The Dead
- Episode aired Nov 20, 2013
- TV-MA
- 48m
Fiona finds new purpose in a dangerous love affair. A night out with LaLaurie leads Queenie to question her place in the Coven. Cordelia makes a fateful decision about her mother. Queenie ha... Read allFiona finds new purpose in a dangerous love affair. A night out with LaLaurie leads Queenie to question her place in the Coven. Cordelia makes a fateful decision about her mother. Queenie has doubts about the Coven.Fiona finds new purpose in a dangerous love affair. A night out with LaLaurie leads Queenie to question her place in the Coven. Cordelia makes a fateful decision about her mother. Queenie has doubts about the Coven.
- Myrtle Snow
- (credit only)
- Sally
- (as Tenaj Jackson)
- Louis LaLaurie
- (as Scott Jefferson)
Featured reviews
"The Dead" is another reasonable episode of "American Horror Story", with several killings and betrayals. Cordelia finding that Fiona killed Madison is probably the best moment of the show. The awful and confused Queenie now betrays Delphine. The Academy seems to bring the worst of each character but Nan. My vote is seven.
Title (Brazil): "The Dead"
The episode opens with Madison Montgomery coping with her unnatural resurrection, revealing her emotional detachment and insatiable hunger, which adds a fresh angle on the zombie trope. Madison's interactions with Zoe Benson and Kyle Spencer create a volatile and charged dynamic, culminating in a surprising and intimate threesome that illuminates their fractured family connections and power imbalances. This exploration of resurrection's psychological toll anchors the supernatural horror in human emotion and vulnerability.
Simultaneously, Queenie's storyline offers a poignant exploration of racial identity and belonging. Her uneasy relationship with the imprisoned and malevolent Madame Delphine LaLaurie, intertwined with a visit to Marie Laveau's voodoo community, highlights entrenched racial divisions and cultural legacies. These interactions bring historical trauma into sharp relief, integrating social critique with the show's supernatural framework. Queenie's internal conflict and agency make her a compelling focal point for the broader themes of the season.
The tension between Fiona Goode and the mysterious Axeman escalates, blending seduction with impending danger. Their chemistry, marked by both passion and death's shadow, adds emotional depth and suspense. Fiona's struggle with power, mortality, and identity is rendered with raw intensity by Jessica Lange, whose performance continues to be a series highlight.
Meanwhile, Cordelia Foxx grapples with blindness, marital betrayal, and emerging mystical powers. Her visions, including a foreboding glimpse of Madison's impending death, weave prophetic threads that heighten narrative tension. The episode balances these prophetic elements with grounded interpersonal drama, particularly in Cordelia's strained relationship with her husband Hank and her efforts to protect the coven.
Director Bradley Buecker employs a rich visual and tonal palette to enhance the narrative's mood. The cinematography richly contrasts the shadowy, oppressive interiors of Miss Robichaux's Academy with the vibrant, mystical settings of New Orleans. Buecker's paced editing alternates between tense supernatural moments and intimate character dynamics, maintaining an engaging rhythm. Standout visual sequences include the eerie attic confrontation between Zoe and the sinister Spalding and the atmospheric depiction of Fiona and the Axeman's charged encounters.
The script integrates horror traditions with complex character arcs and incisive social commentary. Themes of death, resurrection, cultural identity, and power permeate the dialogue and narrative structure. Sharp, witty exchanges between main characters add layers of meaning, underscoring the personal and political stakes faced by the coven.
Acting performances are uniformly strong. Jessica Lange continues to impress with multifaceted portrayals of Fiona's complexities. Emma Roberts' Madison draws attention with her emotional detachment and volatility. Taissa Farmiga's Zoe balances fear and determination, while Gabourey Sidibe's Queenie represents cultural strength and conflict. Angela Bassett's Marie Laveau brings gravitas, even in limited screen time.
Key scenes include Madison's disturbing hunger episodes, the tense attic scene with Zoe, Queenie's emotional and fraught community visits, Fiona and the Axeman's seductive interactions, and Cordelia's visions of death. These moments encapsulate the episode's blend of supernatural horror and emotional drama, driving its thematic and narrative impact.
The episode was met with praise for its atmospheric direction, character complexity, and thematic richness, though some viewers noted the challenges posed by intertwining multiple storylines. The narrative depth and visual style, however, maintain the series' distinct identity and appeal.
"The Dead" situates itself within Gothic horror traditions, Southern Gothic style, and contemporary social discourse, weaving historical trauma and cultural identity through its supernatural narrative. It resonates with American television's growing interest in blending genre with cultural critique.
Thematically, the episode meditates on the consequences of resurrection, the fractures of identity and community, and the persistent haunting of history. The witches and voodoo practitioners embody intersecting struggles for power, belonging, and survival within a contested cultural landscape.
"The Dead" is a richly layered and emotionally potent episode that advances American Horror Story: Coven's narrative and thematic ambitions. Through evocative direction, captivating performances, and thoughtful scripting, it deepens the season's exploration of death, power, and identity, reinforcing the series' reputation for genre storytelling infused with meaningful social commentary.
Did you know
- TriviaOriginally there was a sex scene between Madison (Emma Roberts) and Spalding (Denis O'Hare) after she confronted him about keeping her as a doll. The scene was filmed but eventually cut.
- GoofsWhen little Fiona throws milk at the other girl she completely misses her, but as the the camera changes, her dress is soaking in milk.
- Quotes
Madison Montgomery: I am a millennial. Generation Y. Born between the birth of AIDS and 9/11, give or take. They call us the Global Generation. We are known for our entitlement and narcissism. Some say it's because we're the first generation where a kid gets a trophy just for showing up. Others think it's because social media allows us to post every time we fart or have a sandwich for all the world to see. But it seems that our one defining trait is a numbness to the world, an indifference to suffering.
- ConnectionsReferences Bewitched (1964)
Details
- Runtime
- 48m
- Color
- Sound mix
- Aspect ratio
- 1.78 : 1