'American Horror Story' finale recap: 'Madness Ends'
The second season wraps up with both some bitter and some sweet
"American Horror Story"
Credit: FX
So, season two of "American Horror Story" wraps up tonight in all its gory, erratic glory. As we learned last week, Johnny (whom I like to think of as Bloody Face 2: Electric Boogaloo) is ready to face off with dear old Mom, and I am not counting out Lana to pull off a last minute save. Not that I don't think Johnny can pull the trigger; I just think Lana has proven, though surviving Briarcliff and Johnny's dad, she can handle almost anything anyone, her kid included, dishes out.
We kick things off with Johnny wandering around Briarcliff, listening to Lana's book on tape and imagining his troubled parents talking to him. He hallucinates Lana looking up at him from her hydrotherapy bath to declare him an abomination born of hate, then evisions Dr. Thredson declaring his love for his only son. "I would have given anything to be a real father to you, but she kept us apart," this fantasy Dr. Thredson whispers. "I had so much love to give you, son. She stole it from you. From both of us." I will give Johnny credit for imagining something Lana and Thredson might have actually said, which is surprising given his crack usage.
Because it's not "American Horror Story" unless we skip around on the timeline, we shoot back to poor Leo (Adam Levine) and Teresa (Jenna Dewan-Tatum) wandering around Briarcliff. In case we were unsure, Johnny was the one who hacked off Leo's arm. I'm not sure what purpose this segment serves, except to stick Leo and Teresa in the ending so that some writer can say, "Hey! They were a framing device!" I guess I should be glad to see them again, given that they serve to remind me of how much the show evolved this season, dumping predictable, typical teen horror movie schlock to move into the realm of sometimes operatic drama.
We jump forward to Lana, looking exceptionally good for her age, preparing for an interview promoting her upcoming Kennedy Center Honors appearance. She kisses her girlfriend farewell in front of the reporters, proving the point that Lana, who rendered Wendy an asexual roomie in "Maniac," is now out of the closet.
When the reporter wants to talk about Bloody Face, Lana's lifted-and-tucked face tightens just a little more. "I refuse to give him one more second of airtime," she says firmly. What she is willing to talk about is how she shut down Briarcliff. Ah, Lana recounting her life and times will be how we wrap up a whole lot of story lines, and it's not a terrible conceit. She is, after all, the character who has held the show together, sympathetic but hardly unflawed, and now, at the end of her life (maybe literally), we can see her life through a survivor's eyes.
Lana returns to Briarcliff with a camera crew, using the death chute to sneak inside. Even though she tells her sound and camera guys, "I want the footage to shock the public out of their complacency… I want to put America in the asylum," what she now admits is that it wasn't justice that made her go back to Briarcliff but ambition. Lana, always thinking of her next move, somehow turned into Barbara Walters (or maybe Diane Sawyer), a pretty face exposing ugly things through a more powerful medium than the written word -- TV.
The '60s style TV footage we see of Lana in the asylum is beautifully shot -- it looks like the real thing, making the horrors of Briarcliff (which I had honestly started to get used to in their artfully underlit gloom), newly horrific. Lana is literally shedding light on a nightmare, and kudos to cinematographer Michael Goi for making it vividly, horribly real.
When we watch Lana "rescue" Sister Jude/Judy Martin, it's more powerful for the cinematic device. Shielding her face from the intense glare, Jude/Judy is exposed as the tragic figure she's become. Of course, for her to whisper "Lana Banana" to her former inmate as she's carefully guided from the room is probably a strong enough hint that what we're seeing is just Lana's wishful thinking. When Lana returned to Briarcliff, Jude/Judy was gone. "It was a hell of an ending," Lana admits. "Just not the one I wanted."
Lana takes a water break -- and JOHNNY, yes, Bloody Face the sequel, hands her a bottle. Lana doesn't blink, but we know that face-to-face-to-murder meeting he so badly wanted is now on the table.
