American Horror Story: Hotel – "Mommy” Review. Whoa, Mama.

Donovan faces some hard truths while on the streets.

Season 5, Episode 3

Airdate: Wednesday, October 21, 2015, 10/9 on FX

Rating: ★★★★★

American Horror Story: Hotel (AHS: Hotel) is one of the most visually haunting and gripping series on television right now. So, why does it take until the third episode, “Mommy,” for me to fully connect with it this season? AHS: Hotel is a glamorous series with ornate production designs and a beautiful cast of characters to match. Apart from the giant space left in the wake of Jessica Lange’s departure, something feels amiss this season, and I can’t quite put my finger on it yet. Make no mistake about it, the lack of restraint showcased in its bloody premiere, “Checking In,” pays a wonderful homage to classic horror films with its nefarious subject matter. In the subsequent episode, “Chutes and Ladders,” I appreciated the way the season’s mythology expands by taking a trip back in time to unravel the Hotel Cortez’s dark origins. “Mommy” is different with the way its narration and characters’ perspectives shift among the major story lines. Although Detective John Lowe’s (Wes Bentley) search for the capture of The 10 Commandments Killer keeps me on the edge of my seat, I can’t say the same for some of the other plots. I feel like I don’t know enough about the characters— like Iris (Kathy Bates) and Sally (Sarah Paulson)— as I should at this point. “Mommy” moves at a better pace than this season’s previous episodes without losing the depth of the character development by focusing on its themes.

Who’s Your Mommy?

As the title “Mommy” suggests, motherhood is the central theme in the episode, focusing on the different ways it affects the principal characters. There is finally some development in Donovan’s (Matt Bomer) relationship with his mother Iris a story line I wish had more context. I get that Donovan despises his mother but I haven’t seen what makes Iris so horrible that it justifies his cruelty toward her; however, what lacks in Iris and Donovan’s history, writer James Wong fills the void with excellent dialogue. The exchange between Bomer and Bates is one of the highlights of the show; watching their banter and fighting is difficult to look away from even when Donovan suggests to Iris she kill herself. In “Checking In,” I thought Iris must have done something evil and horrible, but making Donovan consume so much fiber that he defecates in his pants as a child doesn’t cut it. It’s disappointing to see Donovan as a self-entitled brat but from what I’ve seen so far, I have no other cause to think otherwise—it’s sad. Much to my surprise, Donovan redeems himself in a way that will be a big game changer if the mother of monsters, The Countess Elizabeth (Lady Gaga), has anything to say about it.

Speaking of monsters, Elizabeth’s story line, as it relates to motherhood, seems interesting. Wong draws nice parallels in his writing with Elizabeth’s connection to her vampire-esque children and the feeling Dr. Alex Lowe (Chloë Sevigny) has with her son Holden (Lennon Henry). I immensely enjoyed the use of Alex’s voiceover as she recalls her relationship with Holden. Eerie with an almost dreamlike depiction, Sevigny’s voice expresses the loss of her child in a heartfelt manner. That said, there is a fine line between the love she has for Holden and what seems like an obsession. The moment that gives me pause is Alex’s admission that she loves Holden more than her husband, and even more than her other child, daughter Scarlett (Shree Crooks). In spite of the subject matter, Sevigny’s performance propels me to want to understand Alex more as the season moves along.

The Plot Thickens

There are major strides, as far as plot development goes, in “Mommy” that really makes this episode strong. First of it all, it’s not so much that the cast of characters continues to expand; it’s the way it adds or takes away from the story lines. Ramona Royale (Angela Bassett) provides a great example of how a character can add to a story rather than distract from the major plot points established. Ramona is a part of Elizabeth’s path that will have major repercussions; pairing her with a newly abandoned Donovan will make for an exciting season. Whereas. Tristan Duff (Finn Wittrock) continues to adjust to his immortal life with failed attempts at thrill killing, which is unnecessary, when I’d really love to learn more about the serial killer, and discover more about James Patrick March (Evan Peters).

Overall

Ramona has some tricks up her sleeves.

“Mommy” is a big turning point in understanding what motivates certain characters, as well as bringing in a whole new set of problems for many at the Hotel Cortez. There are several performances that stand out; Bentley continues to surprise me with how well he portrays John’s breakdown after so much loss in his life. Meanwhile, Bomer and Bates are by far the scene stealers of ”Mommy.” I hope the writers continue to make Donovan a complex character from here on out and not just eye candy. Aside from the performances, I really liked the way director Bradley Buecker shapes the style and look of the episode. One of my favorite moments is seeing Elizabeth and Ramona in the elevator, as their clothing changes over the different eras in time I love the 80s look the most.

“Mommy” is another strong episode that does not shy away from examining the dark side of human nature. There is still a good dose of sex and violence that isn’t too heavy handed, allowing viewers to connect with some of the more emotional plot lines. I am relieved to find AHS: Hotel hit its stride by creating diverse character pairings, and surprising twists in the story lines that keep viewers like me curious to find out more!

What did you think of “Mommy?” Let me know in the comments below or on Twitter @conallen.

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