American Horror Story: Hotel – "Room 33” Review. Here Be Monsters.

The Countess reveals a softer and less menacing side when she’s with Bartholomew

Season 5, Episode 6

Airdate: Wednesday, November 12, 2015, 10:00 PM ET/PT on FX

Rating: ★★★★★

American Horror Story: Hotel (AHS: Hotel) picks up the pace this week in “Room 33” with several intriguing flashback sequences and critical plot points revolving around the power of the Hotel Cortez. Unfortunately, it’s too little, too late at this point of the season; the attention to sensationalized gore and violence takes away from the character development within the story lines. There also seems to be a kind of identity crisis with the series’ enormous cast of characters. For example, in “Room 33,” viewers finally discover what happens to the souls who die in the hotel. Remember the two Swedish tourists Vendela (Kamilla Alnes) and Agnetha (Helena Mattsson) from “Checking In?” Yup, they’re back briefly but in a somewhat ironic fashion. Rather than create a sturdy foundation for the core mythology of its story lines, AHS: Hotel leaves scraps of information scattered amid each episode. Typically, I’d find that kind of method compelling, if it is consistent. What aggravates me most about “Room 33” is not the quality of the content because actually, it’s quite good. The source of my frustration is the timing; I would have much rather seen “Room 33” as the Halloween episode than “Devil’s Night.” I can’t help but wonder what kind of message or story AHS: Hotel is trying to convey to its viewers. In season four, American Horror Story: Freak Show (AHS: Freak Show) explored the base elements of human nature beneath the most unexpected places. The message was clear and decisive from beginning to end. When AHS: Hotel premiered “Checking In,” I thought the theme of addiction and vice would parallel among the tortured souls roaming the hotel, as well as in Detective John Lowe’s (Wes Bentley) investigation into the Ten Commandments serial killer. Instead, I feel the story lines involving The Countess (Lady Gaga) and the connection with John fail to integrate seamlessly.

The Meaning of It All

AHS: Hotel takes viewers back in time with “Room 33” in order to learn more about The Countess’ cryptic past, specifically the reason behind her obsession with children. Meanwhile, in the present day, John descends into madness as Alex (Chloë Sevigny) plots against him.

Ramona takes matters into her own hands

Episode writer John J. Gray’s sharp dialogue elicits great performances from all the actors. “Room 33” itself, apart from its connection to prior episodes, stands strong with an emphasis on the dilemma of the spirits haunting the Hotel Cortez. The episode also stresses the concept of “purpose.” I see how the topic relates in John’s search for answers when he keeps seeing Holden (Lennon Henry) in his room, as well as in The Countess’ relationship to children. Yet, for there to be a purpose, there has to be consistency. At times, it seems AHS: Hotel suffers from Attention Deficit Disorder (ADD) with small pockets of uniformity in between. Case in point “Room Service,” an episode that spends a good chunk of time on Alex’s decision to turn one of her patients into a bloodthirsty monster, and the consequences of Alex’s action make headline news. As the follow up episode, “Room 33” should have attempted to reference the events since they played a significant role, but nowhere does the subject matter appear in the episode. In its place, viewers witness Donovan (Matt Bomer) and Ramona’s (Angela Bassett) attempt at revenge, which once again fails and doesn’t seem to be going anywhere at the moment.

The Good Stuff

Amid all the shortcomings in “Room 33,” there are key moments that stand apart from the rest of the story lines. Liz Taylor’s (Denis O’Hare) out of nowhere affair with Tristan (Finn Wittrock) is a surprise but it works with the general story. Tristan’s confrontation with The Countess brings harsh truths to the surface. Of all the characters in the Hotel Cortez, I did not think Tristan would figure out The Countess the best. She does revel in being an emotional sadist with the people she turns into vampireseque creatures.

At this point, John’s story is the major part of what makes AHS: Hotel riveting. It’s not the murders; it’s the psychological suspense of watching an essentially good man fight with his dark side. When John leaves the hotel to attend to his daughter Scarlett (Shree Crooks), my heart broke a little for him. On the other hand, Alex’s decision to abandon her husband and daughter makes me livid. I just can’t wait until he learns the truth and the drama explodes.

Speaking of explosions, the reference to American Horror Story: Murder House (AHS: Murder House) and the sight of the mansion that started the AHS franchise made me long for season one all over again. It’s also intriguing to learn about The Countess’ baby problems, and what she keeps hidden in room 33.

Overall

I have such a love hate relationship with AHS: Hotel. For the most part, the actors’ performances and the production value of AHS: Hotel are top notch. Loni Peristere, who directs “Room 33,” has a creative way of setting up scenes visually and playing with camera angles. The technical aspects of AHS: Hotel are strong; it’s the outline and concept for the story lines that are rocky. However, credit is given where credit is due; when AHS: Hotel delivers outrageous moments, it goes all out. When certain scenes call for extreme violence, gore, or emotional outbursts, I have yet to be disappointed; unfortunately, the pacing is another story.

What did you think of “Room 33?” Let me know in the comments below or on Twitter @conallen.

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