Monsters Among Us

This might be the best AHS season so far! Twisty the clown and Lange's rendition of "Life on Mars" are reason enough for me to keep watching. I think it shows plenty of promise for good scares and entertainment - like any horror story should.

For those who venture to call the show "vile", I urge you to consider The Exorcist, It, The Walking Dead, and Sons of Anarchy just for starters. AHS is no more disturbing than any of those shows/movies.

What they are doing here is not new or shocking . . . it's just interesting. And I'm glad the FX Network agrees with me, not you, so I can continue to enjoy it!

In 1952, in Jupiter, Florida, the milk man sees three bottles of milk in front of Mrs. Tattler's house from the previous delivery and enters the house. He sees the old woman dead in the kitchen and stumbles upon a monster on the second floor and screams. Soon a woman is transported into the hospital and the doctor sees in the x-ray the woman is totally deformed inside. The strange Elsa Mars arrives at the hospital and after bribing the nurse Penny, visits the woman, Siamese sisters who has two heads that are named Beth and Dot. They are suspects of murdering Mrs. Tattler, and Elsa offers to flee with them. Meanwhile, a couple in a picnic by the lake is attacked and killed by a clown. Then the news reports the death of another couple in the same modus-operandi. Soon Beth and Dot learn that Elsa owns a failed freak show, and the attraction of a two-headed- woman is their hope to succeed. Along the days, Beth and Dot meet the other attractions that are not welcomed by most of the inhabitants of Jupiter.

"Monsters Among Us" is the first episode of "American Horror Story", which is a bizarre episode with many special effects. The characters are weird, and one of them seems to be Pepper, from "Asylum", performed by the same actress. The serial-killer clown is very creepy and seems to be the greatest attraction of the show. Jessica Lange performs as the owner of the freak show with a surprising revelation at the end of the episode. The funniest moment is when Jimmy Darling gives pleasure to unsatisfied women in the 50's with his fingers. Kathy Bates as the bearded woman is also sad and funny at the same time. Ma Petite is impressive, performed by the 63 cm height Indian actress Jyoti Amge. This is the first time that I have seen her. My vote is seven.

Title (Brazil): "Monsters Among Us"

The FX Network brings viewers a fourth American Horror Story season, this time called Freak Show.

Speculation regarding this season of American Horror Story has been rampantly strong for months. Teaser trailers were released to satiate the voracious appetite about Freak Show, the fourth season's subtitle of the AHS television series.

Going into the first episode, Monsters Among Us, information regarding details of new characters were also released. American Horror Story series originals Jessica Lange, Sarah Paulson, and Evan Peters are back as members of a traveling circus oddities show. Frances Conroy and Denis O'Hare, also from Murder House, return for the fourth season. Series regulars from season three Coven, but relatively new stars to the FX series, Emma Roberts, Kathy Bates, and Angela Bassett also join as "freaks" in the circus in Freak Show. They even let anxious viewers know who the masked murderous figure would be in the season. And just when we thought we got all the breadcrumbs we could handle, the main title sequence, which is known to include hints to the plot of the season, was released.

American Horror Story creators Ryan Murphy and Brad Falchuk first episode of Freak Show is a monster and stretches 90 minutes with commercials. All first episodes of American Horror Story must be viewed and reviewed as if they were a pilot as each season is vastly different from the rest. As a pilot, Monsters Among Us lacks the knowing and foreshadowing presence that Murder House's pilot episode contained. Perhaps this sentiment would not be so strong if information about characters were not divulged prior to the season premiere.

Setting season four in the carnival atmosphere of Elsa's Cabinet of Curiosities in the 1950's was a masterful choice. Typically individuals marketed as 'side show freaks' came from dark pasts and lived a hostile existence typical of the American Horror Story motif. Further the time period is different enough to captivate and transport in the way AHS fans are accustomed.Though unclear at the present time, I do hope they allow art to imitate life and use real life human marvels's story lines from the Golden Age to be inspiration and let modern performers be highlighted.

Then, just to ensure Freak Show's success, a violent and hideous being murderously lurks in the background capitalizing on one of people's most common fears. Creators Murphy and Falchuk once again enlist a masked figure, this time a serial killer known as Twisty the Clown.

The production, set and costume designers capitalize on this captivating and nostalgic time with magnificent and enchanting locations. Then there is the amazing make up and effects department conceptualizing a truly horrifying killer clown. The face of Twisty is enough to hook me in for the rest of the season.

The serial killer aspect of Freak Show and highlighted in Monsters Among Us is the most compelling feature of the episode by the halfway point and grounds the episode. Pilot episodes always suffer slightly as they scramble to introduce any and all important characters, and Freak Show has an excessive amount. Though all actors involved are exceedingly superior in their craft some veterans stumble with wavering accents, specifically Kathy Bates and Jessica Lange.

