For more than a decade, American Horror Story has reinvented itself over and over again. By design, its unique structure makes the series special and unlike any other. Haunted houses, asylums, witches, freak shows, hotels, cults, summer camps, aliens, serial killers, vampires, the AIDS epidemic: Ryan Murphy and Brad Falchuk’s anthology has seemingly left no stone unturned. Some experiments have worked considerably better than others, but even at its weakest, American Horror Story has emerged as the single best horror television series of all time. I still fondly remember settling in on a cozy fall night with my now-husband to watch the first episode, and being immediately sucked in. Following Murphy from Glee to Nip/Tuck and back again, we still did not realize the breadth of what the series fully had to offer. Ahead of the monumental all-stars thirteenth season, I decided it was finally time to revisit the entire series from the very beginning. That meant rewatching all 132 episodes across the first 12 seasons. Atmosphere, characters and performances, rewatchability, emotional connection, and the way certain seasons have evolved within the greater AHS universe all factored into my final ranking. Some seasons improved dramatically this time around; several completely shifted in my opinions. Spoilers ahead! Normal people scare me, but this is my definitive ranking of American Horror Story. In the words of James Patrick March: “splendid!”
12. DELICATE
Try to judge this season a little delicately (pun intended), considering the major strikes that happened during production and resulted in needing to close up shop for a bit. Scripts were not able to be rewritten, the episode count was reduced, and the ending is the worst episode in all of American Horror Story. But honestly, even the weakest season of AHS is still worth watching. Delicate isn’t ever a complete disaster, mainly thanks to the style and the surprising chemistry between Emma Roberts and newcomer Kim Kardashian. Both actresses know how to deliver the kind of bitchy dialogue the Ryan Murphy universe is largely known for; despite this, the absence of the iconic showrunner can be felt. The latter half of the series especially lacks that special Murphy touch.
There’s a specific actress that was maybe not so good at the bitchiness and/or did not make much of an imprint in AHS: Cara Delevigne. While it’s great to bring back alums, Denis O’Hare deserved to have a bigger role and better arc for his character. Zachary Quinto’s brief appearance is practically an Easter egg. MJ Rodriguez also feels a little wasted given how great she was in Pose. Pretty much everyone else ranges from good to great. Gilmore Girls graduate Matt Czuchry was a great fit and a constant source of gaslighting via his character, Dexter. In dual roles, Annabelle Dexter-Jones does a terrific job, specifically in the season’s standout episode, “Ave Hestia.” As Preecher, Julie White also delivers a memorably bizarre turn, and understands the assignment. She’s actually even creepier than the main “big bad.”
As far as the larger narrative is concerned, new showrunner Halley Feiffer does keep things focused in an admirable way. There are minimal random side plots, mostly keeping centralized to Anna Victoria Alcott’s perspective to shroud the greater mysteries and plot twists. However, having written the entire season, Feiffer’s attempts at closing out Delicate are almost laughable. There needed to be more, and allowing a simple chant to randomly defeat an evil coven with minimal effort and wrapping up the entire season in the blink of an eye feels like a complete miscalculation. Especially when there’s a whole novel of source material to draw from, the massive buildup and continuous torment of our lead lacks an edge of revenge or payoff. Feiffer makes some clever choices early on, and some left turns we take are gasp-worthy, but that ending is such a misfire that it makes Delicate easily the worst season of the show to date.
Despite the caveats, Delicate stays an overall entertaining season, standing out with some grotesque spider imagery and female anatomy body horror. Seeing Emma Roberts step up to fully lead her own season was a joy, and it was the first time since 1984 that she was utilized in this way. The awards buzz and occasional Hollywood commentary also works better than expected. Though it certainly leaves much to be desired in the story department and the characters lack the usual AHS flair, the gaslighting and femme-driven message still powers through some of the milder elements. Having rewatched for the monumental season 13 crossover, I’m not sure I see myself revisiting Delicate anytime soon.
Favorite episodes: “Rockabye,” “Preech,” “Ave Hestia”
MVP Characters: Anna VIctoria Alcott, Siobhan Corbyn
11. DOUBLE FEATURE
Double Feature is perhaps the most difficult season of American Horror Story to review. It features one of my all-time favorites coupled with one of my least favorites. This drastic divide in the halves definitely makes it unique among the others, however, it also results in Double Feature ranking towards the bottom due to its uneven nature. In the first story, titled Red Tide, writer Harry (Finn Wittrock), designer Doris (Lily Rabe), and their daughter Alma (Ryan Kiera Armstrong) move to Provincetown in the hopes of rebuilding their lives for a promising new future. Unfortunately, a black pill will change everything. The compelling family dynamic drives most of the action. Right in the first episode, we get Evan Peters and Frances Conroy dueting on “Islands in the Stream”, Macaulay Culkin defining “frottage”, and freaky vamps in campy suit jackets.