So, what happened to Jude? Lana finds out from an old file that Betty Drake was released to the care of Kit Walker in 1970. I can see why Kit was so beloved by the aliens, because the guy doesn't have a bad bone in his body, even though some reluctance or at least resentment would make perfect sense. I have to give Evan Peters big props for making a character who could have been painfully one note (granted, "American Horror Story" needs all the nice it can get) more complex and nuanced than what's on the page.
Anyway, Kit took Jude/Judy home, got her through detox and let her terrify his kids. When she chases them around with a broom, they actually take her hand and lead her into the woods. And when she returns? Well, she wants to give everyone swing lessons! "Grace was right," Kit says. "Those children are special." Alien children rock!
Then Jude/Judy gets a nose bleed and takes to her bed. These last scenes with Sister Jude are beautifully shot and, while they take up a disproportionate part of the finale and veer into maudlin territory, I can't say I mind. We've been through so much with this character, and she's been so beautifully portrayed by Jessica Lange, I can't even bring myself to roll my eyes when the disgraced nun urges little Julia not to let a man make her feel like less than she is and cautions little Thomas never to take a job just for the money. When the Angel of Death finally comes for her, it's another artfully shot scene that perhaps lingers too long but also one I can't stop thinking about. While "American Horror Story" has been campy and frequently silly, it has never missed an opportunity to get us in the gut with a big, overwrought moment that we can't help but tap into emotionally.
But what of the man who made Sister Jude see herself as less than she was? Well, Lana got to Cardinal Howard, too, dogging him about Dr. Arden and Briarcliff until he slit his wrists in a warm bath. "Lies are like scars on your soul," Lana admits in the interview. Nice segue, Lana!
Lana admits to the interviewer that she lied about Johnny dying in childbirth. Yes, she gave him up for adoption and, in the 70s, used her investigative skills to find him. By chance she defends him from a bully in the schoolyard and takes a moment to caress his face. It's a moment that would play plenty sweeter if we didn't know what became of the poor kid bullied on the playground. Lana admits she never saw him again. We're not sure if Johnny hears all of this, given that he's tucked away in a side room, but I have to wonder if this confession is for his benefit.
Then, the greatest hits of our favorite characters starts rolling again. At this point I'm starting to feel like I'm watching "Napoleon Dynamite" or some other comedy that, so entranced with its characters, it has to tell us exactly what happened to them even as the credits roll and we're filing out of the theater. Thomas became a law professor, Julia became a neurosurgeon, and Kit developed pancreatic cancer when he was around 40. Then, he disappeared! "No one could explain exactly what happened," Lana sighs, though we know white light equals aliens. So, that ends the aliens storyline. They didn't call back the kids, we don't know what their mission was, and they got Kit. So… that happened.
Finally, it's the end of the interview and everyone packs up to leave. Lana makes a drink, then speaks to the seemingly empty room. "Can I pour you a drink?" she asks. "Why don't you come out now? You don't need to hide, not anymore. Let's get this over with, shall we?" Yes, Lana is made of pure steel. Her hands don't even shake as she puts down the bottle of booze.
Johnny comes out, too angry to be overly impressed with Lana's psychic abilities. Lana tells him she knew it was him the moment she saw him. "How can I not recognize my own baby boy?" she asks. Actually, in flashback we see that she recognizes him because the cops brought her a picture of him and told her he'd killed a bunch of people. So, Lana is a little more prepared for this than she's letting on. Good to know she's not psychic.
Johnny tells Lana he knows that she tried to kill him -- he found the tape of her goading Thredson's confession via wire hanger (which really ought to be in a police file somewhere, right?) on eBay. You really can find it all on eBay!
He pulls the gun on Lana, who just keeps talking. It's not like she hasn't done this before, after all. She calls Johnny's dad a monster. "Yes, he was, baby," she purrs. "That's not you. You could never be like him." And, just like that, she slips the gun out of Johnny's hands as he starts to cry. "It's not just him that's in you. I'm a part of you, too."
