It’s morlocks against witches for ultimate supremacy as ‘AHS: Apocalypse’ turns back its clock and explores the origins of evil.

“You have to admit…that was impressive.”

Evil, but more specifically how evil is developed, is a fascinating subject. Is someone born with a nugget of blackness in their soul that only grows larger over time, or is it learned behavior that can evolve and change. Ryan Murphy’s The Assassination of Gianni Versace: American Crime Story brilliantly examines this principle in regards to its subject, serial killer Andrew Cunanan, but what makes its dissection of evil so compelling is that it never over-explains its monster. The aim of “Could It Be…Satan?” follows a surprisingly similar course and Murphy once again understands that breadcrumbs are more effective than handing over the whole loaf.

The first two episodes of AHS: Apocalypse took some time to get going, but damn, the brakes have been cut and there’s no turning back now! The plot quickly turns to Langdon and Mead against the witches, now that they’ve not only reached Outpost 3, but brought the majority of the corpses there back to life. “We need you,” explains Paulson’s Cordelia Foxx. “We need all of you.” And just like that, the war between good and evil in the face of the apocalypse can finally get started. Anyone got some rosé?

Cordelia, Zoe, Myrtle, and all the surviving members of Miss Robichaux’s Academy are aware of and even indebted to Michael in some respects. This means that they’ve had years to prepare against whatever he’s cooked up, which makes their confrontation at the beginning of this episode all the more interesting. That being said, Langdon is awfully cocky that this war is over before it’s even gotten started. Leave it to the Antichrist to man-splain the apocalypse to a bunch of empowered witches.

“Could It Be…Satan?” spends most of its time in pre-bomb goodness. In fact, this is the sequel to AHS: Coven that everyone wanted back in season four! Men against women was very much a part of Coven’s DNA, but this episode doubles down on this dichotomy. There’s plenty of angry posturing as both sides argue which is more powerful. It’s no coincidence that now is the time that such a story is told, nor is it a coincidence that Cordelia bitterly tells Ariel and his fellow morlocks that “their time is up.” While there’s plenty of witch activity in this installment, it’s all filtered through Michael’s indoctrination into this world. “Could It Be…Satan?” is interested in Langdon’s past and how he came to be who he is.

Michael’s story begins with a glimpse into the budding Antichrist’s time during his formative years with the robotic Miriam Mead. Langdon recalls that he doesn’t quite remember how Mead found him or how they ended up on this righteous path together, but he does reiterate that, “everybody needs a home.” In spite of the strange relationship between the two of them, Langdon genuinely cares about Mead and values her companionship. This certainly makes both Langdon and Mead’s actions from the previous episode a lot more understandable. Furthermore, this flashback to before the world all went to Hell—literally—plays so much better at this point in the season rather than if I came earlier. Say what you will about American Horror Story’s impatient, inconsistent structure of its seasons, but they always know how to get the most out of an idea and how a simple touch of non-linear storytelling can make such a difference in the story.

Unfortunately, there’s no lengthy flashback to Constance Langdon making sure baby Michael’s first word is “genocide” (however, we may not have to wait too long for such an indulgence, as episode six this year is titled, “Return to Murder House”). Michael’s relationship with Miriam still offers a wonderfully twisted take on a healthy family dynamic and the “model home.” Mead makes sure that a young Langdon cleans his plate, keeps his room tidy, and of course, prays to the all-mighty Satan before every important task. It’s like if Leave it to Beaver were a bunch of heretical Satanists…

Presently, Langdon’s bond with Mead continues to burn strong. He desperately needs Mead by his side because the task that he must fulfill requires someone else. At this point, Langdon has been so mysterious and powerful that it appears that he could do almost anything on his own—his involvement of other people in his life is simply for his own amusement—so the development that he can’t achieve his mission on his own makes his journey suddenly much more engrossing. What’s so important that Satan needs a sidekick? Also, how perfect is Kathy Bates as a sniveling Igor-like lackey?

Langdon’s story flashes to three years before the bombs go off and examines his time at the Hawthorne Academy for Extraordinary Young Boys. This is essentially the male equivalent to Miss Robichaux’s Academy and if you were ever curious what it would look like if Ryan Murphy jumped in to direct a future Fantastic Beasts installment, this feels pretty close to what that would look like. There’s plenty of testosterone, sexual innuendos, and emotional insecurity that bounce between these walls with all of this powerful magic. It’s also nice to see Billy Porter from Murphy’s Pose show up as a headmaster at Hawthorne. This time in Langdon’s life where the morlocks welcome him in and he leaves Miriam is quite exciting, both in regards to what Langdon learns and also how he plays naïve to just how strong and informed he really is.

