Liz Taylor’s backstory has served a purpose beyond learning her past; it served as a reminder to the power of sensitivity.
It strikes me as a bit redudant for a show with the word “horror” in the title to require an episode dedicated to Halloween.
If the show was reaching for an empathetic tear, it got an exasperated eye-roll.
This anecdote is brought to you by the experience that American Horror Story does not fare well when it features a grand gesture of exposition, particularly so early in the season.
I was ready to resign American Horror Story to the annals of television history as a show with great ideas but shitty execution.
A caveat to this new distinction is that a show’s producers can petition to get it considered in the category of their choosing. It’ll be fun to see what shows will try to skirt around the rules. Downton Abbey as a comedy?! No one will see it coming.
Rather than a work of art, this season was like a child’s hastily drawn crayon scribbles on a white wall, like thirteen different colors swirling all around each other until the whole thing turns brown. The child revels in its creation, but all anyone else sees a mess.
Considering how things have been going, he’ll kill everyone in the freak show and then himself. Because this show loves the easy way out, and they’ve proven that the easiest way out is for everyone to die.
“What a sicko!” Good on Finn Wittrock for not resting on the inherent irony of that line. He’s the beacon of hope for this series.
This episode was like a sinkhole formed in the middle of the story that swallowed us all up, and now we have to climb our way out of this hole to trudge on through the last three episodes.