"I've hurt people," he sobs, collapsing like a poorly-made souffle. Although I usually hate it when bad guys drag out the moment before they try to kill someone (usually just long enough for the almost-victim to get away or turn the tables), it works well enough here. As much as Johnny thinks he wants to kill Lana, the reality is that, more than anything he wants connection. When she calls him baby, it's the same head game she used on Thredson. She knows a weakness when she sees it.
"It's not your fault, baby. It's mine," she says… just before she shoots Johnny in the head. I can't say I didn't see it coming, but it's still a shock, a shock that she could pull the trigger on her own kid as he's crying to Mommy. Still, I'm sure this was all too similar to her interactions with his dad. He may be her child, but she knows who she is, too, and that's someone who's capable of killing instead of being killed, for better or for worse.
Lana sits there, the gun still smoking, thinking. Finally, for all her efforts to become a TV personality far removed from Briarcliff, in the end she can't escape the place and its nightmare legacy. Whatever her ambitions, she is ultimately someone who clawed her way to fame as a survivor, no matter how many hastily scrawled sketches by Bono she may have framed on her wall.
And then, we jump backwards one last time, to a time before the story really began. Lana is begging Sister Jude for an interview. As we know, Jude refuses. "I don't think you and I are destined to meet again. But I do hope you know what you're in for. The loneliness, the heartbreak, the sacrifice you'll face as a woman with a dream of her own."
"You don't have any idea what I'm capable of," Lana, bright-eyed with ambition, says. And, of course, she doesn't.
Sister Jude smiles. "Just remember. If you look in the face of evil, evil's gonna look right back at you." It's a nice capper for a season that was, honestly, a little more upbeat than I expected it to be. Everyone didn't die at the end, for starters. Though some characters were more symbolic than real (Kit, Sister Mary Eunice) and some got exits that either didn't ring true or came too quickly (Grace, Alma, Dr. Arden), the season gave Lana and Sister Jude a playing ground of surprising depth and complexity.
I'd forgotten about Leo and Teresa (who really didn't need to come back), but their return just reminded me of how much better the show had become than the first few episodes suggested. And while this finale became drippier (and not in the gory sense) than I expected, it seemed fitting that pivotal characters got a lavish, operatic send-off. And, in some cases, a sorta happy ending. That "American Horror Story" had much more than simple horror elements driving its plot -- a mash-up of tragedy, heartbreak, ambition (both thwarted and realized) and cruelty -- made it more than the sum of its parts and, in the end, infinitely watchable.
Now the question is, what the heck are they going to do next season?
What did you think of the finale? Were you satisfied with the final scene between Johnny and Lana?
Liane Bonin Starr is an author, screenwriter and former writer for EW.com. Her byline has appeared in the Los Angeles Times, Variety and a lot of other places. Her last book was called "a scandalously catty, guilty pleasure" by Jane magazine. Expect the same from Starr Raving.
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January 24, 2013 at 12:05AM EST Reply to CommentI was expecting more, that finale fell flat and seemed rushed.
They didn't explain anything! No resolution w Mary Eunice, Arden, kit was rushed. I was honestly expecting another 30 minutes when the credits started rolling
January 24, 2013 at 12:16AM EST
January 24, 2013 at 12:46AM ESTLasmert15 The Angel of death took the devil...when she came for Mary Eunice, she said I will take both of you
January 24, 2013 at 4:33PM ESTAndrew420
January 24, 2013 at 12:08AM EST Reply to CommentWtf just happened that shit just blew my mind almost to fast paced but I still like it can't say the same for my roommate he was out cold a half hour in
/3rt
January 24, 2013 at 12:20AM EST Reply to CommentI can't call this series a guilty pleasure, but an addictive trashy treat you stick with till the end sounds right. Lange should get a jump start on some film roles, Streep can't play everything.
Ryan and his staff really are making it up as the go along and that sucks for some of the more interesting ideas they've thrown out there on the show and never followed up on and the alien subplot is pointless.
