Chapter 10

American Horror Story: Roanoke Season 6 Chapter 10 Review

For its finale, American Horror Story: Roanoke takes us back to the house for one more massacre!

So, the finale of American Horror Story Roanoke was upon us. For those who have been following, in my opinion, the season has been very entertaining. I even mentioned how this is a great comeback for the show, and I how this is the best season since Asylum. Chapter 10 examines the aftermath of the Roanoke TV ,including YouTube videos from super fans and surviving member of the Polk family , a TV special between Lee and Asylum's Lana Winters; a ghost hunting show called Spirit Chasers; various news broadcasts; footage of a panel discussion, and interesting theories.

I have literally loved everything about this season. On the other hand, I did find the ending just a little weak. Also, I find that the show is trying too hard to have all these seasons somehow connect and intertwine with one another (seriously Sarah Paulson plays three different characters!) I like the show within a show vibe. But at some parts I personally got a little confused. It was nice to see Lana Winters again, but I kept asking myself, "Did they really need her back?" Overall, the season was fun, creative, stayed true to its roots of ghouls, ghost, and psychos. The season was a fun ride. I enjoyed it way more than the last season, and I am looking forward to the next season. I believe Season 6 of American Horror Story: Roanoke earns a…

8.5 out of 10!

My Favorite Seasons of American Horror Story in Order 1. Asylum 2. Roanoke 3. Murder house 4. Freak Show 5. Coven 6. Hotel

I loved it. Seemed to be heading back to the standards that the show had in the earlier seasons but I need to know one thing. With shows like this where there is clearly a stack of cash why did they not use a voice coach?

I know some actors will refuse especially when they get to a certain level in the industry. And sometimes it works and other times it does not. Kathy Bates, I love her but really? And as for Paulson's "Audrey" character 90 per cent on target but some words were just plainly what an American thinks a Brit sounds like. And she should have demanded one. Great talent but sometimes you need a little help and there is no shame in that.

As for Bristol Windows? Who thought up such a ridiculous character name (has anyone in the writing team even met a Brit called Bristol?) and as for her horrible accent, it was clear there was no coach on this show and for me it made it laughable. There are many many British actors working in LA. Just choose one instead of this disaster. Or at least let the actress be who she is. An Australian.

Sorry guys but you need to up the game and get a real voice coach on set if you expect to sell this show globally and not be taken as fools.

"The living cling to life above all, but the trophy misprized is to die in peace"

A little bit inspired by "Hostel", a little bit by "Blair Witch", a reality show in a haunted house, bloodthirsty ghosts and all-out carnage. I can't stand movies made in a (semi/fake)documentary style, I usually either skip them or turn them off very quickly, but I have to admit that this frankenstein of the season held my attention and I'd say it's the scariest so far.

The only major complaint is that they brought the most widespread flaw of the horror genre - characters who behave completely illogically and irrationally and make increasingly wrong moves one after another, which eventually (or often at the beginning) drive them to death - to the brink of imbecility. No one who lived in a haunted house and survived what the protagonists did in the first half of this season would return to it again for anything in the world, so their voluntary return to hell in the second half of the season is foolishness that makes the whole story unbelievable and therefore less effective. Fortunately, the acting, effects, and overall atmosphere are good enough to keep the scares at an enviable level.

7/10.

Hey guys, this is the first time l have ever written a review about a show or movie. Just finished watching season 6 of A.H.S and l found it abit crap at the start with the whole interviewing the real people of the story behind roanoke. But the further l got in too the season the better and freaky it got. The gore and acting was awesome. I think the show over all is awesome and l reckon these guys need too do a season on waverly hills sanatorium in louisville kentucky. A movie called death tunnel was made a few years ago about this place and it was crap. But yeah this place is meant to be one of the most haunted buildings in the world.

"Chapter 10" of American Horror Story: Roanoke, directed by Bradley Buecker, serves as the ambitious yet divisive season finale that attempts to tie together the sprawling narrative threads through a visceral, chaotic, and thematically packed conclusion. This episode embodies the series' hallmark mixture of grotesque horror, psychological trauma, and meta-commentary, resulting in a complex yet sometimes muddled cinematic experience.

