Ryan Murphy’s American Horror Story has elevated to one of the most iconic television franchises of the past ten years after making a strong television debut in 2011. Because of the show’s long history, it has produced ten fantastic seasons with recognizable cast members. Among the cast members who frequently appear are Denis O’Hare, Evan Peters, Finn Wittrock, Taissa Farmiga, Frances Conroy, Sarah Paulson, Lily Rabe, Emma Roberts, Jessica Lange, Angela Bassett, and Kathy Bates. Which American Horror Story season is the best has generated a lot of discussions.
The 10 seasons of American Horror Story can be rated using a variety of scales because they cover a wide range of subjects and themes. The horror aspects of the series must be considered because it is intended to frighten its audience. Character growth, the overarching storyline (which on American Horror Story can be hit or miss), and episode structure, including music choice and sound editing, are all included.
The starting point, ugh! Nothing on television in 2011 had the same atmosphere as American Horror Story. When Bates Motel and The Purges were just movies (or references to them) and not serialized shows, before Mike Flanagan left for Netflix to create hits like The Haunting of Hill House and Midnight Mass, Murder House argued that horror could enthral audiences just as much at home as it does in movie theatres. Surprisingly, the strategy succeeded, and for a period of twelve weeks in the winter of 2011, it seemed like everyone was talking about the Harmons. Murder House is arguably still amazing at its most concentrated as of right now.
Its tale of a family migrating from Boston to sunny LA is spooky in a good way, wrapping up a profound and frequently moving narrative about inherited familial trauma in a sheeny ghost story populated by deliciously outlandish characters (played, for the first time, by soon-to-be Murphy mainstays, such as Evan Peters, Taissa Farmiga, Denis O’Hare, Frances Conroy, Sarah Paulson, and of course, Jessica Lange. Even in this early draft of AHS, Murphy’s more daring storytelling impulses were beginning to peak through. Eventually, AHS would give in to these more ludicrous tendencies. Murder House not only created space for genuine horror on television but also transformed the genre of horror as a whole.
How can you not adore it? American Horror Story’s third season centres on a group of misunderstood witches who attend Miss Robichaux’s Academy for Extraordinary Young Ladies and are inherited from Salem. The group is led by Sarah Paulson as teacher Cordelia Foxx and features A-list actors Emma Roberts, Lily Rabe, Gabourey Sidibe, and Taissa Farmiga. When Cordelia’s mother Fiona Goode (Jessica Lange) arrives to take over as Supreme Witch once more and mend her connection with her daughter, Cordelia finds it difficult to guide her fellow witches. The Salem witch trials, Voodoo priestess Marie Laveau (Angela Bassett), and serial killer Delphine LaLaurie are just a few of the historical figures and events that served as inspiration for this season of American Horror Story, like many others in the franchise. Although Coven isn’t really frightful or jumps out at you, it is intriguing, delivers campy drama, and offers tons of Halloween-related ideas.
AHS had a lot of pressure to live up to during its sophomore season because of the critical and financial success of its ground-breaking debut season. Fortunately, this subsequent instalment stood up to the task by switching up the effective but overly familiar setting of a “murder house” for the eerie stark sterility of a haunted asylum. Asylum was a terrific sequel for a variety of reasons, including its truly scary atmosphere, its skilful melding of fictionalized historical events with made-for-TV soap opera drama, and of course the unstoppable bop that is “The Name Game.” However, now that I’m older, I still recall the performances. With topics like homophobia, mental illness, and religious doctrine, Asylum has always been the most “serious” season of American Horror Story even a decade later.
As a result, it should come as no surprise that it gave its uniformly devoted cast some of the franchise’s meatiest material. Particularly noteworthy are the performances given by Jessica Lange as the twisted, homophobic head nun hiding a dark secret and Sarah Paulson as the brave journalist who is unjustly targeted by the institution she is trying to expose. Asylum found Murphy still acting in genuine “prestige” mode, whereas American Horror Story would subsequently gain a reputation for its daring absurdity. In light of this, this masterfully crafted season of dark horror stands out as not only the finest in this franchise but also among the best projects the superproducer has ever worked on, which is absolutely appalling given how prolific this creative is.
Cult demonstrates that real life can be just as spooky as television in the wake of the momentous 2016 election. The season, which debuted in 2017 while many Americans were still processing Donald Trump’s election, is based in the fictional Michigan town of Brookfield Heights and follows a lesbian couple named Ally Mayfair-Richards and Ivy as they adjust to life after the election. Sarah Paulson and Allison Pill play the couple. As Ally becomes more and more unstable, Kai Anderson (Evan Peters), an alt-righter, celebrates Trump’s victory and creates a cult of evil devotees who help him rise to political leadership in the already-divided city. Like previous seasons, Cult includes blood, gore, and frightening scenes, but it also delves into the genuine horror of what can occur whenever the wrong guy holds power. Billie Lourd joins the franchise during this season as well.
Apocalypse is ranked in the centre of my rankings since my admiration for it is tricky. On the one hand, it shattered a tradition: up until this point, Murphy’s little horror child felt thrilling specifically because the program reset each season, taking on a totally new tale with a brand-new cast. Nothing from one episode was intended to continue in the next, therefore there was nothing compelling indifferent viewers to “catch up” on earlier episodes. Apocalypse shattered that focal delight by tying previous seasons together; all of a sudden, Coven and Murder House characters were talking, and they were all gathered at the Hotel. AHS as a whole was now merely a massive puzzle that needed to be cracked open.
