Dark Cousin

The seventh episode of American Horror Story: Asylum, titled "Dark Cousin," directed by Michael Rymer and created by Ryan Murphy and Brad Falchuk, marks a compelling and thematically rich chapter that intertwines the spiritual, psychological, and physical struggles within Briarcliff Manor. This episode advances the narrative by deepening the supernatural mythology while exploring the personal reckonings of key characters, particularly Sister Jude, Lana Winters, and Kit Walker. It balances moments of profound emotional insight with atmospheric horror, creating a dense, immersive experience.

The episode's narrative intensifies with the ominous arrival of the "Dark Angel" or Angel of Death, portrayed hauntingly by Frances Conroy. This ethereal figure introduces an element of existential dread and serves as a grim reminder of mortality for the detainees and staff alike. Her interactions with Sister Mary Eunice, who increasingly succumbs to demonic possession, and with Lana-grappling with her trauma and captivity-add layers of supernatural menace and philosophical reflection on death and the afterlife. The Angel contrasts with the malevolent presence of Sister Mary Eunice, creating a dynamic theological tension within the asylum.

Sister Jude's arc reaches a critical emotional juncture as she confronts the revelation that the girl she believed she killed in a hit-and-run is, in fact, alive. This discovery dismantles much of her guilt and self-condemnation, placing her in a liminal space between despair and hope. Sister Jude's interaction with the Angel of Death at a diner offers a poignant meditation on fate, redemption, and the struggle for acceptance. Meanwhile, Kit's desperate efforts to reunite with Grace highlight themes of love and sacrifice amidst chaos.

The episode continues to explore Lana's harrowing experience with Bloody Face, with scenes depicting terrifying captivity and a near-fatal encounter. Lana's strength and determination emerge strongly, reinforcing her role as a resilient survivor and focal point of the narrative within the oppressive asylum environment. Kit and Grace's ongoing plight, paired with the supernatural escalation brought by Sister Mary Eunice's possession, heightens the tension and intertwines character-driven drama with chilling horror.

Director Michael Rymer masterfully balances eerie, atmospheric sequences with intimate character moments. The use of dim lighting, tight framing, and shadow accentuates the claustrophobic and oppressive atmosphere of Briarcliff. Rymer's pacing expertly alternates between moments of suspense, emotional confrontation, and supernatural horror, enhancing the episode's immersive quality. Scenes such as Sister Jude's emotionally charged monologue and the Angel of Death's ghostly appearances serve as visual and thematic high points.

The script, written by Tim Minear, is rich with religious symbolism, psychological depth, and social critique. It grapples with complex themes such as mortality, redemption, abuse, and institutional corruption. Dialogue is evocative and layered, especially in the exchanges between Sister Jude and the Angel of Death, Lana's silent resilience, and Kit's desperation to protect Grace. The episode's nuanced portrayal of despair and hope enriches the series' Gothic motifs with emotional authenticity.

Performances are outstanding across the board. Jessica Lange delivers a powerhouse portrayal of Sister Jude, blending vulnerability, strength, and complexity in a character facing profound personal reckoning. Sarah Paulson's Lana shines as a figure of grit and endurance, while Evan Peters brings emotional depth to Kit's turmoil. Frances Conroy's Angel of Death introduces a mystical, haunting presence that elevates the spiritual stakes. Lily Rabe's Sister Mary Eunice embodies the sinister duality of innocence corrupted.

Noteworthy scenes include the Angel of Death's ominous arrival and confrontations, Sister Jude's diner monologue grappling with her past, Lana's intense captivity and escape attempts, and Kit's reunion with Grace. These moments crystallize the episode's exploration of mortality, transcendence, and human resilience in the face of relentless horror.

While the episode was largely praised for its acting, direction, and thematic ambition, some critiques note its episodic pacing and the challenge of juggling multiple intersecting storylines within the limited runtime. The juxtaposition of spiritual allegory with visceral horror demands an engaged and patient audience but ultimately rewards with a rich narrative tapestry.

