"Checking In" to AMERICAN HORROR STORY: HOTEL

Article first published as AMERICAN HORROR STORY: HOTEL Review on Seat42F.

AMERICAN HORROR STORY -- "Checking In" Episode 501 (Airs Wednesday, October 7, 10:00 pm/ep) Pictured: Kathy Bates as Iris. CR: Suzanne Tenner/FX

The acclaimed AMERICAN HORROR STORY is back for its new series, HOTEL. As fans have come to expect, AMERICAN HORROR STORY: HOTEL keeps much of the familiar cast, including Kathy Bates, Sarah Paulson, Angela Bassett, Evan Peters, and Denis O’Hare, with some other Murphy favorites, like Wes Bentley, Cheyenne Jackson, and Matt Bomer, thrown in. This time, the setting is an old hotel in modern-day Los Angeles, and the scary begins right away.

To help viewers ease into the world, the premiere, “Checking In,” starts with a couple of ‘normal’ people (Kamilla Alnes and 666 Park Avenue’s Helena Mattsson) arriving at the Hotel Cortez on vacation. This is nice because it gives viewers an ‘in’ to experience the world of the hotel, without needing any prior knowledge. We find out what the girls find out, and the disturbing, weird bits happen slowly at first, but not too slowly, to give the audience time to adjust.

We need the time to adjust because AMERICAN HORROR STORY: HOTEL is probably the weirdest of the five seasons thus far. It’s less clear who the characters are and what is going on than in the first four years, “Checking In” keeping plenty of secrets. This is not a complaint, but it certainly feels like a bit of a different approach, as past seasons generally gave us at least a few main people whom we could understand right off the bat.

The closest we get to that in episode one is Iris (Kathy Bates), who works the reception desk. The reason she is at the Hotel Cortez is explored in the first hour, helped along by a flashback to the mid-1990s. I believe we’ll get others as time goes on, but most of the main cast, including The Countess (singer Lady Gaga), are much more shrouded in secrecy, and it will take some weeks before viewers will begin to understand them.

As usual, the entire main contingent does not show up right away. But those that are present are, without fail, very interesting. Wes Bentley makes a great hero (presumably) as police detective John Lowe. Sarah Paulson finds yet another completely different personality as Hypodermic Sally. Matt Bomer is magnetic as The Countess’s lover. Chloe Sevigny makes Alex Lowe anything but the typical housewife, and is already showing a lot of complexity. Denis O’Hare is particularly marvelous as Liz Taylor. And we get a disturbing scene with guest star Max Greenfield, who departs quite far from his role of Schmidt on New Girl.

Those people are the reasons viewers will want to tune in weekly for AMERICAN HORROR STORY: HOTEL. Creators Ryan Murphy and Brad Falchuk have become experts at taking a bunch of very, very talented actors and letting them play parts that showcase their range and stretch their skills. It’s an absolute pleasure just to see the roles that these actors create, and even the most villainous of them find a way to make us care about them. “Checking In” only teases what this season has in store, but even with it being light on the mythology of the miniseries, it finds a way to hook the audience.

Will AMERICAN HORROR STORY: HOTEL be as great as Freak Show or the first season, my two favorites? My gut instinct tells me no, but it’s pretty early to make that judgment. I already like it a bit better than the worst of the bunch Asylum, which was still a very good batch of television installments. The important thing is that it is worthy of the franchise and kicks off the season in an intriguing manner.

AMERICAN HORROR STORY: HOTEL airs Wednesdays at 10 p.m. ET on FX.

THE GOOD WIFE Good "Source" For Drama

Article originally written for Seat42F.

This week’s episode of THE GOOD WIFE on CBS, “Open Source,” raises a timely debate in a very intriguing case-of-the-week, reminding us why this show alone has the talent to make formulaic stories feel like they’re not so. It also has one of the worst things a person has ever done on the series, and a rocky go for two couples. Needless to say, it is immensely enjoyable.