Deb4848 that true, they never explain about the "aliens" and why they took Kit Wife and girlfriend. I enjoyed all the episodes, can't wait for season 3!!!!!
January 24, 2013 at 12:34AM ESTKori Why do they need to explain the aliens? Kit just happened to be the one they did their experiments to. No rhyme or reason. I don't think they needed to go into further explanation. This was an asylum.. it just touches base on claims people make today. Mysterious vanishings, people's pregnancies being accelerated. I think they did fine and don't need to explain further.
January 24, 2013 at 2:04AM ESTDeb4848
January 24, 2013 at 12:29AM EST Reply to CommentI was shock, however I enjoyed how Lana told the story and what happen to all the main characters and how she came clean about her so-call mmiscarriage.I did expect a "bit" more at the end a struggle or something!
January 24, 2013 at 12:44AM ESTJEM
January 24, 2013 at 12:46AM EST Reply to CommentI'm trying to understand the reasoning behind the flashback to Lana's conversation with Sister Jude as the choice for the final scene. Technically, it could have ended with the rear view of Lana's son dead on the floor. "If you look evil in the face ... it looks back at you." Some might say it was Lana reflecting on the seedling of conversation that later became the big picture that was her life. Others may wonder if the flashback indicated that everything that followed was a projection straight out of Lana's mind, rather than a sequence of events over time. Any thoughts?
Jason That was our thoughts as well. Was it possible that Lana made it all up somehow?
January 24, 2013 at 1:13AM ESTSusie I think it was to give a final flip on the audience..throughout the season, one of the main themes was the thin line between good and evil, which at the beginning Jude appears to be the face of evil, the villain, but throughout the season we see how first impressions or judging can u lead u wrong in determining character. As in the case of Jude..she was convinced that kit walker was evil along with Lana. irony is that Kit was the only one who came back for her and cared enough even to forgive her. Most felt sympathy for Lana because she was "wrongfully" admitted to briar cliff. But throughout the end we see that Lana is more selfish, evil spirited, and greedy than any of the perceived villainous characters. The flashback showed Lana before she had been admitted and shows something new..Jude thoughtfully looking at the statue of Mary. As Jude tells Lana when u look in the face of evil, evil looks back..we see a close up of Lana looking back at Jude with a sinister smirk..then Jude looks at the statue of Mary,
January 24, 2013 at 1:26AM ESTSusie The statue, obviously Mary being a symbol of good, doesn't look back at Jude as Jude seems to be thinking about her just encountered interaction with Lana. It seems as if Jude may hav had other reasons behind her treatment of and misplacement of Lana in Briarcliff and that Lana, who we felt sympathy for and rooted for, actually got what she deserved
January 24, 2013 at 1:30AM ESTRobby My theory is that Johnny was possessed by the devil, which is why Sister Jude's monologue came up because Lana was thinking about it when she killed him. Remember how much of an affinity Mary Eunice (possessed) had for Lana's baby in utero and how she was so delighted when it lived? Maybe the devil left Mary Eunice and went into the child, but he was thwarted because as Lana said, Johnny was also half Lana, too, not all evil.
January 24, 2013 at 1:59AM ESTyoungjt80 They just went full circle, ending at the beginning again. I don't think you should be looking into it any more than that.
January 24, 2013 at 8:31PM ESTEbp
January 24, 2013 at 1:05AM EST Reply to CommentBrilliant! It was all made up. The extent of Lana's true interactions with anyone at Briarcliff was shown in the last scene. When she was turned away for an interview by sister Jude she left and began creating her story and hence her susequent rise to fame based around her story. Bloody face was a psychopathic young man who convinced himself he was her son. As she said in the end before she shot him, his actions were her fault, too. Yes- because she created the story he believed. The cardinal's suicide could have been related to any guilt, not directly to her accusations toward him. The aliens were not explained because they were made up. None of the characters are left alive, conveniently, because she made them up. Very cool!
jrbear gosh, i hope not. this was guessed at several episodes ago; that it could be all Lana's story, or perhaps Jude's. i guess you may be right though???
