CASTLE ROCK Is Off the Map

Article first published as TV Review: CASTLE ROCK on Seat42F.

CASTLE ROCK is a new mystery series on Hulu. Set in the titular town, a small place in Maine that is literally not on the map (after unincorporating), there are is much dark and unexplained that happens here. The latest (first for the series) begins with the suicide of Warden Dale Lacy of Shawshank Prison, an event few believed likely to happen, and it only gets more twisted when it’s discovered that Lancy has kept a malnourished man prisoner in the burnt out section of the facility.

You probably recognize the name Shawshank. After all, there was a very popular film called The Shawshank Redemption set there, and that’s no coincidence. CASTLE ROCK is a Stephen King program that is not based on a specific King novel or short story. Instead, the oft-mentioned locale becomes the setting of this new television series that is very much in the spirit of King’s other works. And while there are numerous references to his writing, no prior knowledge is needed to follow this tale, as much as it can be followed at this time. (That being said, there are Easter eggs galore for hardcore fans.)

A lot about CASTLE ROCK is unknown at the start and likely to be for a while. It’s chilling tonally, similar to the best of King’s adaptations. The colors and lighting are dreary, and every character is hiding at least one big secret. It’s highly serialized, of course, and much better than recent King series like Under the Dome. Instead, I would liken it more to an elongated version of the best of King TV movies or similar genre works like American Horror Story. Though, the show does feel distinctly King-like.

At first, the cast seems sprawling, odd for a show with so few series leads. However, it soon becomes clear that there are a small number of important people that will drive the storu forward, while most play a supporting role, helping the plot along as needed. It seems likely that some of the recurring players will be in most or all of the season.

There are a lot of familiar faces. Terry O’Quinn (Lost) plays Warden Lacy, with Frances Conroy (American Horror Story) along as his wife. Bill Skarsgård (It) is “The Kid,” a.k.a. the man found in the cell that Lacy kept hidden. Noel Fisher (Shameless) is the prison guard who finds The Kid, while Ann Cusack (Mr. Mercedes) is the new warden who has to deal with the discovery and potential fallout. Sissy Spacek (Carrie) is Ruth Deaver, mother to the show’s real lead, Henry (Andre Holland, The Knick). Scott Glenn (The Defenders) is the former sheriff who found Henry when he was lost as a child and is currently shacking up with his mother. Melanie Lynskey (Togetherness) is the creepy girl next door, while Allison Tolman (Fargo) plays her sister. And Jane Levy (Suburbia) is… well, I’m just not sure who she is, but her name is Jackie Torrance, indicating she may be a descendent of Jack Torrance, famously played by Jack Nicholson in The Shining. This isn’t a complete cast list, which should tell you a lot of talented people were all too happy to sign on.

I’m inclined to agree with them all that CASTLE ROCK is worth your time. It’s complex, well-made, visually interesting, and an overall quality production. It’s creepy to the point where I couldn’t watch it right before going to sleep, a distinction I haven’t given a show in awhile. It’s also filled with promise of payoff, as the creators, Sam Shaw (Manhattan) and Dustin Thomason (The Evidence), clearly know their King and having a blast playing in his world.

The first three episodes of CASTLE ROCK are available now on Hulu, with new installments every Wednesday.

Re-MARRIED

Article originally published as TV Review: 'Married' - Season Two Premiere on Blogcritics.

Some series like to start their seasons with a big opener. FX’s Married is not one those programs, nor does it need to be. The quiet, depressing, amusing, realistic look at marriage is all about the characters and the way their complex relationships are portrayed. They do not need big stories or ratings-grabbing stunts to make it good.

It’s funny that, considering what I just said, the first episode of season two is called “Thanksgiving.” Traditionally, sitcoms have used holidays, especially that one, to do splashier plots. Married constantly subverts what one expects from a family comedy, though, and this season premiere is no exception. It isn’t actually Thanksgiving in the episode, and while the set up is familiar, the way it plays out is edgy and unexpected.

I liked season one a lot, but it took some time to get settled into what it was. As Married begins its second run with “Thanksgiving,” though, it’s clear those rough edges have been smoothed out. The half hour both feels at once totally in sync with the previously installments, but also more polished and solid. Fans now understand Russ (Nat Faxon) and Lina (Judy Greer) a lot better, and this knowledge definitely colors how we see them interact. This union has its ups and downs, but there is real love there, and they do make a good team.

I have to take a moment to admire Greer and Faxon’s skills. When the casting was first announced, I was familiar with them both, but usually as second-rate players, so I assumed they would be here as well. This is not the case. Given good material that seems perfectly tailored to them, they have both emerged as worthy stars. I admire both the nuance and the realism in their performances, and their chemistry is fantastic. I think my favorite part of Married is just watching the two in a scene together, which never disappoints.

“Thanksgiving” finds them visiting Lina’s mother, Janice (Frances Conroy, American Horror Story), who is no longer mentally all there. Janice lives with Ed (M.C. Gainey, Lost), who is not Lina’s dad, but has been with Janice for well over a decade. Lina worries that Ed might not have Janice’s best interests at heart, especially when the topic turns to sex. Is she right? And whether she is or not, what is she in a position to do about it, and does she have a right to overrule Ed? Aging parents are a topic many a married couple has to deal with, and I like Married‘s grounded take.

