Devil's Night

One thing American Horror Story never fails is to show their incredibly poor taste. Being inspired by real crimes is one thing - but to put real killers on display for kicks, clicks and views is pretty gross. These killers were not ancient history. Many of Jefrey Dahmer's victims' families have come forward , for example, to express their displeasure with the dahmer murders being used as entertainment. Serial killers often seek to be immortalized. Let's not send the message that they can be. You can have the exact same episode thematically without making jokes about who these killer were. Its extremely poor taste and add nothing to the plot.

In addition, this whole season suffers from the same problems Asylum did. It's unfocused, and at times borderline incoherent. Its amazing sets, with incredible actors, thinly disguising poor writing.

"Devil's Night," the fourth episode of American Horror Story: Hotel, directed by Loni Peristere and written by Jennifer Salt, offers one of the most intense and chilling segments of the season, blending real historical horror with supernatural drama in a Halloween-themed spectacle. This episode explores the darker undercurrents of the Hotel Cortez's mythos by welcoming infamous serial killers to a macabre gala, while continuing to deepen the emotional and psychological turmoil of the living characters caught in the hotel's haunted web.

The episode opens with the chilling arrival of Richard Ramirez, the Night Stalker, who returns to the Hotel Cortez as part of a gathering of serial killers on what is known as "Devil's Night." Played by Anthony Ruivivar, Ramirez brings a primal menace, his cold brutality immediately foregrounded in a grisly scene where he murders a couple in their hotel room. This introduction sets a foreboding tone for the Halloween night festivities that will serve as the episode's core.

At the heart of "Devil's Night" is the lavish and grotesque dinner party orchestrated by the hotel's enigmatic architect and notorious murderer, James March (Evan Peters). The dinner assembles a cast of infamous killers-John Wayne Gacy, Aileen Wuornos, Jeffrey Dahmer, and others-who partake in a ritualistic slaying of a bystander in a sequence that blends horror with darkly comic spectacle. Peters commands the scene as March, dominating with theatrical malevolence and sardonic wit, revealing the hotel's extensive history of violence and the ghosts it harbors.

Detective John Lowe (Wes Bentley) remains a focal point of tension, trapped by March's machinations and hallucinations. His mental state deteriorates under the strain of his investigation and personal loss, highlighted by visions of blood dripping ominously from his ceiling and moments of helplessness during the killer's banquet. These scenes portray a man unraveling psychologically, skillfully played by Bentley, who grounds the series' supernatural elements in human frailty and despair.

The episode also spotlights the enigmatic bartender Liz Taylor (Denis O'Hare), whose calm demeanor sharply contrasts with the surrounding madness, providing a moment of introspection and continuity amid chaos. Sally McKenna (Sarah Paulson), the hotel ghost struggling with her drug addiction, plays a pivotal role in facilitating the killers' macabre party, her actions underscored by tragic complexity. Lady Gaga's Countess Elizabeth briefly appears, further embodying the hotel's vampiric and seductive allure.

Visually, "Devil's Night" is a feast of gothic horror. Peristere's direction uses stark lighting, deep shadows, and rich tones of crimson and black to evoke a sinister, claustrophobic atmosphere. The cinematography blends smooth tracking shots with jarring cuts, creating a disorienting mood that mirrors the mental states of both supernatural and human characters. The editing's pacing deftly balances the tension of the murder banquet with quieter moments of character reflection.

The script masterfully intertwines the horror tradition of serial killers with supernatural fiction and character-driven drama. Themes of sin, punishment, and damnation play out both literally and metaphorically, as the hotel becomes a liminal space where past horrors collide with present tragedies. Dialogue mixes chilling menace with dark humor, and the episode's visceral violence is tempered by moments of emotional vulnerability.

