Reviews
[TV Review] Episode ‘100’ Jumps Forward in Time as “AHS: 1984” Prepares for More Bloodshed
American Horror Story re-sets the table in a busy episode that fills in the gaps and gets ready for one more massacre at Camp Redwood.
“Old habits die hard…”
A good portion of this episode of American Horror Story is concerned with the idea of legacy, which is only appropriate considering this is the series’ 100th episode. Over the course of nine seasons, American Horror Story has clawed its way to 100 episodes and a milestone of this nature could easily monopolize the episode. When Ryan Murphy and Brad Falchuk’s first major series, Nip/Tuck, celebrated 100 episodes, it was with the program’s cathartic series finale. When Glee reached its big 1-0-0, they turned out a major episode that not only honored the show’s most memorable musical numbers and guest stars, but also threw ultra-celebrities like Gwyneth Paltrow into the mix. So when it comes to American Horror Story—which has arguably become Murphy and Falchuk’s most popular series—the series decides to take the more humble route. Rather than trot out Jessica Lange or even Sarah Paulson as the show celebrates its history, “100” is just a standard entry of American Horror Story: 1984. This is just business as usual, but it still amounts to a very entertaining episode that doesn’t derail this season’s momentum.
Welcome to the future…of the past! It’s 1989, baby! I couldn’t have been happier when this episode kept jumping the clock forward. A deeper timeline and a greater sense of legacy through the various massacres is exactly what this season needs. It’s almost two decades since the original attack at Camp Redwood. This progressed timeline does this season’s story plenty of favors, but it also means that a good chunk of time in “100” is spent on catching everyone up on where these characters are at five years later. The answers to those questions are fun, but “100” is more about getting those answers than what follows.
After the events of “Red Dawn,” Ramirez and Richter have been on a murder spree for the better part of a year with a kill count that’s now in the double digits. Ramirez is like a murder-pig in murder-mud during this time, but Richter is starting to exhibit cold feet. This is a fascinating direction to take this deadly duo. AHS: 1984 recently let audiences know that Richter never was a killer (at least not back in the ’70s) so it’s not entirely surprising to learn that he doesn’t have much of a stomach for the gory business. In spite of his trepidation, Richter is tied up in an eternal murder pact with none other than Satan. If Richter wants to quit on this gig, then Satan will pull the plug on Richter just as quickly. He’s in an impossible situation that continues to find sympathetic angles for this increasingly interesting character.
What plays out in “100” between him and Ramirez is not unlike an abusive relationship where Richter’s caught in the submissive role. It carries more weight than if they were both into their new lives, or even if American Horror Story decided to show the honeymoon portion of their killing spree instead. Instead, “100” begins at the moment where they’re finally able to part ways. Ramirez ends up in prison for his crimes, but it’s actually really touching to learn that Richter has found peace in Alaska and successfully started over. Not only does he have a family, but he’s also put the trauma of Camp Redwood behind him and is functioning just fine. He’s even making waves at the video store he works at, despite his disdain for horror films. This genuine growth makes it all the more gutting when Richter’s new life is ripped away from him. It’s a sad state of affairs for Richter, but it’s a powerful idea for him to re-appropriate Mr. Jingles into this avenging angel who can maybe be the hero who saves the day. It’d make for a hell of a pivot.
Richter and Ramirez’ murder marriage couldn’t last, but the fresh ghosts at Camp Redwood couldn’t be more entertained with their new eternally evil prospects. Montana and Xavier have become a couple—because why not—and still very much get a thrill out of letting blood spill. This isn’t a surprising course of action for Montana, but it’s interesting to see that Xavier has moved in this direction instead of acting as a helpful poltergeist. There could have been an entertaining war between these two (that would also call back to AHS: Apocalypse). Instead, Ray fills the role of the collective conscience. He’s actually curious as to why they’re still at Camp Redwood and if there’s a bigger picture in all of this. He still cares about the importance of being good whereas this has been lost on everyone else. It’s a noble turn for him, especially since his life as living human was rather skeezy. I wouldn’t put it past some of the “good ghosts” getting to move on at the end of the season.
