AHS: Coven Review - Fearful Pranks Ensue

AHS: Coven Review - Fearful Pranks Ensue

Spoiler Alert: Do not read if you haven’t seen American Horror Story: Coven Season 3, Ep. 4 – “Fearful Pranks Ensue”.

Madison Montgomery is a stone cold bitch who loves hard drinking, big dicks, and trouble. If she’s dead its probably because she got wasted and offered the grim reaper a hand job or something.  – Queenie

Is there a better eulogy for a character? Obviously not. And it obviously it beats an eternity as a guest at the creepiest tea party ever imagined. I’m hoping Zoe somehow gets her hands on Madison so she can go the same way as Kyle. No, he doesn’t seem to having a great time of it, but at least than she can follow in his footsteps and get the hell out of there.

But now I would like to take this opportunity to address the show’s creator directly.

Oh Ryan Murphy, you just couldn’t help yourself could you? You had a clear, concise (for you) story so you just had to sweep in and throw some more shit at the wall. Why stop at witches and voodoo priestesses, why not throw some zombies in as well? It wasn’t enough that you had more divas on screen than you knew what to do with, you had to add in a philandering, murderous husband too.

At least you finally remembered your original diva, Francis Conroy, sitting on the back burner in her Grace Coddington drag ready to go toe to toe with Jessica Lange again. Is all this backstory with teenage Myrtle Snow and Fiona Goode going after each other interesting? Sure, but it mostly just feels nice to have a little break from the attacks and retaliations. But it still doesn’t feel as good as the millisecond of Marie Laveau backstory if only because Angela Basset looks fierce as hell with an Afro.

And that brings us to my second point, Ryan.

You also had the beginnings of a theme and message, so of course you had to immediately contradict it. You had to take the one character that was staunchly anti-racist and show her coldly using tense race relations as a get out of murder free card. You had to set up the main conflict of the show as a war between those two sparring races and offer no assurance that the subject will be handled with any grace or tact.

And yet…

No matter how many disturbing images AHS gives us (lynched little boys, tongue severings, or acid attacks), no matter how many demeaning messages about females get perpetuated (the singular quests for beauty, babies, and boys) every commercial break I turn to by boyfriend and say, “Damn, that was awesome”.

AHS’s bread and butter is shock and awe. It’s why we love it and to continue that trajectory the show needs to build upon each scare. So bring on the zombies and the acid attacks and the cold-blooded murder. We’ll keep on eating it up just like you knew we would.


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