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[TV Review] “Scream” Episode 2.02: ‘Psycho’

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Scream Jake Corpse

Scream decided to hold off on revealing Jake’s murder this week and chose instead to focus on Emma’s readjustment to normal life. Meanwhile, Audrey is still sloppily trying to cover up the connection she had with Piper by threatening motel receptionists using an app to mimic the killer’s voice and Kieran dealt with some new family members moving into town.

If there’s one thing that is working in Scream’s favor this season, it is that a whole season’s worth of character buildup really is paying off. It is becoming easier to care about these characters (as opposed to laughing at them) this season than it was last season. This could also be because the new characters aren’t making much of an impression, thereby enhancing the connection we have with the characters from last season, but it still works in Season 2’s favor. You actually care about the majority of these characters much more than you would have at the same point last season. Hell, even Kieran is starting to grow on me.

What it doesn’t do is benefit the new characters this season. Zoe is still a non-entity, getting a brief scene this week in which she confronts Emma about a missed tutoring session (thrilling, isn’t it?). Gustavo hasn’t really  been given much to do besides play the role of Creepy New Kid, though he does get some nice back and forth with Brooke at the police station. As for his father Miguel, he gets to intrude on Kieran’s life when he discovers that that he hasn’t been living with his legal guardian since his father died and tells him he has to move in with her. We learn that he is a rule-follower (hence his appropriate position as the sheriff), but we haven’t been able to spend enough time with him to really get a feel for the character.

Interestingly enough, it is Kieran’s guardian/aunt Tina who gets some decent development this week, and this is after only a handful of introductory scenes. In fact, she was given more screen time than Zoe, Gustavo and Miguel. There is an air of mystery about her character involving the life she is leaving behind in Florida, but the fact that this creepy aunt (and her similarly creepy son Eli) can feel so organic to the plot when Zoe, Gustavo and Miguel still feel like enigmas is confusing to say the least. Tina already feels like an established character, which is a good thing but begs the question as to why the other new characters don’t. Now that Tina and Eli are moving to Lakewood, it should provide some much-needed depth to Kieran as well as Maggie, who seems to be pretty close with Tina.

As for Brooke, she has proven to be one of the more frustrating characters on the show because she is excellent at giving advice (and telling it like it is) but when it comes to her own life she is incapable of making a smart decision. Case in point: her ready to immediately crawl back in Jake’s arms when he fails to respond to her texts ( apparently it’s the guy who has to break the “text standoff” after a breakup) since he’s, you know, dead and all. Such is the mind of a teenager, especially one who has been through as much as Brooke, but it is frustrating to see her fall back into her old ways after moments of empowerment. She may not be suffering from PTSD like Emma, but she is still dealing with the trauma in unhealthy ways. It is unfortunate that even in death, Jake still has a powerful grip over Brooke’s story. This will hopefully be remedied once Jake’s body is discovered next week, but for this week’s episode it was disheartening to see the return of boy-dependent Brooke. She can be a strong female character, but this is a glaring weakness in her characterization.

Carlson Young

Emma, on the other hand, had plenty to do tonight. She did seem to get over her PTSD rather quickly, didn’t she? I jest of course. Surely this isn’t the last we’ve seen of her hallucinations, but it was unintentionally funny to see her appear to be miraculously cured after visiting the pier where she killed Piper, only to jump into a steamy car scene with Kieran. That being said, Emma was the centerpiece of the episode and it did her some good. I’ve harped on Emma and Fitzgerald’s acting many a times before, but this was definitely one of the stronger outings for the character.

We got to meet Emma’s father Kevin for real this time. As you may recall, Tom Everett Scott made an appearance last season only for it to be revealed that he was merely a figment of her imagination. Well, looks like daddy’s back for real this time. It was a little weird that he kept creepily following Emma around town in his car when he could have just stepped out and said “hello,” but it’s clear they have a rocky relationship. He will undoubtedly provide another red herring in a show full of them (Tina, Eli, Gustavo, Haley, Audrey, Quinn, etc.), but it’s always nice to see Scott getting work, and

All this business with Audrey needs to get dealt with soon. What may have been an intriguing cliffhanger in the first season final has already worn out its welcome and feels like a drag. Unless Audrey does turn out to be Piper’s actual accomplice (which will most likely not be the case), her entire subplot will feel unnecessary. If she does turn out to be a villain, good for Scream, but I’m not holding my breath.  After nearly being discovered by Noah, she scares the motel clerk (who goes under the screen name EddieKrueger in Noah’s podcast comments) using an app that mimic’s the killer’s voice and then find Jake’s body in the storage locker that could have contained incriminating evidence against her. It’s all well and good, but I can’t help but feel that the mystery surrounding Audrey is going to amount to a big misunderstanding.

Scream still isn’t breaking any new ground, but it is moving with more confidence than it was last season. Everything involving the characters from last season is working swimmingly, but the new characters could definitely use some attention. It’s only episode two though, so you can’t hold it against the show that much. At the very least, it’s doing a good job at keeping you invested in an episode where no one died. That’s something, right?

Random Notes

  • Scream Thinks the Audience is Stupid Moment: Noah giving a tutorial on suspense in the episode’s closing moments
  • “Whoa, somebody’s jumpy today.” -Gee Noah, it’s probably because you scared her.
  • Emma reaction to Brooke telling Audrey and Noah to tell her what Jake had been saying about her was actually pretty funny:

Scream GIF

  • “I even told him a quick response would get him a boob pic.”
  • Does anyone else think Ms. Lang is getting a little too chummy with her students? Her  passing reference to who her students sleep with certainly seems like something parents would have a field day with. And then she has a therapy session with Emma at a coffee shop? I’m not buying it.
  • “Emma, what’s on your lizard brain?” -Do people actually say things like this?
  • “No response to your boob pic promise, huh?”
  • “I was stabbed and left in a freezer.” -Touché, Brooke. Other than Emma, Brooke definitely got the worst of it last season. But her arguing with Gustavo about where she ranks with the rest of the Lakewood Six was pretty great.
  • Brooke’s dad looks to be up to some shenanigans. I hope Scream doesn’t set him up as a red herring again. That would be pretty lazy.
  • “Life doesn’t come with trigger warnings.” “Well it should. They should invent an app for that.” –Scream has never been one to use subtlety when it comes to mentioning social media and technology, but this line was particularly cringe-worthy. It doesn’t even make sense.
  • “Am I going to have a meltdown every time I see a brunette drinking a nonfat mocha?”
  • “Yeah she had that creepy J-horror hair and those weirdo glasses.” -Best description of Piper EVER.

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

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“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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