Reviews
[Review] “American Horror Story: Apocalypse” Conjures One of the Series’ Best Episodes With “Return to Murder House”
Get ready to go back to where everyone knows your name (and how you died) when “American Horror Story: Apocalypse” returns to the Murder House for a series high!
“This is not a home. It’s a prison.”
Last week’s American Horror Story pointedly ended with Sarah Paulson’s Cordelia Goode declaring that Madison and Behold’s next destination, the infamous Murder House, is “where it all began.” Cordelia’s announcement is of course in reference to the origins of Michael Langdon’s story, but it’s also meant to be looked at figuratively. Murder House is literally where American Horror Story started as a series and so returning to that sacred territory is obviously a fairly momentous event. It seems like no coincidence that this episode also marks Sarah Paulson’s directorial debut and that such a fundamental cast member of this show gets to be the one that’s behind the camera.
“Return to Murder House” is a homecoming in every sense of the word and it’s also perhaps the best episode that the series has ever made.
American Horror Story can be a show that jerks its audience around, but “Return to Murder House” cuts the bullshit and starts delivering the goods right away. Madison and Behold immediately come into possession of the Murder House and the episode wastes no time with its setup. This episode understands how anxious everyone is to dig into this material and what’s even better is that “Return to Murder House” is nearly a full hour long and it makes every minute count. This episode doesn’t trip over itself with its plotting either. Its premise is very to the point: Figure out if Michael Langdon is evil.
Early on in the installment, an exasperated Madison asks, “what the fuck happened in this house?” “Return to Murder House” finds delight in really getting to the core of that question and the 36 souls that inhabit this prison. Behold and Madison perform a ceremony to get access to the ghosts that knew Michael, but it’s an all-or-nothing situation. If they want to talk to some of the ghosts in this house, then they’re going to talk to all of the ghosts in this house. “Return to Murder House” turns into a poltergeist free-for-all and delivers many poetic ghost vignettes that feature some dearly beloved departed characters. It’s should be too much when Jessica Lange’s Constance Harmon interrupts Sarah Paulson’s Billie Dean Howard right after Madison and Behold grill Evan Peters’ Tate Langdon and Ben Harmon for information, but it’s fucking fantastic. “Return to Murder House” does not hold back with the fan service and if a huge grin isn’t slapped on your face throughout this installment then you are not a fan of this show.
Another fantastic thing about this episode is that it remembers that American Horror Story actually used to be scary! The show can get so caught up in its premise and the spectacle of its characters and camp that it sometimes neglects actual scares. “Return to Murder House” brings back that frightening atmosphere from the show’s first season and it treats this episode like a properly scary haunted house story. There are many terrifying visuals from Michael’s youth that also stand out and linger. There’s a particularly Zodiac-like sequence with Miriam Mead that’s also one of the more unnerving moments from the season so far.
Darkness may surround Madison and Behold as they work their way through this house, but it’s very interesting to see Madison attempt to turn a new leaf with the second third chance she’s been given. Make no mistake, the sass is still strong with this one, but it’s kind of shocking to see her ditch a good party in favor of responsibilities. Hopefully, this more well-rounded version of Madison sticks around, but this change isn’t a complete 180. Her deadpan serious delivery of how she doesn’t want children because she couldn’t love an uncool or ugly offspring is the maybe the best line of the episode. It’s also rather perfect that she considers the Tate Langdon/Violet Harmon love story to be some sort of spectral Romeo and Juliet.
Jessica Lange may only be in one episode this season, but this truly doesn’t waste the return of this incredible actress.
Her opening line is even better than Madison’s first words this season. American Horror Story has definitely gotten by in the absence of Lange, but it really is nice to have her back. She cuts everyone down at the knees and gives absolutely zero fucks. It’s the grandiose entrance that she deserves.
Constance gets all quid quo pro on Madison and Behold and tells them that if they can permanently exorcize Frances Conroy’s Moira O’Hara from the premises, then she’ll spill the goods on her grandson. This really couldn’t go better as Moira turns out to be desperate to leave this house. She’s given the touching closure that she’s longed for during all of these years in purgatory and Madison gets another notch in the “good person” column. In fact, there’s so much positivity in this episode that you’d forget that the world is presently dealing with the apocalypse. A lot of people get their happily ever afters. It’s a great shift in tone that goes a long way for the season.
We’re treated to Constance’s twisted story of her efforts to raise Michael and how he very quickly was set on a dark path, regardless of anything that she ever did. Constance’s blind love for her child slowly begins to rot and fester as she needs to continually cover up his “gifts” to her. Her admission over how Michael ruined the smell of roses for her is just heartbreaking and Crystal Liu’s script features plenty of incredible monologues. “Return to Murder House” becomes incredibly expository as Constance fills in the blanks on Michael’s childhood and the circumstances around her death. Flashbacks to the more pivotal moments in his developing evil help punctuate her tale, but it’s still a colossal info dump. Thankfully it just so happens to be information that everyone wants to hear.