Filled out by a roster of AHS alumni and some phenomenal performances from the newbies, Red Tide feels like a complete return to form, or at least a season that feels tonally similar to the first five. The jet black darkness of this world and immaculate atmosphere of the blue-tinged Provincetown creates a gorgeous backdrop, driven by an original premise. Yes, this is a season about vampires, but it goes so much deeper than that into the wells of creativity and success. How far would you go for fame? What’s the real price of being a celebrity? There are so many interesting questions in these six episodes that I was totally hooked.
Not to mention, the characters are extremely fleshed out and immersive. Sarah Paulson, who sat out 1984, returns as the riveting Tuberculosis Karen. The majority of Karen’s scenes are paired with newcomer Macaulay Culkin as Mickey. The two junkies are also creatives, but will they succumb to the pill to channel their deepest talent? Lily Rabe’s Doris might be the most tragic character of all, completely manipulated by a gaslighting husband, his twisted agent Ursula (Leslie Grossman), and her vindictive daughter. Both Karen and Doris meet tragically beautiful ends in Red Tide’s most significant episode, aptly titled “Gaslight.” Belle Noir, the saucy romance author played by Conroy, has such a specific look and vibe that she becomes a standout villain. Even Grossman leaves a mark as the conniving agent out to monetize a path forward for black pill success. Everything about this first of the double features is immaculately executed. A very fast paced ending still totally fits, and plays much better when binge-watched. Well excuse me, Mr. Man!
On the other hand, there’s Death Valley, a long awaited alien-focused, four-episode “season.” As the second half of Double Feature, many fans, myself included, were expecting either the two halves to tie together, or the alien half to answer some big questions posed since Asylum. Instead, we got this oddity of a footnote, so flimsily plotted that it would have been far better served condensed into a single episode of anthology offshoot, American Horror Stories.
Still, silly fun can be found, with popping heads, pregnant gay men, and a black and white aesthetic in part of it. Everything in the present is punchy and fun, especially with the quad of young adults. It does make the odd choice to split an already split season between past and present, with the focus a tad blurry. Essentially, it boils down to creating alien hybrid babies to take over the human race. The writers present so many conspiracies (reptile people! Faked moon landing! Area 51!) loosely strung together with an unsatisfying payoff. I did love seeing Sarah Paulson do her thing as Mamie Eisenhower, and as the villainous Theta, Angelica Ross finally finds her AHS sweet spot.
Favorite episodes: “Thirst,” “Blood Buffet,” “Gaslight”
MVP Characters: Belle Noir, Austin Sommers, Mickey, Tuberculosis Karen
10. ROANOKE
Cannibalism, horrific ghosts, and meta commentary on celebrity and true crime? Welcome to Roanoke! In launching AHS6 as a surprise season, the marking campaign was the wildest from the series yet. There were dozens of promos, and only one nailed what would actually be the season’s theme: Roanoke. Even the series regular cast roles were uncertain, not being revealed until the first episode aired in its entirety. Much of what makes this season so intriguing is that it has a totally different feel from the others. There’s not even a title credits sequence with the theme song to be found. The first half goes mockumentary, while the second turns to found footage. It’s an extremely interesting concept, and in my opinion, absolutely serves as the scariest installment to date.
Rewatching, I was thrilled with how much more concise and effective this plays out through a binge watch than week to week. The continuous story is so much easier to follow, and the jump scares really hit hard. The shocking moments of brutality feel heavy with the weight of reality. Despite being billed as regulars, some of our AHS mainstays have extremely small roles within the framework of My Roanoke Nightmare. Where else are you going to see Denis O’Hare shot up with arrows, Leslie Jordan remarking he’d kill for a Coke Zero, and Evan Peters going full-gay as the snooty ancestor of Dandy Mott? Each episode, especially around the midpoint, is more shocking than the last.
Where Hotel was axtravagant and heavy on vibes, Roanoke feels more focused and specific. Obviously, there’s a positive and a negative here, but when it’s good, this series is phenomenal. That goes for many of the performances as well. There are less male standouts this time around, leaning heavy into the female perspective. Kathy Bates turns in yet another phenomenal performance as an obsessed actress; both her crazy accent as the reenactor Butcher and her unhinged murder spree in Three Days in Hell do some major heavy lifting. Sarah Paulson is also downright hilarious as a vain British actress who’s constantly screaming at everything that moves.