Let’s start with the case. Diane (Christine Baranski) and Finn (Matthew Goode) take on Nancy (Mamie Gummer) in a battle of wits over a tragic accident that occurred because of a 3-D printed gun. The courtroom battle in front of liberal Judge Abernathy (Denis O’Hare) goes back and forth, with the first and second amendment rights debated. THE GOOD WIFE doesn’t seek to answer whether such a gun’s designs should be freely available online, even though I believe it leans towards no, but instead lets both sides play out in an intriguing manner. When this show is at its best, it makes the audience think, and I hope last night’s episode did that for more viewers than just me.

Because this is about guns, Diane’s seldom-seen husband, McVeigh (Gary Cole), enters the picture. The two disagree vehemently on the politics of the issue, and there’s also the ghost of Will, who saved Finn’s life from a courtroom shooter, hanging over “Open Source.” Diane and McVeigh’s marriage is tense as she oversteps her role as a wife in order to do her job as an attorney and honor a friend’s memory. But again, rather than tell us exactly what each character is motivated by, the writers let the show speak for itself, presenting issues, then stepping back.

Diane and McVeigh are a terrifically delicious pairing. Their spark is strong, and even when Diane wrongs McVeigh, he understands why. As long as she is willing to apologize and promise not to do it again, which she does without prompting, he is willing to forgive and forget. Besides making for good drama, this is an inspirational look at how to make an on-paper mistake of a marriage work beautifully, both expanding their worldview for the other.

Alicia (Julianna Margulies) also has a romance with a man that is threatened by a tough decision. When Johnny (Steven Pasquale) urges Alicia to attack Peter (Chris Noth) alongside Prady (David Hyde Pierce), Eli (Alan Cumming) threatens to take away a promising next campaign from Johnny. At first, he caves, but once Alicia brings up their personal connection and Marissa (Sarah Steele – promote her to the main cast already!) scolds him, he rallies, sacrificing possible professional advancement for the woman he has feelings for. He is rewarded at her apartment later, so I guess his actions pay off, but it will be anything but smooth sailing for them. Though, this might open the door for Alicia to finally leave Peter, especially if she wins the election and they are both in the offices they want.

Sadly, on the other end of the spectrum, Louis Canning (Michael J. Fox) acts in the most despicable of manners. On his possible death bed, which ends up not being so, he plays on Alicia’s sympathies to hurt her reputation. That David Lee (Zach Grenier) is complicit is even worse, making me think this wolf in the firm will have to be dealt with sooner, rather than later. Still, Canning is the main instigator, and after Alicia rushes to his bedside, I can’t believe he’d be so callous as to do this to her. Hopefully, the results won’t be too big a deal.

“Open Source” is yet another example of an excellent episode of THE GOOD WIFE, of which there are many. Most of its arcs are fairly self-contained, other than some relationship stuff, and yet it never feels that way. The show has done such a great job of building this world that even stand-alone cases seem like part of a larger fabric, rather than procedural. If the show relied too much on them, it would suffer, but the writers never do, making it much more about the characters than any short-sighted stories. THE GOOD WIFE deserves its high esteem as the best regular-season show currently airing on the broadcast networks (Hannibal may arguably beat it, but it’s a summer series).

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

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.

THE NORMAL HEART Beats Strong

Article first published as THE NORMAL HEART Review on Seat42F.

HBO’s THE NORMAL HEART is not only a great TV movie, one of the best the pay-cable network has made in years, and that’s a high bar, it’s also an important story that everyone should know about. This moving, frustrating, beautiful film tells the based-on-truth tale of gay rights activists in the 1980s fighting an epidemic that the government doesn’t want to acknowledge or investigate. It’s a dark chapter in our history, and only by remembering it can we try to prevent such a thing from happening again.