One of the most enjoyable character updates that happens is how Margaret has been able to parlay her secret murders and repeated occasions as a final girl into fame and fortune. Margaret’s material borders on the line of being parody. It leans very hard in the comedic direction. Margaret’s not alone in this lavish lifestyle. Fellow survivor, Trevor, knows the truth about Margaret and uses it to blackmail her (although the marriage isn’t his idea). They already feel like an Arthur Miller couple. Not only is Margaret now beyond successful, but she’s also made a business of turning the havens of serial killers, like Spahn Ranch, into immersive murder entertainment experiences. It’s this exploitation of murder destinations that leads to the big event that seems like it will be the focal point for the end of the season—a huge music festival that’s being held at Camp Redwood – and on Halloween, no less. Each set of characters have their eyes on the destination and a bloody reunion is absolutely imminent.
The final, but arguably, most important piece in this puzzle is Brooke, who now finds herself on death row. Post-1984, urban legends around Brooke started to swirl and she became Camp Redwood’s new resident boogeyman. Brooke has just lost her last appeal and is on the heels of getting executed. This has Ramirez (and apparently Satan) very interested in claiming her soul, especially since she seemingly has nothing to lose. It’s worrisome for a brief moment when it looks like Brooke may succumb to Ramirez’ temptation, but thankfully she doesn’t give him what he wants. I’m still hoping that Brooke makes it out of this season a hero and doesn’t turn into the killer that the news has made her out to be, so it’s encouraging to see her stay strong. The minute that it looks like AHS: 1984 has maybe actually offed her, it’s revealed that Donna has saved the day and an unlikely bond is formed between them. They become another team that will be racing forward to the big showdown at Camp Redwood. However, these two have the element of surprise on their side since everyone’s under the impression that Brooke is dead.
“100” is a very serviceable episode of American Horror Story: 1984, but it’s very much about reestablishing the status quo and moving everyone into place for the finale. Things definitely happen in this installment, but it’s more about the transition into this new time period. That may feel like a bit of a letdown after the season’s previous top tier episode and because this is the 100th entry, but it’s honestly just a relief that this season is still focused and on point. American Horror Story: 1984 has finally given a good indication of what its endgame will be. With everyone racing to the same destination, it’s sure to be the biggest bloodbath that Camp Redwood has ever seen.
And don’t forget, real serial killers drink Tab….
Movies
‘Recluse’ Review – Harrowing Haunted House Horror With Lots Of Skeletons In Its Closet [Tribeca 2026]
A haunted house story is tense, terrifying storytelling when it’s properly executed. There’s been a growing tendency in horror to blend together harrowing haunted house stories with traumatic homecomings. A family member’s illness or death triggers a return to something dark that was intentionally left behind. Recluse hits all the tropes that one expects to find in this type of horror film, yet it manages to push this story in a daring, disturbing new direction that uses sound as a superpower.
It’s a unique lens to experience a familiar story about family secrets, generational trauma, unresolved grief, and the importance of not just legacy, but preservation. It’s a hell of a directorial debut from Henry Chaisson that’s guaranteed to get under the audience’s skin as they’re dragged through this painful, toxic tale.
Recluse is a gothic haunted house story where an isolated audio engineer, Joan (Sasha Frolova), returns to her family’s estate to check in on her father after he suffers a terrible accident. Joan suddenly discovers something much more sinister that paints her family’s tragedies in a very different light. Chaisson’s debut functions as a fascinating companion piece to this year’s undertone, which does a lot of the same things.
These two films make for a fascinating case of parallel thinking that tackles comparable subject matter through a similar lens, albeit in a bigger, less claustrophobic story in Recluse’s case. In fact, it’s the perfect horror film for anyone who was let down by undertone and didn’t feel like it brought enough to the table. It’s a considerably more conventional horror film, but this isn’t meant to denigrate its high quality. Recluse may hit some familiar notes, but it’s a scary, well-crafted haunted house horror story that goes for the jugular.
