American Horror Story (2011. When Zoe, Queenie and Nan use a ouija board to find out what happened to Madison, they awaken the spirit of a long-dead serial killer, the Axeman. American Horror Story is absolutely brilliant. Season 3 continues that brilliance that began with Season 1. The series is unique in many ways, one of the most extraordinary things is the use of the same cast as different characters from season to season, like a. Mira American Horror Story todos los capitulos sub espa. Estos son los capitulos y temporadas de American Horror Story: Temporada 6 Roanoke.
American Horror Story: 'Bitchcraft' By Todd VanDerWerff Oct 9, 2013 10:12 PM C+ Share Tweet C+ American Horror Story. For instance: In the opening scene of American Horror Story: Coven, Kathy Bates, as the historical serial killer Madame LaLaurie and.
Let's Talk About the Extreme Racism and Sexism of 'American Horror Story: Coven'American Horror Story: Coven was one small step for witches, and one giant misstep for humankind. The highly anticipated third installment of Ryan Murphy's horror series was heavily watched, and just as heavily criticized. Coven had all of the normal trappings of AHS: brutal violence, creepy sex, great cinematography and Jessica Lange.
There is no forgetting the violent history of racism in this. American Horror Story: Coven tells the secret history of witches and witchcraft in America. Pages in category 'Coven (story)' Kyle Spencer Queenie Zoe Benson Madison Montgomery Cordelia Foxx Delphine LaLaurie Fiona Goode Misty Day Marie Laveau 1.
But the horror got lost amidst all the racist and sexist drama that filled this season. Coven features a mostly female ensemble, playing the volatile descendants of the Salem witch blood line and their Voodoo enemies. The show centers on Madame Robichaux's Academy in New Orleans, a school for witchcraft where all of the girls from your middle school nightmares get powers and periods. Image credit: FXIt isn't enough for the show to follow around the murderous, age- obsessed Supreme witch Fiona (Lange) as she leads her charges into doom.
In true AHS fashion, the miniseries decided to muse on a multitude of other morbid ideas (abusive Christian mothers, witch hunters, ghosts, serial- killer ghosts, serial- killer ghosts on the mortal coil, 3. And apparently, the show wouldn't have been complete without a race war, too. Watching the season, it becomes imminently clear that AHS is not equipped to handle themes of race gracefully.
In fact, in trying to discuss race issues the season falls into many, many moments of blatant racism. For a show that takes place in New Orleans, the choice to venture into Voodoo isn't radical. And it's possible to do a Voodoo versus Salem storyline without being racist, but the way Coven played up every black stereotype made a mockery of the idea.
Image credit: FXFor one thing, the black and white characters hate each other. To confuse things further, Queenie (Gabourey Sidibe) is an African American student at Madame Robichaux's, which is sloppily explained away as her being a descendant of Tituba. To top it off, her main power is being a .
Queenie also takes it upon herself to re- educate Delphine La. Laurie (Kathy Bates), a 3. Roots (such a campy storyline, and probably racist). Image credit: FXTo top these ridiculous caricatures off, Queenie works in a fried chicken chain before coming to New Orleans, and Marie Laveau owns a hair salon in the ninth ward. And when sitting in a boardroom about to execute the line of witch hunters that brought them together, Fiona orders a dirty martini while Marie orders a Sprite.
That speaks for itself. Image credit: FXAs if this weren't enough, the show creates a pretty deplorable depiction of women on the whole.
This is all the more ironic given that many initially praised this season for the feminist merits of creating meaty roles for older actresses. But Coven comes out of the gate with what is basically the most sexist thing a man could dream up about a fictional coven of witches: One of them can kill men with her vagina.
Zoe (Taissa Farmiga) sits upon a d- piece, and the man of whom it belongs to dies in a gruesome, bloody mess. The rest of the coven, aside from Fiona and Queenie, is made up of the promiscuous Hollywood starlet Madison, the naive and cowering Cordelia and Nan, who is ostracized repeatedly for being mentally challenged. Madison and Cordelia are complete clich. The season unfolds around their inability to be loyal, rational or selfless people. Fiona leads the charge, determined to eliminate her successor so that she will remain youthful and powerful (because clearly women will do anything to remain young and beautiful). With tensions running high, all of the women find it impossible to trust anyone.
This ultimately leads the girls into a war against one another that results in multiple witches dying. Coven did offer a couple of proud female moments. Misty Day (Lily Rabe) is a Stevie Nicks- loving, bayou- born flower child with the power of resurrection.
She is a woman who keeps her eyes open, speaks her mind and isn't afraid to throw a punch. And Stevie Nicks is on the show twice. The White Witch appears once to serenade the torn- apart coven with acoustic versions of . It's almost like an apology for all of the sexism that has come before it. Image credit: FXPeople watched Coven avidly, because it is a hypnotizing show. But that doesn't mean that she show didn't handle sensitive topics like racism and sexism very poorly among all of its bravado.
AHS doesn't have a social responsibility; it's a show that rejoices in pushing us way beyond our comfort levels. But that means that for next season, it would do well though to smarten up its writing, and handle taboos with as much cunning as its villains.
