Death Fear: Why Do We Dread Be Dead Analysis
Two things are for certain: death and taxes. Yet, unlike taxes mortality cannot be paid off. Presently, contemporary culture has begun to shun aging and death altogether. Currently, youthfulness glitters and tastes sweet. Successful working models begin to lose campaign and gigs after reaching the age of twenty-five to younger individuals. Because youth is so easily replaceable, it creates panic the second wrinkles starts to take form. So much so that individuals are beginning to inject Botox before reaching their thirties. This obsession with firm, plump skin is relatively new. Before Hollywood became the host of popular culture, wigs were often powdered white so one could appear older and wiser. However, nowadays wisdom is perceived negatively with lingering connotations of feebleness and antiquation. As a result, the pressure to remain forever young has been combatted with forced ignorance towards the inevitable decay of youth.
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Judith Acosta, in a Huffpost Healthy Living article titled, "Death Fear: Why Do We Dread Being Dead?,” explains that the American psyche is unique, "Because there is no culture that shuns death the way ours does.
And what we shun, we fear. And what we fear controls us" (Acosta). This controlling fear of death is seen in almost all of present-day popular culture. A reoccurring theme for season three of the popular anthology series American Horror Story titled Coven is the fixation of youth and the inability to accept death. The narrative unfolds around the search for the next supreme witch or leader of the new generation. She is said to embody multiple, if not, all of the seven wonders—telekinesis, concilium, descensum, transmutation, divination, pyrokinesis, and vitalum vitalis. As the new Supreme begins to come into her own, the life force of her predecessor is literally stripped away and is a product of organ failure and
disease.
The drama foreshadows its theme of ignoring death and craving abiding youth in a flashback to 1834 New Orleans featuring Kathy Bates character Marie Delphine LaLaurie. The scene features LaLaurie’s frustrated reflection on a mirror as she begins to lather a dark red substance on her face while growling, “When the blood dries, my skin is supposed to be as tight as a drum.” This character’s statement reflects Acosta’s argument as she explains that, “…health is what looks good. Clear skin, thin thighs, white teeth” (Acosta). LaLaurie decision to use the blood of her slaves is used to demonstrate the extremes that society is willing to undertake to preserve their youth. Shortly after, Jessica Lange's character Fiona Goode is introduced as the current reigning Supreme, who refuses to be dethroned and as such becomes fixated on finding a cure to her mortality. In the episode titled “Bitchcraft,” it is revealed that Fiona has been funding a research company’s search for immortality. She pleads, "What I need is an infusion of vitality-- of youth," after being denied a dosage of the experimental drug. Taking matters into her own hands, Fiona forces Dr. Zhong to kiss her and is seen looking decades older while she begins to look vibrant and youthful. However, her younger appearance almost immediately fades revealing her aged complexion. The human species is an organic matter and Fiona’s refusal to age and ensuing death mirrors Acosta's argument as she further writes, "My observation is that we don't just fear death, nor do we do we just ignore it…we simply refuse it. It is the most systematic-- and systemic-- delusion in world history" (Acosta). Fiona’s attitude further suggests that, “There has developed in contemporary culture a profound dread of death and the process of dying” (Acosta).
Because no amount of money, medicine, and witchcraft has been effective, Fiona decides to return her roots and spend the last of her days in New Orleans. When interrogated for her return by her skeptical daughter, she explains that she has come back to mentor the small group of witches-in-training in order to help the dying breed regain its strength. Yet, it is almost immediately revealed to the audience that she has returned with a ulterior motive to delay the crowning of the next Supreme. While touring Marie Delphine LaLaurie historical estate, Nan, one of the witches in training who has the ability of clairvoyance, finds that the famous socialite is not dead but rather just buried alive. Hungry to find out as to how LaLaurie has managed to not age a single day for almost two hundred years, Fiona orders to have her grave to be drug up in hopes of finding the source that immortalized the controversial 1830’s socialite. LaLaurie explains that after disfiguring one of her houseboys in an attempt to collect his blood, the voodoo priestess Marie Laveau tricks her into drinking a potion for eternal life and buries her alive so she can be restrained for eternity. Ecstatic to hear that there is a concoction to cure mortality, Fiona does not hesitate to visit Laveau despite their being a rivalry between her and the native voodoo practitioners. Fiona swallowing her pride by requesting Laveau to give her a potion for eternal life showcases contemporary culture’s obsession with staying forever young. She is willing her risk her life to achieve immortality by stepping foot on forbidden territory, which alludes to society’s ever-growing fasciation with youth.
