EXT. Bird’s-eye view. A car pulls up, and doors open. It’s Day-time.
We have arrived at our favorite haunted house and Madison (Emma Roberts) and Behold (Billy Porter) are looking to apparently buy the house? The estate agency isn’t keen and is clear to make mention of the numerous break-ins, missing people and the not one but 36 deaths in the past decade at this house- ‘What a sh**hole.‘
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As they enter his Amityville reject, they interrupt Tate’s (Evan Peters) therapy session with Ben (Dylan McDermott), and apparently Violet (Taissa Farmiga) is still ignoring him. Moving on, we then see the long-awaited reprise of Jessica Lange as Constance, and Billie Dean (Sarah Paulson) who have answers for the witches, so long as they get something in return.
Madison is quick to confess to the maid, Moira (Frances Conroy), that she has an enemy but, nonetheless, she has a preposition. Clearly, Madison isn’t all mean if she is willing to let this soul choose her final resting place. For Moira that is the cemetery. This ghost wants to reunite with her closest relative. Both the mother and daughter walk into the distance, towards the mist of peace. Let’s just take a minute to applaud the amazing cinematography of this scene! They are finally free.
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It’s Constance’s turn, now the witches have done their half of the deal. Let us begin. So, as we could have all guessed, Michael (Cody Fern) was born here, and Vivien (Connie Britton) died during his birth, I guess it was bad luck from the start. Constance then took the motherless newborn under her wings. After all, who says she can’t have a second chance to overwrite her wrongs she made with Tate?
However, before long, her ‘do-over’ began committing unspeakable crimes: He started leaving dead flies in his crib, hanging rodents and then cutting up humans (or should I be more specific and say his nanny!!!). As if we hadn’t experienced Michael’s uniqueness, he then goes to display his powers by ageing a decade within a night. However, Constance destiny to be a mother did not suit Michael as he showed her his extent of dominance by strangling her in her sleep. At this point, Constance realizes what her only escape from the would be: an elegant overdose ticket to death. This perfectly written Jessica Lange styled scene depicts Constance drinking, smoking and dancing towards death to You’re Gonna Miss Me by Connie Francis. At least now she’ll be reunited with her real children.
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The witches then stop by to solve yet another problem, leaving us with more juicy gossip about Michael’s past. After, Constance’s fatal death, Ben became a fatherly figure and took over in trying to help Michael. However, before long it was clear that not even he could help him. Even Tate, who was thought to be his real father, admitted that even he couldn’t have made something that monstrous. He was right because neither Tate nor Ben is the father, but the evil within the house, and he is destined to destroy the world. As Michael become more lonely, the darkness grew within him, and he would kill anyone to enter, or even kill their souls as if they never existed. One day the Satan worshipers stopped by his door, sacrifice an innocent and give him the heart to eat. A satanic shadow appears behind him, truly marking him as Satan’s son, whilst O Fortuna from Carmina Burana plays in the background.
Before the witches get a chance to exit murder house, softy Madison spots Violet crying and settles down for some girl talk. We can thank this witches advice and not her magic for bringing our favorite AHS couple to their happily ever after. We find out that Vivien attempts to kill Michael, who almost makes her cease to exist, however, thanks to Tate, he saved her life. But don’t get too happy about your accomplishments witches, you still have the Antichrist to deal with.
Fade Out.
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WOW! This weeks episode has truly been amazing! Reaching a 9.8/10 on IMDb, it marks the highest rated AHS episode throughout the whole show. Plus as if it isn’t already a delight seeing Sarah Paulson act as three different characters within this season, she is the director behind this episode! Considering that it is her debut to the directing career, she has done a perfect job and pleased all us AHS fans! She has used a variety of cinematic techniques, which worked perfectly within the scenes and showed us that, as a director, she isn’t afraid to experiment! For example, the experimentation with camera angles (Bird’s-eye views and travelling the camera down staircases or through eerie looking corridors) Quite frankly, I can’t wait for her to direct another episode (I hope she does!).
Featured Image Via IMDb