The biggest surprise though has to be Adina Porter: sure, she showed up all the way back in Murder House as one of Ben Harmon’s patients, but as Lee Harris, Porter completely steals the show. Her traumatized mother role was worthy of awards recognition. Under the reddish light of the blood moon, the back half of Roanoke devolves into pure horror. Despite a whimper of an ending (and somehow wasting Lana Winters), there is so much fun and creativity within this season. AHS had yet to touch found footage horror, and the way they execute it, often utilizing different cameras and TV shows to form the narrative, was a breath of fresh air. Even if it isn’t my favorite season, Roanoke remains inventive and very scary. The initial mystery certainly paid off.
Favorite episodes: “Chapter 5, 6, 9”
MVP characters: Lee Harris, Agnes Mary Winstead/The Butcher, Audrey Tindall
9. CULT
The 2016 election produced one of the most divisive political landscapes in human history. What better avenue to explore the widening political divide than through the lens of American Horror Story? If Roanoke felt different and subversive, Cult takes a huge step back towards the feel of the first five seasons, albeit with charged social commentary and fiery passion behind its scripting. Allowing star players Sarah Paulson and Evan Peters to take center stage makes for a fulfilling and exciting exploration of hellish extremes—both are at the top of their game, supported by an ensemble cast of fresh faces and great returning alums.
One striking thing the first time around was just how clever the writing feels. It doesn’t appear to straight up attack either side, but to dive headfirst into the compelling polar opposites. To think this was filmed and released not even one year after the election is just wild. It feels so relevant even today with fake news and cults of personality running rampant. Evan Peters delivers a super unlikable character that somehow has an unexplainable allure. He eventually plays all manner of cult leaders, mostly in montage, but his Kai truly runs the show. His presence charges through from beginning to end; even with a tragic backstory, he and his sister (played by series newcomer Billie Lourd) remain the sort of puppet masters.
Every episode lives up to the Cult title, weaving more people into a complicated web of manipulation. In the first half of the season, gaslighting and indoctrination reign supreme. Adina Porter returns after her scene-stealing Roanoke role as a TV reporter burned by the inconsiderate new generation. Her arc is one of the most satisfying, as is that of Ally Mayfair-Richards (Sarah Paulson). For someone who begins the season a shrieking sobbing mess scared of anything that moves, she evolves into a ferocious presence. Her poisoning of her awful wife Ivy (Alison Pill) and manipulations of Kai and his followers are so much fun to watch. There are several excellent twists to the formula, and a compelling narrative throughline that kept me fully invested. Winter and Ally’s twisted neighbors Harrison (Billy Eichner) and Patricia (Leslie Grossman) add some extra flavoring to the supporting cast, and Ally’s son, Oz (Cooper Dodson), is even more than just a passive player. There’s really only one element that doesn’t work: the Valerie Solanas SCUM stuff. The episode where she comes into the picture is almost a stand-alone. It does become important, sort of. But its placement seems wonky. Frances Conroy still absolutely devours her role, but this element should have been incorporated differently.
The freakiness of the clowns present a fun way to bring Twisty back into the picture for a scene or two; additionally, the clown antics lean into a fear very much of the era, allowing for disturbing imagery that includes shootings and nail guns. The final stretch of episodes are very good, and end on a strong note. Some may hate Cult for various reasons, but for me, she will always be that “nasty woman.”
Favorites episodes: “Mid-Western Assassin,” “Drink the Kool-Aid,” “Charles (Manson) in Charge”
MVP Characters: Kai Anderson, Ally Mayfair-Richards, Beverly Hope
8. HOTEL
In the wake of Freak Show being a literal curtain call for Jessica Lange, the future of AHS and its potential longevity once again fell to the hands of creators Ryan Murphy and Brad Falchuk. The pair shockingly brought Lady Gaga into the fray as The Countess, and a completely refreshed look and feel with Hotel. If it landed with a thud, we may not have gotten more seasons, but wow is there ever an atmosphere with this one. Gaga eventually went on to win a Golden Globe for her role. This extremely dark season again took a kitchen sink approach to the material, with Ryan returning to direct the debut episode with a flashy style. We have a drilldo-toting Addiction Demon, vampire children, a sadistic serial killer, and a wealthy socialite inspired by H.H. Holmes who seriously loves torture.
Once again, this shouldn’t work as well as it does, and yet, the decadence and style of Hotel make it stand out amongst the other seasons in a good way. Every character, especially the denizens trapped within the hotel’s walls, drips with personality. The soundtrack too is amazing, utilizing tons of 80s hits and disco mainstays. Every word that comes out of James Patrick March’s mouth is pure perfection, leading to my personal favorite Evan Peters character thus far. He also is responsible for a large part of the Ten Commandments Killer reveal, which in my opinion is just bloody brilliant. There were a lot of theories at the time, but who could believe them?
Watching it back now, the crumbs were always there. Hypodermic Sally is also a standout. Making the folks who stay at the Hotel Cortez stuck there for eternity also feels very Murder House. It allows for a revolving door of fun actors to come in briefly, such as Darren Criss and Charles Melton. Hotel also manages to find plenty of interesting opportunities for organic crossovers with other seasons, executed in a respectful way that honors the core of the franchise. Only the Countess can turn a gay man straight—as played by Lady Gaga, I totally believed it.
