American Horror Story: Hotel recap: ‘She Gets Revenge’

23 Dec 2015 | Author: | No comments yet »

‘American Horror Story: Hotel’ Mid-Season Finale Recap: Vampires and Hotline Bling is a Good Mix.

The tenth episode of this fifth iteration of American Horror Story is titled “She Gets Revenge.” It’s not initially clear which “she” we’re talking about here. At first glance, the name of the winter finale of “American Horror Story: Hotel” could apply to any number of characters: the Countess (Lady Gaga), Alex (Chloe Sevigny), Sally (Sarah Paulson), Ramona (Angela Bassett)… the list goes on. But in the end, it’s Iris (Kathy Bates) and Liz Taylor (Dennis O’Hare) who find vengeance, setting the stage for an epic battle in the Hotel Cortez when the show returns in 2016. The mid-season finale of ‘American Horror Story: Hotel’ delivers more laughs than usual, and we love it! ‘She Gets Revenge’ slays all of the right notes, leaving us with a hilarious cliffhanger!

We’ll talk about how cool that bit was in a second, as it’s probably more important to talk about how that ending implied that the undead former lovers have been shot to death. But there was plenty that happened in this week’s episode, so let’s break it down: Even for “AHS” standards, the beginning of the episode was dark. After a poignant but still sick intro featuring an elderly couple who decide to end each other’s lives in the Cortez, Liz Taylor is struck with the inspiration to off herself, as well.

I’m sure she would rather die a thousand deaths by her own hand than be killed by Iris and Liz, although they certainly deserve to be the ones to put Countess out of her their misery. She’s part of the reason why both characters set up a suicide pact earlier in the episode, and their thirst for revenge against Countess and Donovan is what drove them to bring the bullets. While this could absolutely come from a flashback or something else along those lines, I’m pretty sure we’ll see the Golden Globe nominee Lady Gaga doing more harm than good in the next two episodes. Liz wants to get her affairs in order, so she asks Miss Evers to reach her son whom she left behind long ago, when she decided to leave her sham life as a man behind. She uses her old-fashioned point of view (not a politically correct or even accurate take on transgender people) to make an intriguing point: her son might not be willing to accept his father’s true identity.

They finally meet again, although it seems like the boy, Douglas, now all grown up and professional, doesn’t recognize his father, who’s serving him drinks at the bar. Now that he killed Countess’ beloved Rudolph Valentino and totally fucked up her head, there’s not much left for him to do but serve as a last act of vengeance for Iris. He knew Liz was his dad all along, and he’s actually quite accepting of how his father embraced her identity. “There’s always room for another woman in my life,” Douglas says, and all of a sudden it looks like Liz has rediscovered her reason to live. But seriously, though, how awesome was it to see Liz and Iris busting through those doors like they just stepped out of a Tarantino movie, guns forward and hammers popping?

While I’m the world’s biggest non-fan of Drake’s ”Hotline Bling,” it was kind of a perfect soundtrack to the moment, just as it was minutes earlier when Donovan was dancing around to it. Hazel calls up Liz’s boy and gets him to come to Los Angeles for a few nights free at the Cortez. (You may ask yourself why on Earth Liz would bring her son to a Hotel Hell filled with serial killers and ghosts and killer ghosts and viralized hedonists.) In return, Hazel asks only for some updated cleaning products. He wants to be a grandmother some day, and as Iris starts getting ready to die, Liz tries to talk her into taking over the hotel. “We’re entitled to a second chance,” Liz says. “The best is yet to come.” John Lowe is only one trophy away from completing his 10 Commandments collection. With her newfound peace, Liz goes to speak with Iris, who has already made her own tribute video “for her three Instagram followers.” Liz convinces Iris not to kill herself, but instead, go out with a “blazing final act” — but more on that later. American Horror Story: Hotel will return, with or without Donovan and Countess in the land of the living (or whatever land the undead belongs to), on Wednesday, January 6.

Rudy pulls a sword on Donovan, who does the Indiana Jones thing and just shoots his romantic rival. (Gaga does the same with Natacha, when she pulls out a knife.) Donovan doesn’t mourn his rival’s death “I have better cheekbones anyway,” he says. “Cheekbones for days.” Meanwhile, our pal John Lowe has gone cuckoo crazy. Their moment tugs at our heart-strings even more once Douglass calls Liz ‘dad.’ Douglass tells Liz that he doesn’t care if his father is a woman. The murderous ghost pulls a Mickey from “Rocky” when Lowe asks about his wife, Alex, suggesting, in not so many words, weaken the knees and get in the way of such plans. When Alex and John meet, though, she reveals to him that she is tasked with righting a great wrong — ie, her turning of the boy with measles who is now leading a pack of wild child vamps — or the Countess will kill her and Holden. Of course, she left him to die in the sealed off wing of the hotel, and she is prepared to take over his empire by way of being the legal guardian of his son, Lachlan.

March, who pulls a “told ya so” on her for having him killed on the premises. (Ramona still lurks in the sealed-off wing, by the way, and, thanks to John and Alex, she gets some company in the form of the bloodthirsty version of Our Gang that had been rampaging through Los Angeles, courtesy of John and Alex. Will she take control of his empire? “I thought I’d dissolve the empire,” she explains. “Convert it to cash.” Oh, she’s not on the will, but she is little Lachlan’s legal guardian until he turns 18. It’s clearly another ruse, and she wants to somehow lock Donovan in there, too, but before she can talk him into it, he reveals that Valentino is long gone. As the Countess is speaking to a couple of detectives about Will’s “disappearance,” Will saunters in, leaving the Countess uncharacteristically surprised (the reveal almost inspires flashbacks to a certain entrance Emma Roberts made in “Coven”). Well, half-kindle: She still wants a divorce, but she sees something solid behind John’s eyes now. “You finally got it together, John,” she says, before leaving him for the evening. (The Season 5 Derriere Club welcomes Chloë Sevigny!) Sally’s not so happy about this. “She doesn’t know about you,” she tells John. “Not the way I do.

Sally rages, attempts to seduce, rages some more, curses, screams, and generally has a fit over the clear fact that she’s not going to live happily ever after with Lowe. Countess returns to Cortez, surprised to find Donovan still there, jamming and dancing to Drake’s ‘Hotline Bling.’ Well, it’s not Donovan’s smooth dance moves that shock her (that’s just us), it’s the fact that Donovan didn’t run away.

When Liz explains that she’s reconciled with her son, and that she can’t possibly kill herself knowing that Douglas actually wants her in his life—Iris becomes inconsolable woman #3. Alex walks out hand-in-hand with John, little vampire child Holden with them, and they go back to the outside world, leaving Sally screaming behind them.) In the penthouse, the Countess calls upon Donovan. Gaga goes to see if this is true — leaving Donovan to dance himself silly to “Hotline Bling,” the greatest song ever written, the greatest dance ever danced. I guess the Countess had too many other things on her mind to worry about the children, especially since she presumed they’re all safe with the governess. She asks him if he really doesn’t care that she’s about to kill him. “Of course I care,” he tells her. “I just don’t mind dying if it’s the only way you’ll let me love you.” Awww.

There are lunatics, a rapist nun, demonic possession, ECT, aliens, Nazis, serial killers, drug abuse, human experimentation, frame-ups, and coldly murderous children. There was screaming and crying for days on end, as some of our favorite women were tormented and abandoned. “She Wants Revenge” was filled with tragedy and revelation, reunions and reparations, and a whole lot of drinking.

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