As a lifelong fan of “American Horror Story,” I find myself continually astounded by the sheer brilliance and emotional depth that each season brings to the table. The moments that resonate most deeply with me are those that showcase the human condition at its finest – or, in this case, at its darkest yet most beautiful.
“American Horror Story” has spent 12 seasons roleplaying our worst nightmares.
Each season, the “American Horror Story” anthology style allows for an exploration of various chilling themes such as haunted dwellings, extraterrestrial beings, witches, bloodsuckers, creepy clowns, mysterious entities, figures like Donald Trump, and innovative New England writers – all under the umbrella of presenting fresh hues of terror.
Ever since October 5, 2011, when “American Horror Story: Murder House” debuted on FX, this franchise created by Ryan Murphy and Brad Falchuk has been delivering unique, gripping long-form horror narratives that stand out in the television landscape. Furthermore, it has cultivated an acting ensemble brimming with talent, attracting legends like Jessica Lange and Kathy Bates to TV screens, turning scene-stealers such as Sarah Paulson, Frances Conroy, and Lily Rabe into household names, and launching new stars like Evan Peters, Emma Roberts, and Billie Lourd into the limelight. Despite some stories not meeting expectations, the ensemble cast has consistently demonstrated their ability to elevate even the weakest seasons.
Because of this, there’s always an exciting novelty in diving into a fresh horror tale every season, and it becomes simpler to evaluate the quality of each “American Horror Story” season, as EbMaster has already neatly organized a full season ranking for you.
The more challenging job is separating the chaos to discover the fleeting moments of extraordinary brilliance that continue to make us wince, weep, and jump at the sight of a light switch. Keeping this in mind, I’d like to present my top 12 favorite episodes of “American Horror Story,” arranged from incredibly terrifying to exceptionally bizarre.
“Devil’s Night” (Season 5: “Hotel,” Episode 4)
The unique lore of ‘American Horror Story’ suggests that souls can transcend their eternal limits on Halloween night, an idea initially presented in Season 1’s ‘Murder House’, and later explored throughout subsequent seasons. In ‘Hotel’, this concept is creatively employed to revise the classic question: Who would you invite to dinner, living or dead? Here, a formidable assembly of real-life serial killers gather for a Halloween feast at Hotel Cortez, invited by its architect, Mr. March (Evan Peters). As Murphy has increasingly utilized true crime for his other projects (the three seasons of ‘American Crime Story’, the two installments of ‘Monster’), he expertly tapped into the notoriety of such characters in this context, allowing them to discuss their criminal activities and revel in the thrill of the chase. In this episode, we see that Hotel Cortez is indeed a gateway to hell, a place where evil gathers for meals and toasts to murder and chaos, which is quite normal at the Cortez.
“Monsters Among Us” (Season 4: “Freak Show,” Episode 1)
In this mid-century traveling circus, it was simple to appreciate the performers, but challenging to support their leader, Elsa Mars (Jessica Lange). Despite giving them a refuge, her self-centered actions often suggested she prioritized her own vanity over their wellbeing. Throughout their struggles against Twisty the Clown, Dandy the Psychopath, societal prejudices, and more, Elsa’s self-serving nature made Lange’s final performance on the series particularly hard to accept. However, one of the show’s clever decisions was allowing Lange to express Elsa’s vulnerabilities through music. The most poignant and heartbreaking use of her voice concludes this premiere, as we learn about the sacrifices Elsa has made for fame and life’s cruelty. On her deathbed as a double amputee, she seizes the stage to bask in the limelight that the world had previously denied her. The choice of David Bowie’s “Life on Mars?” adds an intriguing touch. Yet, what captivates most during Elsa’s farewell is witnessing the performers who bring joy to others, making her feel like she belongs in their world too.
“Gaslight” (Season 10: “Double Feature,” Episode 5)
If you survived the initial part of this season’s two-part series, you were rewarded with one of the strongest performances highlighting the potential MVP of the show, Lily Rabe. Regardless of whether you found this abbreviated story about the extreme measures artists take to nurture their creativity appealing, it is intriguing to witness the struggles faced by those who stand by creatives in the name of their art. Doris (Rabe), the neglected and pregnant wife of writer Harry (Finn Whittrock), gives birth but is then confined by her husband and others to conceal their use of a drug that transforms people into vampires. By the time Doris takes the pill, she isn’t portrayed as a rational genius like her husband and child, but rather as a ferocious beast eventually exiled into the wilderness to live as a disfigured outcast, shunned for her altered appearance. The symbolism of a mother giving everything for her family only to receive nothing in return is undeniably poignant. A deeply moving image of Doris, completely transformed and cast adrift in the world, remains etched in our memory as a testament to the sacrifices she made for her family. In the words of Leslie Grossman’s character Ursula, “There’s nothing more pitiful, pathetic, and heartbreaking than an individual with no talent trying to make their way in the world.” So, remember to cherish your mothers, children!
