Rescue 9-1-1

Article first published as TV Review: 9-1-1 on Seat42F.

Before watching, one can be forgiven for dismissing the new FOX series, 9-1-1, as a typical procedural. After all, it stars firemen, police women, and EMTs, and the people they help don’t carry over from week to week. But there is a lot more to it than that, even if it’s hard to define exactly what the quality is that it exudes. Let’s try to break it down, shall we?

First, there’re the brains behind 9-1-1: Ryan Murphy, Brad Fulchuk, and Tim Minear. These guys are known for a variety of high-quality cable shows in recent years, most notably American Horror Story, American Crime Story, and Feud. Given those credits, it’s hard to believe they would deliver anything at all close to a run-of-the-mill, case-of-the-week series. And they do not.

The next clue that this will be better than usual are the actors who signed up. Angela Bassett (American Horror Story, Olympus Has Fallen) is Athena Grant, the main police person we see in the cast. Peter Krause (Parenthood) is Bobby Nash, the fire captain. Kenneth Choi (Sons of Anarchy, Last Man on Earth), Aisha Hinds (Underground, Dollhouse), and Oliver Stark (Into the Badlands) all play characters who work for Bobby. Connie Britton (Friday Night Lights, Nashville) is a 9-1-1 operator named Abby Clark serving as go-between for all of these people, making it a rounded series. While it’s true that none of them have spotless resumes, to have so many great performers in one series says something.

The premise itself does feel a bit formulaic when described. In the pilot alone, the characters respond to several calls for help, and deal with the issues. One of the ensemble gets in trouble at work for acting inappropriately, one is a recovering alcoholic, and Athena is dealing with marital issues with husband Michael (Rockmond Dunbar, Prison Break). None of these things sound like they belong to a new, promising show.

However, there is something more to 9-1-1 that transcends the formula. It’s an ineffable element that is hard to define completely. The best way I can describe it is that there is an urgency, a pacing and tone, that belongs on a high-quality cable show, and feels very out of place on a broadcast network. No scene comes across as cheesy, everything is done with sincerity, and when paired with the performing talent, it rises above the sum of its parts.

The primary thing I can say is that numerous bits of the pilot moved me deep in my gut. I welled up, but not in the way This Is Us makes me. I experienced adrenaline rushes, but not as I do when watching 24. I was scared, but not like a bad slasher flick evokes. I really felt the emotions the characters were feeling, and I have to say, that is quite a feat to do in an hour procedural, let alone multiple times. Maybe it was the mood I was in, but having just reviewed a terrible show right before it, I don’t think so.

Some will dismiss this assertion and find it ridiculous. Everyone is entitled to their own opinions, and I’ve already seen some negative reviews of 9-1-1. But I loathe crime procedurals and watch far too much TV to think I haven’t become desensitized. What I can tell you is that this one feels different. This one makes me eager to watch more. It might be the best show FOX has aired in years, and I don’t think that’s making a questionable boast. This is what a procedural should be, the best of its genre.

9-1-1 airs Wednesdays at 9/8c on FOX.

"Curtain" Closes on AMERICAN HORROR STORY: FREAK SHOW

Article first published as TV Review: 'American Horror Story: Freak Show' - 'Curtain Call' on Blogcritics.

The fourth season of FX’s American Horror Story, subtitled Freak Show, concluded this week with “Curtain Call.” Perhaps the most satisfying season finale of the show yet, capping a season which, in my opinion, tied with the first for best of the series, it gave almost everyone who deserved it a happy ending. Mixing tears and joy in moving pathos, “Curtain Call” is the ending fans deserve.

Right away this year, American Horror Story: Freak Show made us care about the freaks. It is the people outside of the carnival that are the problem. Those with the deformities are the persecuted, and the ones to root for. The story tears down prejudice among those who watch, building sympathy for the outcasts. This continues right on through to the end.

As “Curtain Call” opens, the freak show has been sold to Dandy (Finn Wittrock), the biggest beast of the year. But the freaks, who have suffered enough, don’t put up with his gruff for long. They quit, prompting him to go on a killing spree and murder almost every performer left. Thankfully, four survive long enough to punish Dandy.

