Da 5 Bloods
On the Record
I May Destroy You
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"Spilt Milk" offers freshly enticing plots, grossly insane shocks, and an almost-happy resolution.
The episode did entice me story-wise in a way I hadn't felt for some time. I'm especially curious about Sister Jude's endgame.
Perhaps it's not surprising, considering the trajectory of this season, that episode number 11 of 13 doesn't waste any time reflecting on past events - it expects you to do most of the work yourself.
Just when I start to take it for granted, just when I think I know it better than it knows itself, AHS surprises and delights me anew. And by "surprises and delights," I mean "horrifies and disgusts."
That weird sense of malaise runs throughout "Spilt Milk," which has a lot of stuff going on, but not really much in the way of action or forward plot momentum.
"Spilt Milk" - one of American Horror Story's best directed hours - was sprinkled with visual and thematic homages to director Brian De Palma, whose filmography is filled with homages to his idol, Alfred Hitchcock.
We're on shaky ground, which we suppose is entirely the point with the show. It's less of a horror story this year and more of a simply disturbing one.
It just lacked any real sense of conflict or drama, and because of that, watching Lana's tale of woe essentially come to an end in a rather mechanical manner, felt a bit like the character had been shortchanged somehow.
I don't even know where to start with American Horror Story: Asylum tonight. Between Dylan McDermott and his prostitute, the would be abortion, and two babies... "Spilt Milk" was aptly titled, and absolutely insane.
Fortunately, this week's episode manages to give the audience some feel-good resolution without upending the darker themes of the show.
With only two episodes left after tonight, it's nice to see American Horror Story: Asylum wrapping up the myriad plotlines in favor of bringing the major arcs to a satisfying conclusion.
[It nods] to Candyman (the music was repeated pretty often this week to great effect) and the work of Fake Hitchcock himself, Brian De Palma. I always enjoy when the show gets referential, especially musically, and this week was definitely a treat.
The scenes between Lana and Thredson, culminating with the killing of Thredson, were pretty damn great.