Animal Horror Story

After the news that just released today from creator of the hit series, American Horror Story, Ryan Murphy’s confirmation that Season 4 of the mini-series will be a period piece that is set in the 1950s, featuring a German accent by veteran Jessica Lange. As in every final arc of AHS, fans of the show are analyzing every moment and word to catch clues that snuck in to hint at the next season’s location., I present to you in what I do not only believe as theory, but fact (as I am that confident).

Following last week’s episode that featured some peculiar additions to the show, I already had my head spinning with ideas that revolved around one subject: animal cruelty. What kicked that off? The random picture of a dog that appeared under the Google Images beside the infamous witch hunting father son only to be followed by the murder of mice placed in a magic maze being used for witchcraft. Fear not, I have proof my submission (Twitter is a reliable source in case you were wondering).

Brandon Moncada‏ @PogiFilipino

I have my 1st #AmericanHorrorStory setting theory from 2 things: the dog pic in Google images; animal cruelty of mice RIGHT after. #VET

11:11 PM – 8 Jan 2014

After tonight’s episode (which inspired me so much to return after a year long hiatus…New Year’s Resolutions can happen!), I couldn’t help but ensure my stamp of approval on this topic, for tonight was huge.

Opening up the night had a significant scene involving Kathy Bates’ Madame LaLaurie and her daughter in a flashback where they behead a chicken for dinner. It was drawn out, dramatic, and after the showing of the decapitation, the overuse of blood squirting out made the scene memorable to say the least. Ladies and gentlemen, I present to you, animal cruelty. Now may I encourage vegetarianism to forever prevent the slaughter and torture of both animals and, according to LaLaurie, human beings.

The key scene that should be most noted was after Fiona and The Axeman seemingly slept together. After showing Fiona an old picture, an eerie screech quietly fills with ambience as Fiona asks us to imagine her as a “farmer’s wife.” Get that into your head for a second.

In other news, Madame LaLaurie is a stupid cow to Marie. Coincidence? I think not!

So can anyone else hear the ring of American Horror Story: Farm Life? Perhaps Animal Farm (if copyrights do not prohibit)? We’ll soon see when we all will “Go To Hell” in next week’s semi-finale.

Any thoughts or theories of your own? Do you still believe in the possibility of the circus location? Let us know!

The Rave of Lily Rabe

AMERICAN HORROR STORY - Lily Rabe as Sister Eunice - Photo: Michael Yarish/FX
In its fluster of ghosts, babies, and Tami Taylor (oh how we love Connie Britton!), the gem of American
Horror Story‘s
first season was easily Jessica Lange’s return to television in her murderous and eerie portrayal as Constance, a mother and nieghbor of the arc’s murder house.

Returning for the second season’s Asylum as an old drunken singer turned crazed nun, Sister Jude was destined to be the scene stealer. Come October, Lange has by no means disappointed, but  a new star began to upstage Lange. Perhaps it was from the expectation of greatness, or the comparison to Constance’s different iconic ways, maybe it was the Boston accent. Regardless, Lily Rabe is not only the MVP of the jam-packed insanity that has been American Horror Story: Asylum, but easily stolen Lange’s title of the acting jewel.

As Sister Mary Eunice, the first few episodes found the quiet, outspoken, and introverted right hand woman to Sister Jude a pushover. Then, Satan struck. Literally. Following the excorism and death of a teenage boy who was thought to be possessed by a demon, instead of being banished from the asylum, the demon, which actually is the devil, himself, entered Mary Eunice’s innocent soul.

Ever since, Rabe has left audiences awestruck with her acting chops. Her composure as the confident and demonic nun gone bad has gone in my books as one of the greatest villainous performances in recent memory. Chill inducing scenes shined during Rabe’s complex mixture of sex appeal, cruelty, and purity that made her work so interesting and complicated.

It’s easy to still vivdly remember feeling goosebumps chill up my arm in the moment where she, out loud, argued with her two interior minds with Sister Jude, where she from one moment would be scolding as the devil and then in a moment of Mary Eunice’s child-like cry of her true self, would be damned as Satan took back control. To witness, in just seconds, an actress switch from cruelty, to tears and fear, and then screams of disgust in three, entirely different personas is not easy to do.

Then, the worst happened (SPOILER ALERT to those that have not seen January 3rd’s new episode after the winter hiatus). Sister Mary Eunice was thrown over the stairs by the monsignor to slowly, yet gracefully, fall to her death, a blood bath puddling around her head, her eyes eyes averting one final glare. This moment left me in shock. What would bring the showrunners to stop this damsel of delight. (Check out the gif below of  Rabe’s exploding alter egos before falling to her death!)


To make things worse, it almost seemed as though a shred of hope was possible (at least in my overly analytical mind). When Dr. Arden expressed his wishes to cremate her due to the demonic touch in her body’s cells, I thought maybe it was possible for Lily Rabe to live on with the help of this season’s most off-the-wall inclusion: the aliens.

The final scene proved to axe that thought, not only through Mary Eunice , but also Dr. Arden, who rode his way into cremation with her (anyone else notice the irony of the Nazi being burned to death?).

Lily Rabe has proven her feats, and my only hope is that she can continue her streak, along with season two’s other shining, new stars (ummm…anyone else been mesmerized by Sarah Paulson as Lana Winters?), in season 3. Hopefully, unlike the Golden Globes, some others will be recognized during the next Emmy ceremony. With such memorable scenes, from the beginnings  of the possession and the way the crucifix’s shudder from a blanket’s brush of air, to her final devious move in taking the monsignor’s virginity, Sister Mary Eunice will never be forgotten. May she rest in peace. The good part of her at least.