Wittrock’s performance in American Horror Story: Freak Show is nothing short of amazing. Even as he dramatically dies, drowning in Houdini’s water escape tank, we see the pain and anger in his eyes. He feels misunderstood, miscast in life. The more he tries to carve out his place and hone his talents, the worse he does. He’s deeply damaged, far from emotionless, desperate to find acceptance. He does horrific things, though, and like a diseased dog, the most merciful thing is to put him down, which our heroes do.

One might think that being slain by a madman is not a happy ending, and I mentioned in the opening that the ending is satisfying. “Curtain Call” toys with an afterlife, though, a specific fulfillment of the wishes of those who died. The freaks who are killed, and not just in the season finale, are reunited in an eternal caravan, performing nightly for packed houses. It may not be the ideal existence for most of us, nor even what many of them thought they wanted in life, but it’s what these people end up valuing most, enhanced by perfect circumstances and surrounded by beloved family.

Even Elsa (Jessica Lange) gets to go there, despite her sins. She achieves the Hollywood fame she desires, and finds it’s far less than she wishes for. As she gets bigger and bigger, she feels less and less at home, missing the family she built. In the end, she commits suicide on Halloween, letting us glimpse terrific guest stars Wes Bentley and John Carroll Lynch again, and ends up at the heavenly fair, rather than roaming with the cursed troupe. It’s a reward for the good she does before she does wrong. Ethel’s (Kathy Bates) gentle scolding that Elsa was not a good friend, boss, or cook but that she was born to perform is the perfect emotional chord, reuniting the oldest of friends in a tear-worthy scene that, as usual, proves what a considerable talent Lange is.

Speaking of Ethel, Bates is killed off far too early in American Horror Story: Freak Show. I miss her the moment she leaves, and while we do see her twice more, it only makes me wish for more of her. Angela Bassett’s Desiree, who survives, is also less featured than I’d like. I hope that, if Lange does step down or back in season five, a regrettable circumstance for sure, Bassett and Bates rise to take her place. They have earned a showcase like the one Lange has been getting these past few years.

The quartet that make it through “Curtain Call” intact are Desiree, Jimmy (Evan Peters), and Dot and Bette (Sarah Paulson). All end up happily married with children, having gotten away with the multiple murders they justly committed. My only small complaint about this is that it feels extremely familiar to have Paulson and Peters’ players achieve their bright futures, the two actors among the small number in past seasons who have similar conclusions. That’s likely because they keep getting cast in certain types of roles, the ones that naturally survive, but it still feels a tad bit like a repeat.

In the end, I’m left amazed by the tale told and the characters created. So many impressive performances, so many fascinating guest stars, and so many terrific twists. The plot feels more substantial than in the past couple of seasons, and the emotions run deeper. While half of the main characters sit out the finale (not unusual for this franchise), there are enough supporting characters appearing to keep it feeling full. “Curtain Call” is a great culmination of what builds up, and I cannot think of a better way to wind the various threads together.

American Horror Story has been renewed for a fifth season, which will feature as-of-yet unannounced new cast, setting, and subtitle.

AMERICAN HORROR STORY: FREAK SHOW "Orphans" Sympathetic

Article first published as TV Review: 'American Horror Story' - "Orphans" on Blogcritics.

Earlier in the fall, I promised more reviews would be forthcoming for FX’s American Horror Story: Freak Show, and while it’s been awhile since I’ve written about it, this season has continued to rank either tied for first place with season one or the lone frontrunner of the series. It’s been such a character-driven piece, with surprising twists geared towards growing the personalities, rather than just for the sake of story. Amid this great run, this week’s installment, “Orphans,” is one of the best.

“Orphans” tells us the story of Pepper (Naomi Grossman), a microcephalic (or pinhead) whom also appears in season two, Asylum, which is set about ten years later than Freak Show. Pepper is the first character to appear in more than one season of American Horror Story, and playing a mostly bit part with the other supporting “freaks” up until now, I wondered why they bothered to bring her back. This is, until this week’s episode, which also sees a too-brief return of Asylum‘s Sister Mary Eunice (Lily Rabe), more than justifies her presence.

Pepper is adopted be Elsa (Jessica Lange) from an orphanage, the first of the troupe. Others of the group that follow are recruited specifically for Pepper. But as the freak show falls apart, Pepper loses her closest companions, sending her deep into grief. Self-involved in her own career, Elsa foists Pepper off on the sister that abandoned her, Rita (Mare Winningham, who had a different one-episode role in last year’s Coven). Rita and her husband, Larry (Matthew Glave, Army Wives, ER), are even more selfish than Elsa, and concoct a plan to frame Pepper for murdering their annoying infant, landing Pepper in the asylum and revealing that he back story we thought we knew about Pepper is utterly wrong.