“Could It Be… Satan?” (Season 8: “Apocalypse,” Episode 4)
This “Apocalypse” episode serves as the first official crossover in the connected universe of American Horror Story seasons, primarily focusing on “Coven” and “Murder House.” While many might argue that “Return to Murder House,” with its original Season 1 cast reunion including Lange and Britton, is the highlight of this season, we prefer this one. That’s because it’s the first time the series lifts the veil from its initial shelter-in-place premise to unveil its true purpose: narrating the tale of Michael (Cody Fern), born as the antichrist at the end of Season 1, and his struggle against the witches of “Coven.
“Smoldering Children” (Season 1: “Murder House,” Episode 10)
Looking back, the peak moments of “Murder House” seem somewhat overshadowed by the more extreme developments the series has explored since then. However, this season served as a powerful launch pad for the universe’s narrative possibilities, and no event is more crucial than this episode’s revelation: Violet Harmon (Taissa Farmiga), who appeared to have unsuccessfully attempted suicide in previous episodes, had actually died successfully. After her death, we watched her early days as a spirit confined to the house, with Tate (Peters) concealing her decomposing body to allow her a gradual adaptation to her new existence. The sadness of a young life cut short –– coupled with the ongoing narrative of Tate’s past crimes and volatile personality –– laid the groundwork for how daring “AHS” would be in its storytelling, a boldness it has continued to embrace ever since.
“Checking In” (Season 5: “Hotel,” Episode 1)
In the debut episode of “AHS,” famously known as Lady Gaga’s brightest performance since Jessica Lange, we find the series exploring the infamous Cecil Hotel in downtown Los Angeles. As The Countess, a stylish and nocturnal vampire who rules over the Hotel Cortez, she instantly adds charm to the season. However, this premiere is an ensemble piece, with other key characters being introduced: Hypodermic Sally (Paulson), a mischievous, drug-addled ghost; Liz Taylor (Denis O’Hare), the flamboyant keeper of the hotel’s secrets; Iris (Kathy Bates), the weary hotel manager and mother of Donovan (Matt Bomer); the Countess’ companion who died from a drug overdose with Sally. Despite its sensational elements, the episode effectively creates an atmosphere of claustrophobia within the fashionable hotel environment, leaving the characters to search for some semblance of home. If you need one reason to watch, then savor Gaga’s captivating delivery of, “Your boy has a jawline for days,” as she playfully touches Donovan’s recently deceased body.
“The Name Game” (Season 2: “Asylum,” Episode 10)
As a dedicated fan of “AHS,” I can’t forget the electrifying impact of Sister Jude’s (Lange) electroshock therapy scene, which led to the vibrant, dreamlike dance number known as “The Name Game.” Despite the somber tone that pervades Briarcliff Asylum, this episode stands out as a vivid and fitting representation of the surreal, nightmarish essence that characterizes much of the series. The downfall of Sister Mary Eunice (Rabe) is another memorable aspect –– her descent into darkness following possession, culminating in chaos among the staff. When she was killed to expel the demon, viewers were left with two unforgettable images: the Angel of Death (Conroy) taking Mary Eunice away, and former Nazi Dr. Arden (Cromwell’s Emmy-winning role), who found love in unexpected places, meeting his end by entering a cremation machine along with her body. The emotional turmoil of witnessing a Nazi doctor succumb to the flames of an oven is still hard to shake off.
“Chapter 6” (Season 6: “Roanoke,” Episode 6)
In contrast to those who view “Roanoke” as an unpolished critique of Hollywood, we wholeheartedly defend this unsettling yet inventive portrayal of America’s earliest legend. The show excels in its unique structure, blending elements of a fictional docuseries named “My Roanoke Nightmare” about a haunted house on the site of the Lost Colony in North Carolina, with a sudden shift in focus to the behind-the-scenes drama and instant fame of the series’ cast. This transition leads us off-screen and into a real-life sequel series that spirals into a gruesome found-footage horror. The impact of the show on its actors was chilling, while the allure of a sequel by Hollywood added to the bloodthirst. However, the most striking aspect is the subtle decision to portray the “real” ghosts as ordinary and decayed, reflecting the distortion between reality as we see it in documentaries and the glamorized version presented by Hollywood.
