AMERICAN HORROR STORY: APOCALYPSE “The End” (S8E1): It Has Finally Come

The highly anticipated eighth season of American Horror Story has kicked off and the apocalypse has arrived. In full AHS fashion, the season premiere delivered with a punch, launching a new chapter in the popular anthology series. Yet, while it is the new storyline setup that will draw fans, so will the creator’s claim to be crossing over seasons – Murder House and Coven.

Many wonder how woven season one and three will be threaded throughout, but based on the first episode alone, it may come in the form of cleverly placed easter eggs, rather than a constant viewing of the previous characters we are all dying to see again. Personally, I hope that this is not the case, as this has been dubbed a crossover season. AHS has already crossed characters throughout seasons before, as with Lana Winter in Roanoke and Sister Mary Eunice in Freak Show, but I think I speak for many when I state the hope is for much, much more this time around.

The first episode launched with success, creating imagery and an ambiguous storyline that will resonate long after the credits have rolled, drawing viewers back for another dose next week. It may be a little confusing, but there is a strong vibe that dedication will have a very nice pay off.

“The End”… literally

American Horror Story: Apocalypse wastes no time, diving immediately into the nuclear holocaust that will ravage the world. What begins as any other day quickly cascades into terror and violence. Initially alerted by cell, citizens of Los Angeles (and the world) find this is not an error – a nuclear missile is on it way to Los Angeles, following others that have hit Hong Kong and London. While there is an eruption of chaos and panic, others are frozen in place as news reporters say goodbye to their families on air knowing there is not time to get home.

Coco St. Pierre Vanderbilt (Leslie Grossman), an avid instagrammer living off her father’s wealth, finds herself the soul owner of four spots within a safe house where she can ride out the nuclear winter that is to come. Bringing her assistant (Billie Lourd), her stylist (Evan Peters) and his grandmother (Joan Collins), they manage to escape the madness of caged animals erupting on the streets of Los Angeles, witnessing their brutal end from above.

It was heartbreaking watching the world come to an end, a leering possibility that is frequently imagined both in reality and through fiction. There was a truth and credibility to Ryan Murphy‘s portrayal of the end – and heartbreak. The reporters realizing on camera they will never see their families again, murder from desperation and the self imposed death with dignity as bodies dropped onto cars below. Like Coco looking out the window of her plane at the destruction, I too found myself shedding a tear.

Following the end, AHS broke into its traditional opening credits – and this ladies and gentleman is the first crossover easter egg that I was able to notice. Look carefully as the montage commences, as you will notice mixed in within the new opening credits is imagery from both Murder House and Coven. There are the creepy old photographs, rams and centaurs, as well as the burning fire transitions, heightening the excitement for the crossover to come. If you weren’t excited yet, this will definitely get you.

Outpost 3

Timothy (Kyle Allen) has his college acceptance dreams shattered when his phone alerts his family and himself of the incoming missile for Los Angeles. There is not time for escape as they watch the reporter (same as earlier) on the news saying goodbye to his family. Yet, when all seems lost, a military truck sporting Men in Black looking agents pulls up to the house announcing Timothy will be coming with them. Through genetic markers detected by a sample submitted to ancestry.com, he has an unusual ability to survive the nuclear war. With no choice, he is forced from his home and family.

While he survives the blast, surviving the nuclear winter is another story. He and another genetically preferred survivor are transferred to Outpost 3, a facility designed for the survival of the genetically desired individuals and the wealthy who funded it. Outpost 3 is a harsh and cold hideout, with rules that, if broken, could get you killed. As the individuals, Coco and her crew included, of the subterranean outpost are introduced, viewers will come to question who is really in charge. There is a showcase of corruptible power and abuse – violence begets violence. The ability of human nature to lean towards evil does not hide for long in the wake of a disaster.

There was so much groundwork laid within “The End”: the corruption of social media on our society, the superiority of one group vs. another, and the cruel nature of humans when punishment and ramifications have no chance of coming about. I was impressed with the depth this section of the episode was able to reach in its short time, many of these themes having the potential to play out over the course of the entire season.

While the “elite” group “enjoy” c*cktail hour, they are forced to listen to the same song over and over again. While I am not sure if this was intentional, it was an interesting drawback to Asylum where mental patients were forced to listen to the same song, “Dominique” by Jeannine Deckers, on repeat. Interestingly, Evan Peters‘ character Mr. Gallant is clearly irritated by the repetition of the song, more so than the rest in the room – interesting, as his character Kit Walker in Asylum underwent the same treatment.

The Devil

As the 46-minute episode begins to wrap up, a visitor to the outpost seems to spell a different kind of doom on all its inhabitants: including its seemingly untouchable leader Wilhelmina Venable (the first of Sarah Paulson‘s portrayals this season). Flashing his ID badge to the guards outside, the man is revealed to be Michael Langdon (Cody Fern). It is immediately assumed he is the very same Michael Langdon born in the final episodes of Murder House. When we last saw Michael in the final moments of the season, it was 2015 and he was around 3-years-old – and had gleefully just murdered his nanny. With the reveal of Michael in the closing moments of “The End”, appearing to be in his early 20s, we are left with not only questions regarding the character himself  – but, also, what year does the apocalypse take place in?

It must be noted, his arrival is accompanied by another interesting Murder House easter egg. As he arrives into the the bunker to face Wilhelmina, a very familiar song is playing – “Tonight You Belong to Me” by Patience and Prudence. You may remember this song played at the beginning of the very first episode of Murder House as the two twins are murdered in the basement. As the song was introducing the power and ownership the house had over the inhabitants, it could be assumed that the same message could be said for Michael and Outpost 3. Only time will tell.

American Horror Story: Apocalypse: Lingering Questions

I have so many questions following the conclusion of “The End” and can not wait for next weeks episode. Sadly, as amazing as this episode was, I did find myself more concerned with the things that I did not see – such as the cast members from Murder House and Coven. My hope for this “crossover” season is that they will not be confined to one or two episodes – hopefully the appearance of Michael in the final moments eludes to a deeper and further inclusion of characters.

I also find myself wondering what the apocalypse and nuclear war hold for the future of American Horror Story as a series. I mean, they literally destroyed the world. I’m not sure there is enough magic and supernatural power in the world that could resurrect that.

What are your thoughts on the latest episode of American Horror Story?