American Horror Story is one of the most popular horror shows in America. It’s also one of my favorite shows. It’s scary, bloody, sexy and full of enough twists to break someone’s brain.
Normally a Halloween staple, there wasn’t a new season in 2020. Because 2020 was a garbage fire. But there’s a rumor, just a rumor, that the new season will be coming out in June.
Since we’ve all been going through withdrawals and stuck at home with nothing to do, I’m ready to bing some AHS. Seems like a great time to go through an episode-by-episode recap of all the previous seasons.
Warning: American Horror Story is not for kids. There’s blood, gore, sex, suicide, rape. If it can trigger you, it’s in here. Reviews of this show will reflect this.
That’s out of the way. Let’s get to the fun part. While I have seen most of the seasons, I’m going to recap each episode like we just watched it together. There will be spoilers. There will also be fun, bad jokes and lots of blood. So pop some popcorn, open a bottle of wine, and let’s go back to where it all began. Episode one of Murder House; Pilot.
We start with an exterior scene of the house itself. And this house, guys. Even knowing that there’s something in this place that wishes harm on me doesn’t make me not love this place. Stained glass windows, tiffany lighting, an eight burner range. This place is a love letter to function and form. (I studied interior design in school).
Twin boys are doing what twin boys do. They had bats, and they wanted to go make some trouble in the abandoned house. After picking on little Addie, who’s chilling in the front yard, they head inside to bash stuff and throw poppers. Don’t judge, we were all little shits as kids.
Of course, only death awaits the boys.
Cut now to the present day. We meet Vivien Harmon, who’s recovering from a traumatic miscarriage. Returning home, she hears someone upstairs when no one should be there. Thinking it’s a home invader, she heads upstairs with a big kitchen knife. Badass, Viv. Bad Ass. Unfortunately, it’s not a home invader. It’s her husband Ben, screwing one of his students. The butcher knife came in handy after all.
For some reason, they decide to work things out. They move across the country and into a beautiful LA Victorian. The murder house, of course. The parents hope it’s the fresh start they need. Their teenage daughter, Violet, doesn’t. She’s pissed at, well, the world. She’s a teenage girl, no one’s surprised.
Of course, you can’t leave your troubles behind if you’re still living with him. Vivian can’t escape her anger at Ben, no more than the emotional pain of her miscarriage. Now she also has to deal with her racist, psycho new neighbor who doesn’t understand boundaries.
Constance and her daughter Addie seem to come with the house. Addie likes to sneak in like she owns the place. Constance sneaks in as well, either to inflict herself on Vivian or chase after the child she both loves and is repulsed by.
Moira, the housekeeper, also comes with the house. She seems like she’ll be a good friend to Vivian, who is going to need one. Too bad Moira seems to have a double face. Not a Jekyll and Hyde, so much as an Alice Nelson and Pussy Galore.
The house doesn’t seem like it’s going to be too bad, though. Well, except for the thing that lives in the basement and almost kills a teenage girl visiting Violet. Oh, and the BDSM suit in the attic that rapes Vivian.
This is running long, so let’s just finish up with Tate. Played by Evan Peters, Tate’s a troubled teen that Ben is treating. Most psychiatrists know better than to see patients in their house. But Ben, who can’t even tell when his wife is wearing makeup and has spent hours on her hair, thinks nothing of it. Until Tate starts bonding with Violet. Who needs a friend like Tate like she needs a hole in the head.
That’s it for this episode. Grab a bottle of Moscato and I’ll see you again on Sunday for episode two, Home Invasion.
However, trying to fit in, Iris starts to discover a terrifying secret within this tight-knit group of friends. A deadly secret…
THOUGHTS ON COMPANION (SPOILER-FREE)
Never would I have thought I would be saying that a writer of ‘Fred: the TV Show’ and ‘Fred 3: Camp Fred’ wrote a damn fine film. But here we are.
Writer/director, Drew Hancock, created a funny, clever and interesting gem of a horror film. COMPANION is a great adventure film in the horror genre, focusing on the ideas of identity, self-preservation, the cogito, ergo sum of life, and women’s rights.
And, trust me, I know that sounds like a lot, but that’s pulled off by the superb writing and the acting – it flows together really well. It’s an incredibly precarious job to balance humor, horror and drama. If you go too hard with humor and it’s cringey. You give too much drama and it’s tonal dissonance. If there’s too much horror…well, that’s okay, actually.
But with heavy hitters with incredible comedic timing like Harvey Guillén and Jack Quaid, the cast only elevates the writing and story. Quaid and Sophie Thatcher have so much chemistry and work so well together that the drama feels authentic and raw. Thatcher is such an engaging actress, working with what could have been a very flat role. But she portrays Iris with such intelligence, wit and vulnerability, it sells the idea of COMPANION that would usually require more suspension of disbelief.
