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They had to be picking a specific event that if Mallory changed would transform the world for the better, right?

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Otherwise why risk the negative effects it would have if she pulled it off? So why Anastasia? Dinah has a very mercenary attitude, happy to take money from pretty much anybody.

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So, does Cordelia know that Dinah helped Michael murder all her girls? If so, did Dinah do something to atone for that? Could they have pulled a similar infiltration scheme to whatever Coco, Mallory and Dinah did to get into Outpost 3? Among the residents of the outpost were a pair of teenagers, Timothy and Emily, who were basically kidnapped and brought there, allegedly because of their family history or good genes or whatever.

And then they died along with everybody else when they ate the poison apples in the third episode. And there has been absolutely no mention of them since. There must me some kind of twist with those two, right?

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Did the witches put an identity spell on, well, everybody who lived in Outpost 3? But there are multiple instances this season of actors playing multiple new characters: Joan Collins, Evan Peters and Billy Eichner.

Now, if Coco had been living a fake life with a personal assistant doing the same, then it follows, perhaps, that the other people in her life might have been in the same situation. Obviously, the situation with those two — the Satanist robotics engineers who created the Ms. Mead bot — would be a bit different than that of Bubbles, as they are dedicated servants of the Antichrist. Complicating this theory, of course, is that Bubbles was seemingly killed this week when Michael rampaged through the coven. The opening portion of the seventh episode saw Cordelia seek out the voodoo queen Dinah Stevens to try to seek the aid of Papa Legba Lance Reddick.

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And that was that. Or will they be important again at some point?

Innocence To Glory—Michael's War

Was there a reason they waited until episode seven to reveal how Myrtle came back? But Myrtle has been around since the third episode with nobody acknowledging that she had returned from the dead. And then, at the end of the episode, Madison Emma Roberts and Chablis Billy Porter get in their car and leave the house behind.

Could the nuclear apocalypse blow up the house and free the ghosts? Or could we return to the house at some point? It is above the entrance to hell, after all. Which casts further confusion about the identity of the Rubber Man from Outpost 3. Most of the witches of the coven are dead now, with the exception of Cordelia, Myrtle, Madison, Coco and Mallory. She told Cordelia that she was too weak to fight after being in hell so long. A lot of seemingly supernatural things happened in the second episode — the dead snakes coming back to life, the guy in the Rubber Man suit appearing as if from nowhere, Gallant stabbing what he thought was Rubber Man who turned out to actually be his grandma.

Mallory, for example, is clearly powerful enough to use magic subconsciously. When Cordelia and her coven arrive, she outs Dinah as a voodoo queen from a different coven, a fact Dinah was apparently concealing.

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The big cold open sequence in episode one ended with LA getting nuked and Mallory discovering that nobody was flying the plane she was on. This seems like an important point, and something that will have to come up later. The countdown to the end of the world has begun -- so naturally the TheWrap is going to spend our final few hours ranking the first seven seasons of "American Horror Story" from the most outlandish to the truly stomach- churning.

And as for American innocence, just look what happens to Nick. The Deer Hunter does deal with innocence and its loss, but not in pat simplicities. And it is about Vietnam, but only to the extent of showing what we did to ourselves there. Its theme, far from justifying either ourselves or the war, is a penetrating critique of our notions about manhood and valor as epitomized in the Great American Hero.

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On this level Michael is, in fact, nothing less than a modern-day version of a timeless American classic: the Deerslayer. As his tale is told in Cooper, Faulkner, Hemingway and countless other sources, the Deerslayer is the definitive heroic type. He is an able young man who, his vital energies sapped by mundane reality, goes into the wilderness to enact the male-regenerative ritual of the hunt.

As he does, the tacky pop music of reality gives way to ethereal strains that waft through the pristine heights. True to his namesake, he corners a young stag and kills it with one clean shot. Cooper himself would have been pleased. This sounds all wrong, of course—much too literary, and not at all the way Michael really seems to be. What kind of hero is that? Even more to the point is the fact of Nick, who upstages him at every turn.

There is method in this. The director is carefully controlling our responses, letting us see Michael only from the outside and with a certain critical detachment. Yet there is one pivotal scene, just prior to the first hunt, that brings him to the surface and indicates the course his inner development will take: It is his confrontation with the Green Beret. A number of vivid contrasts are established, among them the life-affirming ethnic tradition vs. In every instance, Michael is odd-man-out.

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He can neither join in the ethnic dances nor wave the flag, and when he goes to make a pass at Linda he loses his nerve. Finally, like an apparition, the soldier arrives. Michael just stares. Michael misses a beat. The man repeats himself. Michael stares harder into that impenetrable face, so like his own, and asks again. The moment is catalytic: With Innocence Nick literally tugging at his elbow, he is suddenly eye-ball-to- eyeball with Experience, and he desperately wants to know what it means. What is war like?

What does it mean to be a hero?

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There are no answers. The bitter wisdom of the Vietnam Era has been thrust upon him: There is no glory there, and in the parlance of the time there are no more heroes. That harsh note is sounded early in the film, however, and much is still to be said. In fact, the scene marks not an ending but a beginning, for in his nakedness Michael undergoes an almost existential kind of rebirth.

On the contrary, this psychological crisis marks the point at which he begins to accept the real world in all its meaninglessness and, by degrees, his own place in it. This, not Vietnam, is the true subject of the film: how an alienated young man comes to terms with himself and is gradually reintegrated into the society that spawned him.

The evidence begins to mount in the roadside scene that follows, when Michael picks a fight with one of his pals—a dime- store cowboy who carries around a loaded revolver.