While Lina and Russ are the central characters of married, AJ (Brett Gelman) and Jess (Jenny Slate) are also main characters. Often, while they’ve had tiny subplots, they’ve been regulated to supporting people, coming in far distant in importance from the leads. “Thanksgiving” fixes that, giving them their own, fully fleshed out, interesting B story. It does not relate to Russ and Lina at all, Jess actually has to learn something, and we get to see them both as separate individuals, a welcome development. Plus, there are hilarious little moments for Shep (Paul Reiser) thrown in, making me wish he appeared just a bit more.

Married isn’t the perfect show. Some will find it too serious to be considered a comedy, even though that’s what it bills itself as. However, this is not much different from what HBO and Showtime sell as sitcoms, and while Married is confined to the limitations of basic cable, it certainly has more leash than a show on the Big Four. It expertly finds that middle ground, still funny like the general public might expect, sometimes laugh-out-loud levels of such, but also displaying the depth and talent that the premiums do. I’m very satisfied with its return, a marked improvement over the already-good freshman season.

Married returns Thursday at 10:30 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.

Welcome to the FREAK SHOW

Article first published as AMERICAN HORROR STORY FREAK SHOW Review on Seat42F.

AMERICAN HORROR STORY is back for a fourth season, subtitled FREAK SHOW, with “Monsters Among Us,” airing this week. As in past seasons, the characters and story are new, but many of the performers will look familiar to fans of the anthology series, as actors have returned and taken on new roles. This year’s entry is set at a carnival freak show in Jupiter, Florida, 1952, and thus far, those who make up the troupe seem a whole lot less freaky than the local people surrounding them.

This revelation comes as quite a surprise. When FREAK SHOW was announced, I assumed much of the terror would be delivered at the hands of those who look different. After all, such circuses have always put off a bit of a creepy vibe, and having characters that appear monstrous actually act scary, too, makes sense. But the writers make a different choice here, quickly showing the troupe as a family and those who would threaten them, be they law enforcement, or a bitchy candy striper (Grace Gummer, The Newsroom), or an entitled rich brat (Finn Wittrock, The Normal Heart) and his doting mother (Frances Conroy), as the people to look out for. Nice idea.

The group is led by Elsa Mars (Jessica Lange), the benefactor, boss, and recruiter. She is assisted by bearded lady Ethel Darling (Kathy Bates) and her son, Jimmy (Evan Peters), as well as a bunch of other members of the clan. These people are outcasts from society and Elsa brings them together not only for their own protection, but also to provide a place for them to shine. She is quick to protect her charges, and while she is a bit controlling, she understands and appreciates those who fall in with her, which is how she can inspire loyalty among her followers. After all, she is one of them, of course.

We don’t yet have the whole lay of the land; four main players are completely MIA in the AMERICAN HORROR STORY: FREAK SHOW premiere. This is par for the series, and as the story unfolds, others will naturally be added in. AHS takes its time in crafting a plot, unconcerned with forcing characters into a crowded field or at an unnatural time just because the actor’s name is in the opening credits, as many other shows do.

Among this troupe, there is one person that somewhat stands out because she’s been seen before, and that’s Pepper (Naomi Grossman). Pepper lived in the Asylum of season two, and she is the first character to appear in more than one season of AMERICAN HORROR STORY. Since Asylum is set more than a decade later than FREAK SHOW, we know where she ends up, but not yet how she gets there. It’s an interesting precedent that I hope will be repeated, and fits very well into the new season.

There is one freak that is scary in “Monsters Among Us.” We’re introduced to Twisty the Clown (John Carroll Lynch, Body of Proof), a homicidal clown with a very scary mask (or is it a mask?). Twisty is not one to mess with, and he doesn’t even require a reason to strike. But thankfully he is not part of the main contingent, so hopefully, while there will be some interaction, we’re not asked to care about him as we do the others.

For the most part, I really like “Monsters Among Us,” a cool story that intrigues and entices, but there are a couple of strange choices made. For instance, the camera teases around conjoined twins Bette and Dot Tattler (Sarah Paulson), waiting awhile to reveal them to be two heads on one body. This makes sense to be repeated later in the episode for budgetary reasons, but in the initial introduction, there’s not much reason to build suspense and mystery given that pictures of the character have been widely circulated prior to this. Also, Elsa sings “Life on Mars,” a song written by David Bowie in 1971. It’s a neat performance, but one that definitely feels out-of-time for the early 1950s.

I’m curious about the planetary themes in AMERICAN HORROR STORY: FREAK SHOW. As mentioned, Elsa’s last name is Mars and she sings “Life on Mars,” plus the show is set in Jupiter, Florida. These things cannot be coincidence. Are they meant to evoke otherworldly images, aliens come to Earth, as Asylum showed? Or are they referencing gods, better than men, sitting above us in judgment? Either way could be interesting.

While I was trepidatious about FREAK SHOW, given the content, I am happy to report that the first episode is quite good, up to the standards of the franchise. Check it out when it airs Wednesdays at 10 p.m. ET on FX beginning this week.

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.

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.

The "Madness Ends" for American Horror Story: Asylum

Article first published as TV Review: American Horror Story: Asylum - "Madness Ends" on Blogcritics.

FX's American Horror Story: Aslyum brings its thirteen episode limited run to an end this week with "Madness Ends." With most of the main characters dead or out of Briarcliff, the primary setting, weeks ago, "Madness Ends" feels like an extended epilogue, combined with the previous installment or two. But it all ties together by the close.

