Horror is in the middle of a resurgence on television and American Horror Stories is just one of the many programs that indulge in the gory genre. An episodic spin-off of American Horror Story that sheds the serialized seasonal arc approach, American Horror Stories has just wrapped up its second season of sinister stories.
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The freedom of this structure has helped American Horror Stories excel as a proper horror anthology series that's able to explore dark ideas, which might not be sustainable for an entire season of television. Season two of American Horror Stories covers such horror staples as home invasion, serial killers, and Bloody Mary, but it's resulted in quite the mixed bag of episodes.
There's a complex idea at the core of "Necro" that doesn't quite feel right for American Horror Stories. The anthology series is known for its incredible pulpy and sensationalist atmosphere. However, it's not known for the tactful nuance that's ideal for unpacking psychological trauma and sexual dysfunction.
"Necro" is an episode that's largely absent of any actual horror and supernatural elements. Instead, it details the slow dissolution of its main character's life after a fetish of hers comes to light. The episode's vengeful conclusion is more upsetting than empowering. It's not just the weakest episode of the show's second season, but "Necro" is the low point of American Horror Stories in general.
"Lake," the final episode of American Horror Stories' second season, is another installment that's more of an introspective character study than an overt exercise in horror. It first seems as if "Lake" might explore some aquatic Cryptid after people continue to go missing at a popular watering hole.
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Instead, "Lake" tortures a family with visions of their lost one, which help a mother and daughter repair their frayed bond. Granted, the very end of "Lake" features a bevy of water-bound zombies in an evocative nod to John Carpenter's The Fog, but it's still a moody meditation on loss.
Set in 18th-century New England, this period piece horror story is an alarming allegory for the pandemic and the fears that surround inoculations and vaccines. A smallpox outbreak devastates a community, but a heretical milkmaid's pus, and the heart's victims, function as an unlikely cure for this debilitating plague.
"Milkmaids" is the grossest episode of American Horror Stories, which may be a positive for some audiences. However, it's truly a lot to watch characters expose themselves to these atypical treatments, let alone the broader points that could be interpreted from the episode's radical message.
"Drive" stars Bella Thorne and it's an American Horror Stories episode that pulls a lot of inspiration from urban legends and slasher tropes. Marital strife is par for the course in Ryan Murphy productions, but "Drive" attempts to trick its audience through the reveal that Marci's supposed infidelity is, in fact, a slew of murders.
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The twist in "Drive" works well enough, but it's the other elements that are lacking. In the end, there's nothing in "Drive" that hasn't been done elsewhere, like in You or Dexter.
Horror audiences tend to turn to Black Mirror, or even Westworld, for their tech-based terror. However, "Aura" is American Horror Stories' foray into this horror subgenre. It uses the prevalent modern device of smart doorbell cameras as its entry point.
"Aura" has a compelling idea behind it that literally puts a ghost in the machine, but the execution holds the episode back from being a classic. Nevertheless, Max Greenfield and Gabourey Sidibe gave impressive performances, and "Aura" does manage to stick its landing.
Both American Horror Stories and its serialized seasonal predecessor have tackled most of the biggest horror genre staples, whether it's aliens, ghosts, witches, or even Bigfoot. In this sense, a Bloody Mary-based episode of American Horror Stories is long overdue, so the series tries to reinvent the infamous urban legend in unique ways.
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"Bloody Mary" plays like a breezy Blumhouse film with a Monkey's Paw mentality to it as teens get picked off, one by one. Dominique Jackson's confident performance as the titular entity is memorable enough on its own to elevate this entry.
"Dollhouse" kicks off the second season of American Horror Stories with a bleak beauty pageant that benefits from the always-unnerving look of porcelain dolls. "Dollhouse" doesn't bring tiny terrors to life, but it instead looks at human hostages who are forced to become living dolls, void of any identity.
The first season of American Horror Stories struggled with how many episodes were tied back to the original series. However, "Dollhouse" finds a smart, natural way to connect these dots that amounts to a fun Easter egg, not distracting fan service.
"Facelift" is a hilariously heightened American Horror Stories episode that combines one of the most beloved Twilight Zone stories with The Most Dangerous Game. Less can be more in Ryan Murphy productions, but "Facelift" is an entry that taps into the perfect tone to make all of this ridiculousness work. Judith Light's committed performance in the lead role is also a serious factor in the episode's success.
Horror stories like "Facelift" can thrive through the foreboding bandage visual, only to fall apart once they've come off. American Horror Stories makes sure that "Facelift" doesn't suffer that fate and its final act features its strongest stuff.
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