Essay Draft 1

How does ‘American Horror Story’ Maintain a Distinctive Identity?

Abstract
In 2011, Ryan Murphy produced ‘American Horror Story: Murder House’, starting the
series which would go on to span over 10 seasons. All of which cover a range of
themes, such as insanity, or obsession, and feature distinctive stylistic differences
relating to each season. Despite this series of contrasts, the show still manages to
maintain a familiar feel to fans, something which I was interested in researching and
identifying.
Some more obvious similarities between seasons include the chorus or ensemble cast,
the recurring characters and locations. With this in mind, I wanted to identify the
thematic parallels between each season, creating my own pitch in order to
demonstrate a potential ‘formula’ in order to pinpoint the distinctive identity the show
seems to maintain. Once I had this technique narrowed down, I could then create a
pitch for my own season, with it following the pattern I had concluded as closely as
possible.
Introduction
Despite obvious parallels between seasons such as linked storylines (S1/S3/S5/S8),
and recurring cast (including Sarah Paulson, Denis O’Hare, Lily Rabe and Emma
Roberts), I felt that there were similarities in the way each season followed its
narrative. Whilst the varying theme for each season is central to the plot, it seemed
likely that its purpose was simply an allegorical representation of an underlying bigger
idea, usually a social issue or somewhat psychological concept. With this in mind, my
pitch would be surrounding a similar, yet seemingly non central theme covered so far
in the series.
Methodology
One key aspect in order to define the proposed parallels is the difference between
canon, and theorised links. Whilst there is evidence that accurately supports the
confirmed recurring features, there is still an element of connection between the
proposed theories linking seasons together. It is also important to consider any
aspects of the series that were changed during pre or early production stages in order
to gain a more well rounded overview of the series in its completion.
Confirmed links are demonstrated throughout similar plotlines regarding the following
groups:
● Group A
○ S1(‘Murder House’)/S3(‘Coven’)/S5 (‘Hotel’)/S8(‘Apocalypse’)
● Group B
○ S2(‘Asylum’)/S4(‘Freak Show’)/S6(‘Roanoke’)/S7(‘Cult’)/S9 (‘1984’)/S10
(‘Double Feature’)/S11 (‘NYC’)
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Potential links to S1, S3 and S8 regarding S12, ‘Delicate’, have suggested that the
season fits into Group A, but the obsessive behaviour perhaps linking to S7 makes
S12 somewhat difficult to pinpoint.
Given both the connections thematically, another aspect to the show’s identity is the
theory of the two ‘phases’ of ‘American Horror Story’, with phase 1 being from S1-S6,
and phase 2 being from S7-S12. This is due to an apparent stylistic shift created by
the contrast starting from S7 and continuing for later seasons. This is likely due to the
overall impact of the 2016 election. Originally, S7 of ‘American Horror Story’ was
intended to link back directly to S4, covering a series of clowns linked to Twisty, one of
the antagonists. This later changed in accordance with the introduction of the Trump
administration, given its huge impact on the country, and many minorities as a result.
With this in mind, aspects of my pitch were altered in accordance, with the title being
‘Unethical’ due to the theme of unethical experiments. Set in Georgia (and being the
first season to be), my pitch surrounds the investigation of missing students at the
local college, who are secretly being abducted by a psychology professor who wants to
recreate an experiment which she watched her brother endure as a child. The police
department consists of the professor’s wife, and another detective who is facing
difficulties with his soon-to-be ex-wife, a journalist who makes progress through
questionable means.
I felt the setting was appropriate, as it adds some variety from recent seasons which
have been set in similar locations. Athens, Georgia, felt most fitting, as it has a focus
on its research facility and further education programmes. It also allows for hints of
southern gothic to be explored, which have been hinted at in previous seasons, such
as S3 or S6.
Findings and Discussion
My theory was that each season had a bigger idea that was best represented through
the theme of the season. This was supported by Ryan Murphy’s statement that
"[American] Horror Story is always about allegory”1. With this in mind, this ‘big idea’
can be seen thematically, through narrative and through film form. Whilst the big idea
for each season is presented thematically, there is a distinct stylistic shift between
seasons 6 and 7, thus creating the two phases of the show. My theory is as follows:

Phase Season Big Idea

‘Murder House’ Taboo
‘Asylum’ Oppression
1 ‘Coven’ Identity
1 ‘American Horror Story’s’ Ryan Murphy Unleashes Secrets of the ‘Coven’ (Goldberg, 2013)
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‘Freak Show’ Isolation