Moreover, Acosta further explains in her article that, “The more delusional we are, the more in denial about who and what we are; the more in denial, the sicker we are. It may manifest in our minds or our bodies, but manifest it will.” Fiona’s refusal to accept health does exactly that—it makes her sicker and weaker the more extensive her search for immortality becomes. Her most desperate attempt at delaying her already established future is when she begins to deem Emma Robert’s character Madison Montgomery, a young Hollywood star, who discovers she is a witch after using her telekinesis power to murder a loudmouthed director as the new Supreme. When Madison starts to show early signs of possessing more than one power and potentially being Fiona’s successor when she accidentally sets the neighbor’s curtains on fire during an argument, Fiona takes her under her wing. Set up to believe she has given up and accepted her inevitable future, Fiona asks the movie starlet to kill her. Pleading that Madison take her out of her misery she screams, “Kill me for the sake of the Coven!” However, when Madison goes to do the deed Fiona reverses the demand and kills Madison and justifies her actions by whispering under her breath, “This coven doe not need a new Supreme. It needs a new rug.” Panicked that she is running of time, Fiona sees killing her as the only way to delay her death until she finds the answer to immortality and what better way to do so by killing her predecessor. Yet, almost immediately after disposing of the body Fiona received a phone call from another one of her doctors revealing that she has been diagnosed with terminal cancer and that she only has a couple of weeks to live or, in other words, until the new Supreme’s identity is revealed suggesting that Madison was not her successor. Fiona’s blinding denial of her inevitable future mirror Acosta’s argument as she literally gets sicker. She is lead to believe that the murder of a young woman will help restore her poor health and good looks. Furthermore, Acosta writes, “There is no avoiding it. Not if we want to be truly healthy. And that is the paradoxical truth right at the heart of it. To be healthy, we must be able to die,” and is seen true on the popular FX show (Acosta). Fiona’s ignorance of death furthers her deterioration, for every desperate attempt she makes to find a cure for it is counteracted with organ failure, disease, and an overall weakened immune system.
Additionally, Acosta argues, “Health is spiritual, mental, and physical amalgam. It begins with an accurate awareness of one self as a spiritual being, the absence of delusions and fixations, an understanding of one’s purpose in life…” (Acosta). All of which are present in Fiona’s life, as her delusion and fixation on remaining forever youth has ultimately worsened her health. It is important to note that Acosta defines health as being symptom-free but rather, “more the byproduct of a spiritual state” (Acosta). When perceiving Fiona’s health in this light, it is obvious that she is sicker than she truly looks. She completely lacks a spiritual state. Fiona Goode does not have the ability to adapt to change as it arises or the willingness to give and receive love.
Told through the perspective of Fiona Goode, season three of the popular anthology series American Horror Story unfolds around the fear and dread of death. Unwilling to accept the fact that the human species is an organic matter that eventually rots, Fiona becomes fixated in finding a solution to mortality. She goes as far as plotting murder to get what she wants and will stop at nothing to get it eternal life. Fiona’s actions and mindset are very similar to the arguments that Judith Acosta makes in a Huffpost Healthy Living article published the same year Coven aired called, “Death Fear: Why Do We Dread Being Dead?” In it Acosta states that present-day’s popular culture has developed an overwhelming fear of death. So much so that the process of dying is ignored altogether. She explains that the, “possibilities for a gentle closure of life are often overwhelmed by uncontrolled physical pain, excessive financial burden, unresponsive care plans, and emotional isolation,” which results in dreading the inevitable aging process. As a result, youth is now seen as extremely valuable and precious. Firm and plump skin are adored my millions and once it begins to fade it seems as if one is tossed aside and left to decompose as the new generation begins to flourish.
