Traitor

Probably the weakest episode so far, not bad but definitly not great. Missed micheal, felt weird without him in an episode since it seems like this entire season is about him. NEXT episode looks BADASS tho

There was nothing overtly bad here, but nothing good either. This episode was just plain. Seeing the reappearance of Nan was definitely interesting, but on the other hand, Grossman is still the worst and most annoying character ever. Finally, we get an explanation of how Myrtle came back to life, taking way too long to explain. Also why is she vaping? Is that needed? As of this episode, we now have more episodes of flashback than of the present, after the apocalypse, which this season is subtitled. I have a bad feeling that the last episode or two will be dedicated to the events after episode 3 when the flashback started, and will wrap up the season too hastily. We shall see.

Definitely a filler episode, as in it filled the blanks and felt natural. Downside is it didn't hold my attention 100% so if you're easily distracted keep that in mind.

"Traitor," the seventh episode of American Horror Story: Apocalypse, directed by Jennifer Lynch, marks a tonal and narrative shift that deepens the season's exploration of witchcraft, betrayal, and apocalyptic stakes. Departing somewhat from the intense focus on Michael Langdon's sinister rise, this installment expands its scope to spotlight the brewing tensions within the witch coven, the looming threat of warlocks, and the intricate power dynamics that shape the looming final confrontation. Lynch's direction harnesses a chilly, suspenseful atmosphere that enhances the episode's dark political intrigue and occult drama.

The narrative opens with the introduction of the formidable Voodoo Queen Dinah Stevens (Adina Porter), a character who brings a fierce new energy to the coven's fight against Michael Langdon and the warlocks. Her commanding presence and moral clarity establish her as both a spiritual and strategic leader. Early scenes portraying Dinah's retributive magic, targeting unfaithful men with her signature strawberry-mistress-heart potions, inject the episode with dark humor and cultural texture, reflecting the series' flair for blending the arcane with social commentary. Dinah's arrival signals a broadening of the magical landscape, bringing diverse traditions into the fray and enriching the season's thematic complexity.

Central to "Traitor" is the emergence of deep-seated betrayal within the coven and the warlock faction. The episode's title is reflected in the mounting mistrust and the revelation of conspiracies, particularly involving the warlocks' hostility toward witches and their lethal plans to exterminate them. The cunning mind-reader witch Bubbles McGee (Joan Collins), introduced with campy panache and poignant gravitas, plays a crucial role in unveiling these deceptions. Collins's portrayal is a standout, blending cheeky wit with steely determination, and serves as a narrative catalyst for turning the tide against the warlocks.

Cordelia Goode (Sarah Paulson) faces escalating challenges as she orchestrates a risky plan to undermine the warlocks by infiltrating them under the guise of peace negotiations. This subplot adds layers of political intrigue reminiscent of classic witchcraft dramas and historical persecutions, amplifying stakes by showing that magic here is not only a tool of power but also diplomacy and subterfuge. The episode's courtroom-style dinner scene, where Bubbles reads the warlocks' minds, is a masterclass in tension and character dynamics, showcasing Lynch's ability to blend theatricality with genuine suspense.

The episode's climax, featuring the burning at the stake of key warlock figures including Miriam Mead (Kathy Bates), Baldwin Pennypacker (Cheyenne Jackson), and Ariel Augustus (Billy Eichner), is a brutal yet narratively satisfying reckoning. Bates's performance is particularly electric, delivering a chilling, defiant monologue that elevates her character's demise to tragic grandeur. The scene simultaneously evokes historical witch trials and gendered violence, grounding supernatural horror in real-world allegories of persecution and resistance.

From a technical perspective, Lynch's direction is meticulous, employing a stark, shadow-rich palette that visually underscores themes of secrecy, danger, and moral ambiguity. The cinematography's interplay of darkness and harsh light highlights moments of revelation and concealment, enhancing the narrative's atmosphere of distrust and impending doom. Editing balances measured pacing with swift, impactful bursts of action, sustaining suspense without sacrificing character development or thematic depth.

The script deftly explores power, loyalty, and sacrifice, particularly through the evolution of Mallory (Billie Lourd), who is increasingly recognized as the new Supreme witch. Mallory's burgeoning strength and moral compass provide a hopeful counterpoint to the season's pervasive darkness, injecting the narrative with emotional stakes beyond mere survival. Her role as potential savior adds a prophetic dimension that enriches the unfolding mythology.

The episode uses a brooding and evocative score that complements its somber and suspenseful mood. Strategic silences accentuate moments of confrontation and ritual, allowing tension to simmer before dramatic release. The sound design integrates ritualistic chants and ethereal undertones, immersing viewers in the mystical world that Lynch conjures with cinematic precision.

While "Traitor" receives praise for its character focus, narrative tension, and thematic richness, some critics note that its pace occasionally slows amid extensive political maneuvering and expositional scenes. However, Lynch's strong directorial hand and compelling performances generally mitigate these concerns, maintaining viewer engagement through layered storytelling and atmospherics.

Contextually, this episode activates American Horror Story's tradition of embedding historical and cultural witchcraft motifs within contemporary social critique. The portrayal of coven politics and warlock antagonism echoes real-world struggles for power and acceptance, particularly through gendered and racial lenses. By invoking witch trials' brutal history and folkloric elements, the episode deepens its horror beyond supernatural thrills, inviting reflection on systemic injustice and resilience.

"Traitor" stands out as a mature, complex episode that successfully elevates American Horror Story: Apocalypse's broader narrative arc. Jennifer Lynch's assured direction, combined with nuanced performances-especially from Adina Porter, Joan Collins, Sarah Paulson, and Kathy Bates-and a script rich in political and supernatural intrigue, crafts an episode that is as intellectually stimulating as it is viscerally engaging. This installment underscores the season's evolving themes of trust, betrayal, and the fight for survival amid apocalyptic chaos, reaffirming the anthology's place as a daring and thought-provoking presence in contemporary horror television.

This season might run into multiple problems wrapping up the stories. We are reaching the closing episodes of this season, and yet we are still caught up in season 3,1 and some pre-apocalypse adventures. I would really enjoy watching cordelia, zoe, madison, and others roaming about on my screen, but there are also parts like Ms. Venable, Mr Gallant, Emily, Timothy and others in apocalypse that I feel are completely forgotten. There were so many half-baked stories in the first 3 episodes that I feel are going to waste.

What is evident is that we have only 3 episodes to wrap up a story containing 3 very different seasons, and as the past coven/murder house episodes indicate, I highly doubt the writers dedicated enough time to fully appreciate apocalypse. I hope they don't wrap up this season, or leave it for another season. There were extremely interesting possibilities for a post-apocalypse show.