In the mean time, stay tuned for my thoughts on where season 3 will be headed since Ryan Murphy expressed that the hint to the next location was given in this week’s episode, “The Name Game!”

American Horror Story: Asylum Analysis

Since week one of the new season of American Horror Story: Asylum, I’ve had this theory of Grace not being real. A figment of Kit’s imagination and now, of Lana’s imagination. From the first episode, the way she was presented almost made her seem out of place.

From the fact that she wasn’t “crazy,” then the strange way she had a “job” where she could quietly and discreetly give food to Kit in his cell was awfully convenient. She never once came in any major contact with people either. When trying to pull away the man that was trying to hold down Kit, she was shakily shown through the camera trying to pull him back, but failed. Then, back to her food drop-off, she immediately disappears once a guard comes in.

Coming into the second episode of this season, called “Tricks and Treats,” I was prepared to analyze every moment she was in, making sure to be attentive to her surroundings in order to support this, to my knowledge, not even spoken of theory.

As the minutes progressed, the evidence to her inexistence skyrocketed.

The first major moment followed Lana’s ECT (electroconvulsive therapy), with the camera often shaking to show her possible transition into insanity. So once in the waiting-like room, writing down notes to remember in case the ECT wiped her memory, Kit walks in and has a “conversation” with Grace. Throughout the talk, whenever the shot was shown through Lana’s point of view, eavesdropping on their conversation, Lana’s head always covered where Grace would have been shown, and in the distorted background, all that was seen was Kit at the edge of Lana’s ear. Since she was covering up Grace, literally, perhaps this could have been the moment that Grace was slowly starting to dig her way into Lana’s mind and insanity (farfetched, yes, but stay with me).

Then, when seen through Kit’s point of view, Grace was actually shown, but only then through his eyes. So the second that Lana quickly writes down a note, which we can’t exactly see, I suspected that she was noting that Kit was actually crazy. Why wouldn’t he be? He’s having an imaginary conversation with himself. Why shouldn’t she remember that?

Finally, we get Lana’s first glimpse and confrontation with Grace: taking a steam bath, similar to one of the promos shown before (more on that later). Could Lana finally crossed over into insanity too, just like Kit who is presumed innocent? Possibly. The entire confrontation between the two turns into a desperate attempt for escape so maybe that desperation is what drives this Grace into these patients’ imaginations.

But the best, most concrete evidence that can be found for Grace’s inexistence comes in her three final scenes.

When giving her last plea to escape, but not allowing Kit to come, Lana gets her notepad stolen by Kit during her talk with Grace on the couch. With no notice as to how Kit would even know that Lana had a notepad for herself, it’s possible that Lana was either talking to herself, like a schizophrenic, or maybe even to Kit during that conversation. Kit had to of known in some way about Lana and her notes…

So later, during the exorcism, we see the patients all rushed back into their corridors. This is the first of two scenes I suggest watching back because they’re so crucial.

Lana returns to her cell, but right before we see a quick reaction shot of Grace walking into the cell which, from the shot, is directly across Lana’s cell. However, a few seconds later, Lana attentively peeks out the fenced window on her cell door and during the camera switch to her point of view, she looks directly across into the room from hers. Instead of seeing Grace, Kit sits down in his bed and makes direct eye contact with Lana.

The cinematography is what really makes this scene in particular, among the rest, actual hints to this idea.

But, with every good theory comes the counterpoint. The moment when all of the epiphanies and revelations gain that moment of doubt. That moment came when Sister Jude orders in Grace and Kit for their punishments is what truly disproves all of this long, overdrawn analysis.

With every counterargument, though, comes even better confirmation.

For starters, the cinematography and camera work was top notch, once again. The moment we see Kit and Grace dragged in by the two workers, we should be getting a double shot of the two actors walking in. Instead, even when the man that’s holding Grace is shown, Kit is always in our line of sight for Grace, and we can never see her for those brief few seconds.

That’s not what affirms this theory though. The affirmation for Grace being some sort of figment comes in the two or three seconds we see Kit and Grace lying on the table. Briefly, Grace double takes and looks at the glass with the cigarette in it. But why? Every shot and decision made is always done with reason in filmmaking.

When playing back, and with extra attention to the position of the glass, its seen in two different places in all but those two or three seconds. Of course, this could have been what many may find under a goof under, but the fact that the actors were directed to take a glimpse of the glass almost simultaneously disproves that.

First. The glass is to Kit’s right in the double shot of the two.


Second. It’s seen at Grace’s right

Finally. It’s back to Kit’s right.

All of these shots are one after another and since both Grace and Kit look at it in each of their takes makes is no coincidence.

So. Is the idea that Grace is too good to be true prove she’s not real? But how isn’t she real, and how does Jessica know of her existence and come into contact with her? Is she aware of her if she’s dead and maybe a ghost (season one, anyone?)?

I leave you with one final picture, which I’m not going to lie, did not even come into mind until I was writing the paragraph about Lana and Grace in the baths.

Remember this promo picture of that creepy nun that cries blood peeking out of this bath? It greatly resembles the baths that the two use, so does it could have some significance with Grace and the fact that she was able to cut herself out with that blade?

Approve? Disprove? Have any other proof supporting this Grace theory, or even refuting it? Speak out in the comments!

I do not own the rights to any of the photos, FX or the American Horror Story Asylum productions