The episode opens in the aftermath of the harrowing "Three Days in Hell" reality show, focusing heavily on Lee Harris, the lone surviving figure reeling from unimaginable trauma. The narrative then shifts into a media circus, with an onslaught of tabloid attention and sensationalized news coverage portraying Lee as a monstrous figure, while the cannibalistic Polk family is alternatively demonized and humanized. The introduction of Lana Winters - a returning character from American Horror Story: Asylum - adds a layer of chilling gravitas, especially through her intimate and probing interviews with Lee, revealing psychological rawness behind the public spectacle.

Lee's trial becomes a central axis for the episode, juxtaposing the media's frenzied voyeurism with deeper explorations of survival guilt, moral ambiguity, and the warping effects of trauma. The episode's script intricately weaves courtroom drama, pained personal reflections, and supernatural elements, such as the elusive Scáthach witch and spectral hauntings, culminating in Lee's chilling transformation and embrace of her darker nature. These sequences balance intense character drama with the show's signature supernatural horror, offering a layered depiction of victimhood and empowerment.

Buecker's direction captures the chaos and claustrophobia of the media circus with kinetic camerawork, jump cuts, and stylistically varied sequences that mimic tabloid sensationalism and reality TV formats. The episode's pacing oscillates between breathless intensity during violent events, and slower, tense exchanges in interviews and court scenes, reflecting the dizzying emotional spectrum experienced by Lee and other characters. Cinematography employs stark contrasts-harsh fluorescent lighting in media settings versus shadowy, intimate lighting in scenes of haunted reflection-enhancing mood shifts throughout the episode.

Performances are pivotal to the episode's impact. Angela Bassett's Lee conveys a haunting blend of fragility, defiance, and eventual monstrous resolve, anchoring the finale's emotional core with compelling depth. Kathy Bates's portrayal of Agnes and the Polk clan retains a counterpoint of raw menace. Sarah Paulson's Audrey and the few remaining survivors contribute to the cumulative weight of trauma and loss. The return of Jessica Lange's iconic Lana Winters offers a powerful meta-reference to the franchise's history, elevating the episode with nostalgic gravitas and intense chemistry during her exchanges with Lee.

Thematically, "Chapter 10" continues Roanoke's preoccupation with trauma's long shadow, the performance of victimhood, and the spectacle inherent in horror storytelling. It interrogates how personal horror is commodified by media and consumed by the public, reflecting broader societal obsessions with celebrity downfall, truth versus spectacle, and justice. The conflation of supernatural malevolence with human monstrosity-manifest in the Polk family and Lee's transformation-explores nuanced moral landscapes within horror's binary good-versus-evil framework.

While the episode's ambition is undeniable, reception has been mixed. Criticisms often center on the finale's disjointed narrative and tonal shifts, with some viewers finding the shifts from intense horror to sensationalized media parody jarring and undermining emotional investment. The layering of meta-commentary and genre pastiche sometimes muddles pacing and clarity, leaving the conclusion feeling rushed or unfocused. Conversely, fans have applauded its boldness, willingness to subvert expectations, and its emotional and thematic depth.

Cinema and television scholarship might contextualize this finale within the trajectory of postmodern horror television, which blurs lines between reality, fiction, media critique, and psychological terror. The episode calls to mind works like Scream and The Blair Witch Project in its meta-awareness, while also engaging in intertextual dialogue with earlier American Horror Story seasons through Lana's cameo and lingering thematic motifs of haunted legacies and survival horror.

"Chapter 10" is a fittingly provocative if imperfect chapter in American Horror Story: Roanoke. Its willingness to confront complex themes through intertwined horror subgenres and media forms will reward viewers attentive to its layered storytelling, even if some narrative and tonal rough edges detract from cohesion. The episode powerfully closes the season's arc on trauma, survival, and the haunting nature of legacy, challenging audiences to consider the multifaceted nature of fear-both personal and cultural-in the age of media spectacle.