A gripping mystery that involves the tragic, unresolved circumstances that surround Joan’s mother teases a chilling connection to the recent horrors that have afflicted her father. Joan desperately tries to put these pieces together and give her family some sense of grander peace before she’s pulled under and becomes another victim of this festering curse that’s systematically worked its way through the Wyatt family. By doing so, Recluse digs into some deeper commentary on collective trauma, a very literal look at the “sins of the father” adage, and how one selfish decision can ripple through generations and fracture off into different dilemmas. By the end, Recluse has brilliantly flipped the powerful concept of legacy on its head by illustrating the horrors and sense of entitlement that can be born out of this idea.
A legacy is just another name for a curse under the right context.
”Listen” is a simple but powerful command from Joan’s father that she briefly obsesses over. In a way, it becomes Recluse’s grander mission statement, whether it’s in response to Joan listening to the people in her life, the signals that her body and mind are telling her, or the world’s greater whims. It’s important to reconnect with these grounding pillars, especially when it feels like control is slipping away.
Recluse excels with how audio and soundscapes can create entire universes that are full of rich details that transport individuals to these environments. There’s also a level of objectivity when it comes to audio recordings and the evergreen permanence that they’re able to provide. Joan’s career as an audio engineer makes sense for someone who wants to cling to hard evidence and proof of existence. It provides great insight into Joan without ever getting lost in contrived exposition.
Joan’s entire life is built around audio engineering, and so it makes sense that Recluse features excellent sound design that really goes above and beyond with its production elements. All of the sound design is expertly handled and turns the film into something special. These auditory elements intuitively keep the audience on edge so that they’re more susceptible to the actual scares that eventually strike. The smallest sound effect gets turned into a crushing, cacophonous assault. It’s a really effective way to build terror. Writer/Director Chaisson also handles the film’s music, which achieves a sublime, unnerving dissonance that further heightens the free-floating anxiety.
The story at the center of Recluse is slightly generic in some respects, but the film’s visual language and tone make it feel distinctly memorable. It also doesn’t hurt that the home that Joan returns to is basically an eerie art studio that’s full of contorted paintings. Recluse never struggles to generate mounting dread and terror that pump through every scene. Powerful, thoughtful cinematography consistently reinforces the film’s themes. Joan is constantly reflected in different surfaces or viewed through mirrors. She’s also often confined to tight, constricting framing that all speaks to her refracted identity during this moment of loss and her attempts to regain agency and control by making sense of something that’s seemingly unexplainable.
Recluse is full of truly disturbing visuals that make it seem like Joan is lost in a dream that turns out to be an extended nightmare. It’s a surreal journey reminiscent of invasive psychological horror like Silent Hill, with a touch of Sinister and Hereditary thrown in for good measure. There are so many individual frames that could endlessly fuel urban legends and creepypastas.
It does a great job with how it presents Joan’s fragile state of mind, where chilling flashes of the past sneak up on her and unresolved trauma manifests into unsettling imagery. There are endless shots that are obscured in darkness, or shadow is creeping in from the corners of frames like a suffocating force of nature. It’s very rare that a scene is fully lit. It leads to a very lonely, isolating atmosphere that’s easy to get lost in.
Chaisson’s debut stands out from the many other high-minded haunted house horror films without succumbing to the same pretensions that often drag down these stories. It’s a grief-stricken character study that’s full of upsetting visuals that scratch at something visceral and raw. The horror elements connect, and the answers to its grander mystery provide an appropriate and believable sense of closure. Those who are looking for an atmospheric horror film that isn’t afraid to be different while still channeling something real will appreciate Recluse.
Recluse made its world premiere at Tribeca; release info TBD.
You must be logged in to post a comment.