Judith Acosta, in a Huffpost Healthy Living article titled, "Death Fear: Why Do We Dread Being Dead?,” explains that the American psyche is unique, "Because there is no culture that shuns death the way ours does.
And what we shun, we fear. And what we fear controls us" (Acosta). This controlling fear of death is seen in almost all of present-day popular culture. A reoccurring theme for season three of the popular anthology series American Horror Story titled Coven is the fixation of youth and the inability to accept death. The narrative unfolds around the search for the next supreme witch or leader of the new generation. She is said to embody multiple, if not, all of the seven wonders—telekinesis, concilium, descensum, transmutation, divination, pyrokinesis, and vitalum vitalis. As the new Supreme begins to come into her own, the life force of her predecessor is literally stripped away and is a product of organ failure and
disease.
The drama foreshadows its theme of ignoring death and craving abiding youth in a flashback to 1834 New Orleans featuring Kathy Bates character Marie Delphine LaLaurie. The scene features LaLaurie’s frustrated reflection on a mirror as she begins to lather a dark red substance on her face while growling, “When the blood dries, my skin is supposed to be as tight as a drum.” This character’s statement reflects Acosta’s argument as she explains that, “…health is what looks good. Clear skin, thin thighs, white teeth” (Acosta). LaLaurie decision to use the blood of her slaves is used to demonstrate the extremes that society is willing to undertake to preserve their youth. Shortly after, Jessica Lange's character Fiona Goode is introduced as the current reigning Supreme, who refuses to be dethroned and as such becomes fixated on finding a cure to her mortality. In the episode titled “Bitchcraft,” it is revealed that Fiona has been funding a research company’s search for immortality. She pleads, "What I need is an infusion of vitality-- of youth," after being denied a dosage of the experimental drug. Taking matters into her own hands, Fiona forces Dr. Zhong to kiss her and is seen looking decades older while she begins to look vibrant and youthful. However, her younger appearance almost immediately fades revealing her aged complexion. The human species is an organic matter and Fiona’s refusal to age and ensuing death mirrors Acosta's argument as she further writes, "My observation is that we don't just fear death, nor do we do we just ignore it…we simply refuse it. It is the most systematic-- and systemic-- delusion in world history" (Acosta). Fiona’s attitude further suggests that, “There has developed in contemporary culture a profound dread of death and the process of dying” (Acosta).
Because no amount of money, medicine, and witchcraft has been effective, Fiona decides to return her roots and spend the last of her days in New Orleans. When interrogated for her return by her skeptical daughter, she explains that she has come back to mentor the small group of witches-in-training in order to help the dying breed regain its strength. Yet, it is almost immediately revealed to the audience that she has returned with a ulterior motive to delay the crowning of the next Supreme. While touring Marie Delphine LaLaurie historical estate, Nan, one of the witches in training who has the ability of clairvoyance, finds that the famous socialite is not dead but rather just buried alive. Hungry to find out as to how LaLaurie has managed to not age a single day for almost two hundred years, Fiona orders to have her grave to be drug up in hopes of finding the source that immortalized the controversial 1830’s socialite. LaLaurie explains that after disfiguring one of her houseboys in an attempt to collect his blood, the voodoo priestess Marie Laveau tricks her into drinking a potion for eternal life and buries her alive so she can be restrained for eternity. Ecstatic to hear that there is a concoction to cure mortality, Fiona does not hesitate to visit Laveau despite their being a rivalry between her and the native voodoo practitioners. Fiona swallowing her pride by requesting Laveau to give her a potion for eternal life showcases contemporary culture’s obsession with staying forever young. She is willing her risk her life to achieve immortality by stepping foot on forbidden territory, which alludes to society’s ever-growing fasciation with youth.
