American Horror Story, Coven, Season 3, The Dead review
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.
The Walking Dead season 4 brings heavy action with its midseason finale “Too Far Gone”. The Governor and his troops make their assault on the prison, and the face off between them and Rick’s group is a reckoning, and more importantly, a long-awaited resolution to a story that has been dragging on for far too long.
The penultimate episode of The Walking Dead season 4 titled “Dead Weight,” continues The Governor’s mini arc away from Rick and company. With just one episode left in the season Rick and Kate invite Sound On Sight Games Editor Pat Bellavance to discuss the season so far, and speculate on where it’s headed.
Just in time for Thanksgiving, Sleepy Hollow decides to indulge in the haunted house horror genre. However, “Sanctuary” fails to be scary in any way because of shoddy camera work from director Liz Friedlander and an overall lack of atmosphere. The monster of the week is a mix between the tree rapist in Evil Dead and Treebeard from Lord of the Rings. He/she/it is just another generic monster that is somehow connected to Ichabod (Tom Mison), Abbie (Nicole Beharie), and the end of the world.But even though “Sanctuary” suffers from a lack of menace, there are some strong scenes that show how Ichabod, Abbie, Frank (Orlando Jones), and Jenny (Lyndie Greenwood) desire a normal life and are all estranged from their families in different ways. There is an interesting subplot with Frank and his ex-wife and daughter, but this story line is left dangling.
Books are often the source for some of the greatest film and television adaptations, but flip the scenario and it can be said that movies and TV can also be among the greatest sources for books. Behind the scenes nonfiction offers a peak behind the curtain of the dream factory. Art books often enhance a reader’s perspective of film and television. Companion books do both, expanding a reader’s attachment and understanding of the source material while giving a glimpse into the detailed world building of its creators. This past month, three books, Guillermo Del Toro: Cabinet of Curiosities, Crazy 4 Cult: Cult Movie Art 2 and The Adventure Time Encyclopedia have each improved on the visual experience of the films and shows they celebrate.
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.