The picture of the gay community in New York City at the time is an interesting one, certainly something I never learned about growing up, and sex means something different to them than to most people. They fought hard for the right to love whoever they want, even if they don’t have legal protections that straight people do, and they see giving up this right as taking a step backward. Even when it becomes likely the virus is spread through sexual contact, many wonder if that’s a lie spread to tear them down. These are people who won a war but still justifiably feel persecuted, and can’t bear the thought that they might be pushed back into the past.

Because of this, they work against their own interests. As Dr. Emma Brookner (Julia Roberts, August: Osage County) pleads with them to stop screwing, many use the meetings to raise awareness as hookup spots. It’s a very slow crawl to even convince those affected that they must do something, let alone the powers in charge. If the gays won’t help themselves, what chance do they have of anyone else helping them?

The main character is Ned Weeks (Mark Ruffalo, The Avengers), an asshole writer who can’t keep his big mouth shut. He has earned the ire of many of his fellow homosexuals by complaining about how their rampant sexual activity prevents them from finding love, the one thing he desperately wants. But he also has friends, and once they begin falling ill to the mysterious “gay cancer,” he is convinced something must be done and begins a crusade to do so.

Along the way, Ned meets and falls in love with a New York Times reporter named Felix Turner (Matt Bomer, White Collar). Felix is supportive, but not part of the campaign, giving Ned a much-needed life apart from his work. As Ned’s colleagues, including good-looking, amiable Bruce Niles (Taylor Kitsch, Friday Night Lights), abrasive and inquisitive Tommy Boatwright (Jim Parsons, The Big Bang Theory, reprising his role from the stage production), and government employee who doesn’t want to make waves Mickey Marcus (Joe Mantello, who played Ned on Broadway), grow exhausted with Ned’s public rants, Felix is the only chance Ned has to calm down.

Which is why it probably won’t surprise you when Felix catches the disease.

THE NORMAL HEART, based on the Tony-winning play by Larry Kramer and directed by American Horror Story’s Ryan Murphy, is a very personal telling of the crisis. Through Ned, we see loved ones hurt and dying, feel the fear that overtakes him, and the desperation that he has to stop the virus. We experience his pain when his brother, Ben (Alfred Molina, Spider-Man 2), tries to help, but just can’t accept Ned as his equal. We connect with the horror and compassion, loving Ned even through his abrasiveness. Anyone not emotionally affected lacks a soul.

The sprawling cast, which also includes Jonathan Groff (Looking), Denis O’Hare (True Blood), Corey Stoll (House of Cards), Stephen Spinella (Milk), BD Wong (Law & Order: SVU), Finn Wittrock (Masters of Sex), Adam B. Shapiro, Danielle Ferland, and more, shows us many different individuals, and how each copes in a different way with the events. Some have small roles, but Murphy deftly lets the actors shine through, each conveying a lot in a limited amount of time, showing us many varying individuals. Not everyone agrees, but the variety of opinions and personalities are why THE NORMAL HEART feels so authentic.

I do think the opening of THE NORMAL HEART may hurt the film’s impact, immediately turning off conservatives by the open displays of gay love and promiscuity. These are the people who most need to watch, to begin to see the humanity and suffering they’ve ignored or ignorantly been disgusted by. But it also succeeds in dropping us into a world and mood that is merely the starting point of the story, giving the script a foundation to start from before it turns dark. Stick with the movie for ten minutes, and you’ll start to have your eyes opened.

THE NORMAL HEART is a moving masterpiece, a triumph for HBO and all involved, and one that will not soon be forgotten by any who witness it. 

If you missed last night’s premiere, please make sure to catch a rerun, as the network should be playing it often for some time to come.

AMERICAN HORROR STORY Finale Full of "Wonders"

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

Editors note: Please be advised that this article contains spoilers.

FX tied up its third season of American Horror Story, subtitled Coven, this week with “The Seven Wonders.” It’s time to pick a new Supreme to head the Coven, and the four younger witches are tested to see which one has the magical powers necessary to take command. All does not go smoothly, but we are left with a definitive ending.

