Head

The previous episode was really boring, with illness everywhere and cringe scenarios, race bating etc. Now it's even worse, they are divided in 2 clans, the democrats and the republicans, the democrats are the women and the men are republicans The Witch hunters are portrayed as bad and cruel no emotion evil white man of power and their black acolyte And the Democrats are just plain boring and boring. Women and nothing happens

"Salem" ...you mean "Jeru" Salem right?

The black "queen" says: you are wearing a wig.. but everybody knows most of the black women wear wigs every days. That was stupid, I'm not surprised

I stopped watching the serie 2 times by that episode...yes 2 years ago I stopped there, and today I stopped right 15 minutes on this one too.

The ..."Democrats will be after us" ...wow. And they are all men and portrayed as bad people, but the witches...they are cool right? Corruption of the logical sense, anti hero rust of the mind, you cannot differentiate good and evil when you are misled, they do that to kids, because they are the most easiest corruptible (corruption of the logical sense), the easiest prey

It was great with gore and horror but the story and pacing was all mucked up for me, things either happened too soon or too late which is a problem with !most AHS season to be honest but some seasons recover

The ninth episode of the third season of American Horror Story: Coven, titled "Head," directed by Bradley Buecker and created by Ryan Murphy and Brad Falchuk, delivers a riveting mixture of supernatural dread, intricate character dynamics, and cultural tension. It stands as a pivotal episode that escalates the ongoing collision between the coven and the voodoo practitioners, while intensely focusing on the rise of the witch hunters and the unraveling moral complexities among the characters. "Head" expertly balances horror, emotional weight, and topical social commentary with a gothic sensibility that is both stylized and substantive.

The episode opens with a haunting flashback to 1991, providing a formative glimpse into the backstory of Hank Foxx, the witch hunter whose conflicted loyalties and traumatic upbringing define much of the narrative's conflict. The stark father-son hunting scene reveals Hank's early indoctrination into the world of witch killing, setting up his motivations and inner turmoil. This personal history adds emotional depth to Hank's present-day role as he navigates his growing disillusionment and dangerous ambitions.

In the present timeline, Fiona Goode, portrayed with crushing intensity by Jessica Lange, seeks an alliance with Marie Laveau (Angela Bassett) against the common threat of the witch hunters, but Marie rebuffs the offer, suspecting Fiona's desperation. The tension between these two powerful matriarchs reaches new heights, symbolizing wider cultural and supernatural power struggles. In a dramatically charged scene, Marie orders Queenie to burn the head of Delphine LaLaurie-a symbolic act of cleansing and vengeance. Yet, Queenie chooses instead to expose Delphine to freedom-themed black spiritual music, underscoring Elizabeth Alexander's themes of redemption and resistance.

Meanwhile, Myrtle Snow (Frances Conroy) exacts brutal revenge on the witch council members who betrayed her, disposing of them with cold ruthlessness and using their eyes to restore Cordelia's sight. This operatic sequence, blending gore and symbolism, highlights Myrtle's transformation from sidelined outcast to power player within the coven's hierarchy. Cordelia's regained sight comes at the cost of her prophetic visions, creating new narrative tensions exploring the price of power and knowledge.

Joan Ramsey (Patti LuPone) bonds with Nan through mind reading, but upon revealing Joan's dark secret-that she murdered her unfaithful husband-is cruelly rejected, culminating in the chilling suffocation of Nan's comatose boyfriend. This storyline adds psychological and social depth, exploring themes of trust, betrayal, and female rage beyond the witchcraft narrative.

The rising conflict with the witch hunters intensifies as Hank Foxx is urged by his father, Harrison Renard, to accelerate their assault on the witches. His clumsy execution results in a bloody massacre, but his recklessness leads to his demise when Queenie uses her voodoo doll powers, transgressing physical limits to shoot herself and kill Hank, halting the immediate threat and saving Marie. This climactic titanic clash punctuated by the spiritual anthem "Oh Freedom!" juxtaposes historical realities of racial violence with supernatural justice.