My early complaints about the second series of American Horror Story stem from the lack of character development. While the first season has a family as its heart, people we care about, the second season tends to be more about disturbing visuals and events. There are characters, to be sure, but things are happening to them, rather than seeing them take control of their destiny.

This sorts itself out as the season goes on. Once we can get past the disgust of the place, and the extremely evil souls that flourish within, then we can begin to root for Lana (Sarah Paulson) and Kit (Evan Peters), the victims / heroes of the story. This mirrors their own journey, having to get used to the place, and then find their courage, before they can attempt to change their circumstances.

In last week's episode, which is also set mainly post-Briarcliff, Lana and Kit are not in good places. Kit's misfortune comes by circumstance, while Lana just makes bad choices, but it's not a good way to leave their characters. Thus, we definitely need "Madness Ends" to not only redeem the two, but tie up loose ends so that a semi-happy ending might be found.

First, Kit, since he's the slightly smaller of the two stories. Kit is a good, good man. He manages to forgive Sister Jude (Jessica Lange) for locking him up unfairly and treating him so cruelly. But, while for most, finding forgiveness in their heart would be enough, Kit goes a step further and rescues Jude, both from the asylum, and from herself.

It's an incredibly touching story, to see Kit and his children (Brady Allen and Sade Kimora Young) welcome Jude into their home, caring for her, and bringing her out of her shell, restoring her in all of her glory, maybe more glory than she's ever had before. It goes well above and beyond what is expected of people, and they do truly save her, allowing Jude to become kind and have a family, living out her last days in comfort. By the time Death (Frances Conroy) arrives for the last time, Jude is finally ready to go.

What a story of redemption! Jude is run through the gamut, beginning the season as a victim, getting a deep back story, and then being the most tortured soul on the program. She comes full circle as a doting grandmother figure, and Lange has got to be enjoying playing such a wonderful, fully realized character.

As for Kit himself, this great generosity of spirit must be what the aliens see in him. While some may complain about the extra-terrestrial subplot, and the lack of real explanation, I feel like they come to help us, meaning mankind, move into the next stage of evolution. They pick the best man they can find, and help him on his way. The good die young, and Kit is spent by age forty, so they take him somewhere for his reward. It's all a very spiritual and uplifting arc.

Now, onto Lana. Much of "Madness Ends" takes place nearly five decades after the rest of the story, with Lana as an old, well-respected journalist and writer, about to receive a Kennedy Center Honors ceremony. She builds the life that she wants, but she still doesn't seem quite happy, haunted by those dark days that she suffered, and the wrong decisions she made in the aftermath.

But that doesn't mean Lana is a pushover, or ready to die. When her grown up son, Johnny (Dylan McDermott), comes to kill her, she is prepared. She talks him down, feigning love for her child, and then coldly shoots him, finishing the job she should have completed years ago.

I think some of old Lana's guilt definitely comes from letting her son live. Despite the lies that she tells Johnny, completely in character with the fibs in her work, she already knows who he is and what he has been doing. She knows that she should have gone through with the abortion, and that her attempts to give him a better life failed. What's more, she herself inadvertently sabotages Johnny's chance at happiness because she can't resist checking in on him as a child.

Lana may live, the triumphant hero in some eyes, but she will never be happy like Kit. I half expected her to turn the gun on herself after murdering her son, as while she has accepted some of her misery, I feel like this could be what pushes her over the edge. Or perhaps the days she spends with Kit's family aren't enough to crack that hard shell she builds up immediately after Briarcliff, and she is too far gone for this latest tragedy to affect her too severely.

The capstone, seeing Lana and Jude together at the beginning again, watching Johnny go to the places his parents were at and continue his father's work, and even finding out what happens to Cardinal Howard (Joseph Fiennes), also destroyed by guilt and Lana, all serve to really bind the story together in a fitting conclusion. Some things are regrettable, like what happens to the women that Kit initially loves, but, in the end, American Horror Story: Asylum tells a complete and gripping tale, one not likely to be soon forgotten.

My only slight complaint about the hour is that ending old Lana where she does, sitting on a couch near her son's body, feels slightly unfinished. This isn't fully erased for me by the flashback scene, and I wanted just a touch more there.

But other than that, "Madness Ends" is a fantastic episode in a really good miniseries.

I'd also like to mention, even though it didn't really fit in the flow of this review, that the parts of the story involving Lana's expose and her interview are extremely well done. The grainy camera style back then and the expert make-up in the now are both superb, and make "Madness Ends" one of my favorite episode of the year.

American Horror Story will return for a third season, with a new cast of characters, and returning performers including Lange, Paulson, and Peters, next fall on FX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

"Dark Cousin" visits American Horror Story: Asylum

Overall, I have been disappointed with season two of FX's American Horror Story, subtitled Aslyum. Season one had awesome characters that I really cared about, the Harmon family. They were what drove the plot, and kept me returning week after week, even as all the craziness went on around them, constantly adding new players to the story, much as this season is doing. They were decent people (for the most part), who didn't deserve what happened to them.

By contrast, the characters that populate season two make much of their own trouble. I'm not saying that Lana Winters (Sarah Paulson) deserves to be kept in the basement by Dr. Thredson (Zachary Qunito), or that Kit (Evan Peters) should be in Briarcliff at all. But, the characters this year are more flawed, do not always do the smartest thing, and put themselves in danger. They are also less relateble than the Harmons.