American Horror Story (TV Series 2. Check Your Sanity at the Door.
A still from American Horror Story: Coven. Courtesy of FX Network. Over American Horror Story’s two invigorating, gruesome seasons, creators Ryan Murphy and Brad Falchuk have indicated that there is no subject too distasteful for them to tackle. In last year’s installment of the anthology series, American Horror Story: Asylum, the pair took on insanity, nuns, aliens, possession, medical experimentation, religious hypocrisy, homosexual aversion therapy, serial killers, the devil, and abortion. For good measure, they threw in the Holocaust in a bravura two- episode stand featuring an inmate who believed she was Anne Frank. But even this past boldness does not quite prepare one for the opening segment of the new season, titled American Horror Story: Coven. Forget the serpents in the show’s promotional materials; Coven begins with America’s preeminent horror story: slavery.
Coven opens in 1. New Orleans, with a vicious Kathy Bates playing Madame La. Laurie, a scheming society woman who delights in dreaming up new ways to torture her slaves. Early on, she daubs blood, sourced from human pancreas, on her face like Noxzema. In her attic, she gruesomely tortures men she keeps in cages: The camera shows us a man whose face is all but peeled off, another whose mouth has been sewed around a mouthful of excrement, and another who’s been made into a minotaur. The opening credits, reliably TV’s creepiest, are dominated this season by images of the Klan.
I watched most of this opening segment through my fingers, but as dark and disturbing as it is, it is also undeniably over the top. The music pounds; candlelight glistens on dark skin; Bates purrs, “The minotaur was always my favorite, half man, half bull. And now I have one of my very own!” American Horror Story does not believe in sacred cows: Here it is, taking on slavery by using an actual ripped- up a cow as a prop. This treatment of the subject matter is undeniably disrespectful. But respectfulness is not Murphy and Falchuk’s primary concern, and it is exactly this brazenness that I admire. In the context of other television, American Horror Story is perverse and refreshing, proof that a great show doesn’t have to be self- serious to be smart.
American Horror Story is, proudly, a melodrama. Its influences are not other golden age TV shows and gangster movies, but undervalued genres, often dismissed as pulp: horror flicks, women’s pictures, soaps, camp. American Horror Story is obviously ambitious, but it is rarely somber or sober.
Like Shonda Rhimes’ Scandal, AHS is a different kind of quality television: ambitious, bitchy, frisky, entertaining as all- get- out, and unabashed by TV’s schlockier roots. With its energy and verve, and its total disinterest in white guy anti- heroes, it’s more watchable than dozens of Sopranos knock- offs. It’s also far more bold—free to investigate subjects and themes shows bound by good taste are too hamstrung to take on. If you’re worried that slavery was the only sensitive subject the premiere explores, rest easy: Once the show moves to the present day it delivers Steubenville: The Revenge Fantasy. Taissa Farmiga, who sat out last season, plays Zoe Benson, a young woman who learns she is a witch almost exactly at the moment she learns her genitals are a kind of vagina dentata: Her lady parts don’t have teeth, but when she has sex with a man, she turns his brain into a leaking punch bowl.
Zoe is shuttled off to Miss Robichaux’s Academy for Exceptional Young Ladies in New Orleans, a school for burgeoning witches that was once home to dozens of young women, but now houses just three. There is telekinetic mean girl and movie star Madison (Emma Roberts), human voodoo doll Queenie (Gabourey Sidibe), and the clairvoyant Nan (Jaime Brewer, who has Down syndrome). The young witches study under the supervision of the circumspect Cordelia Foxx (Sarah Paulson, coming off an incredible performance in Asylum), who believes the girls should be able to blend in. She doesn’t interfere when Zoe and Madison head off to a frat party, where a video- taped gang- rape occurs. Lesson: Don’t gang- rape a witch.
Into this charged situation swans Jessica Lange’s Fiona Goode, who is the Supreme, the most powerful witch of her generation. Last season was, in Murphy’s own words, “dark and grim and hard” and Coven is expressly designed to be more fun: As Goode, Lange gets to flounce around, sucking the life out of handsome gentlemen, dropping bitchy bon mots, and generally showing the younger witches—and actresses—how it’s done.
As the episode ends, she encounters Madame La. Laurie, ensuring that, whatever else happens in the new season, Bates and Lange will be chewing scenery together. In American Horror Story’s first season, Lange played a psycho Southern belle, stuck in Southern California. Her new character bears no relation, but Fiona, lolling around New Orleans with her impeccable umbrella, calls her to mind anyway. Similarly, when Fiona started to sing, I immediately thought of the most memorable scene from last season, when Lange’s Sister Jude sang “The Name Game.” The anthology and repertory aspects of American Horror Story, in which actors play wildly different parts season to season, is paying dividends: Past characters and storyline have started to rustle and rub up against present ones.
When Farmiga’s Zoe lays eyes on Kyle Spencer (Evan Peters) at the frat party, you know they’ll love each other, like they did in Season 1. The grossly disfigured slaves recall the human experiments performed by last year’s psycho Nazi doctor. With all these eerie echoes, the show is starting to haunt itself.