I liked the soundtrack by Hrishikesh Hirway. Both the original soundtrack and the songs chosen work well with the tone and plot. Super fun bop. You can tell that the song selections were picked with intent and care, for example, the Goo Goo Dolls’ song playing in Josh’s apartment.
The effects in COMPANION were terrific by being used sparingly but grotesquely, for example, the scene with the slow, tortuous scene with the candle. Most of it is practical, but there are some key scenes with CGI that are really well done.
BRAINROLL JUICE: THIS HAS VAGUE SPOILERS
I love horror films. Yeah, I know, big surprise. But this type of film highlights why horror is such an important and crucial part of our history and culture. Horror is a lens of a society of the times. Looking back, we can see what creatures scared us. What people were afraid of or should be afraid of.
Horror, by large, is a very social and progressive genre. Monster movies and mad scientist movies of the 1950’s were en vogue due to the rising fears of the atomic bomb and the Cold War. The same is true for the rise in space horror as we had the Space Race and landed on the moon.
Coralie Fargeat has been exploring this with great success with her most recent film, ‘The Substance‘, but first really dove into this with her fan-favorite, ‘Revenge‘. ‘Freaky‘ and ‘Happy Death Day‘, while comedic, explore girlhood, femininity and social expectations. ‘Don’t Breathe‘ turns the trope on it’s head (in a still gross way). ‘Babadook‘ shows the difficulty with being a mother, and ‘Hereditary‘ is a deep drama on matriarchal generational trauma.
Written like a person who understands the nuances of an “adult and juvenile human female” and is definitely not an alien
What does this have to do with horror and COMPANION? Well, pretty much everything. COMPANION is about what it means to be a woman. Her fears are real and reflect the fears of our society currently. Loss of agency. Loss of identity. Loss of her voice and decisions.
But like all good horror, it will stand the test of time. It will be on the right side of history, as they say. With an incel proxy as the villain and a woman learning about herself, it’s clear what Hancock envisioned for COMPANION. It’s a film about empowerment and reflection of our society right now. And unlike the newest Black Christmas, it doesn’t shove a diva cup down your throat.
“The Demon of Sex” is the third episode of Evil’s season 3, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a new marriage that struggles with intimacy. Kristen (Katja Herbers) takes control of her family. Ben (Aasif Mandvi) has an existential crisis after facing plumbing difficulties. Sheryl (Christine Lahti) struggles with the new work culture. Sister Andrea (Andrea Martin) battles a demon.
Evil Season 3 Cover
What I Like about “The Demon of Sex”
Ben usually seems underutilized as a character, especially in personal development, but season 3 works hard to rectify that issue. A skeptic’s disillusionment is an obvious choice for this type of character, but the writing and Aasif Mandvi’s performance drive the execution. It also adds another dynamic to his character referenced throughout the series, if rarely shown again, in the Science League.
“The Demon of Sex” is also a good episode for Sheryl, who struggles and triumphs in her new position. While her character trajectory teeters back and forth, “The Demon of Sex” shows what her development can look like when given the attention it deserves.
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“The Demon of Sex” also furthers the frenemy relationship between Kristen and Sister Andrea, providing ample material for both characters to explore. “The Demon of Sex” shows Kristen’s willingness to compromise and furthers Sister Andrea’s character flaws.
Leland (Michael Emerson) finally finds an attack that might work on Sister Andrea, beginning a plot thread to explore across the season. Commenting on this plot point might give credit to future episodes, but it’s a compelling example of Leland actually being devious and in control.
“The Demon of Sex” leans on Evil’s dark comedic tone, not intending to haunt the viewer but to entertain them. It dives further into the comical nature of corporate evil and marketing, showing a general shallowness in both arenas in which exploitation occurs. It’s dark, troubling, and entertaining without pulling its punches.
Disclaimer Kimberley Web Design
Tired Tropes and Triggers
In an episode titled “The Demon of Sex,” the titular demon seems to hold conflicting motives. First, it grows strong in the married couple’s abstinence, which suggests a different focus. But when acts become carnal, it’s the general kinkiness that makes the demon strong. Considering the couple talks about their troubles with a licensed therapist, it seems to evoke a general kink shame to the execution. However, the therapy also fails to resolve the underlying issues.
A slightly gory moment might unsettle some viewers, but it’s a single moment in an otherwise goreless episode.