That being said, the deeper we go into the season, the more I begin to appreciate them. Sister Jude (Jessica Lange), who started out the season looking like a villain, almost cruel in the way that she ran the "hospital," is now almost as much a victim as the others. Sister Mary Eunice (Lily Rabe) has become so much more intriguing when possessed by the devil.

This past week's installment, "Dark Cousin," was fantastic! A lot of the credit should go to Frances Conroy as the Angel of Death. Here is this character dressed in black that can kiss you and take away your life. And yet, she is kind, non-judgmental, and is here to bring relief, not cause suffering, a stark contrast to the others around who have power over people. As Briarcliff dissolves more and more into chaos, and there doesn't appear to be a happy ending possible for any of the characters, death may be the best release. Coming at the midpoint of the season, "Dark Cousin" offers a desperately needed ray of hope, even if the result is permanent sleep.

It is also cool to see Death clash with Satan, as he lives inside Sister Mary Eunice. Clearly, Dr. Arden (James Cromwell) doesn't realize what he is dealing with in Mary Eunice, and Sister Jude is in no position to save anyone. This has made Briarcliff a sort of playground for Satan, and Death may just be the only one who can stop her.

This is good, because Lana's plot is pretty depressing in "Dark Cousin." She escapes from Briarcliff, ends up somewhere worse, and then escaps back to the asylum. Even should she get out completely, her lover is dead, and her secret homosexuality, a major scandal in the 1960s, could hurt her professionally. While she is the one I most want to see get out, and I would hope that she gets to publish an article blowing the lid off of the facility, I could also see her dying instead, and that might actually be a blessing.

Grace (Lizzie Brochere) actually did die this week, and I'm conflicted as to how I feel about this. On one hand, I don't know where else her character should have gone, and she was the most expendable, in my opinion, of the series leads. On the other, I was somehow rooting for her, even once she has been revealed to actually be a murderer, and she has sex with Kit after telling him that his wife, Alma (Britne Oldford), is still alive. This kind of makes her despicable.

What will be more interesting than Grace's death is what the effect of it will be on Kit. I honestly can't predict this.

So, despite a rocky start, American Horror Story: Aslyum is finally picking up the pace, and making itself worthy of the title. It's not that the first part of the season wasn't good; it was still better than most shows. It just didn't live up to season one. With a third outing already ordered, hopefully season two will only grow from here, continuing the trend of improvement.

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

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

This article first posted on TheTVKing

American Horror Story scares up a Blu-ray release

When American Horror Story premiered last fall on FX, it was immediately apparent that this was a different type of show. Going far creepier than most television ever dares to, it's about the Harmon family, who move into a haunted house in L.A. It is, strangely enough, from the team that brought us Glee and Nip/Tuck, Ryan Murphy and Brad Fulchuk, and we were promised the first season, now released on Blu-ray and DVD, was a stand alone story.

What no one told us ahead of time is that it would be so darn good. For 12 hours, viewers were kept on the edge of their seats as twist after twist played out. We learned about all of the past residents of the house, most of whom died gruesomely and still haunt the building. We learned what the Harmons would do under pressure. We learned that a house can have a life of its own, and that the residents who dwell within are only one small chapter of a larger volume.

The Harmons arrive with problems already brewing. Wife, Vivien (Connie Britton, Friday Night Lights), had recently given birth to a stillborn baby, then learned of husband, Ben's (Dylan McDermott, The Practice), cheating ways. The mistress, Ben's student, Hayden (Kate Mara, 127 Hours), actually follows them out from Boston, making sure that the issues they are fleeing from don't just disappear. Daughter, Violet (Taissa Farmiga), is frustrated with all of the adults, who can't seem to grow up, and suffering from depression.

But then they meet a host of new characters that bring their own set of challenges for the Harmons. A man in a rubber suit (Vivien wrongly believes that it's Ben) has sex with Vivien and impregnates her. A burned man named Larry (Denis O'Hare, True Blood) follows Ben around and wants to help him take care of Hayden once and for all. Neighbor Constance (Oscar winner Jessica Lange, Big Fish) knows more than she lets on. And Violet falls in with a possibly homicidal lad named Tate (Evan Peters, Invasion), who has a connection to a strange and violent creature living in the basement.

If that sounds like a lot, it's just the tip of the iceberg. The large recurring cast of season one includes: a maid who usually appears old (Frances Conroy, Six Feet Under), but looks young and hot (Alexandra Breckenridge, Dirt) to Ben; an abortion doctor (Matt Ross, Big Love) and his wife (Lily Rabe), who so desperately wants a baby; a nosy real estate agent (Christine Estabrook, Mad Men, Desperate Housewives); Constance's daughter with Downs syndrome (Jamie Brewer); a noble security guard (Morris Chestnut, V); a psychic (Sarah Paulson, Studio 60 On the Sunset Strip); and the gay couple to whom the rubber suit belonged (Teddy Sears, Raising the Bar, and Zachary Quinto, Star Trek, Heroes). This large ensemble means that no haunted house convention goes ignored.

