Benjamin Richter’s tortured past helps inform the future as a new malevolent ghost wreaks havoc at Camp Redwood.
“What goes around comes around.”
American Horror Story: 1984 is a season where everyone has been given elaborate backstories. However, right from the start it’s seemed pretty clear that Emma Roberts’ Brooke Thompson is AHS: 1984’s protagonist and inevitable Final Girl. While that has remained true up until this point, “The Lady in White” argues that this has actually been Benjamin Richter’s story the entire time. He’s gone through everything that Brooke has had to endure, but worse. In that sense, it’s fascinating to consider the first or second Friday the 13th films from Pamela or Jason’s perspectives. “The Lady in White” flips its villain into its hero as its characters receive overdue answers and Camp Redwood plummets into even more chaos.
Culpability is usually a crucial component of the slasher genre. It’s arguably what drives Friday the 13th, A Nightmare on Elm Street, and Halloween, all in one way or another. Sometimes serial killers are born out of pain and evil, but a lot of the time something as simple as errant responsibility can landslide into a brutal origin story. Culpability has been an important part of this season of American Horror Story as various characters are forced to take the blame for murders that they didn’t commit, but “The Lady in White” digs into that subject matter in a whole new way.
It’s been no secret that this season of American Horror Story has borrowed from the pivotal slasher films of the genre, with a particular focus on Friday the 13th. “The Lady in White” goes all-in with its Friday the 13th homages and turns the narrative of Benjamin Richter and his mother Lavinia (Lily Rabe!) into an analogue for Pamela and Jason Voorhees. Richter has been a pawn more than any other character this season, but that level of manipulation goes even further thanks to a glimpse into his childhood.
Even though Margaret was the killer at the 1970s Camp Redwood massacre, it turns out that Benjamin is actually to blame in a super convoluted sense. Back in 1948, Benjamin loses his brother, Bobby, in a boat propeller accident with circumstances that are nearly identical to the original Friday the 13th. Bobby’s death turns their mother, Lavinia, into a wreck, but it also forms an even greater wedge between Benjamin and his mother. This tragedy culminates in the first massacre in 1948 at what was then known as Camp Golden Star. It’s this event that opens up the supernatural evil of the campgrounds.
When push comes to shove, a young Benjamin kills his own mother to hopefully prevent future bloodshed, but ironically starts this murder cycle in the first place. Lavinia inherently blames Benjamin for Bobby’s death and this resentment is enough to fuel a slaughter. Lavinia reveals that she actually convinced Margaret to commit the 1970 murders all as a way to setup and punish Benjamin as retribution for Bobby’s death.
It’s devastating news and both John Carroll Lynch and Lily Rabe are incredible during this emotional scene. Rabe is especially great in this callous role, whether it’s her scenes set in the past or her vengeful ones in the present. It’s worth pointing out that while it was initially stated that Sarah Paulson would appear in this season, that’s no longer the case. Rabe is exceptional casting here, but I’m curious if Paulson was the original choice for Lavinia. They are both very capable of tapping into that Pamela Voorhees level of eccentricity. Now, Lavinia’s unrested soul plagues the fresh crop of ghosts that populate Camp Redwood.
With Brooke and Donna still en route to camp and busy with their own distractions, Richter is the only one that can end this horror. This fate is all too fitting since it allows Benjamin to confront his mother and all of the toxicity of their relationship that has festered over time. A considerate understanding is reached between the two of them and it looks like they can finally give their relationship closure. With Lavinia seemingly out of the way, all that’s left is for a newly empowered Richter to eliminate Ramirez, keeping his son safe in the process.
Benjamin Richter’s woes drive the bulk of this episode, but in the meantime Brooke and Donna deal with recovery and decide if Camp Redwood is also in their future. Understandably, Brooke and Donna’s relationship begins in a very angry place, but over time it softens and reaches a tender area. The Misery-like scenes in the hotel feature some great work from Emma Roberts as Brooke is at her most despondent. This is nicely juxtaposed with the look of pure joy that’s on their faces during their downtime at the roller rink. It’s a real treat and highlights just how far they’ve come.
Typically, disconnected material like this could really slow the episode down, but these two women wind up in a delightfully suspenseful scenario that’s straight out of The Hitchhiker. Bruce makes for the perfect variety of obstacle that consumes a solo entry of the season. He’s a charming, creepy enigma that allows Brooke and Donna to work as a team and demonstrate their strength. “The Lady in White” uses atypical environments like a disco roller derby and stretches of the road to give even more impact to these tense scenes.
“The Lady in White” also continues to deliver some glorious cameos from some American Horror Story OGs. It’s wonderful to have Lily Rabe back as Richter’s unhinged mother, but it’s even more exciting to have Dylan McDermott back in the fold as Bruce, the mysterious, murderous hitchhiker. McDermott does gleeful work in this role and makes Bruce stand out a lot more than if a random actor were in the position. He’s legitimately terrifying as he comes at these two like a brutal force of nature. The way in which Brooke and Donna dispose of him is equally creative and gruesome.
Bruce establishes that he shares some kind of connection to Donna, but she and Brooke are much too concerned with escape and survival to attempt to reform Bruce or make him part of the team. This material may seem unnecessary to some viewers, but this is frankly the right way for American Horror Story to make detours. This would be unbearable if Bruce’s story was set in the past or if it happens to random characters, but instead it puts Brooke and Donna in this unsettling urban legend.
In case anyone gets bored during the episode’s sweeping catharsis, Richard Ramirez slaughters a few musicians who are getting ready for Camp Redwood’s musical festival just to keep the episode’s roving body count on the higher side. As all of this important information comes to light, it’s somewhat comical to see Ramirez willfully ignoring it so he can just recklessly murder people and go to his happy place. In spite of his ties to Satan and an eternity of damnation, Ramirez doesn’t see the bigger picture here and is simply content to get in some carnage. Ramirez’ murderous impulses bubble over and his character still feels like the weakest link in all of this. Zach Villa does strong enough work in the role and I can understand Murphy’s desire to rope in an actual serial killer to this narrative, but he remains the most superfluo[TV Review] ‘The Lady in White’ Brings More Killers, More Family Trauma and Returning Starsus element of all of this. Nevertheless, as all of these survivors reconvene at Camp Redwood, Ramirez remains the biggest threat.
“The Lady in White” is a satisfying installment of American Horror Story: 1984 that prepares even further for its big finale. This is an episode that covers a lot of ground, but it manages to not sink the ship in the process. This season continues to have fun with how it reframes many of the characters’ roles and plays with the definition of what a victim really is. Finally, all of this season’s characters have been reunited at Camp Redwood and it looks like all of the major secrets have come to light. I’ll be genuinely surprised if more surprises don’t occur in the final two episodes, but as it stands AHS: 1984 is ready for its blood-soaked finale.
Let’s see who will be left standing.