What is so impressive is the sympathy Grossman earns in this amazing turn. Even after two seasons, I am ashamed to say that I still find it hard to look at Pepper. In “Orphans,” I care about her, though, and so will anyone who watches her painful journey of abandonment and neglect. Pepper briefly has a good life, and it’s ripped away in the worst possible manner. Much of this success is built into the storytelling, and much of it is due to Grossman’s talent. It’s one of the most moving stories I’ve seen on television in awhile, and it continues Freak Show‘s trend (and more largely Ryan Murphy’s) of forcing people to face their preconceptions and become more compassionate towards those who are different than us.

Pepper’s arc, which actually ends several years in the future of the current story, though I’m not expecting everything else to jump, beautifully ties into Elsa’s. Someone who acts like Elsa does now, willing to leave behind all she’s built and those she cares about, doesn’t quite line up to the person who put together the troupe in the first place. “Orphans” shows us her connection with Pepper, and how that leads to the inclusion of Ma Petite (Jyoti Amge) and Salty (Christopher Neiman). Elsa has changed, and not for the better. Though, there is a big hint of a happy ending for her.

What causes Elsa to fall so far? I assume part of it is that she’s lost so much, including Ma and Salty, and so knows she can no longer hold onto the world she’s lived in. Another part has to be the chance at fame that Stanley (Denis O’Hare) dangles in front of her, and given her age, it’s probably the last chance she has to realize her dreams. Once upon a time, creating a family was her dream, and she lived it. Now, she realizes she wants more. Lange is having another masterful turn in the franchise in Elsa.

The third thing of interest this week is Maggie (Emma Roberts) revealing the truth to Desiree (Angela Bassett) about Stanley’s plan and misdeeds. Maggie is going through a redemption, sparked by falling in love with Jimmy (Evan Peters), which lasts even after the two have a falling out because he has changed her. Desiree is a bit adrift, looking for her own bettering of circumstances, and makes a strong ally by nearly any measure. With Ethel (Kathy Bates) sadly gone, these are now the two women I’m most excited to see play in the sandbox.

American Horror Story: Freak Show still has three episodes left. Given the consistent quality this season has demonstrated, and the impact “Orphans” makes even without Dandy (Finn Wittrock), the year’s breakout star, I am extremely optimistic about Murphy ending things right. American Horror Story is really in its stride here, living up to potential it doesn’t need to, given the excellent efforts the past two seasons are, while still being lesser than this. If Freak Show can stick the landing, it will be memorable and begging for future re-watches.

Taking a quick holiday break, American Horror Story: Freak Show next airs January 7th at 10 p.m. ET on FX.

Blu-ray Review: ‘American Horror Story: Coven’

Article first published as Blu-ray Review: ‘American Horror Story: Coven’ on Blogcritics.

Last fall, FX presented the miniseries, American Horror Story: Coven, the third in the franchise. It is the tale of a group of witches at a school in New Orleans, battling to see who can be the next leader of their order while uniting to battle outside foes. Many of the cast members from previous seasons return in new roles, and some truly incredibly performers join the ensemble. This excellent, thirteen-episode run, full of humor and frights, is now available on Blu-ray and DVD.

American Horror Story: Coven stars Jessica Lange, playing the current Supreme Witch, Fiona Goode. She is dying, and returns to the institution her daughter Cordelia (Sarah Paulson) runs, to seek a way to stop her demise. A new batch of youngsters have recently enrolled: Zoe Benson (Taissa Farmiga), who kills boys she has sex with; Madison Montgomery (Emma Roberts), a bratty young starlet; clairvoyant Nan (Jamie Brewer); and human voodoo doll Queenie (Gabourey Sidibe). These young women are learning the various powers of their ancestors, all trying to be head of the class so they can take over the coven, if Myrtle Snow (Frances Conroy) and the rest of the Council allow it.