The writing, acting, and production are all top notch in American Horror Story, which led to seventeen Emmy nominations and a host of other accolades. Jessica Lange won an Emmy, Golden Globe, and Screen Actor's Guild award for her role as Constance. These were completely deserved, as American Horror Story is something truly original, taking the genre to a new level when allowed to live amongst such well developed characters for so many hours.

Blu-ray is definitely the way to go to get the full affect of American Horror Story. Obviously, there are special effects, and you won't want to miss any elements of those. Also, the masterful score will be much more effective in high definition surround sound. American Horror Story creates such a detailed, engrossing world, with its rich blacks and attention to detail, it is best experienced in the most immersive way possible, which is currently Blu-ray.

This Blu-ray set includes a number of special features. There's The Murder House guide done by the fictional Eternal Darkness Tours of Hollywood, a making of featurette, a focus on the title sequence, introductions to the various ghosts that live in the house, and audio commentary for the "Pilot" episode. This is plenty to satisfy most fans of the show.

Plus, how many series actually give you a conclusion after a mere twelve episodes? Season two, premiering soon, will be in a new place and time, with many of the actors returning, but in different roles. Season one is a complete tale, from beginning to end, making this three-disc set like a very long, very good movie.

 American Horror Story The Complete First Season is available now.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as Blu-ray Review: American Horror Story The Complete First Season on Blogcritics.

American Horror Story cleans up "Afterbirth"

     Last night was American Horror Story night on FX! Well, it would have been, if the series hadn't brought its first season to a close last week. So this review focuses on that final episode, "Afterbirth."

     In "Afterbirth," Ben (Dylan McDermott) considers ending his own life while grieving for dead wife, Vivien (Connie Britton), and daughter, Violet (Taissa Farmiga). Vivien the Ghost steps in and convinces him not to go through with it, but soon Ben's jilted lover, Hayden (Kate Mara), kills him anyway. That turns out OK, as the Harmon family is once more reunited, and with their new baby and Moira (Frances Conroy), celebrate a happy Christmas together. Think Ben sees Moria in her true form now? Oh, and they also scare away new residents before anything truly bad can happen to them. However, Constance (Jessica Lange), who stole away her grandson, Tate's (Evan Peters) son through rape, Vivien's other baby, soon gets to deal with yet another monster child, who murders his babysitter.

     Coming off of the spectacular climax of "Birth," featuring many huge developments and the end of most of the supporting characters' stories, "Afterbirth" is a little bit of a let down. But then again, perhaps it is designed that way, tying up loose ends, and providing an epilogue of what is to be for the central family. It can be argued that the capper is longer than need be, and perhaps the nearly half of the episode that deals with Murder House's next owners could be shortened. However, it also demonstrates what the house can do to a person, and excuses some prior bad behavior by comparatively friendly ghosts. In addition, it gives a semi-happy ending for some, and a heck of a cliffhanger.

     The cliffhanger with Constance and the three year old killer (cough, Dexter, cough) will likely not be explored. When American Horror Story was first announced by FX, it was said that the show would feature an all new cast every season, leading many to believe that each batch of episodes would be self-contained. As its popularity rose, that came into question. Now, the network says that there will be a new locale and themes for season two, but some of the cast may return, albeit playing different characters! Which means no firm ending for Constance, but then again, her life of misery just continues as it has, and it is fitting that she will still deal with such things long after viewers stop paying attention to her story.

     Plenty of praise has been, and will be, heaped upon American Horror Story, a truly original show. But it would be remiss to conclude a review of this first season without granting due kudos to the fine performers this year. In fact, many such articles could be written, owing to the more than a dozen fine players who got to shine in this creepy world. First prize should go to Lange for her crazy mother, and all of the lengths that she went to, as well as the sometimes murky motivations that led her there. It's a complex picture of a rich character, and thank goodness such a talented, veteran actress inhabits the role. In runner up status is Britton, who made fans forget all about Tami Taylor (until the inevitable rewatchings of Friday Night Lights) with her own brand of psychotic and loving, both at the same time.

     As far as complaints about "Afterbirth" go, there is one more big one: the lack of Denis O'Hare's Larry. Did the character need to appear for story's sake? Well, no. And that's yet another example of how American Horror Story stands apart from other shows, which might squeeze in actors where they aren't needed just because they happen to be a series regular. Which turns this complaint into something admirable. Though O'Hare's excellence is always leaving fans wanting more, and in "Afterbirth," that more did not come.

     Overall, American Horror Story delivers a heck of a freshman year, with some really interesting stories, all weaving together into a larger narrative. It takes the horror genre and proves it can be done for television. Not only that, it throws traditional television genres out of the window, building its own thing from the ground up. For that and more, not least of which is the intelligent acting and fabulous cast, it will be honored as one of the best new series of the year, a title it richly deserves.

     American Horror Story will return with an all new scary tale next year on FX.

     If you like my reviews, please follow me on Twitter!

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

American Horror Story celebrates "Halloween"

     This week and last, FX's big horror drama, American Horror Story, pulls out all the stops for a two-part "Halloween" showdown. Because of the holiday, the walls between the ghost world and the "real" one are thin, and the house's previous residents manifest more than ever. What's more, they can leave the property, and they do. This provides trouble for Ben (Dylan McDermott) when Hayden (Kate Mara) insists on telling Vivien (Connie Britton) the truth, and possibly microwaves her dog. A gang of teenagers come after Tate (Evan Peters) as he tries to enjoy his date with Violet (Taissa Farmiga). And feuding gay couple Chad (Zachary Quinto, Star Trek, Heroes) and Patrick (Teddy Sears, Torchwood, Raising the Bar) try to help decorate their former home.