A Nun with a Notebook to Save Your Marriage
What I Dislike about “The Demon of Sex”
As mentioned in a previous review, another demon seems to indicate a more direct concept of “sex,” while the motives of this demon seem more complex. It’s a minor point, but I can’t fathom why they didn’t connect this title with the more literal succubus that’s plagued this season already. Addressing that demon also seems like a more logical entry point as the audience sees what it’s been doing.
“The Demon of Sex” sets the groundwork for future plot points. While not a fault of the episode, it blends in the background, doing what it needs to and little more. I don’t mean to pretend this is a negative, but it doesn’t haunt the viewer like past or future episodes.
Final Thoughts
“The Demon of Sex” delivers but remains buried around more memorable episodes with more lasting power. It sets up key points for several characters and allows some to shine, but it doesn’t hold iconic moments to look back on. Ultimately, it functions as intended and keeps the audience eager for future developments.
Dark City (1998) is a Cosmic Horror film directed by Alex Proyas, though I’ve seen labels of tech noir, which certainly fits. This R-rated film stars Rufus Sewell, Kiefer Sutherland, Jennifer Connelly, and William Hurt. As of this review, Dark City is available to Kanopy and Amazon Prime Video subscribers, with additional purchase options on other services.
John Murdoch (Rufus Sewell) wakes up in a hotel bathtub, plagued with strange memories and amnesia. Chased by strangers, he follows his memories of Emma (Jennifer Connelly), avoiding those who hunt him in his desperate attempt to understand his situation. As mysterious forces hinder him, Dr. Daniel Schreber (Kiefer Sutherland) claims to know secrets that might help. Emma Murdock (Jennifer Connelly) haunts him.
Dark City Alt Cover
What I Like about Dark City
Dark City earned 12 awards and an additional 19 nominations. These recognitions include the 1999 Saturn Award from the Academy of Science Fiction, Fantasy & Horror Films and the 1998 Bram Stoker Award. In short, Dark City earns a strong critical reception.
Part detective tale and part cosmic horror, Dark City lures its viewer in with its aesthetic and premise. I hesitate in saying that the mystery drives the film as the beginning narration does spill most of the finer points. However, Rufus Sewell delivers a performance of someone so overwhelmed and out of his element that the terror shows despite our knowledge. This film wants the audience to know the mystery, focusing on characters learning the truth to hook them.
Rufus Sewell, William Hurt, Kiefer Sutherland (Actors)
Alex Proyas (Director) – Alex Proyas (Writer) – Andrew Mason (Producer)
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Every performance nails its particular niche. From Kiefer Sutherland’s Dr. Schreber’s untrustworthy scientist to Jennifer Connelly’s mysterious Emma, each performance enriches the plot. This praise belongs to the entire cast, as many performances hold nuances that make sense after learning the entire truth.
Dark City maintains tension for most of its runtime, with the ending being an exception. That isn’t to say that the film fails to create a haunting story, but the focus shifts as the characters learn more about their situation. While both parts of the film accomplish their objectives, it does minimize the horror.
Disclaimer Kimberley Web Design
Tired Tropes and Triggers
At the backdrop of this story, there’s a serial killer murdering sex workers. It’s a familiar plotline, and Dark City doesn’t push against its familiarity in most aspects. However, the reasons behind this plot are somewhat more complex beyond simple shock value.
There was one notable voyeuristic nude scene, but the first naked body is Rufus Sewell’s John. Besides these moments, Dark City doesn’t lend itself to voyeurism. Instead, it prefers a largely sexless and detached perspective, which seems common among Lovecraftian-inspired properties.
Rufus Sewell as John Murdoch
What I Dislike about Dark City
As briefly mentioned, Dark City doesn’t deliver a traditional mystery because the beginning narration spoils most of that mystery. While this doesn’t inherently hinder the film, it’s a decision that doesn’t seem to make much sense. Most of the narration gets shown or told to the audience later. It’s as if the audience isn’t trusted to understand these elements. However, this film repeats this information or shows it with better execution, making the narration unnecessary.
Without divulging too much, the ending empowers a particular character that hinders the cosmic horror influences. It’s hard to believe the danger of cosmic forces when they prove to be your equal.
While not a fault of Dark City, The Matrix would focus more on empowering its main character through realizing some truth. Since The Matrix came out a year after this film, Dark City holds a stronger claim to the trend. However, the execution of this plot point goes to The Matrix. Despite the drastically different focus and genres, I can’t help but wonder how much The Matrix’s success has overshadowed this film’s lasting power.
Final Thoughts
Dark City creates a tense journey for audiences to follow, combining cosmic horror and tech noir to create something unique. It’s a cult classic that earned an award after its digital re-release because few films provide its unique mix of genres. If you crave a dark mystery where humanity must adapt to overcome the impossible with a flare of cosmic horror, this film might satisfy your craving.