Things are complicated for the coven by numerous outside influences. First, there’s Madame Delphine LaLaurie (Kathy Bates), an ageless racist dug up so Fiona can learn her secrets. Then, we meet Marie Laveau (Angela Bassett), Delphine’s nemesis and leader of the black witches, who don’t get along with the schoolgirls. Zoe brings a boy she likes, Kyle (Evan Peters), back from the dead. A Stevie Nicks-obsessed healer, Misty Day (Lily Rabe), considers joining the group. Cordelia’s ex-husband, Hank (Josh Hamilton), harbors a deadly secret. House servant Spalding (Denis O’Hare) tries to keep the past buried. The Axeman (Danny Huston) and Papa Legba (Lance Reddick) haunt them. They are attacked by zombies and a minotaur. Needless to say, it’s a lot for any woman to take on.

There’s plenty to like about Coven. As is typical for  American Horror Story, has some genuinely scary moments. Perhaps it’s not as bone-chilling as past seasons, but it can still make you jump. There is much danger both inside and outside the coven, and if the monsters don’t get you, their friends might. The writing is fast-paced and relatively tight, cleverly bringing numerous threads together by the end of the season. Plus, Stevie Nicks guest stars as herself (well, a witch version of herself) so that’s definitely check in the positive column.

If there is one complaint I have about Coven, it’s that characters just do not often stay dead, which leaves viewers not trusting events as they unfold. The sheer number of characters killed and then somehow re-incorporated into the story is kind of ridiculous. Until we near the very end of the season, there is just no way to know who is still in contention.

The audio quality on this Blu-ray is terrific. It’s clear, with nice mixing, and makes good use of the surround sound tracks. The dialogue stands out easily. The picture is less consistent, but that’s because of the various styles the show is filmed in. There are parts that are purposefully grainy or blurry. I do think what’s meant to look high def does, and any flaws are intended for effect, rather than mistakes the production team has made, leading to an overall nice presentation.

There are only three extras on this release, a trio of featurettes lasting between ten and fifteen minutes each. “Enter the Coven” is the expected behind-the-scenes piece about this season, with interviews from cast members. “Zombie Halloween” is about the Halloween episode that features zombies, in case you couldn’t tell by the title. “Meet Ms. Nola” is a quick look at the city of New Orleans, which is where the season was actually filmed, and the crew enjoyed it so much, they stayed there for this year’s Freak Show. None of these are all that insightful, interesting only in a very superficial way.

Still, this release is cool because of the fantastic episodes, whether or not the extras are any good.

American Horror Story: Coven is available now.

TV Review: ‘American Horror Story: Freak Show’ – ‘Massacres and Matinees’

Article first published as TV Review: ‘American Horror Story: Freak Show’ – ‘Massacres and Matinees’ on Blogcritics.

The latest miniseries in the American Horror Story franchise, Freak Show, presents, this week, “Massacres and Matinees.” The people of Jupiter are suspicious of the freaks camped just outside of town as more bodies pile up.  Strongman Dell Toldeo (Michael Chiklis, The Shield), on the run after killing a man in Chicago, offers to keep the carnival safe, and given an inch, he takes a mile. This is much to the dismay of Jimmy Darling (Evan Peters), who doesn’t know he’s Toldeo’s son, and whom thinks he can protect this family on his own. Neither seems to understand the threat brewing, though, when the real killer gets a dangerous new partner.

One thing that strikes me about American Horror Story: Freak Show so far, is that the freaks, those who look abnormal make people uncomfortable, are pretty darn sympathetic. The show almost skews too much this way, hitting us over the head that these are ‘normal people,’ while showing just how monstrous normal-seeming they are. Whether it’s a bratty rich boy with a sadistic streak or judgmental diner customers, the most “average” freaks are the ones of whom to be aware.

This is both important and preachy. Creator Ryan Murphy is all about inclusiveness–and portraying the disabled as strong personalities with much to contribute, very obvious in his network dramedy Glee. It’s a laudable goal, and he’s done much to further the cause. But at the same time, he doesn’t have to hit us over the head quite so heavily. Most viewers are intelligent, and we can form our own opinions without the lectures.

Still, despite the preachiness, or perhaps because of it, American Horror Story: Freak Show is shaping up to be terrific, with wonderful characters. When Jimmy takes a group to the diner and they are kicked out, we feel their pain. As Elsa (Jessica Lange) grows jealous of talented up-and-comers Dot and Bette (both Sarah Paulson), we feel her jealousy and desperation. Ethel’s (Kathy Bates) desire to keep her ex, Dell, away from her son, whom she loves and protects, is quite compelling. Similarly, it’s easy to feel for mother Gloria Mott (Frances Conroy), who would really like a grandbaby but is saddled with a difficult son, to put it mildly. These are all fully realized individuals, played by very strong performers, and along with the rest of the cast, to which Angela Bassett (AHS: Coven), playing a humorous hermaphrodite, is added this week, they sell this series well.