     When a series hinges on the creepy, as American Horror Story does, it makes total sense to celebrate "Halloween" in a big way. As such, the series brings in a ton of guest stars for this episode. Not only do Chad and Patrick, the most recently deceased residents, pop up, but so does virtually every ghost seen in the first few episodes, including Nora (Lily Rabe), Charles (Matt Ross, Big Love), Angie (Missy Doty, Shameless), and Maria (Rosa Salazar, Parenthood). As if that isn't enough, the gang of teenagers that chases Tate boasts some recognizable faces, such as Alessandra Torresani (Husbands, Caprica) and Ashley Rickards (Awkward.). One would think that this means "Halloween" is just a stunt episode, but it's not. Each extra performer is used sparingly, but importantly. They enhance the plot without distracting from it. Good thing American Horror Story gets a full two hours to tell this tale, because there is far too much going on for a standard episode length.

     Of course, horror stories are not nearly as scary without death. "Halloween Part 1" delivers a significant, and unexpected, one when Adelaide (Jamie Brewer) is hit by a car. Desperate to save her, her mother Constance (Jessica Lange) pulls Adelaide frantically towards the property where the haunted house sits. This seems to support what has been suspected, that people who die on the property do not follow the same rules as the ordinary dead. Sadly, it looks like Constance doesn't quite make it, and so Adelaide will be absent for the remainder of the series. Unless the creators are just trying to trick the audience, a possibility they could choose to utilize right away, or save for years from now. Or she can still return next Halloween, either way.

     There are further rules revealed for the ghosts in "Halloween." It is already known to viewers that Moira (Frances Conroy) is dead. But it seems that she cannot normally leave the property, except on Halloween, when the barriers are down. She uses this opportunity to visit her mother in the hospital, and ends her mom's life. Her mother asks Moira to come with her to the other side, but Moira says that she can't. Why not? What holds Moira back? The house must have a draw that not only lets the dead speak to the living the dwell there, but also keeps them from crossing over to peaceful bliss. It's evil as well as scary.

     Of course, Hayden causes the most trouble by far. Upset that Larry (Denis O'Hare) kills her, and Ben builds a gazebo over her body, she is determined to let Vivien know that she has Ben's unborn child in her belly. When Vivien doesn't want to listen, Hayden grows more and more upset. It is unclear if she actually microwaves Vivien's dog, making it now one of the house's many ghost inhabitants, or a tomato, as she tells the security officer, Luke (Morris Chestnut, V). I suspect the former. But learning that Vivien is also with child seems to change things for her. She thinks that might be why Ben didn't leave Vivien, though in reality, that's hardly the only reason. Either way, it appears that Hayden may stop causing trouble, at least for now.

     Is Tate a ghost? This is a question that lingers throughout American Horror Story. The teenagers that chase him at "Halloween" claim that he killed them. They also say they would be in their thirties if he hadn't. Since Tate still looks like a teenager, that means he must be dead, too, not aging. A brief cut scene also might back up their story. Unless they have the wrong guy, as Tate says. Since Tate is only seen on the property, except in "Halloween," and he can easily get in through some unknown way, he may very well be a ghost. The teens might only be able to appear on Halloween, not having been killed on the property. Did Tate then go there, maybe because he might live in the house, and kill himself?

     Equally interesting is the revelation that Tate is Constance's son. Constance worries what the news of Adelaide's death might do to him. This would lend credence to the ghost teens' story, showing that Tate has a temper, and can act violently. As such, Constance's conversation with Violet lends as much support to the Tate as a ghost theory as the teenagers hunting him do. Whatever is real or not, Tate is a vital part of the house's story, and thus, an important thread of American Horror Story.

     So what might change, now that Vivien hires Luke to help with security? Clearly, he lends a hand with the angry Hayden, and can cart her away, at least temporarily. But now he's going to suspect some stranger happenings, considering that Hayden disappears from his patrol car as morning breaks. It doesn't make a lot of sense that a security guard can provide much protection against the dead. But if he knows what's really going on, maybe he could be some sort of help. If nothing else, it will give Vivien some peace of mind.

     She'll need all the peace of mind she can get once she's in the house alone without her husband.  Now that Vivien has kicked out Ben, it makes her all the more vulnerable. True, Vivien is a tough lady, and can take care of herself. But when facing off against ghosts, the more help one has, the better. Without Ben around, that is one more protection that she doesn't have. Or maybe she's safer without Ben, considering what the house drives Larry to do when he lives there.

     Larry must be permanently changed by the house, unable to leave it, unwilling to stop interacting with the current owners. Larry is probably not a ghost, because Ben interacts with him outside of the home in a previous episode. But he still looks like he's from another time, and is heavily involved in the goings on there, like Constance. Thus, Larry is likely to keep going after Ben for money, if for no other reason than to stay involved. How soon until his continued presence tips off Vivien about Hayden's fate, and Ben's part in it?


     For anyone who likes a good scare, or a decent mystery, American Horror Story is a series to watch. Having just been renewed for a second season, like its ghosts, it is not going anywhere.

     If you like my reviews, please follow me on Twitter!

