Bullseye

With twisty gone the season lacks a compelling villian , dandy does fine in the role as psychopath but ultimately waste him by doing nothing of importance, Elsa is just Lange being Lange which is awesome but she's played the same type of character in all four seasons, Stanley is a fall flat villain, is there anymore villains I can't remember

"Bullseye," the sixth episode of American Horror Story: Freak Show, directed by Howard Deutch and written by John J. Gray, delves deeply into the dark undercurrents of the freak show's fractured community, spotlighting themes of trust, betrayal, and the ruthless thirst for control. This episode is notable for its dramatic intensity, particularly driven by Jessica Lange's commanding portrayal of Elsa Mars, who embodies both the show's grandeur and its moral ambiguity. The narrative centers on Elsa's increasingly unstable hold over her troupe and the poisonous threats simmering beneath the carnival's surface.

The episode opens with Elsa's tense monologue, a masterclass in theatrical narcissism and desperation, framing the night's escalating paranoia. Lange balances Elsa's flair for drama with subtle glimpses of vulnerability, suggesting a complicated woman simultaneously craving family and stardom. The tension quickly escalates as Elsa faces growing suspicion from the freaks about her treatment of the Siamese twins, Bette and Dot, who have mysteriously disappeared. The twins' absence haunts the episode, with multiple scenes teasing both their endangered state and their determination to escape-a narrative thread that manages to be simultaneously suspenseful and emotionally charged.

A standout scene involves Elsa coercing Paul the Illustrated Seal, played by Mat Fraser, to prove his loyalty by volunteering to be strapped into her revolving knife-throwing wheel. This sequence is emblematic of the episode's dark tone-what begins as a symbolic test spirals into harsh reality when Elsa throws a knife that deeply injures Paul. The knife throw is emblematic not only of the perilous physical risk the characters constantly face but also of Elsa's capricious cruelty masked by manipulative affection. Fraser's performance captures Paul's stoicism and pain, adding gravitas and humanity to what could otherwise be a mere spectacle of suffering.

Simultaneously, the episode explores growing fractures, as Maggie Esmerelda (Emma Roberts) struggles between loyalty to Stanley, the malevolent carnival manager, and her feelings for Jimmy Darling (Evan Peters). Maggie's conflict adds a layer of relational tension that contrasts with the overarching themes of distrust within the carnaval. Meanwhile, the episode continues to expand the disturbing arc of Dandy Mott (Finn Wittrock), whose obsession with the twins takes on darker connotations. His interactions with Bette and Dot expose the twins' contrasting desires: Bette's naive infatuation with Dandy against Dot's pragmatic mistrust. This dynamic unfolds in emotionally charged scenes that underline the twins' complex individual personalities despite their physical conjoinment.

The plot thickens as Stanley's purposeful scheming to dispose of members of the freak show gains momentum, notably with the targeting of Ma Petite. While a harrowing death scene is portrayed as a flash-forward, it serves as a chilling reminder of the stakes involved. The episode's intricate weaving of present actions and foreboding visions heightens suspense without losing sight of character development.

Visually, the episode encapsulates the show's gothic yet kitschy aesthetic. Deutch's direction uses a muted color palette punctuated by vibrant splashes-in particular, the bloody red associated with Elsa's knife-throwing performance-that underscore the carnival's decay and danger. The cinematography employs tight close-ups to capture nuanced performances, while the editing crafts a rhythm balancing tense character moments with broader narrative progression.

The script expertly interlaces multiple storylines without excessive fragmentation, though some critics have noted moments where melodrama verges on excess. Elsa's knife-throwing scene, with its explicit metaphor of fate and betrayal, epitomizes the season's tendency to employ heightened theatricality. However, this episode leans into these extremes with a confident blending of horror, dark humor, and tragedy.

On a thematic level, "Bullseye" interrogates ideas of loyalty and exploitation within marginalized communities. Elsa's demand for submission under the guise of protection exposes underlying power dynamics reflective of broader social hierarchies. The episode's symbolic use of the knife-throwing wheel reinforces themes of risk, chance, and the precariousness of life on society's fringes.

Performance-wise, the episode is anchored by Jessica Lange's powerhouse work and supported by strong turns from Mat Fraser, Sarah Paulson (Bette and Dot), and Finn Wittrock. Fraser's portrayal of Paul navigates physical vulnerability and moral fortitude, while Wittrock's Dandy captivates as both a tragic and terrifying figure. Lange's scenes oscillate between grandiosity and raw emotional intensity, sustaining the episode's dramatic pulse.

Critically, responses to "Bullseye" have been mixed, with praise directed at its performances and thematic complexity but some reservations about its pacing and tonal shifts. The balance between psychological tension and overt melodrama may divide viewers, yet it remains quintessentially American Horror Story in its bold narrative risks.

In cultural terms, "Bullseye" continues the series' interrogation of spectacle and otherness, evoking historical sideshow traditions alongside modern psychological horror. It also illustrates the performative nature of identity and power struggles within constrained social spaces. The episode's atmospheric visuals and symbolic motifs situate it within a lineage of gothic and carnival-themed horror, while engaging with contemporary discussions on agency and marginalization.

"Bullseye" stands as a dramatically rich and thematically layered episode that advances Freak Show's narrative arc while deepening character complexities. It confronts viewers with uncomfortable truths about trust and control within marginalized groups, all wrapped in striking performances and atmospheric direction. Despite some narrative excesses, the episode challenges audiences to reckon with the precariousness of survival under oppression, making it a compelling installment in the anthology.

Elsa is in bed with her lover Paul and learns that there are rumors about the disappearance of Dot and Bette. She brings her spinning wheel to the tent to practice the knife throwing show to present on television. Meanwhile, Dandy tells Gloria that he is in love with the Siamese twins and will marry them. Bette has a crush on him, but Dot is suspicious of him. However, they intend to be separated from each other, and Dandy has the money for the surgery. Despite being Elsa's lover, Paul is in love with Penny, and she intends to run away from home to live with him. Paul goes to the drugstore to buy Penny's perfume, stumbles upon Dandy and suspects that the twins are with him when he sees his shopping list. During the night, Elsa feels the perfume in Paul and has an argument, and Paul tells her that the freaks believe she sold the twins to Gloria. Elsa decides to use her wheel of fortune with someone to prove that there is loyalty with her, and Paul volunteers. Stanly orders Maggie to lure Jimmy and bring him to the barn to be killed but she is in love with him. She selects another freak to be Stanley's victim.

"Bullseye" is a great episode of the "American Horror Story", where love is in the air. Paul is Elsa's lover and is deeply in love with Penny. Dandy believes he is in love with the Siamese sisters. But now Paul is also suspicious that Dandy is in possession of Bette and Dot. Elsa is really a wicked person, hitting Paul with a knife, posing that it was unintentional. Poor La Petite, lured by Maggie. My vote is eight.

Title (Brazil): "Bullseye"