The first of the band dies in “Massacres and Matinees,” as Dell thwarts Jimmy’s attempt to frame him for murder and shifts the blame to Meep the Geek (Ben Woolf). Meep is arrested and slain by his fellow inmates. As disturbing as I find Meep, especially when he is shown biting off bird heads, his passing is moving, both because of the grief he sparks in Jimmy, and because he’s an innocent who doesn’t deserve what happens. I can’t say I’ll miss him exactly, but his demise is masterfully crafted for impact.

As we fall in love with the freaks, viewers still get their fright from Dandy Mott (Finn Wittrock). Wittrock is a stand-out surprise in American Horror Story: Freak Show, and his arc really takes off in “Massacres and Matinees.” As the rich kid who wants to find his place and uses demented means to do so, he creates a monster that is truly terrifying. As Dandy joins forces with creepy clown, Twisty (John Carroll Lynch), the two make a beautifully twisted, unexpected pair that will cause much havoc in Jupiter. I’m not sure where their story is going, but the scenes between them are intense and well-crafted, definitely among the best moments of the hour.

There are just a few things that puzzle me about “Massacres and Matinees.” Why does Elsa kowtow to Dell so easily? Sure, his masculine energy may be attractive to her, but she’s been in charge a long time, and she doesn’t seem the type to give up so easily, a conclusion echoed when she indicates multiple times that he displeases her. I’m also not sure why Dell frames Meep instead of Jimmy, whom he doesn’t seem to care about it, even with their blood connection. But overall, it’s pretty good, and I’m getting used to the musical numbers of songs not yet written in the time period the show takes place, 1952, now that it’s clearly a deliberate decision.

American Horror Story: Freak Show airs Wednesdays at 10 p.m. ET on FX.

AMERICAN HORROR STORY: COVEN Far From "Dead"

Article first published as TV Review: 'American Horror Story: Coven' - 'The Dead' on Blogcritics.

***Note: This series is rated TV-MA for good reason, and viewer discretion is advised due to mature content. It is impossible to discuss the latest episode without referencing said content, so while I will keep things as light and profanity-free as possible, some of the subject matter will definitely be offensive to some readers. Please let this serve as your warning.

FX’s American Horror Story: Coven has been hitting it out of the park by delivering a more character-driven story than in years past, and providing the material and actresses to back it up. This week’s installment, “The Dead,” which serves as the mid-point of the season, reveals a lot about several of the players, and, through death and sex, some peace is found, as temporary as it might be.
“The Dead” starts with Kyle (Evan Peters) before his death. He’s joking with his frat pals and talking of his dreams in a tattoo parlor. There is little doubt that he has the drive and talent to back up his goals, and his future will be bright, indeed. Except, he’s now dead, reanimated bits of those friends sewn to him, as demonstrated by the glimpses of their tattoos on his patchwork body.

It’s no wonder Kyle is having trouble adjusting to the circumstances. Besides not being able to speak the words in his brain, which has not been dulled, he’s frustrated at his predicament. He didn’t ask to become the monster he’s been made into, and every thing he had hoped for has been flushed down the toilet. As far as he’s concerned, his life is (literally) over, but he has the added torture of being conscious of the wasted potential.

Peters captures all of this internal monologue brilliantly, eyes dancing with un-vocalized emotions. We feel his pain, and find a way to sympathize with him despite the horrible things he’s done, like slaughtering his mother. Clearly, anger and confusion is driving his actions, and he can’t be blamed for everything. By the end of “The Dead,” he is starting to find himself again, and surely he can heal. Maybe.

Madison (Emma Roberts) is going through the exact opposite problem. Instead of having feelings she can’t understand or express, she’s plagued by a lack of feeling, which Roberts plays with such effect as to impress any who watch. She’s going to be an actress to watch. Her numbness starts before she’s killed and brought back, by the way, citing her utter lack of caring about being gang-raped in an earlier episode. Burning herself doesn’t work, in fact, nothing does. Until she finds Kyle’s penis. Inside of her.