Apocalypse made it enjoyable to open this mystery box, so that is something. Who worries about ethics when it seems this nice? It is not necessary to disregard what Apocalypse was, which was pure fanservice. Sure, it might have taken some background reading for the uninitiated, but by 2018, the majority of viewers of AHS have devoted followers in any case. Its basic plot, which involves a group of affluent elites surviving a nuclear holocaust in a beautiful bunker, is predictably Murphyian, making for a great season that seems to get more complicated with each new installment. I mean, come on! Evan Peters and Sarah Paulson each play a variety of roles for us. Jessica Lange returned!
The most spooky AHS film by far is Hotel, but the plot becomes convoluted. The season investigates the eerie and fatal incidents that occurred at the downtown Los Angeles Hotel Cortez. The Countess (Lady Gaga), the widow of serial killer James Patrick March, who was changed into a vampire after a rendezvous gone wrong with a prior lover, is in charge of the building, which was initially designed as a torture chamber. The blood-sucking fashionista utilizes the area as a location for cutting-edge gatherings as well as a storage facility for her never-ending supply of human blood. When a detective shows up looking for information regarding a string of gruesome deaths, the hotel finds itself at the heart of an investigation. Along with the story, Hotel’s general design will give you the chills with its blood-stained linens, dripping black faucets, and flickering lights. It is supposed to be modeled on the true-life horror story of the Cecil Hotel, creating the season all the more terrifying.
ALSO READ: 25 Saddest K Dramas That Will Make You Cry!
Ryan Murphy and Brad Falchuk chose to divide a season into two parts for the first time in the history of AHS. Following struggling author Harry Gardner (Finn Wittrock) and his expectant wife Doris (Lily Rabe) as they move to Provincetown, Massachusetts, so that he can concentrate on his work, Part 1 is named Red Tide. He is given a strange black pill there that inspires him to write like never before. The medication, however, also induces a pang of hunger for blood, and it only works on people who are truly talented. In an effort to improve her abilities as an interior designer, Doris takes it after giving birth and transforms into a monster. Red Tide begins with great performances from Rabe, Adina Porter, Leslie Grossman, and others in the first few episodes, but it ends abruptly when the pill travels to Los Angeles.
Kaia Gerber is introduced to the franchise in Part 2’s Death Valley when she and a bunch of college students go camping and end up being kidnapped and abducted by aliens. It is subsequently discovered that their pregnancies had been planned for decades and were carried out under the direction of aliens who intended to prevent the extinction of their own species by introducing a new species. Aliens are a fascinating notion to investigate, but Death Valley falls short due to its hurried conclusion and lack of information regarding what this new extraterrestrial species implies for human civilization.
It only made reasonable that Murphy & Co. would start again for their next project after the back-to-back failures of Freak Show and Hotel. What we ended up with was Roanoke, which profited greatly from its formal ingenuity. The film, which bills itself as a true-crime documentary, divides its narrative into two parts: in the first, a couple describes their encounters with the supernatural after relocating to an old North Carolina house, and two actors perform their stories as written; in the second, the same couple and actors return to the same house to record a reality show, where, well, let’s just say all hell breaks loose. Many of the original Murphy suspects returned to the show, including Lady Gaga, who had just recently won the Golden Globe, but it was the introduction of great new actors like Spirit Award winner André Holland (portraying a clueless husband) and Oscar winner Cuba Gooding Jr. (as the stardom actor playing said husband) that really assisted this season’s direction-altering. Its delivery of some genuinely terrifying horrors was also noteworthy; this successfully restored the “horror” in American Horror Story. Roanoke, sadly, became one of the franchise’s more subdued attempts as a result of this decision, toned down many of the eye-catching features that would have otherwise maintained AHS top-of-mind for the past ten years.
1984 is the season for you if you enjoy old-school horror movies. The season, which is set in 1984, follows a young girl called Brooke Thompson (Emma Roberts) as she joins a group and chooses to join them as counsellors at Camp Redwood—a recently refurbished summer camp with, of course, a twisted background. Leslie Grossman’s character, Margaret Booth, a previous camper who escaped an earlier serial murderer assault on the camp, welcomes the counsellors when they arrive on the grounds.
In a typical AHS style, the season includes elements from real life, such as the terror of serial killer Richard Ramirez. With so many various plot lines and character perspectives, 1984 will keep you on the edge of your seat while occasionally leaving you perplexed.
The first really poor season of American Horror Story continues to stand out as the worst in the series, which is only fitting. After three successively more well-liked episodes, Murphy unleashed Freak Show, relocating his gifted ensemble to the circus and telling what was obviously intended to be a profoundly touching drama about what it means to be an “outsider” desperately trying to fit in. Although Murphy did right by hiring disabled performers, the choice to cast them in parts where their infirmities were on display as proof of their “scary” “freakdom” was at best dubious. Sadly, its politics continue to stand out for the wrong purposes.
Several of the season’s characters, including fan-favourites Twisty The Clown and Dandy Mott (who benefited from being performed by Finn Wittrock, Murphy’s current hottie at the time), became cult figures as the season progressed. (And let’s not miss the instantly famous performances of “Life On Mars” and “Gods And Monsters” by Jessica Lange.) But by the halfway point, the program had entirely lost its direction and was floundering under the weight of its numerous narratives. Murphy undoubtedly intended for Freak Show to “mean” something, but it fell short. Yes, Evan Peters made a compelling case for the advantages of consensual sex by using his lobster hands to give domestically challenged women a healthy dose of sexual pleasure.