In all of the craziness that is “We All Pay Eventually,” Banshee displays its growth over three gripping years by giving two supporting characters the chance to verbalize the heart of the episode, season and series thus far…
When it comes to pain, physical or emotional, one of the timeless cliches has been that we always hurt the people we love the most.
If last week’s season three premiere suggested the importance of legacy in Banshee, “Snakes and Whatnot” is the companion piece that shows how one’s legacy can be controlled by perception. It’s said that history is written by the victors, and several characters here–Rebecca, Chayton and Nola chief among them–want to make sure that they’re both taken seriously and come out on top.
As the messy season of television that has been Freak Show nears its conclusion, the show doesn’t present many signs of coming to a satisfying end. Although certain arcs have worked, Ryan Murphy and co. haven’t followed many of the stories extensively enough to bring them to a satisfying conclusion.
Amid a full and explosive season three premiere that heavily features Chayton’s (Geno Segers) return to and influence on his Kinaho tribe, it’s a quiet exchange between father and daughter that sticks out
Though American Horror Story: Freak Show has been deprived of its most horror-like element for over a month now, the violence has picked up considerably over the past two weeks, and the latest episode, “Tupperware Party Massacre,” showcases its most graphic bloodletting yet. Despite Dandy seeming like a less conventional horror villain than the psychotic clown, he’s made up for his less than terrifying appearance with a seemingly insatiable bloodlust.
One of the small pockets of story that hadn’t been explored that much was how Emmett’s character fit in among everyone else. Both of Doug Jung’s scripts, though, seem to have anticipated that question and answered it with an exclamation point.
With so many different directions to go and so few episodes left in its second season, Banshee surprises in “Ways to Bury a Man” by sticking to a plot it could have easily moved on from and by bringing back an essential dynamic of the series to the forefront.