Moreover, Acosta further explains in her article that, “The more delusional we are, the more in denial about who and what we are; the more in denial, the sicker we are. It may manifest in our minds or our bodies, but manifest it will.” Fiona’s refusal to accept health does exactly that—it makes her sicker and weaker the more extensive her search for immortality becomes. Her most desperate attempt at delaying her already established future is when she begins to deem Emma Robert’s character Madison Montgomery, a young Hollywood star, who discovers she is a witch after using her telekinesis power to murder a loudmouthed director as the new Supreme. When Madison starts to show early signs of possessing more than one power and potentially being Fiona’s successor when she accidentally sets the neighbor’s curtains on fire during an argument, Fiona takes her under her wing. Set up to believe she has given up and accepted her inevitable future, Fiona asks the movie starlet to kill her. Pleading that Madison take her out of her misery she screams, “Kill me for the sake of the Coven!” However, when Madison goes to do the deed Fiona reverses the demand and kills Madison and justifies her actions by whispering under her breath, “This coven doe not need a new Supreme. It needs a new rug.” Panicked that she is running of time, Fiona sees killing her as the only way to delay her death until she finds the answer to immortality and what better way to do so by killing her predecessor. Yet, almost immediately after disposing of the body Fiona received a phone call from another one of her doctors revealing that she has been diagnosed with terminal cancer and that she only has a couple of weeks to live or, in other words, until the new Supreme’s identity is revealed suggesting that Madison was not her successor. Fiona’s blinding denial of her inevitable future mirror Acosta’s argument as she literally gets sicker. She is lead to believe that the murder of a young woman will help restore her poor health and good looks. Furthermore, Acosta writes, “There is no avoiding it. Not if we want to be truly healthy. And that is the paradoxical truth right at the heart of it. To be healthy, we must be able to die,” and is seen true on the popular FX show (Acosta). Fiona’s ignorance of death furthers her deterioration, for every desperate attempt she makes to find a cure for it is counteracted with organ failure, disease, and an overall weakened immune system.
Additionally, Acosta argues, “Health is spiritual, mental, and physical amalgam. It begins with an accurate awareness of one self as a spiritual being, the absence of delusions and fixations, an understanding of one’s purpose in life…” (Acosta). All of which are present in Fiona’s life, as her delusion and fixation on remaining forever youth has ultimately worsened her health. It is important to note that Acosta defines health as being symptom-free but rather, “more the byproduct of a spiritual state” (Acosta). When perceiving Fiona’s health in this light, it is obvious that she is sicker than she truly looks. She completely lacks a spiritual state. Fiona Goode does not have the ability to adapt to change as it arises or the willingness to give and receive love.
Told through the perspective of Fiona Goode, season three of the popular anthology series American Horror Story unfolds around the fear and dread of death. Unwilling to accept the fact that the human species is an organic matter that eventually rots, Fiona becomes fixated in finding a solution to mortality. She goes as far as plotting murder to get what she wants and will stop at nothing to get it eternal life. Fiona’s actions and mindset are very similar to the arguments that Judith Acosta makes in a Huffpost Healthy Living article published the same year Coven aired called, “Death Fear: Why Do We Dread Being Dead?” In it Acosta states that present-day’s popular culture has developed an overwhelming fear of death. So much so that the process of dying is ignored altogether. She explains that the, “possibilities for a gentle closure of life are often overwhelmed by uncontrolled physical pain, excessive financial burden, unresponsive care plans, and emotional isolation,” which results in dreading the inevitable aging process. As a result, youth is now seen as extremely valuable and precious. Firm and plump skin are adored my millions and once it begins to fade it seems as if one is tossed aside and left to decompose as the new generation begins to flourish.