Freak Show (AHS4) should be a fun show to watch if just for the weird, bizarre but exceptionally different characters. I especially think Sarah Paulson's portrayal of conjoined twins Bette and Dot Tattler will be the stand-out performance thanks to their polarizing personalities.

After watching Monsters Among Us I am unsure as to the direction of the rest of the series, whether Twisty or Elsa's curiosities will gain traction as the defining plot. American Horror Story's Freak Show is bound to be perversely sinister but I have doubts whether it will have that gratifyingly coalescent quality fans have longed for since season one's Murder House.

Check out our website for more reviews and to comment and give us your opinions of what is to come for the show!

The premiere episode of the fourth season of American Horror Story, titled "Monsters Among Us," directed by Ryan Murphy and co-written with Brad Falchuk, plunges viewers into the haunting world of a struggling freak show in 1952 Jupiter, Florida. This nearly hour-long episode sets the stage for a season immersed in themes of otherness, exploitation, and survival within a society that marginalizes what it does not understand. The episode opens ominously with a milkman discovering the grim aftermath of a murder in the Tattler household, where conjoined twins Bette and Dot lie injured but alive, triggering the narrative's blend of horror and empathy. This narrative thread weaves deftly through the episode, opening a window not only into the twins' physical and psychological realities but also into the macabre world of Elsa Mars, portrayed brilliantly by Jessica Lange.

The storytelling begins as Elsa infiltrates the hospital under the guise of caring for kin, a subterfuge that reveals her desperate ambition to resurrect her fading carnival. Lange's Elsa is a complex figure balancing charm with menace; her portrayal is one of the episode's electric anchors, humanizing the grotesque environment she inhabits. Through Elsa's interactions with the twins, the episode delicately explores their contradictory personalities-Bette's innocence and vulnerability starkly juxtaposed with Dot's wariness and pragmatic cynicism. This character duality, underscored by Sarah Paulson's masterful performance as both Bette and Dot, deepens the narrative's emotional impact, illustrating the twins' psychological symbiosis in a way that transcends conventional horror tropes.

Parallel to the show's internal drama, the season introduces one of its most chilling figures: Twisty the Clown, whose disturbing acts of violence inject a visceral terror into the story. His grotesque presence, marked by his filthy, scalp-caped disguise and unsettling demeanor, evokes primal fears associated with clowns, pushing the episode's horror elements to an unsettling pitch. Twisty's interactions, particularly the terrifying captivity of innocent children, are filmed with a grim intensity that contrasts sharply with the carnival's performative oddities but thematically aligns with the season's meditation on monstrosity-both literal and societal.

Cinematographically, the episode bristles with a muted palette, evoking the eerie stillness of 1950s Florida while simultaneously underscoring the otherness of the Freak Show's inhabitants. The visual framing often isolates the characters, emphasizing their alienation from the normal world and underscoring the show's core exploration of the spectacle of difference. The direction's pacing, while deliberate, builds tension effectively by alternating between moments of quiet character development and bursts of graphic horror. The editing rhythm allows scenes like Elsa's poignant rendition of David Bowie's "Life on Mars?"-a standout moment that blends melancholy and hope-to breathe, giving the episode a theatrical flair that situates it within both melodrama and horror genres.

The script, penned with precision, interlaces multiple subplots-ranging from the grim realities of the twins' past and their mother's murder to the threats to the survival of the freak show-without becoming unwieldy. However, some narrative complexity borders on convolution, as pointed out by critical voices who argue that the plethora of characters and storylines can dilute emotional engagement. Yet, this crowded narrative landscape mirrors the chaotic world the characters inhabit, a creative choice that reveals the showrunners' ambition to tackle themes of identity, power, and survival on a broader societal canvas.

Acting across the ensemble is commendable, with Jessica Lange and Sarah Paulson standing out for their depth and nuance. The performances imbue their roles with humanity and tragedy, essential for audiences to connect emotionally with the "monsters" presented. Furthermore, the supporting cast, including newcomers portraying figures like Jimmy Darling and the enigmatic Elsa's troupe, adds layers of both warmth and menace. The interplay between characters-especially the tender yet fraught relationship among the performers-engenders a powerful sense of community amidst marginalization, a core thematic focus.

In terms of production design, the episode excels in its meticulous recreation of the mid-century carnival aesthetic, from tattered tents to period costumes, all contributing to an immersive atmosphere. The haunting score and sound design further amplify the eerie ambiance, while the practical effects used to depict physical anomalies respectfully enhance the narrative's verisimilitude without lapsing into exploitation. Importantly, the show's decision to employ actors with real physical differences enhances authenticity and challenges conventional norms in television casting.

