'American Horror Story': Woah, babies

Nor any journalist for that matter. Timothy's been an obvious coward throughout this season, and that lack of conviction has been—in his mind—a necessary evil if it meant the fast track to Rome and Papal glory. By the conclusion of "Spilt Milk," Monsignor Timmy had cruelly banished Jude to a sub-human solitary chute and forged her death certificate, manipulated Lana into believing Jude had committed suicide (thus thwarting a police investigation into Briarcliff) and wheeled and bartered with Kit over his and Grace's freedom, as monstrous shadows cast a sinister darkness on them both (sorry Kit, you just dealt with the devil's usurper). Chances are, Timothy harbors slim regrets over his unholy tryst with Satan and tossed Mary Eunice over that balcony with no shortage of lust. And whether he's now been actually possessed or simply sees a clear path to power, Monsignor's making his move, even if it requires further corrupting of an already perverted soul. 

Well, Kit, here's the good news, according to the gospel of conspicuously reincarnated Grace: The little green men are "not like us, they're not cruel." Then there's the bummer of Alma dying in the midst of her E.T. impregnation because, "They're not perfect, they make mistakes." The recurring theme of women's fight for control over their bodies played itself out again in "Spilt Milk." Aside from Kit the Kit-Grace-Alma saga as "Rosemary's Baby"-esque allegory—told from a uniquely paternal perspective—Lana seesawed between regaining control of her womanhood ("no more death," she determined while on the abortionist's table) and succumbing to maternal instincts in the delivery room. As we discover, Alama is apparently alive, well and with child, and it appears as if Kit is Adam in these aliens' Garden of Eden on Earth. He, Grace and Alama are all just vessels, part of something bigger, and it's something they either have to accept and embrace or let shatter them like the "shards of glass" Grace describes. Either that, or Kit is not progeny but proxy, and the whole story is a feminist upending of every "Demon Seed"/"Alien" uterine nightmare. Heavy.

It's no revelation that McDermott's present-day Bloody Face has some unresolved angst over his relationship with Mama Lana and her role in papa Oliver's demise. And it was real sweet and all of Mother Superior Claudia (Barbara Tarbuck) to bust Lana out of the nuthouse, thus jeopardizing her own status in the church. But much like Jude, her rescue efforts were a wee bit scant an effort and a smidge too tardy. So much damage had already been done, and right under Claudia's nose. Where was she to look over and protect her Sisters as Briarcliff lapsed into dictatorial chaos under the nakedly ambitious Timothy? And something tells us Dr. Arden wasn't raised by a saint. No wonder it's up to traumatized Lana and Grace to try and set a better example despite the horrors that preceded parenthood.

The issue of violence in television, and in particular casual gun use, has deservedly come under renewed scrutiny of late. But Dr. Thredson was a bad, bad man, and a lot of really terrible things happened to Lana and his myriad victims. It's hard to even say if he's more fortunate for having survived (although she does choose life on more than one occasion in "Spilt Milk," itself an interesting point of view dangled for audiences to mull), but no one who's been watching "Asylum" would argue that Oliver needed to breathe a moment longer than he did. Especially once he pulled the old, "Let me tell you how cushy my remaining days will be in a psych ward while you wrestle with the fact that you couldn't truly kill or contain me" spiel. It's been a bleak 11 episodes thus far with very few untainted rewards, but watching Bloody Face at last get put down for good offered one hell of a well-earned euphoric sigh. That is, until the incredibly depressing last few minutes. Again, small victories.