Constance all but confirms that Michael is pure evil and while his demonic childhood initially contains a lot of familiar beats, it’s a major surprise to hear that he miraculously ages a decade in the course of a night. It’s a very interesting wrinkle to see this child who’s still learning proper grammar look like an adult. Fern’s acting is a little much at times as he plays this man-child. This also hints at the idea that Michael’s accelerated age is because he serves some higher purpose and is heading towards some sort of deadline. It’s yet more evidence that Michael is more than just a warlock and actual some harbinger of doom.
Once Constance has said all that she needs to, the episode curiously shifts from Michael’s maternal upbringing to Ben Harmon’s efforts as a father towards the boy. This gender divide and how each parent differently impacts Michael also speaks to the larger themes of this season that have pit gender against one another. However, both parents ultimately give up on Michael and this could be partly responsible for why he embraces his dark side. While it’s not exactly enough to create sympathy for the devil, it is important to remember that this is still someone who’s mentally much younger. The uber expository structure remains, but Harmon presents a much more complicated case study of Michael, but still a picture of pure evil. We learn that Ben is the first one to really witness Michael’s supernatural powers in action (and boy does he get a show) and that Michael’s got nothing against latex. Oh, and it turns out that Michael Langdon is the Black Dahlia murderer (hey there, Mena Suvari as Elizabeth Short!). Case solved!
At this point, Madison and Behold have their answer, but freaking Connie Britton takes the episode home as Vivien Harmon provides one more disturbing tale from the Michael Langdon files. Vivien validates suspicions that Michael is the Antichrist, but her story goes into full-fledged deep end Satanism here. She introduces Miriam Mead and the Church of Satan who play the final part in Michael’s development. The Church of Satan lays on it on pretty thick with the prophecies—or rather “the omens,” as the episode blatantly puts it—but there’s no denying the results. Finally, the Black Mass ritual that’s crucial to Michael’s birthright is vicious stuff and it makes all of the brutal sacrifices that went down in AHS: Cult look like child’s play.
“Return to Murder House” is a triumph from top to bottom and it speaks to the underlying sweetness of American Horror Story that nobody gives the show enough credit for.
It beautifully resolves many storylines that I’m sure many people never expected to get closure on and it sets up the final stage of this season. “Return to Murder House” gives you the whole Wikipedia page on Michael Langdon and now the end game can begin. Just how the hell are they going to defeat this guy?
“Return to Murder House” actually creates a lot of excitement over where this season will go now that an important warlock is ready to put Michael down and understands his dangers. It should be interesting to see if Ariel can exhibit enough common sense to work together with them, or if he’ll still be blinded by the prospect of a male Supreme. Or maybe Madison and Behold will return to a building full of slaughtered witches and warlocks.
Also, let’s just go ahead and agree that season nine of American Horror Story should be the ghost of Madison haunting a movie production at Paramount Studios.
“American Horror Story: Apocalypse” airs Wednesdays at 10pm (ET) on FX.
Reviews
“The Walking Dead: The Ones Who Live” Episode 4 Review – Danai Gurira Writes an Exceptional Hour of TV
“What We,” written by Michonne herself, Danai Gurira, is the fourth episode in AMC’s “The Walking Dead: The Ones Who Live.” Serving as an emotional climax for Michonne and Rick’s journey, the episode unravels much like a play (which makes sense given Gurira’s background as a playwright). Confined to an abandoned apartment building in the wake of Michonne pulling Rick out of a helicopter, the long-lost lovers finally have some alone time to talk things over.
What follows is a beautifully written, dialogue-heavy episode that is heightened by dynamic blocking and set design. Much of the episode finds Rick and Michonne arguing over their next steps, pacing and moving around the small apartment they’ve found themselves in. Despite an exit-plan at their fingertips, Rick seems hesitant to travel with Michonne back to Alexandria. Michonne, rightly frustrated, argues with Rick, spiraling the conversation into circles. Grimes is allegiant to the Civic Republic Military and truly believes he can do some good for not only his community, but for the world.
As the episode progresses, Michonne’s frustration with Rick rings just as true for her as it does for the viewers. Despite Michonne’s constant pleas for the man she once knew to return to his children, Rick keeps circling back to his supposed need to remain at the CRM. It’s clear, even more so this episode, that Rick is a shell of who he used to be. Beaten down by years of failed escapes and separation from his family, “The Brave Man,” as RJ Grimes calls his absent father, is not so brave anymore. In a post online, a fan pointed out that the Rick Grimes we once knew essentially did die on that fateful bridge back in season 9. And they’re not wrong.
While Rick and Michonne’s physical reunion was granted to viewers almost immediately in this series, the emotional reunion between the two iconic characters was only truly achieved in this episode. Preventing Rick Grimes from returning to his former glory with a simple snap has proved to result in a much more dynamic, intriguing, and believable narrative for the long-absent character. Michonne finding Rick was only one step of the battle, with Rick finding himself being the toughest hill to climb. Andrew Lincoln once again showcases a masterclass of acting as Grimes cycles through his damaged psyche, desperately trying to figure out how to connect with Michonne. Gurira matches Lincoln’s emotional performance, evoking Michonne’s desperation and anger with authenticity. Letting Gurira take over writing duties for this specific episode proved extremely beneficial given the emotional legwork the character trudges through in this particular installment. If there’s anyone who can understand Michonne the best, it’s Danai Gurira.