First of all, it is a little disappointing that the witches are trapped in a backwards power structure in which the one with the greatest magical abilities, i.e. the strongest, is the leader. We’ve seen with the current Supreme, Fiona (Jessica Lange), that skills have little to do with wise decision making. Even with a Council to support the head, shouldn’t this coven make a change, rejecting the old way?

But that’s nit-picky and doesn’t really apply to the story, since at least the characters and the world stay pretty consistent over the thirteen episodes. “The Seven Wonders” as an installment is excellent.

The opening of “The Seven Wonders” is basically a Stevie Nicks (herself) music video, which is fine. It’s a great song and the visuals are beautiful. It may not completely fit with the tone set, but it’s fun, original, and a really cool way to kick off this season finale. I enjoyed it immensely.

After this, the real plot begins with Zoe (Taissa Farmiga), Queenie (Gabourey Sidibe), Madison (Emma Roberts), and Misty (Lily Rabe) being tested. Given the unpredictability of the writing, it’s difficult to predict ahead of time how it might turn out. Some viewers might see Misty’s death during the trial coming; we’re repeatedly warned that this is a very dangerous, sometimes fatal, process, and Misty shows hesitation and limitation early in the contest. But few will predict Zoe’s death during foolish goofing off or Madison’s victory.

Madison seems appropriate to follow in Fiona’s footsteps because they’re a lot alike. They’re both selfish and cold, pretty and vain, bitchy and with sass. Madison appears downright evil at times, such as when she refuses to bring Zoe back from the dead, even though it’s well within her power to do so. But so does Fiona, who plans on slaughtering everyone, including her own daughter, Cordelia (Sarah Paulson), to buy herself thirty more years as Supreme. So the pointed shoes do fit.

But Madison also seems the early, obvious choice in Coven, so if “The Seven Wonders” had left things there, it would have been a great disappointment. Instead, the whole situation plays out in such a manner that Cordelia must draw her own inner strength to the forefront, enter the race late, and beat Madison. Which she does, quite effectively, meaning the new Supreme is not one anyone would have considered at the beginning of the hour.

American Horror Story: Coven sets up Cordelia’s rise throughout the season. There are many set backs for her, to be sure. Being blinded, learning her husband is a witch hunter, any interaction with her mother; these are things that tear Cordelia down. However, knowing her gene pool and seeing glimpses of greatness, it’s not surprising when Cordelia does overcome the odds to achieve victory. When her new-found power is mixed with her kindness and compassion, she is the likely candidate to lead the coven into a new era of tremendous potential and growth, which she does by publicly reaching out to the witches of the world.

The ending of Coven is the most open-ended of any American Horror Story season so far and begs for followup. While there is some closure, with many characters dead and Cordelia advancing the school into a new period with Queenie and a resurrected Zoe by her side, there are also all sorts of implications that remain unexplored. How does the world accept the existence of witches? What will bringing so many together do? More than the first two seasons by far, Coven deserves a second outing, which would be a completely different story.

Now, as much as I like this ending, there are some weak points in “The Seven Wonders.” How is Queenie accepted back so readily after her betrayal? Why isn’t Zoe more moved by Misty’s death? Is Myrtle (Frances Conroy) really so selfless that she’d orchestrate Cordelia’s rise to power and then offer herself up for death for no other reason than to leave the coven in good hands? And was that necessary, as no one would have ever told on Myrtle for her transgressions? This finale should have been two hours, as these bits could mostly have been explained or delved into more deeply, and the hell part of the competition, skimmed quickly over, could have been its own episode. But these complaints pale in comparison to all the terrific character moments this season, and even this hour.

Among the best moments are Cordelia grieving over Misty as the gal turns to dust in Coredelia’s arms, Kyle (Evan Peters) strangling Madison to death, totally deserved, and the departed Spalding (Denis O’Hare) showing up to help hide the body, and Cordelia beating Madison in the competition. These are all defining scenes, the culmination of season-long arcs that provide satisfaction and closure.