Director Bradley Buecker orchestrates the episode with a keen eye for atmosphere and pacing. The cinematography alternates between claustrophobic interiors and expansive, vibrant cityscapes, enriching the southern gothic setting. The editing maintains a sharp narrative flow despite the multiple intersecting storylines, deftly balancing suspenseful action, emotional poignancy, and symbolic sequences such as the execution of witch council members and the voodoo ritual acts.

Tim Minear's sharply written script explores themes of vengeance, racial identity, power dynamics, and the complexity of justice within oppressed communities. The dialogue is intelligent and layered, with poignant exchanges that reveal deep fault lines among characters. The episode effectively critiques patriarchy, institutionalized violence, and the cyclical nature of oppression while advancing supernatural intrigue.

Standout performances infuse the episode with energy and pathos. Jessica Lange's Fiona remains mesmerizingly complex, blending commanding presence and frailty, while Angela Bassett's Marie Laveau holds regal authority and nuanced cultural weight. Gabourey Sidibe's Queenie shines in moments of moral crisis and empowerment. Frances Conroy's Myrtle transforms bitterness into decisive power, and Patti LuPone provides chilling gravitas as a vengeful antagonist. The ensemble cast collectively elevates the rich narrative tapestry.

Key scenes include Hank's formative flashback and cold-blooded rampage, Queenie's morally charged rebellion with Delphine's head, Myrtle's ruthless execution of the Witch Council, and the explosive climax where Queenie's self-sacrifice halts Hank's massacre. These scenes crystallize the episode's thematic essence and propel the narrative toward its next phase.

Critically, "Head" was lauded for its deepening characterization, bold thematic exploration, and high production values, though some viewers found its dark tone and complex plotting challenging. The episode's willingness to address historical trauma through the lens of horror garnered particular praise for its relevance and emotional depth.

In the broader cultural and cinematic landscape, "Head" resonates within the Southern Gothic tradition, complex portrayals of race, and the British and American folk horror lineage. It manages to reflect contemporary social issues of justice, marginalization, and cultural survival through supernatural allegory.

Thematically, the episode confronts the repercussions of violent history, the fraught bonds of family and community, and the price of survival in a hostile world. The witches and voodoo practitioners embody a struggle for autonomy against erasure, while institutional forces like the witch hunters symbolize persistent oppression.

"Head" stands as a richly ambitious and emotionally resonant episode in American Horror Story: Coven. Through masterful direction, compelling performances, and incisive writing, it navigates complex themes of power, identity, and justice with flair and depth. The episode's blend of supernatural horror and social critique exemplifies the series' unique narrative voice, encouraging reflection on the intertwined legacies of history and magic.

In 1991, the boy Hank goes with his father to a park to hunt and kill witches for the first time. Fiona brings Delphine's head to Marie Laveau and proposes an alliance to fight their common enemies, the witch hunters, but the voodoo witch refuses the offer. Hank meets his father, who is the boss of a corporation of witches' hunters and is ordered to kill the witches in their coven. He also learns who blinded Cordelia. Myrtle Snow receives Pembe and Quentin to have lunch with her, but she poisons them and steal one eye from each one. When Cordelia wakes up, she has new eyes and can see again. Nan visits Luke with Zoe and Madison. But his mother is reluctant to let her see him. When Nan tells Luke's thoughts to Joan, she let her in and Luke discloses a dreadful secret that God told him. Hank breaks in Laveau's saloon and kills several witches.

"Head" is another reasonable episode of the "American Horror Story" with new revelations. Hank and the witch hunters are the most engaging part, inclusive because the viewer learns who throw acid on the face of Cordelia. Myrtle Snow's revenge is cruel and unexpected. Cordelia now seeing again loses her ability to see the inner of people. The truth about the pious Joan is also a great surprise. My vote is seven.

Title (Brazil): "Head"