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Daily Archives: December 13, 2012

American Horror Story-Asylum, Episode 9: The Coat Hanger

dylan

In the ninth episode of American Horror Story-Asylum, Lana learns that her violation at the hands of Thredson has left her pregnant with his child. She tries to use the pregnancy as leverage to get some evidence against Thredson. Meanwhile, Dr. Arden witnesses a miraculous resurrection, and our killer Santa returns to dedicate his life to Jesus.

So, first and foremost, holy crap! Dylan McDermott! Now we have an idea who’s behind the Bloody Face 2012 murders. It’s nice to see another cast member from Season 1 show up in Asylum, and doubly nice to see that it’s not simply a meaningless cameo. His appearance as the son of Bloody Face builds a bridge between 2012 and 1964 that was much needed at this point in the miniseries.

Back in ’64, Lana is understandably disturbed by the prospect of carrying around the seed of a serial killer in her loins, and attempts to remedy the situation with the help of a coat hanger. Unfortunately for her, the abortion fails. She decides to help Kit and get Thredson to confess to the Bloody Face murders on audio. While a confession is rendered, their plan is thwarted by Sister Mary Eunice who also informs Lana that Thredson’s child is still inside her.

Halfway through the episode, we meet up again with Sister Jude. After being almost heroic in the last episode, she’s at a very low point this time around. She’s been stripped of her position as a nun and has also been institutionalized in Briarcliff. The monsignor and killer Santa visit her, and then have a heart to heart about spirituality and the monsignor’s dreams of occupying the papal office. Killer Santa gives a nasty justification for his eighteen murders, saying that because of them, eighteen more people are now in heaven. Charming.

After the monsignor is deceived into thinking Killer Santa has converted, he’s pinned to a cross and comes face to face with the Angel of Death.

The real highlight of this episode was the towards the end. Kit agrees with Arden to take part in an experiment to draw out the aliens. The experiment goes according to Arden’s plan (though probably not Kit’s; his heart stops), and then he draws toward a bright light that appears in the asylum. Within the light, he sees that Grace is still alive and under the care of Pepper.

Overall, this was a fun episode, and you can tell the season is drawing to a close. I especially liked the appearance of Dylan McDermott as the son of Bloody Face. I would’ve loved to see more of Lily Rabe and Jessica Lange, but this episode seemed to be less about them than the other characters. I dug how the ending played out, and how the victims of the aliens seem to not really be victims at all. I kind of have an idea as to where this is all headed, but I’m going to keep it to myself because if I’m right, I don’t want to spoil it, and if I’m wrong, I’ll just look like a fool. Anyway, it amazes me how much the writers pack into one episode, yet still manage to keep my attention as a viewer.

Next week is Episode 10-The Name Game. Note that the show is on hiatus until January 2nd.

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Biff Bam Pop’s Holiday Gift Guide – Prometheus On Blu-Ray and The Art of Prometheus

Prometheus
Blu-Ray, 20th Century Fox

The Art of Prometheus
Titan Books

art004A quick flip through, and scanning of, Titan’s recently published book Prometheus: The Art of the Film reveals Ridley Scott is a great lover of design. Leaving aside, for the moment, his amazing visions of the future in his earlier science-fiction films, consider, for a moment, the aesthetics, design cohesion, and appearance of Rome in Gladiator, the middle-ages in Kingdom of Heaven and Robin Hood, the worlds of the Armed Forces in Black Hawk Down and GI Jane (on the latter – we are speaking only of design here!), and the urban claustrophobia of Hannibal and American Gangster. The man has an interest in, and a love for, every detail in all of his films. While this likely causes more than its fair share of consternation and frustration amongst his collaborators, the end result is always a thing worthy of attention. Even if the designs are loosely based on actual historicity or reality, there is an internal cohesion and relevance that makes his filmic worlds at once believable within their own frames of reference and also beautiful and wondrous. The book, like the film that it describes and illuminates, is a thing of beauty.

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