Some alarming security footage that involves Langdon gets the headmasters at Hawthorne’s attention. This video where Langdon works his possessive, evil magic is deliciously gruesome, right down to its explosive ending. It makes for yet another powerful example of what Michael can do with his powers, as well as remind the audience that there was a time where he was deeply confused over who he is. He’s had many years of struggling and persecution before he was the suave leader that crashes Outpost 3.

Before Langdon puts his stamp on Hawthorne’s, the episode provides some appreciated history on their association. There’s a prophecy that they’re all rather hung up on that details a powerful warlock that will become the “Alpha” and lead them all. This all sounds eerily similar to the coven’s prophecy about their Supreme. They even have the same “Seven Wonders” trial to ordeal. As badass as it would be to see the Alpha fight alongside the Supreme against the forces of evil, it appears that the morlocks have representation on the mind. Their Alpha is supposed to supplant the witches’ Supreme and flip the power dynamics on all of this gendered magic.

“Could It Be…Satan?” features a fun juxtaposition that puts Michael through a mirror version of the same trials that Zoe, Madison, and company all did back in AHS: Coven. Michael’s aptitude for these tests is technically what’s in question, but there’s no doubt that he’ll completely dominate these tasks. What’s much more telling is Michael’s condescending attitude towards all of this. The point of this season isn’t to figure out who has the most power, but who knows how to best harness it. Langdon’s grandstanding for Hawthorne’s is the antithesis of this. Even though the morlocks begin with reasonable, cautious intentions, it’s their hubris that inevitably helps Langdon rise to power. They mistake his evil blood as ordinary magic, unaware that there’s something much more vicious inside of him.

Another real joy of “Could It Be…Satan?” is that it not only fills in some blanks regarding what Cordelia, Zoe, and Misty were up to post-Coven, but there’s also a considerable visit to the Hotel Cortez from AHS: Hotel. There’s even a surprise appearance from evan Peters’ James Patrick March! What’s especially impressive here is that the Cortez’ appearance isn’t just fan service, but it actually functions as a solid demonstration of Michael’s power and Cordelia’s limitations. Sadly, the episode can’t find a way to fit in Bastien, the Minotaur or Papa Legba, but beggars can’t be choosers.

Langdon puts his burgeoning skills to use and effectively wraps up Queenie’s unresolved plot line from AHS: Hotel (it also explains that Cordelia did not abandon her there, for what it’s worth). Michael easily rescues her from the labyrinthine purgatory that she’s been trapped in. Not only is he strong enough to save Queenie from her fate, but Langdon’s even has the power to pull Madison from the personal hell that she’s trapped in. The real mic drop moment here is that the revival of Madison and Queenie definitely helps out the witches, but Langdon does all of this for bragging rights. He wants them to know that he can.

Most importantly though, goddamn is it nice to have Madison Montgomery and her unlimited snark back in this series! Emma Roberts is consistently a standout in Ryan Murphy’s production (I still don’t think that she ever properly got her due for the force of nature that she was in Scream Queens), but AHS: Coven’s Madison has always felt like her best, most fitting role. We got a tease of her trademark demeanor last episode, but now that she’s back for good, it’s even more satisfying.

“Could It Be…Satan?” continues to prove that this season might contain some of the strongest, intricate storytelling from any year of American Horror Story (except for Asylum, nothing will ever touch the heights of Asylum…). In fact, this feels like what all of the other seasons of American Horror Story have strangely been building to, but Murphy and company just had to get all of the excess out of their system first. For once I’m strangely confident that this season won’t terribly fall apart. We’re almost halfway through the season and the narrative is still providing rewards. This all amounts to another fulfilling episode that teases what’s to come, but then smugly withholds it from the audience. If you want your full goat head for dessert then you’re going to have to finish your vegetables first. Now that we’ve done our homework, let’s get the battle going and the magic flying!

Anybody need a smoke?

“American Horror Story: Apocalypse” airs Wednesdays at 10pm (ET) on FX