AHS 1984 - Episode 100

I’m always late on seasons that are considered “appointment viewing”. The first two episodes (well, I think three…) of American Horror Story 1984, I watched it and even followed live with fellow fans on Reddit. Then I “slipped”, before long quite behind. But much like Stranger Things at 4^th of July, I’m always sort of lagging behind. I’m okay with that because I typically enjoy being last in line. I really soaked in the greatness of Episode 100, just applauding quietly to myself each and every scene. This was just creative freedom made manifest. Take history and do what you will with it, not adhering to the restraints of genre or document. Ramirez and Jingles are on the road, Satan “restoring” them. That is why they could leave Camp Redwood. Problem is, none of them actually can officially “leave” Camp Redwood, no matter where they go, where they are—much like Jingles’ fresh persona in Alaska, starting over as an assistant manager at a VHS store (this just warmed my heart), with a reforming ex-prostitute wife and new baby—it doesn’t seem that Death Row or the Execution Chamber or even a lucrative millionaire lifestyles of the rich and famous prominence can keep those seemingly tied to the murderous locale. RR keeps killing and killing (Falchuk and Murphy carefully avoid showing the murderous rampage in great detail) while Jingles is becoming increasingly weary and frustrated with being around, not participating but forced to watch. He eventually seizes upon an opportunity to turn locals onto RR, as they chase, pummel, and eventually pounce upon the notorious Night Stalker…Disneyland is mentioned as one German tourist in a hotel tries to get RR to cut down Billy Idol rock blaring from his stereo, as Jingles rescues her from certain death. RR in Death Row would appear to be doomed. But the card in his hip pocket he can used to call Satan is available. Despite being rejected by Brooke—sentenced to the needle, all appeals lost—who will not give her soul to Satan, RR is nonetheless confident his Lord will see him to safety. The bloody pentagram, a printed concert advertisement brought to his attention by “red” (a Ramirez devotee who always tucks her boobies for his personal enjoyment) set within its center, and true focus and meditation on an escape plan. Sure enough, the burned incense of RR’s “essence” feeds into the ductwork and into the nostrils of a security guard stroking one out in a stall to a magazine. That security guard lets RR out and so Jingles’ wife is no longer safe. Jingles realizes he can’t escape Redwood or Ramirez. His son left to his sister-in-law, Jingles, in raincoat with keys in tow, must return to where his notoriety remains.

Brooke goes through the process we are led to believe. There is this great piece of acting and filmmaking, I believe, where Brooke is trapped in her cell and Ramirez attempts, futilely, to secure her devotion to Satan. If she will just give over to Satan, she can escape the needle. It is as if he’s in the room with her, his voice and call very much with her. And he appears to her, but Brooke, despite experiencing this, will not relent. Rejecting him, she’s willing to go to the needle without Satan…or God, as the priest tells her about helping with her condemned soul. Brooke, defiant to the end, spits on the glass, telling Margaret she’ll burn for her actions. Then the twist at the end has Donna “awakening” Brooke from her “rest”, the process of the poison carefully a ruse to trick those in attendance to her execution, using her official status of death as an advantage. Much like Jingles, Brooke and Donna aren’t through with Camp Redwood, either. The whole process of execution is well interlocked with RR’s own escape…these two murderers on Death Row have a return date with Redwood.

Margaret as a wealthy mastermind exploiter of serial killer locales carnied up as tourist attractions fits her psychotic, twisted personality perfectly. Trevor surviving her knife attack, exploiting it to bilk Margaret of her riches but locked into a marriage with her I DID NOT see coming. That is par for the course with an AHS series from Falchuk and Murphy. Her being at Brooke’s execution, unimpressed with how boring the needle process is, also fits her attitude towards the lavishing the theatricality of a nasty end that is avoided with such. When she realizes from her assistant (Leslie Jordan, inspired casting) that three of her sites are rejected by angry locals not wanting the murder victims exploited for profitable gain, word of fresh victims turning up at Camp Redwood Margaret sees financial payload, planning to open a camp experience for clients, including a big concert headlined by Billy Idol. This is what truly pushes RR to get out of prison…how could he miss out on a concert with his favorite “artist”? RR loves Idol so much, he compares him to Picasso, while Jingles just wants to listen to some easy REO Speedwagon! When orchestrating a media scrum at Redwood, Chet wants so badly to kill her but Montana stays his hand…Montana, who spends the episode organizing stabbings of visitors to the location with help from a “fallen to darkness” Xavier, actually prevents a killing, looking at this as the wrong time. The right time for revenge would eventually surface.

Ray trying to halt the bloodshed while Montana (she seduces and stabs a birdwatcher with a new camera), in bra and short-shorts, and Xavier (slitting the throat of the birdwatcher’s girlfriend from behind while she was preoccupied by Ray and Montana) satiate their thirst for violence—embracing the evil because what can happen to ghosts who are already dead?—does bring up a point. Who’s to say that what they are doing won’t bring about some form of eventual punishment? The addition of ghosts who can be seen by mortals, interact with them and even kill them, has really turned 1984 on its head. It is a creative turn that allows Murphy and Falchuk to go in directions the slasher genre they are spoofing and parodying (and homaging) wouldn’t allow. I get that supernatural leanings might turn off slasher fans wanting the formula and to just enjoy the retro stylings (and revel in the timewarp trappings), but I dig the outré turn from total convention. And Satan actively involved in resurrection (and rescuing his “disciples”) further adds to the ingenuity of developing surprises and twists that keep us off kilter. Xavier and Montana involved in a sexual relationship certainly wasn’t a development I saw coming, however, and his point of trying to do the right thing in life, only to have it cost him when Margaret turned on him, leading to his “heel turn” kind of “justifies” his actions in his mind. At least you get some reasoning behind why he doesn’t give a fuck. And Montana always had that darkness in her so this is but a level up from what she really always wanted to embrace. 5/5

*Opening in 1985, later in 1989, in this episode, and earlier in the series, in 1980, Falchuk and Murphy also aren't restricting themselves to just 1984. This is very much still 1980s centered. And 1984 still remains the pivotal year of the season despite callbacks to the 70s when Margaret first unleashed her mania. All the ghosts circulating Redwood let's us see just how much of a paranormal epicenter it is.