Since Madison has only murdered those who deservd it (except Kyle, accidentally), it’s easier to get behind her. She’s not a nice person, to be sure, but that can be chalked up to a young girl who found fame at an early age and is putting on a brave face to hide fear. She is more talk than action, and she did not deserve to die, or to feel this helpless and broken.
There’s something kind of sweet about Madison and Kyle finding one another in this situation. They have the death thing in common, something no one else would understand. It seems to give them both pleasure and helps them stay centered. They’re technically consenting adults, or close enough to it. What harm would their relations cause anyone?

Besides Zoe (Taissa Farmiga, this season’s MVP in an intensely crowded field), I mean. She’s used to not being the prettiest girl in the room, so she is disappointed, but not surprised, when she catches Kyle with Madison. I feel bad for Zoe here, I really do, but she has to understand why and how her two sort-of friends ended up together right? Plus, they are nice enough to invite her to join in.

Now, anytime a threesome crops up in movies or television, it’s a recipe for disaster, probably much like in the real world (I assume). There is bound to be jealousy and hurt feelings and doubts about the depth of attachment. That’s unfortunate, because American Horror Story: Coven has worked so hard to make us like all three of these individuals that the viewer will be loathe to side against one or more of them. But I guess that’s life, and since Kyle is dead, Zoe probably can’t snuff him out with her fatal nether regions, which makes their pairing ideal.

The beauty about this crazy sex hookup is that Zoe needs love and support right now, so getting it doubly should boost her confidence. See, Cordelia (Sarah Paulson) has warned Zoe that Fiona (Jessica Lange) might have it out for her since Fiona killed Madison just because the elder witch suspected Madison might be her replacement. With Spalding’s (Denis O’Hare) tongue restored long enough to confirm Fiona’s misdeeds and Zoe’s own power growing, the teenage witch needs to watch her back.

On a side note, does anyone really think Spalding will stay dead? He’s like the fifth major character to die this season in only seven episodes. It kind of takes the bite out of death when everyone keeps coming back, though, admittedly, I haven’t been ready to lose anyone that is killed off, and it would sure be novel of an American Horror Story run to still have all of its main players intact for the finale.

Fiona does have other things on her mind, which might give Zoe some breathing room. Throughout “The Dead,” Fiona is hooking up with The Axeman (Danny Huston, Magic City). Like Zoe, Fiona is having a crisis of faith in herself, feeling her abilities waning and her age creeping up on her. The Axeman provides Fiona with a similar injection of, um, bravado, which is even enough to override the creepy confession by The Axeman that he has been watching Fiona since she was eight.
“The Dead” seems to equate sex with a source of comfort and strength. I feel like this is a just and apt statement to make. While sex does require the baring of one’s soul, it also gets the blood coursing, sure to pump up the energy level of those effected. It’s an obvious and blatant metaphor, but it works.

Let’s hope it’s enough to get both Zoe and Fiona back in fighting form. With Hank (Josh Hamilton) packing as much firepower as he is, the house of witches is in deep trouble. This is an especially bad time for him to attack as the coven is missing two of its own.

Yep, there’s yet another subplot unfolding this hour. Queenie (Gabourey Sidibe) and Madame Delphine (Kathy Bates) seem to be bonding quite swimmingly, sharing some super-sized fast food in the middle of the night, even getting over Delphine’s racism just a bit. But after Delphine confides a dark secret to Queenie, thinking her friend, who is helping her turn a new leaf, will be able to look past this latest darkness, Queenie gives Delphine to her sworn enemy, Marie Laveau (Angela Bassett), earning Queenie a place in Marie’s group.

This is a very sad twist. The women really did seem like pals and were finding some legitimate common ground. Queenie’s disgust is understandable, of course, but Delphine really is making an effort to change. And Delphine’s comments about Queenie’s skin color are not completely off the mark, an observation that Marie seconds. I want Queenie to fit in back under Fiona’s roof, but maybe she just doesn’t.
Is American Horror Story telling us that some people don’t deserve second chances? Had Delphine continued her life style these past centuries, I would absolutely be in favor of flaying her, as Marie and Queenie do. However, Delphine served a long prison sentence buried in a box and seems to have learned her lesson. She deserves better.

Viewers deserve exactly what we’re getting: a sharp, witty, well-written, phenomenally-acted, highly engrossing tale. American Horror Story: Coven has surpassed the second go-round of the anthology series and is vying with year one for the best run of this fantastic show. If every season is this good, I hope it runs for many years to come.

