.

So now we wait until January 8.  Truth be told, I don’t really care who the new Supreme is; I just want to know what happens next.

From one scary magnolia to another . . . American Horror Story: Coven

AHSCovenOkay, my kittens, it’s not going to sound like it, but I promise you from the bottom of my twisted heart, I really, really loved the premiere episode of American Horror Story:  Coven.  I hate stories about torture, people being burned alive, gang rape, and that most misogynistic of symbolic horror tropes, the deadly vagina dentata (or as my extremely clever baby sister, Alexandra Christian, described it in this incarnation, Black Magic Pussy).  I  hate stories where every woman is either a mealymouthed victim or a murdering bitch.  I hate stories about the South where pretty much everybody native comes off as a f*cking crazy person.  Coven;  Episode One was oozing with all this nastiness like pus oozing out of a boil; by all rights, I should have hated it.

But I didn’t.  Because the one doing the torturing was Kathy Bates, playing Delphine LaLaurie, a real life psychopathic southern belle who would make Annie Wilkes cry for her mama.  And the girl who was burned alive by crazy Loo-Zee-Anna fundamentalists is gonna come back and kick ass.  And the girl who was raped blows up a whole bus to get even. And that Black Magic Pussy is attached to a character with potential to be either a sensitive witness or an avenging angel,Ophelia or Medea or both, and I can’t even begin to predict which it will be.

And maybe that’s the point.  So much of what we saw is so familiar, archetypal, plugged straight into my own Southern gothic woman’s sensibilities that I felt immediately at home, but nothing is how I would have written it.  It’s like watching the story my evil twin would write on a steady diet of tabloids and absinthe.  That bitch is crazy, but I gotta know what she’s gonna show me next.

Other goodies that make it all worthwhile:

Jessica Lange dancing to Iron Butterfly and firing off killer one-liners like Bette Davis run magically amok.

The gorgeous way everything is lit and framed and filmed, no matter how ugly the action.

Frances Conroy’s red hair and cigarette.

The feeling, for the moment at least, that everything means something, that everything has a point, that the story is going to hang together and make some kind of awful sense.  Season 1 of AHS fell to tatters by the end, and I hear Season 2 was plagued with a swampy middle.  But watching this first episode, I can still have faith.

Lex and I are live tweeting every episode (@LucyBlueCastle and @LexxxChristian), so by all means, come watch with us next week.  In the meantime, what did y’all think?