Despite the stellar writing and episode flow, “What We” is not free from a few so-so moments. A chandelier conveniently lands on Michonne, forcing Rick to stay back to rescue her as a shambling horde comes his way. It’s understandable why this sequence occurred, but with so many other ways to place Michonne in peril, the convenient crashing of a chandelier onto her leg comes across on the goofier side. It’s the type of fake-out dangerous moment the flagship series would too often pull on characters we surely knew would not meet their demise. Earlier in the episode, Rick and Michonne’s descent from the helicopter is shown. The visual isn’t super convincing, and the sequencing of shots that follow feels disjointed – clearly meant to hide a restrictive budget. It’s a rare moment of low-quality that sticks out amongst an otherwise polished, elevated looking show.
On the other hand, “What We” is full of incredible stand out moments. As Michonne changes out of her wet clothes, Rick notices her “X” scar for the first time, a mark fans of the flagship series will remember. Michonne and Daryl’s fateful encounter with a community of murderous children proved to be one of Season 10’s darkest episodes. A somber dialogue occurs later in the episode, offering longtime fans another moment of Michonne filling in Rick about one of the many impactful moments he missed during his absence. The real revelation comes when Michonne mentions Rick’s “Children” and a look of subtle shock washes over Grimes’ face. Michonne breaks the news about RJ, their child that Rick never got the chance to meet.
Even after the revelation, Grimes still refuses to just leave with Michonne, forcing her to try even harder to break his spell of delusion. The constant back-and-forth between these apocalyptic lovers plays out against the framing of a beautiful rectangular window. As the episode progresses, the apartment building itself begins to collapse into rubble, a consistent visual motif for a relationship that is on the rocks.
After an elongated sequence of several walker kills, close calls, couple bickering, and some hilarious jabs (Michonne mocking Rick by calling him “Commando”), the duo finally return back to the apartment room and connect on a physical level. The scene is shot like a fantasy, backlit by a warm circular light and serenaded by Sam Ewing’s beautiful original score. Intimate framing showcases the emotional reaction of the characters, emphasizing the importance of this long-awaited moment and the rekindling of their love. “You’re still lying to me, you’re lying to yourself,” Michonne says in the aftermath of their romantic moment. The walls are down, and Michonne is ready to pry the old Rick Grimes out of his decaying shell.
With the building at the brink of collapse, Michonne orders Rick to stay back until they decide exactly what they are doing next. “They’ve taken so much from us, why give them anymore!” Michonne pleads to Grimes. And finally, Rick Grimes spills his guts as Andrew Lincoln puts on an intensely raw performance crying through the following poignant monologue:
“Tell me what is really going on here? What did they take from you?” Michonne asks.
“Carl…They took Carl. I lost him again,” Rick reveals with a tenderness in his voice.
“I’d meet up with Carl in my dreams. And that’s how I survived up here. Kept me alive. And then one day he was just gone. He just left. But then I started dreaming of you. And there you were. You and I fell in love in different ways. And it kept me going. And then you were gone too. I couldn’t see your face anymore just like I couldn’t see Carl’s. I can’t live without you. Without you, I die. And I figured out how to do that. I know how to be dead and live now. You can’t just come back here, make me come alive again if I don’t know if I won’t lose you again. What if I lose you and I can’t figure out how to die all over again? I need to get ahead of it Michonne.”
As Ewing’s somber music swells, nostalgic shots of Rick walking along the fields with Carl play out and the core heart that kept Rick fighting for all of these years becomes emotionally apparent yet again.
In a full circle moment, Michonne hands Rick a broken phone with artwork of Carl on it, a visual reminder of a face Rick longed to remember and a great payoff to Michonne stumbling upon the phone artist in the CRM city. Much like how a broken phone with artwork on it brought Michonne back to Rick, the same has brought Rick back to Michonne. Rick’s monologue also elegantly ties in the entire show’s motif of “The Walking Dead,” as Grimes cries to Michonne about how he has learned to “be dead and live.” The entire sequence is one of the show’s (and possibly the series’) best, featuring Emmy-worthy performances from both Gurira and Lincoln.
The killing of Carl back in Season 8 still remains one of the boldest and somewhat baffling decisions the core show made, but much like how the series turned Carl’s loss into a motivator for Rick to restore a brand new world, the power of Carl’s memory is able to ground Rick back to his emotional center. For a flagship series that can sometimes all too quickly move along after the tragic deaths of its main characters, the overall writing arc for the loss of Carl has proved to be beautifully crafted.
United yet again, Michonne and Rick make a mad dash out of the collapsing building, disposing of walkers and making out along the way. The production design of the decaying hallways call to mind the corridors of the hospital Grimes first woke up in, perhaps a slight nod to this moment being yet another “rebirth” for the character. As the duo drive away from the collapsing building in a nearby truck, it’s evident that the apocalypse’s power couple is finally back, and together no one can stop them.
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