In the broader cinematic and cultural landscape, "Dark Cousin" situates itself within the tradition of Gothic horror infused with religious symbolism and psychological drama. Its treatment of death as both liberation and reckoning echoes classic horror motifs while engaging with contemporary themes of trauma, faith, and survival. The inclusion of a spectral Angel of Death enriches the series' spiritual dimension, inviting philosophical reflection on the nature of existence and the afterlife within horror.

Thematically, the episode wrestles with the boundaries between life and death, sin and forgiveness, despair and hope. The asylum, as ever, represents a purgatorial space where characters confront their inner demons and societal sins. The tension between Sister Mary Eunice's demonic corruption and the Angel of Death's serene inevitability encapsulates the episode's meditation on good, evil, and human frailty.

"Dark Cousin" stands as a powerful and evocative episode that deepens American Horror Story: Asylum's haunting narrative and spiritual complexity. Through masterful direction, commanding performances, and rich scriptwriting, it interrogates the nature of mortality, forgiveness, and redemption amidst the horrors of Briarcliff. The episode invites viewers to contemplate the ultimate fate that awaits all, blending Gothic horror with profound philosophical inquiry, reinforcing its place as a standout chapter in the series.

On this season most of all. Conroy has the same expression of a new age woman who seems to look past the person she's trying to desperately connect with. And here they needed a role for her and she plays what? An Angel of death... with wings? Turkey Girl? A new character is introduced (the African American guy) and he sees this angel, and yet we know nothing about him. Meanwhile the Anthony Perkins meets Ted Bundy meets the guy Perkins was playing in Psycho serial killer is tropey and tired, cliche. It's confusing just who "the monster" is and the little girl adds no creepiness by trying too hard to be creepy. Jessica Lange, the best actress on the show, for any of the four seasons that she ruled, gets lost in the shuffle. How much do we have to hear lisping Sarah Paulson screaming in the basement. OK, we get it... she went out of the frying pan, into the fire, fine. But this thing needs moving along. I had remembered watching the entire four seasons back to back that this was the best season, but with all the dutch angles and these unnecessary characters (the "French" girl, Joseph Fiennes, the Israeli guy), it's now, to me, the least of the Jessica years, which does NOT include her contrived chain-smoking diatribe cameo in Season 8.

There was some decent horror here Zachary quinto is creppy and well acted sadly the story behind his character is a pro typical Mommy's boy story, another thing that was unrealistic and in no way would happen is after Sarah Paulson escapes runs into another guy with woman problems, weak writing right there, the best of the episode was the asylum parts but the other sub plots not much really

In Briarcliff, Grace is bleeding to death after the surgery of sterilization and Shachath, the Angel of Death, appears to give the kiss of death. Meanwhile, Dr. Arden is accused by Sister Mary Eunice of destroying Grace with his sick surgery. Dr. Arden denies and decides to save the life of Grace to not be blamed of butcher. Lana succeeds to escape from Bloody Face and forces a stranger to stop his car on the road to get a ride from him. However, the man is a cuckold that has found his wife betraying him and now hates women. He commits suicide while driving at high speed and Lana is found unconscious in the crashed car and is brought back to Briarcliff. Sister Jude finds Sam Goodman dying and he mumbles to her that one of her sisters killed him. Soon she receives a phone call from Sister Mary Eunice and learns what she did. Sister Jude decides to visit Missy's parents and discovers the girl with blue coat has not died. Kit Walker attacks his defense lawyer and flees. He arrives at Briarcliff to rescue Grace, but a tragedy happens.

"Dark Cousin" is another engaging episode of "American Horror Story", presenting Shachath, the Angel of Death brilliantly performed by Frances Conroy. Her creepy wings is scary and she has much work in this episode. Lana escapes from Bloody Face but her fate is not good, returning to Briarcliff and Sister Mary Eunice and Frank not giving credit to her words about the true identity of Bloody Face. Sister Jude learns that did not kill Missy and she will be probably a different woman now that she is relieved from her burden. My vote is eight.

Title (Brazil): "Dark Cousin"