‘Hotel’ Rejection
‘Roanoke’ Obsession
‘Cult’ Fear
‘Apocalypse’ Family
‘1984’ Unity
2 ‘Double Feature: Red Tide’ Capitalism
‘Double Feature: Death Valley’ Responsibility
‘NYC’ Survival
‘Delicate’ Maternity
? ‘Unethical’ Humanity

S1 - ‘Murder House’
All of the topics covered in this season are socially taboo, from divorce and abortion to
school shootings and varying degrees of violence (physical and sexual, usually
committed by Tate Langdon). Covering the complexities of the family dynamic (both
the Harmons and the Langdons) and exploring the impacts as a result suggest that
the underlying concept of this season is taboo. The framing of these specific subjects
in a domestic space further encourages this idea, with the intersection of supposed
domesticity and horrific acts of violence.
S2 - ‘Asylum’
A range of oppression is demonstrated with this series, including racist (as shown by
the treatment of Alma Walker and the Dr Arden subplot) homophobic (against
protagonist Lana Winters), religious (Sister Jude, Sister Mary Eunice and the
Monsignor) and misogynistic (as shown by the killings of Dr Thredson and Johnny
Morgan’s treatment towards women, especially Lana Winters). The concept of an
asylum itself reflects the oppressive attitude towards its patients, as many of their
situations are grossly misunderstood.
S3 - ‘Coven’
A range of identities are covered in this particular season, in terms of gender (as
shown in the divide between the witches and the witch hunters), race (the oppression
Queenie faces and Madame LaLaurie strives to create), class (the struggles Misty Day
lives through) and sexuality (primarily through Zoe’s power or Madison’s attack), but
with less focus on oppression in comparison to ‘Asylum’. The concept of a coven shows

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a sense of community and diversity, as well as emphasising the exploration of the

female experience.
S4 - ‘Freak Show’
Despite the struggling sense of community in this season, the concept of isolation
seems omnipresent. Many, if not all of the characters face their own individual
struggles they either have to keep isolated (Jimmy’s alcoholism, Elsa’s disability,
Ethel’s medical troubles, the covering up of Dandy’s crimes), or are forced to witness
becoming isolated (Elsa’s desire for fame, the killing of the freak show members). The
setting of the season being in one of the last few running ‘freak shows’ further
demonstrates the liminal status of the characters as they gradually descend further
into some form of isolation from others, or themselves.
S5 - ‘Hotel’
Despite being on a varying scale, the theme of rejection is apparent throughout all of
the main characters’ developments, from rejecting societal norms and rules, to
rejecting family or companionship (Iris and Donovan’s dynamic, John Lowe). As a
majority of the hotel’s residents are living there full time, the setting further suggests a
sense of rejection, towards a more traditional form of living. The concept of vampirism
interlinked with the theme of rejection shows the rejection of death and mortality.
S6 - ‘Roanoke’
Many forms of obsession are demonstrated through the characters, such as obsession
of self (Sidney Aaron James or Dominic Banks), obsession with the hauntings (Shelby
Miller, or the fans of My Roanoke Nightmare) or obsession with family (the Polks or Lee
Harris). The concept of the hauntings seems to be a metaphor for obsession, as
something that is continuously present and unrelentless, and the colony itself is a
mystery that is still being researched and attempted to solve.
S7 - ‘Cult’
Given the contrast between the initial plans for the season to the focus on the election,
it seems highly likely that the focus of the season is on fear. As well as the
protagonist’s phobias playing a key part in the season, Ryan Murphy described the
focus on the people "ignored by the current [Trump] administration and who are afraid
and feel terrorised that their lives are going to be taken away." The theme of cults is
highly fitting both given the at the time political climate, as well as the primary power
tactic being through the exploitation of fear, as is demonstrated through both fictional
and historical examples.
S8 - ‘Apocalypse’
Linking to previous seasons, the big idea for apocalypse seems to be the concept of
family, most notably through said links to previous seasons (the Langdons). Perhaps
stemming from the idea of a nuclear family, the setting of an apocalypse reflects the