Best of all is the finale confrontation between Cordelia and Fiona. Fiona comes to kill her daughter, but has waited too long and is too weak to do so. Fiona’s plan and deceit are sound and worthy of her, but she overestimates herself. Cordelia, bolstered by her new authority, finds it in herself to forgive her mother and let her die in her arms. The words they say to one another are enlightening, and both actresses play the scene with such rich tension that it will be remembered long after being viewed. This is nothing short of brilliant.

Just as good is Cordelia’s hell, living in domestication with The Axeman (Danny Huston). Some may argue that The Axeman isn’t important enough to Cordelia to spend eternity with, in stark contrast to the existence Madame Delphine (Kathy Bates) and Marie Laveau (Angela Bassett), who had their perfect ending last week, are trapped in. But I think that’s kind of the point. Fiona didn’t want to be tied down or normal, and now here she is stuck with a man she doesn’t love. It’s horrible for her. Papa Legba (Lance Reddick) laughing at her is icing on the cake.

There are also little bits just for the fans out there, meta references to make us smile. Madison names her hell as being in The Sound of Music reboot, and not as the lead, a poke at the recent broadcast network effort. This is even more fun when you consider Glee, another series from the mind of Ryan Murphy, is also a musical, and so he’s almost firing off a shot at his competition. It’s amusing that Sarah Paulson’s character is once more in front of TV cameras in “The Seven Wonders,” similar to her part at the bottom of Asylum. The Last Supper tableau just before the games begin is terrific. Kyle asking Spalding “Who are you?” – two main characters who only share this one scene in the entire season, is hilarious. These may be small gags, but it’s nice that Murphy and company include them.

And so we have another stellar season of American Horror Story to look back on. Basically, this season has been an amazing tale of some fascinating women, thoroughly well done. Better than Asylum, and arguably just as good as the first outing, albeit in different ways, Coven is a fantastic accomplishment, proving the show’s creators know what they’re doing in regards to crafting a tale and picking the right cast. I can’t wait to see what they come up with next.

American Horror Story has been renewed for a fourth season, and will return with a fresh setting and complement next fall.

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.

True Blood The Complete Fifth Season

Article first published as DVD Review: True Blood The Complete Fifth Season on Blogcritics.

For lovers of HBO’s True Blood, eagerly anticipating the upcoming sixth season, a great way to pass the wait is to relive the most recent batch of episodes. With True Blood: The Complete Fifth Season now available on Blu-ray, DVD, and download, catching up is easier than ever.

Season five, like many recent years of True Blood, is a season of disjointed stories. As the cast has expanded and grown, the tales have stopped lining up with each other so neatly. We have all of our core characters, and they are all served throughout the year. But they don’t necessarily come in contact with one another, nor will their challenges be connected, which is actually quite cool, allowing for a larger picture of the world.

A major arc in season five revolves around Vampire Authority. We are introduced to this group, supposedly the leaders of their species, but not surprisingly, there are fractures among them. Vampires are an unpredictable, dangerous, spirited group, and anytime a number of them come together, they are bound to bicker. Toss in a religious cult which seeks to control the authority, and you’ve got quite a mess.

It’s not surprising that our favorite fangers fall into this mess. Bill (Stephen Moyer) and Eric (Alexander Skarsgard) are both smack in the middle of this, although their loyalties are shifting, and sometimes it’s hard to tell whose side they are on. While some viewers may have liked one of these two men more than the others throughout the run, allegiances may shift based on this season’s story. Matters are only complicated further when Jessica (Deborah Ann Woll) gets involved.

Combined with the followers of Lilith (Jessica Clark), a return by fan-favorite Russell Edgington (Denis O’Hare), and the fantastic newcomer Roman (Law & Order: SVU‘s Christopher Meloni), the vamps not only make up a huge portion of each installment, but is certainly one of the most fun arcs, with a twist ending and major consequences to be explored next year.