American Horror Story: Coven returns in two weeks, Wednesdays at 10 p.m. ET on FX.

COVEN Intense New AMERICAN HORROR STORY

Article first published as AMERICAN HORROR STORY COVEN Review on Seat42F.

FX’s AMERICAN HORROR STORY begins its third outing this week. Subtitled COVEN, this year’s story is about witches. There is a school in New Orleans where young girls with special powers can be sent for training. With the reputation and wide-spread knowledge about the facility, and the existence of magic in general, slipping away, senior witches have differing opinions on what direction in which to take their kind in the modern age.

There are many different, distinct stories introduced in the first episode, “Bitchcraft.” The first is that of Madame Delphine LaLaurie (Kathy Bates, Harry’s Law), a cruel mistress who lived hundreds of years ago. She has a collection of tortured souls in her attic, and will not hesitate to punish, even for things that are not her victim’s fault. She is one scary person. She is also obsessed with youth, a quality that not only applies to her in this cast.

Bates is fantastic, as one might expect, creating a character both chilling behind closed doors, and refined and polite in public. She builds the layers of the part carefully, smoldering anger and power below the surface, and definitely grabbing viewer attention every second she is on screen. It is not clear how she will fit into the larger tale, as the connections are not drawn until the end of the hour, but they are done in a clever and surprising way.

Besides Bates, fans of the anthology series will know right away to expect great things from Jessica Lange and Sarah Paulson, playing wealthy widow Fiona Goode and potion-making headmistress Cordelia Foxx, respectively. After all, they’ve shared scenes in past years, and have already developed interesting and memorable characters for the franchise. They appear poised to do the same again in AMERICAN HORROR STORY: COVEN.

Lange’s role this season seems to allow her to be more wild and free than we’ve seen her previously. This is a woman not only with confidence, as Sister Jude had, but with the ability to back it up, as neither of her other parts possessed. One can see just how much fun the actress is having, and that really adds to the enjoyment.

Paulson plays things closer to the vest, less brave than last year’s Lana. Yet, she still gets delicious drama with Lange, knowing as these writers do that the two play well off of one another, and using that to their advantage. As mother and daughter this time around, Fiona and Cordelia have a complicated history, and while we’ve seen the two performers at odds on screen before, this time seems different. It’ll be interesting to see how far this volume veers Lange and Paulson away from the previous.

We also have the girls at the school. The main protagonist seems to be Zoe (Taissa Farmiga, who was in season one), a girl who doesn’t understand her skills, and whom has accidentally killed. Sent by her grandmother, Myrtle Snow (Frances Conroy), to the school, Zoe has a lot to learn, but is also quick to figure things out. She’s a very strong presence, surprising for someone with so few screen credits. It’s certain she’ll hold her own.

Zoe’s classmates are Madison Montgomery (Emma Roberts, Nancy Drew), a famous movie star, Nan (Jamie Brewer), a clairvoyant, and Queenie (Gabourey Sidibe), a human voo-doo doll. While Queenie and Nan are not main characters, I do like the dynamic of the group as a whole, a twisted bunch of misfits, and so hope they recur often. The four girls already have a good chemistry, especially between Zoe and Madison, not necessarily a pleasant relationship, but an entertaining one.

AMERICAN HORROR STORY: COVEN is the year of the woman, with only two men, Evan Peters and Denis O’Hare, in the main cast. Besides those listed above, Angela Bassett (Betty and Coretta) makes quite an impression in her guest spot, and Lily Rabe delivers an impact in a small part that will surely expand in other installments, though it’s far from obvious how that will happen. With all of these wonderful females, I can’t imagine a better grouping for a witch story.

This season also proves to be more brutal than the first two, with some very graphic sex and violence, sometimes combined, in the first episode alone. Each season of AMERICAN HORROR STORY has its startling and cringe-worthy scenes, but to see so much, so early makes me think there is a lot more in store. It may not be particularly scary, at least not yet, but it certainly pushes the boundaries of the genre, as well as what can be seen on basic cable.

“Bitchcraft” impressed me a lot. My hopes were high, given the quality of earlier installments and the resumes of those who signed on for COVEN, but the shock factor still got to me, and Farmiga, in particular, showed something unexpected. If this episode is typical for what the year has in store, it may be the best season thus far.

AMERICAN HORROR STORY: COVEN premieres Wednesday, October 9^th at 10 p.m. ET on FX.