I recognize I’m terribly late on this write-up, but near the end of this season I was terribly distracted by Channel Zero, Westworld, The OA, and most recently, Jojo’s Bizarre Adventure. But considering the news dropping for Season 7, better late than never, right?
Season six of Ryan Murphy’s on-going horror escapade was easily the most divisive: Between the show-within-a-show framing and found footage over-saturation, this is probably the most unique season to date. But does that make it good?
Usually I’d start with the opening theme, but controversially, there wasn’t one for Season 6. Fortunately I found this fan-video, which might be better than the actual season itself:
Let’s get down to it
When approaching this season, there’s a lot to wrap one’s head around – namely the meta-quality of “My Roanoke Nightmare.” Initially I was against this method of story-telling, because as much as I love cheesy ghost story shows, it is common knowledge that reenacting is seldom relied upon. So for “Roanoke Nightmare” to not only consist of 90% reenactment, but to have such a crazy fandom after the fact, that’s fairly hard to believe. All you can really do is accept that this branch of television is widely accepted in this universe (the “Murphyverse,” if you will).
Once it’s understood that there are many-a-layers, it’s easy to roll with the punches on this one. That doesn’t mean there still aren’t any inconsistencies. (I still don’t know what the teeth are all about.) But, it does hit on all of the previous AHS tropes: Mommy Issues, Monster, and Something Incredibly Uncomfortable (my vote goes to the Polks, followed by first-person immolation). Not to mention, this is the first season to reference all of the previous seasons (well, the Hotel one was kinda loose, but I’ll let it slide).
My favorite part of this season was when we as viewers finally saw the ghosts as they were meant to be seen – and they are hella spooky. Initially, it is a cheap trick to rely so much on the popularity of found-footage, but to use this technique to alter the viewing experience as such was a fantastic exploit of the medium.
My second-favorite part, what I like to call the redemption of Kathy Bates. Her character, Agnes Mary Winstead, was genuinely uncomfortable to witness. I felt like her contribution to this season was a way to show younger, or unfamiliar, viewers her prowess.
Speaking of younger viewers, when Dominic Banks goes on his soliloquy about being a reality villain, is Real World still relevant? Does anyone under 20 know who Puck is? Either way, the second act is my favorite part of this season, hands down.
Where it drops the ball
Personally, I really didn’t care for the third act. As glad as I was to see Lana Banana again, I wasn’t terribly interested in Lee Harris’ fate.
The trouble is, I’m not sure where the show would have gone afterwards.
Perhaps the larger issue is that the more interesting part of this season wasn’t so much the main characters, but the ghosts themselves – like if Murder House didn’t have Jessica Lange to ground it.
In all, AHS: Roanoke was a great deviation from the rest of the series, albeit a tad half-baked.
Holy guacamole. What. Did. I. Just. Watch.
Well, let me tell you – if you haven’t watched the latest season of American Horror Story, go away for now. I also wrote about the other seasons here. Meanwhile, I’ll be here jotting down my thoughts and musings on this last season.
Now, I find hotels as eerie as the next occasional traveler, so I thought the concept of AHS: Hotel was interesting on a very base level. Add some real-world creepy inspirations? Great! Old Hollywood? Even better! Vampires? Well…they hadn’t really tackled them yet, so okay…
I’ll be frank. This season’s a hot mess. It’s a Jackson Pollock of concepts and casting, marred with copious amounts of sex and bloodshed. Not all of it was terrible – for instance, we were given a new hero, Liz Taylor (Dennis O’Hare).
Liz is awesome. She’s an ideal role model for the modern audience – confident, intelligent, and fierce as hell. However, everything was fine until for some reason, they decided to throw in a completely asinine romance angle with the Countess’ (Gaga) flame, Tristan (Finn Wittrock).
Now, I’m not man-hating for the fun of it, but what I’m upset about is that this angle came from absolutely NOWHERE. The only time we get any idea that there was any sort of chemistry is after we see Liz and Tristan in bed together – no buildup, no conversation, not even any eye-contact, for all I know. I suppose the heart wants what the heart wants, I guess. I’m just glad she got the happy(ish) ending she deserved.
Another character I loved? James Patrick March.
Honestly I never gave Evan Peters a second glance until Hotel. Finally, after four seasons of moping, we get someone charismatic, cartoony, and impossible to ignore. Think of James P. March as Gomez Addams and H.H. Holmes on coke.
Hotel was an incredibly divisive season, an odd combination of cartoony and violent – in some cases cartoonishly violent. It seemed as if the creators didn’t know where to draw the line in terms of disturbing content – or which direction this show was going, for that matter. I think the idea was to bridge the gap with the “Ten Commandments” story…or maybe the vampires? Jeezus.
The Ten Commandments
Admittedly, this was a very cool, bold way to start the season. Granted, it is a total Se7en ripoff – that, and hearing the phrase “Ten Commandments” over and over again is clunky and exhausting.
And when we learn the truth about our protagonist, John (Wes Bentley), I’m not sure if it was more unexpected or annoying. Much like Liz/Tristan, we had no leads of any sort – it just seemed so poorly thrown together. On the other hand, when John accepted his identity, that was a nice change of pace.
There seems to be a string of shrugging off events when things get too weird – for instance, when we are introduced to Countess’ erm, child, it goes on a wacky’s “Baby’s Day Out”-style adventure. As if that wasn’t stupid/annoying enough, there is literally a scene where John’s daughter, Scarlett, is very upset and crying, and then less than a minute later we see her chilling on the couch with some popcorn. What kind of poorly written bullshit is going on here?
Okay okay, that’s a little nit-picky, especially considering some bigger problems…
The Addiction Demon and Hypodermic Sally
…Who was this? Why was this? What purpose does this serve? Other than disturbing for disturbing’s sake.
Speaking of which, it was never really explained why Sally (Sarah Paulson) was sewing folks into mattresses. It made a nice eyecatch I suppose, but again, ultimately pointless. Like that Human Centipede-esque nonsense later.
On the topic of nonsense, last but not least –
To be fair, they never really call these creatures “vampires” – but for the sake of simplicity, that’s what I’m going with. I honestly enjoyed how this season played with this vampirism disease, especially when combined with other diseases. Though they did hit us over the head with the-ever-so-topical vaccination “debate.”
Upon the announcement that Lady Gaga was to be involved with this season of AHS, I honestly didn’t really care – I guess I was more looking forward to the sheer spectacle she would surely provide – and thusly delivered. I was more annoyed by the irrelevance of her vampire clan and their terrible hair-dos.
The Countess represented the glamour as well as the menace that LA has to offer (throughout time, so it seems) – an ideal seductress. Apart from that, we have a concept that’s terribly drawn out and ultimately uninteresting.
In A Nutshell
I’m sorry, I took some time writing this because I often found myself getting ranty and all over the place. Kind of like this season. Simply put, there were way too many ideas going on here at once; near the end, it was painfully obvious that they needed to tie these stories up. Yet, despite my complaints, I still enjoyed this season. It doesn’t hold a candle to Murder House, but at least it’s better than Coven.