January 24, 2013 at 4:52PM ESTJeremiah
January 24, 2013 at 1:18AM EST Reply to CommentI think it was all a story. One person's mind; Lana's. I might have to go re-watch some of the ending episodes to catch some hints. I think the scene with the cops, they were asking her if she's ever heard or seen of Johnny. He was missing, she killed and hid his body. Maybe Lana was bloody face and she invented her entire story. My mind is still trying to interpret all of this lol
Scudman
January 24, 2013 at 4:57AM EST Reply to CommentSomething I thought the writers could have gone with, though they probably couldn't have for legal reasons - Kit's son was called Tom. How out-there freaky would it have been if he'd grown up (raised by two mothers) to become a Hollywood star (he was virtually the same age as someone very well-known). Aliens anyone?
Kim
January 24, 2013 at 11:03AM EST Reply to CommentAnyone know what classical song was playing when Jude is kissed my the angel of death?
paulo ricardo if you know, please let me know i also want much, my email: pauloriick@hotmail.com
January 31, 2013 at 9:22PM ESTMike
January 24, 2013 at 12:06PM EST Reply to CommentIt was all just a "NoveL", just a story. Lana's first book. They showed you that when she asked Jude for an interview. Jude refused. Said they would never meet again. They never did. She walked out the front door with her "story", with the face of evil looking back at her. She was the face of evil. She had to kill Johnny. He was the only one left who could possibly expose the truth. Just as The Cardinal was killed.
That's my take anyway.
les Ryan Murphy has give no indications in post mortem interviews that it was in her head. In fact, his words reveal the opposite. People are reading too much into it.
January 24, 2013 at 1:21PM ESTJessica
January 24, 2013 at 2:19PM EST Reply to CommentI too was expecting more from the finale: as I thought it would be 2 hours. The time frame for Kit (diagnosed with pancreatic cancer at 40) didn't fit with his children being in their prestigious positions at Harvard and Johns Hopkins. That is something I caught immediately. I liked the fact Lana, Kit and Jude were the predominant characters in the final episode, (who was left really?) I think we were all left wanting more, as I didn't want the season to end, but all good things, or "evil" must come to an end. Looking forward to Season 3. I have enjoyed reading all your posts weekly. Thanks!!
Brothervlad
January 24, 2013 at 3:55PM EST Reply to Commentare season 1 and 2 the same characters? How are they alive in season 1 if they die in season 2 and its a prequel ?
jrbear supposedly they are not. i thought that as well, but RM has said in inerviews more than once that they are not, and the stories are not connected.
January 24, 2013 at 4:56PM ESTBrothervlad like godamn! Get different actors for second season, this is ridiculously confusing!
January 24, 2013 at 4:59PM ESTmegan You are obviously very confused and have no understanding of this series. Season one was a COMPLETELY different story line from season 2. The 1st season was about a family that moved into a "Murder House" in California and there were a bunch of ghosts and weird things going on in the house. The two seasons have Nothing in common other than the actors and the fact that it is the same writer, and same series name. The ones that were in both seasons just played different characters in the second season.
January 24, 2013 at 6:45PM ESTmegan It is in no way, shape, form, size, color a prequel haha
January 24, 2013 at 6:46PM ESTODGuille ja!! how stupid
February 12, 2013 at 12:06AM ESTjrbear
January 24, 2013 at 5:07PM EST Reply to Comment"Now the question is, what the heck are they going to do next season?" RM has given out some 'clues'. "It's to take place in 3 cities and shot on those locations. It's to center around a woman villain. It takes place in the present with flashbacks to earlier times."
Many think it will be about witches, and voodoo, and center in New Orleans. There were said to be clues in the last 3 episodes, but i honestly didn't catch anything that stood out.