Article first published as TV Review: American Horror Story - "Halloween: Part 1 & Part 2" on Blogcritics.

How I Met Your Mother meets "Noretta"

     This week's How I Met Your Mother, "Noretta," delves into the chemistry of relationships. James (Wayne Brady) comes to visit, and is grossed out by just how much his brother Barney's (Neil Patrick Harris) girlfriend, Nora (Nazanin Boniadi), is like their mother, Loretta (Frances Conroy, Six Feet Under, American Horror Story). Kevin (Kal Penn) says this is perfectly normal, that people often end up with spouses who have similarities to their parents. Suddenly, the whole group begins seeing their significant other this way, and all sexual attraction dissipates.

     Is this true? Do people really end up with their parents? It's certainly possible. Kids imitate the adults in their lives. Watching their parents interact shapes much of who they are, and it's what they grow up thinking of as normal. So, of course, they would seek out a similar person, so that they can have a similar relationship as their parents do. Even if the parents get don't along, it's still what the child is used to, which is why there are negative repeating patterns as well as positive. Luckily, in this series, and in the case of these characters, those qualities are overwhelmingly positive. Obviously, this does not hold true for everyone, or society would be stagnant, but it's a valid trend, and one worth noting.

     The conceit is great because it gives How I Met Your Mother the chance to bring back some of the wonderful performers who play the characters' parents, and all in one episode. Besides Loretta, there is Ted's (Josh Radnor) mother, Virginia (Christine Rose, Heroes), Lily's (Alyson Hannigan) father, Mickey (Chris Elliott, Everybody Loves Raymond, Eagleheart), a glimpse of Kevin's unseen-before mom, and best of all, the return of Marshall's (Jason Segel) deceased father, Marvin (Bill Fagerbakke, SpongeBob SquarePants, Coach). Robin's (Cobie Smulders) father, Robin Sr. (Ray Wise, Reaper, 24) sits this one out, but that's OK, because he appears in last week's episode. Each of these actors are great in various roles, and having them together in one episode is a wealth of riches.

     It should be noted that Fagerbakke's return, the subject of much sorrow and grief last season, is done in a lightly comedic way. There are no tears or sadness accompanying it, and that's a good thing. Marshall has really begun to move on with his life, something he needs to do.

     Hilarity ensues when the characters have to play opposite their parents in sexual situations. The elder performers give it their all, fully committing to the scene, leaving their "children" to shrink back in disgust. It's equal parts disturbing and funny. Perhaps the best gag, though, comes as Marshall and Lily both get the complex at the same time. This leads to Marvin and Mickey on screen together, leaning in for a kiss. It's not sexy, but it will have viewers roaring with laughter. Thank goodness the camera stops before it happens! To show that would turn into pure silliness, and ruin the moment.

     Of course, because this is a point that hits home with a lot of people, it would be uncool of How I Met Your Mother to leave viewers hanging without resolution. Thus, it's left to Barney to say that his mom is the coolest person he knows, and that any similarity between Nora and Loretta is wonderful. This is a healthy, mature attitude to take. Nora and Loretta don't look alike, so there's no conflict there. All Barney is saying is, you love your parents; why not pick someone who shares their best qualities? And he's right. One doesn't want someone exactly like one's parents, but it's impossible to imitate their relationship without a partner who is looking for the same things as you. Thus, it works on a number of levels.

     In "Noretta," Barney is looking forward to finally having sex with Nora. He's been patient, something unusual for the character, but necessary for the growth he is experiencing, and the level of effort he puts into the relationship. Because How I Met Your Mother is a sitcom, zany events pop up to try to derail his sexy night with his girl. Barney pushes through, as he always does. What's unusual here is that Barney isn't just pushing through for the sex, as he has numerous times before. Instead, there are real emotions present, and care for Nora in his actions. Which is why, despite everything, it appears that things work out in the end for the couple. Love wins the day, and can overcome anything. A nice message leaving viewers feeling good.

     "Noretta" is significant because there is a real focus on where Ted stands in the group. The entire theme of How I Met Your Mother involves Ted finding his future children's mother. Yet, at this point in season seven, he is the only one currently single. Lily and Marshall have been together since well before the series begins. But with commitment-phobic Barney and Robin now getting serious with Nora and Kevin, respectively, it reminds Ted just how much he is failing in this mission. He may very well end up being the last one left alone. It's not his fault, it's just the way the characters have developed.

     It's true that Ted is not in the right place in his life to settle down for most of the series thus far. As much as he wants a partner, he isn't emotionally ready. He goes through a series of mistakes, has trouble finding himself, and ends up acting like a jerk many times. This isn't the right attitude to have when finding the woman of one's dreams. But now Ted is turning things around, and finally getting to the soul of who he is. He is satisfied professionally, and not desperate but open to love. It's in this state that he is ready to meet the mother, and hopefully he soon will. How I Met Your Mother will be running at least through the spring of 2013, but the mystery cannot be stretched out that long. It's time to end it.

     Kevin is still an enigma in terms of how he fits into the group. He's rapidly getting past the creepy stage, which starts because he is Robin's therapist when they meet. But he can't help that encounter, and he's moved past it. He is correct in his criticisms of the codependent group, but that also makes him more of an outsider. The central characters aren't likely to change their behavior, so he either needs to get with the program and join in, as Nora does to some degree, or move on, as so many others have. What points to the former possibility is that he does make effort, such as this week when he pretends to be a Weird Al (who cameos a 1980s version of himself) fan to make Ted happy. It's a generous, compassionate move that bodes well for Kevin. 