Not that every vampire is anxious to get involved in the civil strife among their kind. Tara (Rutina Wesley), recently turned, has a lot more to worry about than political allegiances. Luckily, she has Pam (Kristin Bauer van Straten), her maker, there to assist. Pam may be reluctant to help Tara, but the dynamic between them is a true joy, and really adds something fresh to True Blood.

While Bill and Eric are off with their own kind, this leaves Sookie (Anna Paquin) to get into her own trouble, unmolested by her would-be suitors. Fans of True Blood have been divided by the addition of fairies to the story, but given that this is Sookie’s heritage, it makes sense to explore it. Considering her status as a magnet for danger and conflict, of course plenty of that is present as well, but without her vampire protectors this time. Though Jason (Ryan Kwanten) is around, since this concerns him, too.

Thankfully, the season provides some meaningful development to many of the supporting characters this year, too. Sam (Sam Trammell) tries to fend off those who would reveal the existence of all supernatural creatures to the public. Hoyt (Jim Parrack) dives into the bigger players’ circles. Andy (Chris Bauer) has more than one woman to contend with. Alcide (Joe Manganiello) deals with who will lead his wolf pack. Lafayette (Nelsan Ellis) is haunted by his dead lover, Jesus (Kevin Alejandro). All of these people have story in the past, but they really get beefed up this year, making for a more rich, complex tale.

The exception to the praise-worthy list of threads is Terry’s (Todd Lowe) bits. Despite the inclusion of guest star Scott Foley, seeing Terry run out on Arlene (Carrie Preston) to battle a fire monster is very disappointing. The plot doesn’t unfold all that smoothly, and the character fails to come across as noble, as he should. However, one bad story out of all of the others listed above isn’t too shabby, and it’s still a pretty strong season overall.

As usual for an HBO release, True Blood: The Complete Fifth Season has quite a few extras that should make fans happy. Interviews with writers of the show give insight into each and every episode. Five audio commentaries allow the actors to weigh in, too. Episode six, arguably quite pivotal in the season, gets further exploration and discussion. “Authority Confessionals” allow us to get to know some of the new vampires, “True Blood Lines” details many of the characters’ connections, and “Enhanced Viewing” contains reminders of past and future events, as well as giving depth to the details. And there’s more.

True Blood: The Complete Fifth Season is available as a seven disc combo pack that gives buyers Blu-ray, DVD, and digital copies of every episode. In an age where media is in flux, it’s really cool that one purchase would be accessible across many platforms, and HBO should be lauded for putting out such sets, as they have also done for other series. It’s really quite a great idea.

True Blood: The Complete Fifth Season is available now.

The Good Wife Finds Out "What's in the Box?"

Article first published as The Good Wife Finds Out "What's in the Box?" on TheTVKing.

So much is happening in The Good Wife's season four finale, "What's in the Box?" which aired on CBS this week. Zach (Graham Phillips) thinks he spots voter fraud, sending Lockhardt Garner scrambling into multiple court battles to try to save the election for Peter (Chris Noth). Meanwhile, who will be splitting off to form a new firm is revealed, personal relationships are rocked, and the election results come in.

One of the things The Good Wife does well is build a stable of reliable, fantastic recurring players. Lots of them appear in "What's in the Box?" lending a bit of extra excitement and tension to the proceedings. Among those returning favorites in this episode are Patti Nyholm (Martha Plimpton), Colin Sweeney (Dylan Baker), Judge Arbernathy (Denis O'Hare), Judge Lessner (Ana Gasteyer), and Jordan Karahalios (T.R. Knight).

But while all of these familiar faces are wonderful to see, none are the focus of the episode, as The Good Wife does know how that their bread and butter is the core cast, nearly all of whom get development and plot in this finale.