Contextually, "Monsters Among Us" re-engages with American Horror Story's ongoing discourse on societal outsiders, echoing themes from previous seasons while caringly expanding the anthology's breadth. The episode nods to classic horror imagery, as well as literary and cinematic traditions of freak shows and circus performances as sites of both wonder and exploitation-themes historically explored in works by Tod Browning and films like Freaks (1932). Politically, the show subtly critiques mid-century America's conformity and intolerance, using the freak show as a metaphor for the marginalized and misunderstood, reflecting perennial issues of otherness.

Critically, the episode's strength lies in its sophisticated blend of horror and human drama, inviting viewers to challenge their preconceived notions of normality and monstrosity. It crafts a delicate balance between shock and empathy, forcing confrontation with societal fears and prejudices through graphic images and tender character moments alike. Yet, its ambition can occasionally lead to narrative overreach, and some subplot seeds feel underdeveloped given the episode's dense content, hinting at the season's need to maintain clarity amidst complexity.

"Monsters Among Us" serves as a provocative and atmospheric entry into American Horror Story: Freak Show, distinguished by strong performances, effective mood-setting, and thematic richness. Its premiere deftly sets a tone that is both unsettling and deeply human, challenging audiences to reconsider the nature of monstrosity beyond physical difference. While not without flaws, the episode's artistry lies in its ability to evoke reflection on the boundaries of society's acceptance and the enduring resilience of those forced to live on its fringes. For viewers and critics alike, it offers a compelling narrative wrapped in disturbing imagery, ensuring its place as a memorable and culturally resonant chapter within the anthology's evolving mythos.

The premiere episode of FX's anthologized drama American Horror Story: Freak Show proved itself to be a terrifying tour de force worthy of all the praise it has thus far received.

The hour-long spectacle introduces us into the world of a menagerie of freak show performers settling down in the "sleepy" town of Jupiter, Florida in 1952. Elsa Mars, the eccentric ringleader of the show, works to obtain custody of Siamese twins Bette and Dot Tattler after their recent hospitalization and involvement in a crime, as tiny interval's reveal the everyday lives of the performers. Meanwhile, a demented clown makes his rounds around town, terrorizing and brutally murdering the townsfolk of the hamlet.

Captivating its audience with an engaging plot full of intrigue, complex characters, and haunting cinematography, "Monsters Among Us" aptly makes good use of it's title by revealing the sordid affairs of the freaks and "regular" people alike against an unsuspecting 1950's backdrop. The plot flows swimmingly, keeping a not-too-slow and not-too-fast pace which establishes the characters while keeping its freakish feel throughout; this sense of unease permeates throughout Freak Show's premiere, which guarantees fans a dark tone for the upcoming season.

The aforementioned Mars, a yearning but past her prime superstar wannabee, is dominated by the spectacular Jessica Lange, who brings the character's kooky and cunning, yet totally human, nature to life. Evan Peters is charming as "Lobster Boy" Jimmy Darling, a James Dean-esque bad boy with a heart of gold who oozes confidence and sex appeal. Yet Sarah Paulson's portrayal of the Tattler twins is truly an amazing feat for the actress, who brilliantly deciphers the characters of disquiet Dot and bubbly Bette, turning both into unique characters. Other main players who don't have much screen time in this episode, including bearded lady Ethel Darling (Kathy Bates), dutiful mother Gloria Mott (Frances Conroy) and her man-child son Dandy Mott (Finn Wittrock) show to be interesting and well-acted in their own right. Even bit players, such as the milkman (Wilson Bradford) and Penny the Candy Striper (Grace Gummer), play their roles to perfection. Of course, no review would be complete without mentioning John Caroll Lynch's terrifying portrayal of clown killer Twisty, a gargantuan monstrosity whose method of stalking victims is as scary as the face he dons.

From a purely stylistic standpoint, "Monsters" is a true beauty. Vivid scenery and rich colors invade each happening on screen, captured by a wide-angled lens which works to align the characters sense of suspense with that of the viewers. A perplexing theremin-sounding track plays throughout the episodes more serious scenes, adding a retro sci-fi feeling to the show, while typical golden oldies play throughout the episodes more relaxed parts. The mixing of the visual and auditory aspects works to present the audience with a truly authentic 50's period piece.

Overall, "Monsters Among Us" is a true delight that serves as an excellent introduction into the newest world of the AHS universe. Steady pacing, cut-throat characterization, and pristine cinematography all work together to make this an exceptionally well-crafted episode. Ideas regarding abnormality are present throughout, begging the audience to ponder what makes one "normal" versus what makes one a "freak". This, along with several other important themes, sets American Horror Story: Freak Show apart from many works in the horror genre – it has a heart, regardless of how soul-shattering said heart might be.