Performances shine across the ensemble. Evan Peters delivers a standout portrayal of March as both charismatic and psychopathic mastermind, while Wes Bentley's tortured detective evokes sympathy amid chaos. Anthony Ruivivar's portrayal of Richard Ramirez adds authenticity and menace, and Sarah Paulson's Sally balances tragic weakness with cunning. The subtle interplay among these figures creates a textured narrative that extends beyond shock value.

Critically, "Devil's Night" was lauded for its ambitious concept and execution, though some reviewers flagged the graphic violence and intensity as challenging. The episode's mixture of historical killers with fictional horror sparked debate on taste and storytelling balance, yet its theatricality and style remain distinctive strengths.

In a wider cultural and cinematic context, the episode connects to true crime fascination, gothic horror aesthetics, and societal reflections on evil's nature. It invokes classic horror motifs-the haunted house, the mad killer, the cursed space-while critiquing the glamorization of violence and the cyclical nature of sin and punishment.

"Devil's Night" serves as a macabre and thrilling centerpiece of American Horror Story: Hotel's early arc, delivering an unforgettable blend of horror, history, and psychological drama. Through evocative direction, strong performances, and compelling narrative layers, it challenges viewers to confront the darkest facets of human nature amid a supernatural tableau. This episode's haunted gala of killers is as horrifying as it is theatrically mesmerizing, marking a highlight in the season's unfolding story.

Amazing episode all round, loved it had a lot of great character interactions and story progression, the whole soiree scenes with the serial killer was weirdly the most hilarious and funny scenes in the series, the acting was gold standard from everyone

I've never given a written review online for any single form of media. No book, podcasts, videos, movies, or tv episodes.

This episode of TV is one of, nay, the single most abhorrent, disrespectful, disgusting, jaw droopingly naïve, and laughably stupid pieces of writing my brain has had the bad luck of processing. My only regret besides not seeing it, is that I have to give it any stars at all instead of none.

For those who by the grace of god have not seen it, please, i beg you, don't.

There's is not a single frame of this episode where I didn't believe Ryan Murphy was touching himself behind the camera behind the camera, pleasuring in what essentially comes down to an Avengers Endgame of Serial Killer fetishes.

On top of that, Murphy is self righteous enough to believe he is critiquing the American and media's glorification of serial killers, yet he does just that. You could not be more unintentionally ironic if you tried.

I hate this piece of media with every fiber of my being and do believe that if it, and Ryan Murphy, did not exist, the world would be an objectively and categorically better place.

PS Evan Peters has lost any inkling of respect I had towards him, and I cannot believe that any sane person would be involved in this episode then think "I should play Jeffery Dhamer in a show by Ryan Murphy" GFY peters.

Miss Hazel Evers recalls when her son Albert was abducted and killed by a serial-killer in the Halloween of 1925. John sees blood dropping from the room above his and he meets Miss Evers washing the bloodstained sheets in the bathtub. She tells him how her son was kidnapped, and that his body has never appeared. John finds later at the police station that the murders mentioned by Miss Evers happened eighty-five years ago. Alex brings Holden home to exam the boy. He says that he is thirsty, and Alex brings orange and apple juices to him, bur he killed her dog and is drinking its blood. Alex takes him back to the Hotel Cortez and Holden goes to his glass coffin. Elizabeth appears and takes Alex to the penthouse to explain what has happened to Holden. John returns to the hotel and asks a double martini to Liz Taylor. Then he meets the weird Aileen Wuornos, and he believes she is lying since she said the name of a serial-killer already dead. When he goes to the front desk to call the police to arrest Aileen, Liz gives an invitation from Mr. March to go to the Devil's Night party he gives in his room. John dresses a smoking and goes to the dinner party, where he meets some of the most notorious serial killers in America.

"Devil's Night" is maybe the best episode of the Fifth Season of "American Horror Story". Alex accepts the terms of Countess Elizabeth to be close to her beloved son Holden. John meets several serial killers in the party promoted by James March, but Sally makes him question whether it was caused by the effect of the martinis associated to absinth. My vote is seven.

Title (Brazil): "Devil's Night"