“Bitchcraft” (Season 3: “Coven,” Episode 1)
There is nothing quite like the promise of a new season of “American Horror Story,” and no season had a more pulse-quickening start than “Coven.” A sweaty, gothic setting in New Orleans. A school for young witches with special gifts and acid-tongue retorts. An aging supreme witch in Fiona Goode (Lange), fighting to retain power with the temperament of a feral animal. A bloodbath at a frat party. This season premiere had it all, and a witch’s brew of swagger to boot. What makes it so arresting in hindsight, though, is that the potential on display in this premiere is actually paid off by the end of the season. Long live the Supreme (season).
“Be Our Guest” (Season 5: “Hotel,” Episode 12)
Instead of a seemingly retort to “Devil’s Night,” the final episode of “Hotel” shows an emotional farewell as it deals with the eternal inhabitants of the hotel – ghosts and vampires. By this stage, The Countess (Lady Gaga) has passed away, while Liz Taylor (O’Hare) and Iris (Bates) have assumed control over the property, on the verge of being recognized as a historic landmark. However, they face the challenge of stopping the ghosts from killing guests. Struggling with cancer, Liz chooses to stay connected with her cherished family at the Cortez by sacrificing herself to the hotel, ensuring she’ll be with them forever. This poignant scene is one of the most touching moments in the series, made even more heart-wrenching as the elusive Countess reappears to welcome Liz, her greatest creation, into the afterlife with a gentle gesture using her lethal glove.
“Madness Ends” (Season 2: “Asylum,” Episode 13)
There are numerous reasons to appreciate ‘Asylum.’ The exceptional trio of Lange, Paulson, and Peters is just one of them. The heart-wrenching dance between Sister Mary Eunice and the devil is another. The narrative, which seamlessly intertwines commentary on mental health institutions, religion, the Holocaust, aliens, and investigative journalism, is remarkable. However, the finale stands out as the season’s most impressive accomplishment, skillfully resolving its open-ended plots across time. Kit (Peters) ends up caring for Sister Jude (Lange) throughout her remaining life, adopting her into his family before she willingly welcomes the Angel of Death. Lana (Paulson) receives justice for her brave reporting in Briarcliff, despite the dangerous circumstances as a woman, a lesbian, and a journalist during that time. It’s only when she confronts the son (Dylan McDermott) she had after being raped by Bloody Face (Zachary Quinto) that she can find true peace years later. When she shoots him in the head, she spares the world any further remnants of the asylum’s atrocities –– despite the lasting scars it left.
“Orphans” (Season 4: “Freak Show,” Episode 10)
After dedicating all its seasons to a single universe, “American Horror Story” (AHS) found itself carrying an increasingly substantial narrative burden. However, dedicated viewers have been rewarded with significant payoffs, and none more satisfying than the journey of Pepper (played by Naomi Grossman). Initially introduced as a perpetually cheerful patient in “Asylum,” fans were left curious about her connection to Briarcliff. The possibility of answers surfaced when she reappeared as a carnival member in “Freak Show” and culminated in “Orphans.” Pepper’s story is a poignant exploration of the fear that arises when society and even family struggle to understand someone. After her partner Salty passes away, Pepper is shuffled from one person to another at the mercy of uncaring caretakers who should have protected her. Despite her landing at Briarcliff, she remains a beacon of joy. Grossman delivers an exceptional performance as Pepper, a soul too innocent for this world, and particularly for the grim universe of “AHS.” Through Pepper’s perspective, the episode serves as a stark reminder that despite the series’ grisly portrayals of horror, the lack of human compassion is truly terrifying. It is the degradation of humanity that “AHS” consistently demonstrates across its seasons and themes, rather than its macabre depictions of terror.
Read More
- PENDLE PREDICTION. PENDLE cryptocurrency
- Unlocking the Mystery of Brawl Stars’ China Skins: Community Reactions
- SOLO PREDICTION. SOLO cryptocurrency
- How to repair weapons & gear in Stalker 2
- Smite 2: Overcoming the Fear of Your First Match in the MOBA Universe
- POPCAT PREDICTION. POPCAT cryptocurrency
- Understanding the Constant Rain in Pacific Drive: A Reddit Discussion
- REVIEW: “The Piano Lesson” (2024)
- Team Fight Tactics (TFT) Patch 14.23 Notes: What to Expect from Set 13 Release
- Dragon Quest III HD-2D Remake Review: History Repeats
2024-10-05 20:50