Zach doesn't always have a lot to do, but he is instrumental in the various legal battles that play out throughout the installment. It's nice to see him have such a vital part, not only starting the trouble, unintentionally, but also getting to share credit for his dad's victory, sort of. It's a good use for the teen, who looks to possibly have an increased role moving forward if he stays involved, maybe working for his dad?

The brilliant maneuvering, as the characters zip from courtroom to courtroom, is highly entertaining and sharpy crafted. The Good Wife has presented many interesting cases in its day, but the ones in this episode are some of the most enjoyable, especially after the flip, when our heroes must argue the opposite side of the previous debate.

I'm not so thrilled with the election outcome. Yes, I'm happy that Peter wins, but at what cost? It seems pretty obvious that his team cheats, whether Eli (Alan Cumming) is involved or not, and he very well may be. It makes the win hollow. If only the 30,000 votes are rigged, it won't change the results, but since we know that some false counts got in there, it opens up the possibility for others. Is this the arc for next year, with the mystery slowly uncovered?

Despite this scandal, Peter's reputation is not damaged in my eyes. He may not tell Will to reveal the secret (who would?), but he doesn't ask him not to, either. It seems obvious that Peter has no knowledge of the rigging, so his hands are clean there.

Of course, that means Will (Josh Charles) does something shady, again. He's been a murky character at times, and the choice to tell the court about the false votes fall to him. I feel like his decision is not an easy one, as Alicia (Julianna Margulies) could be upset at him for exposing Peter, rather than running to him for comfort, so that would shoot himself in the foot with her. Yet, by protecting Peter, Will keeps Alicia's husband looking good to her. Neither choice will get him what he wants, so should he keep Alicia happy, or do what's right? He chooses Alicia's happiness, proving his feelings for her are real, even if he doesn't get her at this juncture.

Peter's other misstep, trying to intimidate and pay off Cristian (Yul Vazquez) to leave Jackie (Mary Beth Peil) alone, can be chalked up to a son protecting his mother. What's more, as funny as Cristian's handling of Peter is, it also hints that Peter's instincts about him could very well be correct.

Alicia is the titular character for good reason, and she has a couple of decisions to make in "What's in the Box?" First, should she renew her wedding vows to Peter, or try again with Will, who shows his continuing interest with a second kiss? Peter promises not to cheat on her again, and he seems sincere. They've spent a lot of time working on their marriage, and I don't think Alicia should throw that away for a guy she hasn't been able to make it work with twice in the past. Which is why I'm glad we don't see her go for Will this hour.

Second, should she stay at Lockhardt Gardner, or split off with Cary (Matt Czuchry) to form Florrick, Agos, and Associates? I think the episode does a great job with the fake out, making us think Alicia might be calling Will in the end, when really, she is telling Cary she is in. I'm glad that is revealed, rather than just showing the cryptic phone call. Alicia needs to do what's best, and that's get away from Will. I figure that's her deciding factor, though there's also the opportunity to begin something new here. I doubt Sweeney's opinion has much weight, even though we see him encourage the move.

With two firms next season, and Diane (Christine Baranski) presumably heading for the bench, the cast is likely to be split. For this reason, I'm glad that new investigator Robin (Jess Weixler) goes with Cary and Alicia, and Kalinda (Archie Panjabi) stay. I hate to see Will left by himself, and we're surely not done with stories set within Lockhardt Gardner. When Cary was by himself, he got far less screen time. I hope to not see that happen to a lead again.

The regrettable thing, though, is that Kalinda feels betrayed by Cary. Say what you want about Cary Agos, but he has handled this whole rebellion with grace and politeness, juggling others' various interests. He doesn't stab Alicia or Kalinda in the back. He does what he can to make everyone happy, while not allowing himself to be pushed around by a firm that hasn't been fair to him. I really hope Kalinda can be made to realize this, and since he won't be her boss, maybe they can even have a romantic relationship. That would be the best case scenario.

I can't help but anticipate next year, the momentum already set for a new and different season, full of surprises and ups and downs. The Good Wife will return to CBS next fall.