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different forms that the concept of family can take (linking back to the witches to
demonstrate found family, or nuclear with the Langdons or the Gallants) with the
stress perhaps showing the durability of a family unit.
S9 - ‘1984’
As shown through the flashbacks and repeating storylines, there is an apparent sense
of unity between past and present (primarily through the Richter family). Additionally,
the slasher setting of the season further suggests a sense of unity, as shown through
the dynamic between the staff of the summer camp, especially during the adult Bobby
Richter’s visit back to the grounds, with the ghosts defending him against a
fictionalised Richard Ramirez. This could additionally be viewed as the unity between
people and the supernatural.
S10 - ‘Double Feature: Red Tide’
The emphasis on capitalism and its negative impacts (including pressure
on/disregarding artists, the struggles faced by those on the margins of society, and
the corruption of the wealthy) prominent throughout Provincetown. The small-town
setting further demonstrates the destructive nature that excessive capitalism has
towards the less successful, with the vampires perhaps as an embodiment of the
structure in its extremes.
S10 - ‘Double Feature: Death Valley’
Given the pressures explored in this season, responsibility is visible throughout. From
the protagonist being a fictionalised President Eisenhower, to the subplots with the
alien pregnancy. Incorporating figures such as Amelia Earheart suggests an
exploration of highly exaggerated possibilities of who are what could be responsible,
perhaps showing a dark fantastical solution for possible causes of mystery. The
existence of extraterrestrials, and more so the history of Area 51 have both been
widely speculated for years, with this season seemingly exploring what could be
responsible for its secrecy, and why.
S11 - ‘NYC’
This season’s bigger idea is seemingly more apparent than its predecessors. The
setting inspired by the HIV/Aids crisis frames the significance of survival, both from
the unnamed disease, and the serial killer. The framing of the disease as a person
nicknamed “Big Daddy” further suggests the scale of the threat and the need for
survival. Additionally, the subplot between Sam and Parick showcases survival as a
game, most notably from Sam’s perspective.
S12 - ‘Delicate’
Seemingly drawing from the difficulties regarding the process of maternity, this season
explores the various stages and perspectives on the matter, the horror setting likely
exploring a widely accepted concept, and highlighting the fears that come as part of it

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likely linked to the arachnophobia motif, as this is a more commonly recognised cause
for anxiety which could then link to S7 with its use of phobias as allegories for broader
concepts.
My Pitch - ‘Unethical’
Humanity is a concept that can describe both the individual nature of human
existence, and collectives of people, which seemed fitting to explore in this series.
Unethical experiments as the theme seemed perfect for this concept, as it offers a
paradoxical view on humanity, neglecting individuals for the potential benefit of mass
knowledge with their findings.
Conclusion
More evidence of the stylistic shift between seasons can be shown with the differences
in promotional material, with seasons 1-6 having a darker, less vibrant colour palette,
and season 7 introducing more bold, contrasting colours, signifying a shift likely
caused by the change in societal attitudes after the introduction of the Trump
administration, which “divided Republicans and Democrats more than any incoming
chief executive in the prior three decades”2, thus changing the standard of what
viewers found most ‘scary’ or unsettling, perhaps linking to Dr César A. Cruz’s idea
that, “Art should comfort the disturbed and disturb the comfortable.”3. In this case,
Cruz’s theory links to the increase in uncertainty with the new American government,
with the Mueller investigation regarding the events of the election4, and the increase in
“Incited racial, nativist, and religious hatred, provoking religious and police violence.”5
With this in mind, whilst the need for ‘American Horror Story’ to continue was made
more urgent by the election (in order to keep raising awareness and allow for creative
freedoms to be maintained), the more recent stylistic shifts have seen a slight decline
in ratings6, which is partially why the season I pitched in accordance with the
structural ‘formula’, links back to earlier seasons thematically and ideally, stylistically.
Whilst the allegory for each season may still be debated by viewers, its consistent
usage makes the show recognisable and distinctive, as well as an important tool for
discussion given the constant shifting state of America’s socio-political climate.

2 ‘Views of President-elect Trump and his administration’ (Pew Research Centre, December 8,
2016)
3 “Disturbing the Comfortable: The Corner of Piety and Desire” (Breathelighter, December 31,
2023)
4 ‘Tracking the Russia investigations’ (Cohen, Yellin & Stark, January 2021)
5 ‘Report highlights “devastating impacts” of Trump on every aspect of US health’(BMJ, 2021)
6 “Every ‘American Horror Story’ Season Ranked, From Worst to Best” (Ingram, Sep 20, 2023)