     How I Met Your Mother is back on the right track, so for fans who gave up on it during the rocky last couple of years, it's time to come back. Watch How I Met Your Mother Mondays at 8 p.m. ET on CBS.

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Article first published as TV Review: How I Met Your Mother - "Noretta" on Blogcritics.

American Horror Story frightening and confusing

     From the creators of Glee, Ryan Murphy and Brad Falchuk, comes American Horror Story, which has been called pretty much the opposite of Glee. Vivian Harmon (Connie Britton, Friday Night Lights) must give birth to a baby that dies seven months into the pregnancy. She seeks comfort by buying a dog.

     Feeling rejected, Vivian's husband Ben (Dylan McDermott,The Practice) cheats on her, and she catches him. To try to save their crumbling marriage, they move across the country and purchase a bargain of a house, whose last owners died in a murder-suicide.

     And that's when things start going really wrong. While sleepwalking, Ben plays with fire. Interesting, considering that a man named Larry (Denis O'Hare, True Blood) keeps approaching him, claiming that the house made Larry burn his family alive. Meanwhile, Vivian has kinky sex with a man in a leather suit, assuming, wrongly, that it's Ben. She becomes pregnant, but is it Ben's, or the suit man's? Plus, daughter Violet (Taissa Farmiga) likes to cut herself, neighbors enter without warning, and something strange and dangerous lives in the basement.

     As far as scary goes, American Horror Story is definitely that; it will make you scared to walk into dark rooms of your own house. The creepiness comes fast and frequently. To make matters worse, it's hard to understand everything that goes on around the family.

     Since the characters aren't given explanations, neither are the viewers. At least understanding an issue can make it less frightening. The fact that most is unknown makes it even scarier.

     Calling it the opposite of Glee may be inaccurate. After all, Glee thrives in the cliches of musicals, often going for stereotypical, larger-than-life characters and stories because that is the tradition in the genre. American Horror Story does the same sort of play with thriller tropes. It uses fast-cut scenes and creepy music to set the mood. Vivian walks up into a dark attic, even as viewers at home are screaming "No! Don't go in there!" Young twins Troy and Brian (Bodhi and Kai Schulz) are slaughtered, and then appear as ghosts. There's nothing creepier than dead twins! There are illusions, mind control, and monsters, each played to maximum fright potential. So perhaps American Horror Story is what the Glee guys do best, applied to a different genre.

     The questions come fast and furious, and few are answered in "Pilot." The Harmon family is immediately in over their heads, and don't even realize it yet. American Horror Story's "Pilot" excels at setting up much intrigue, but leaving viewers in suspense, a surefire way to keep them coming back week after week. I'm not sure I understand yet exactly what the series is trying to do, but with the sex factor, a common play in the suspense genre, combined with some truly excellent mysteries which are hard to define, the series succeeds in setting up something truly special. There is no other show currently like it on television, nor does a past one spring to mind, which is plenty enough to set it apart.

     How does the house control people? What is neighbor Constance's (Jessica Lange, Big Fish) connection? She comes to Ben just before he burns his hand on the stove and tells him it's not his time yet. Does she choose when the house pushes its residents over the edge? Why and how? What is the point in waiting? Are the Harmons already so much out of control of their own lives that they don't realize all the strange things happening? Why does Constance's daughter, Adelaide (Jamie Brewer), keep going into the house, telling people they are going to die? Is she warning them, or threatening them?

     Plus, there is the mystery of the maid. Soon after the Harmons move in, Moira (Frances Conroy, Six Feet Under) shows up, saying that she is the long-time cleaner of the house. Vivian, initially against hiring her, is persuaded to do so. This makes sense, because Moira demonstrates much knowledge about caring for the older elements of the building, which Vivian is clueless about. But then Ben sees Moira as a young, sexy woman (Alexandra Breckenridge, The Ex List), whom he catches masturbating, and is tempted to sleep with. The different perceptions are unexplained, but ratchet up the freaky factor several fold. The transition between the two actresses, especially in the seduction scene, is disturbing, to say the least.

     Then, there is Ben's patient, Tate (Evan Peters, Invasion), who is psychotic. He dreams of murdering people that he likes. Violet somehow strikes up a friendship with him (does Ben not escort his patient out of his house?), and the two become close, sharing secrets. Though Tate tells her one should never hurt those he loves. When Violet is threatened by a bully, Tate convinces her to lure the girl to the basement of the Harmons' home, where Tate and some goblin-like creature hurt and terrify her. It also disturbs Violet, but Tate acts like nothing is wrong. So is he part of the house, too, and can come and go as he pleases? Or is he just such a dark soul that he is drawn in by whatever dwells there?

     American Horror Story lives in a specific world, with set rules that govern it, just like all worlds. The more creepy characters get these rules, and know how to not just survive, but thrive within them. They may even contribute to creating them, though how in control any of them are is uncertain. Since the show seems so sure of itself, it definitely holds an attraction, even for those confused. We might not get what it is going for, yet, but there's a confidence behind it that says that the writers and producers do. This is masterful film making and storytelling, more than worth a watch.


     Check out American Horror Story Wednesdays at 10 p.m. ET on FX.

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