Mid-Western Assassin

Its sad what a great episode, I loved the clown version of kais cult before what comes in the next half of the season, so much potential flushed after this strong first half of episodes, I still resally like the episode

Another good episode this week that primarily deals with the city council campaign and alliances. There is some wavering in the cult and viewers are left wondering will they or won't they throughout this episode. For me it was well done and the overall intentions seemed fitting, but maybe a little over the top.

The brightest spot of the episode is seeing the return of Mare Winningham to the series. Last time she was Ms. Evers in Hotel. To no surprise she brings another good character to the show.

This episode did seem to have a plot hole in the story... well maybe two. I was taken out of the moment thinking if this was an editing error or what at the end.

8.5/10

"Mid-Western Assassin," the sixth episode of American Horror Story: Cult, directed by Bradley Buecker, marks a dramatic inflection point in the season, combining intense political thriller elements with psychological horror. This episode transcends usual horror tropes to confront real-world anxieties about political violence, media manipulation, and the volatile aftermath of a public assassination attempt. The immediate and raw depiction of violence sets a harrowing tone that dominates the narrative, reflecting and amplifying the pervasive atmosphere of fear and unrest within the series' socio-political landscape.

The episode opens with a visceral gun attack on Kai Anderson, illustrating a chilling scene that delves into the terror and chaos such violence inflicts on both individuals and society at large. Kai's subsequent hospital appearance reveals him oddly composed and strategic, already positioning the incident within his political narrative to galvanize support and fear. This serves as a potent commentary on how public figures can exploit traumatic events for personal and political gain, a theme that underpins much of the episode's tension and narrative arc. The editing and cinematography capture the chaos and unease through rapid cuts and claustrophobic framing, forcing the viewer into the immediacy and unpredictability of the attack.

Parallel to Kai's storyline, the episode explores the rippling effects on the other characters, notably Ally, who confronts revelations about Ivy's involvement with the cult and her own increasing alienation. The episode deepens the psychological and emotional fractures within Ally's personal life, portraying her as a woman torn between fear and the desire for agency amid a world increasingly hostile and incomprehensible. Ivy's duplicity culminates in a dark and tense confrontation, where her motivations and alignment with the cult fully come to light, complicating the domestic sphere's portrayal as a contested battlefield of trust and control.

The narrative also sheds light on Meadow's involvement and her motivations, adding complexity to the cult's internal dynamics. Meadow's character arc reveals her as a tragic figure caught between loyalty and disillusionment, her ultimate choices reflecting broader themes of sacrifice, devotion, and the potential destructiveness of blind faith. The episode makes effective use of flashbacks and dialogues to unpack the psychological manipulation exerted by Kai on his followers, emphasizing the cult's parasitic nature and the dangerous allure of authoritarian leadership.

Director Buecker's handling of the episode's tone expertly balances moments of high-intensity action with slower, psychologically driven scenes. The subdued color palette and focused use of shadows enhance the brooding atmosphere, while the pacing skillfully builds suspense without sacrificing narrative clarity. The scenes of political rallying, media interaction, and interpersonal confrontations are sharply edited to underscore the intersecting layers of public spectacle and private trauma that define the storyline.

Performances anchor the episode's success. Evan Peters delivers a chilling portrayal of Kai, embodying a narcissistic and manipulative figure who masterfully controls fear as a weapon. Sarah Paulson's Ally continues to evolve as a multifaceted protagonist, her vulnerability and resilience depicted with emotional depth. Alison Pill's Ivy shines in her portrayal of a complex character whose betrayal cuts to the heart of the season's themes. The supporting cast, including Billy Eichner as Harrison and Leslie Grossman as Meadow, further enriches the narrative texture with nuanced performances that bring the cult's fractured world to life.

"Mid-Western Assassin" confronts the immediacy of political violence and its ramifications, not only as spectacle but as a catalyst for fear and social manipulation. The episode critiques the media's role in sensationalizing tragedy while highlighting cult-like tendencies in political movements, where paranoia and martyrdom are wielded to maintain control. The title, evoking a specific American heartland location, grounds these themes in a culturally resonant setting that underscores the nation's sociopolitical divides.

The episode engages with classic political thriller motifs while inflecting them with horror's visceral intensity. It draws parallels with historical and cinematic depictions of assassination attempts and their aftermath, speaking to the enduring fears of societal collapse and the fragility of democratic institutions. Within the broader American Horror Story corpus, this episode stands out for its topical urgency and narrative cohesion, reflecting the series' evolving engagement with real-world horrors.

"Mid-Western Assassin" is a powerful convergence of horror and political commentary that pushes American Horror Story: Cult into thought-provoking territory. Its adept direction, strong performances, and unflinching exploration of violence and manipulation elevate the season's narrative complexity. While its graphic depiction of trauma may challenge some viewers, the episode's thematic rigor and emotional resonance offer a compelling meditation on fear's role in shaping societal and personal realities. This episode underscores the season's ambition to use horror as a mirror to contemporary anxieties about power, violence, and control in America today.

Ally gets a knife in her kitchen and a can of spray and rescues Meadow. She takes her to her restaurant that is closed, and Meadow tells Ally everything about Kai, Ivy and the cultists. Meanwhile the new candidate to the City Council, Sally Keffler, exposes Kai during a political meeting saying that he explores fear to be elected. During the night, Ally visits Sally, exposes Kai's insane plans and murders and asks for help. Suddenly, the cult breaks into Sally's house dressed like clowns, Kai writes a suicide note in Sally's Facebook and shoots her in the chest. On the next morning, during a political rally, Meadows shoots Kai and several people. When Ally tries to stop her, she commits suicide and leaves her gun in the hands of Ally, who is arrested by SWAT. However, the attempt was instructed by Kai, to raise in his ratings in the campaign and discredit the "crazy" Ally.

"Mid-Western Assassin" is a reasonable episode of "American Horror Story". The plot continues with unnecessary gay sex scene in addition to the lesbians, gays and other messed up people. There is no horror in the season, only a group of screwed up people killing residents expecting the general fearful American voters vote in Kai. There is also an annoying crying lesbian, Ally performed by Sarah Paulson. Her attitude crying while hidden in Sally's bathroom is ridiculous. My vote is six.

Title (Brazil): "Mid-Western Assassin"

The show has slowed down significantly. We're getting a lot more character backstory, mostly in the form of flashbacks and narration.

I have several criticisms of the show, and one not previously mentioned in other reviews is that cults aren't scary. They're especially not scary when they're fictional bipartisan cults tied to real-world events of 2016, since there's something to directly compare it to. Too bad this wasn't made in 2020, Ryan could have REALLY let his feelings fly.

I miss Sarah Paulson pointing at random things and screaming. Now she's not even screaming at stuff a normal person would scream at.

I'm not taken by Evan's character. He's been the same uninspiring one-note buzzkill since the third episode. The writing makes no sense, and not in a way that's profound, in a way that's like "Um, you can't frame someone for a crime in front of hundreds of witnesses, they saw what you did 10 seconds ago". There is no law enforcement in this show; I guess they did explain it by saying "The cops only drove by once" in a throwaway line.