(via joeydeangelis)Source: whoreforchrist
American Horror Story: Coven returns from its brief Thanksgiving hiatus with “The Sacred Taking,” a disappointing instalment lacking the urgency and pace of previous episodes. The coven aligns itself with Misty to perform a ritual that will hopefully convince Fiona to end her reign has Supreme, and Queenie continues to align herself with Marie Laveau. Meanwhile Hank begins his assault on the Academy, and Miss Ramsey deals with her anger over her son Luke’s misadventures with a conservative Christian purification.
It only took seven episodes, but American Horror Story: Coven finally injects a bit of three-way necrophilia. New alliances are formed and bonds are broken, as opposing forces and conflicting personalities collide. “The Dead” movies the plot forward with some interesting twists, but in the end, it leaves a few troubling questions.
The main theme of “The Dead” focuses on our outcasts either in need of feeling wanted (emotionally or physically), or longing for a sense of belonging. Cordelia continues to wrestle with her new found vision, and her knowledge of her husband and mother’s murderous habits; Queenie struggles with belonging on account of her race and weight; Delphine tries to overcome her racist views while adapting to a new time; Kyle and Madison struggle with their rebirth; and Fiona desires to feel wanted, in any way, shape or form. The ladies in Coven are no different than the gals in Girls, and like Girls, American Horror Story is praised for its portrayal of women and female empowerment, but criticized as classist, racist, and misguided. “The Dead,” brings on a whole lot of issues that need to be addressed.
“Burn, Witch, Burn!” deals with the fallout of last weeks climax which saw Cordelia blinded, when assaulted at a nightclub by a hooded assailant who threw sulphuric acid in her face. Meanwhile, Marie Leveau’s army of dead storm Miss Robichaux’s Academy. The fifth installment of Coven is immersed in the guilt of cruel mothers. LaLaurie is forced to come to terms with the pain and suffering she inflicted on her own daughters who rise from their graves, and Fiona feels responsible for Delia’s attack. On top of all this, two witches display new unexpected powers as Zoe manages to break Laveau’s spell and defeat her zombie army with only a few words, and Delia receives a startling clairvoyant vision of her husband’s murderous and cheating ways.
We’re back to a more manageable week in TV this time on the podcast, thanks to several network shows taking an episode off. First we take a look at the comedies, including a Halloween-themed Key & Peele, then we talkThe Amazing Race before moving on to the genre series, and we finish up with a few of the dramas. Then Dan Heaton from PTSnob and SoS joins us at the DVD Shelf to discuss one of the all-time great police procedurals, Homicide: Life on the Street.
Our Week in Comedy (3:29-10:41): Key & Peele, It’s Always Sunny…, Bob’s Burgers, Eastbound & Down
Our Week in Reality/Genre (11:48-27:27): The Amazing Race, American Horror Story: Coven, Les Revenants pilot
Our Week in Drama (28:10-47:24): Parenthood, Boardwalk Empire, Masters of Sex, The Good Wife
DVD Shelf (49:02-end): Homicide: Life on the Street with Dan Heaton
If there’s one week in which a series entitled American Horror Story simply has to deliver the goods, it’s the one containing All Hallow’s Eve. In that respect, “Fearful Pranks Ensue” falls a little short, particularly if one expected it to step up the freakiness and/or gore quotient. Actually, as it turns out, it belongs to a entirely different sort of tradition: the time-honored transitional episode. Only in its closing moments does it threaten to take its genre elements to the next level of nutty.
Every year, we here at Sound On Sight celebrate the month of October with 31 Days of Horror; and every year, I update the list of my favourite horror films ever made. Last year, I released a list that included 150 picks. This year, I’ll be upgrading the list, making minor alterations, changing the rankings, adding new entries, and possibly removing a few titles. I’ve also decided to publish each post backwards this time for one reason: the new additions appear lower on my list, whereas my top 50 haven’t changed much, except for maybe in ranking. I am including documentaries, short films and mini series, only as special mentions – along with a few features that can qualify as horror, but barely do.
With the eve when the veils between worlds is at its thinnest around the corner, it’s difficult not to think of the day’s most prominently featured figure: the witch. Below is an essential viewing list, ranging in genre and targeted age group, of filmic work that showcase witches (loosely defined for our purposes) and show just how badass and horrifying these heralds of the supernatural can be.
Just two episodes in and this season of American Horror Story is already a wicked melange of body horror, black magic and female empowerment. Two major themes prominent so far, are that of resurrection and science versus magic. But Coven is essentially a story about a group of women desperately trying to remain relevant in an ever changing world. In just three seasons, Ryan Murphy and his crew’s employment of heavily atmospheric sets and startling moments of violence combine to create a trendsetting series that has inspired other networks and show runners to take more daring risks. But the stakes here are less primal than that of season two. It didn’t take long for Misty Day (Lily Rabe) and Kyle Spencer (Evan Peters) to return to the show, after dying in last week’s premiere.