There is an unbalanced focal point for sure; the series cannot seem to decide who the main character is, utilizing the Lowe family often but frequently straying from their perspective for other more compelling pursuits. Eventually, honing in on the magnetic Liz Taylor (Denis O’Hare) and the hilarious Iris (Kathy Bates) turns out to be the strong suit. For a love story established in just one single episode, Liz/Tristan (Finn Wittrock) had me actually crying. Hotel has a weirdly comforting ending for such an overall dark season, too, but it somehow works.
Favorite episodes: “Devil’s Night,” “Flicker,” “The Ten Commandments Killer,” “Be Our Guest”
MVP characters: The Countess (duh), James Patrick March, Liz Taylor, Hazel Evers
7. NYC
If you thought Roanoke was a major shift from American Horror Story norms, NYC comes in hot saying hold my Mai Tai. After Double Feature saw the returns of many AHS mainstays, this season based around 1980s queer culture brings in a major crop of fresh faces. I can see why it’s divisive, especially given the horrors of the AIDS epidemic will specifically speak to a gay audience. But so many of these feelings and themes are universal, and there’s a Lynchian surreal beauty to the grungy take on New York City that fully immerses audiences into the time period.
This time around, the distinct vibes and cinematography pave way for multiple interwoven character relationships, a serial killer targeting gay men, a mysterious disease infecting a deer population, Patti LuPone crooning at gay bathhouses, and a leather Big Daddy killer that’s a physical embodiment of an epidemic that swiftly killed tens of thousands of gay men. NYC is almost laser-focused on its themes, with a consistency throughout that sets it apart. Patrick (Russell Tovey) the hot detective is a perfect foil for Gino (Joe Mantello) the crotchety gay. There are vibes of multiple different major horror titles this season: the ones specifically baked into the DNA of NYC are Se7en and Saw. Though the narrative is a slow-burn, the soundtrack and atmosphere fully plunge viewers into 1981. A fantastic, haunting fortune telling episode gives way to by far the scariest tarot card readings ever depicted onscreen; when we reach “The Body” episode, wherein a Twink is, traumatically, literally fucked to death, NYC had completely won me over.
There’s a melancholic beauty here, all woven together by a somber and beautiful two-part finale. This extremely heavy, heartbreaking stretch of episodes was an emotional rollercoaster, and marks some of the only truly emotionally devastating moments found throughout all of AHS. Theo (Isaac Powell) is such a tragic character, who meets a horribly upsetting end. In fact, as with the awful virus itself, nearly every major character dies. It’s hard to feel sad for Sam, played by a finally-returning Zachary Quinto, but somehow, seeing him devastated by the disease is effectively disturbing. To my surprise, watching NYC back in full only emphasizes how beautiful and cohesive it is from the very beginning. All the cards are laid on the table, and it’s up to the audience to decipher the metaphors and sit with the heaviness of its greater themes.
I am curious how big a role NYC can possibly play in AHS 13, if it does indeed end up being a sequel to every season as Ryan Murphy has said. The storyline wraps up neatly, bookended by an absolutely mesmerizing montage set to Kraftwerk’s “Radioactivity.” I genuinely think this season has been overlooked because of its lack of connection to the greater AHS universe. As a stand-alone, there really isn’t anything better than NYC. Charlie Carver and Ned Martel were cooking with gas. I hope that in my final moments, Patti LuPone sings “Calling You” by my bedside as the great love of my life comes to comfort me.
Favorite episodes: “Bad Fortune,” “The Body,” “Requiem 1981/1987” (both)
MVP Characters: Adam, Patrick, Theo, Gino
6. APOCALYPSE (TIE)
Surprise bitch! Bet you thought you’d seen the last of Coven. A lot was riding on the heels of Apocalypse, a season shrouded in mystery with a distinct apocalyptic theme that the ads and trailers heavily leaned into. Ryan Murphy touted it as the first major crossover season. While there had been plenty of easter eggs and direct crossover (the biggest probably being Pepper), Apocalypse fully blended Coven with Murder House. As a longtime fan, it’s impossible not to obsess over this season, and the ultimate writing brilliance that helps tie the disparate strands altogether.
Before it even gets into the witches, Ryan Murphy and Brad Falchuk execute some excellent world building. We get a caste system with greys and purples, canker pus monsters, elegant outfits, returning actors in strange roles, Stu stew, the Rubber Man, and an atmospheric post-apocalyptic outpost setting right off the bat. Kyle Allen makes a great audience surrogate to follow as a window into the insanity… until the forbidden fruit comes along. The gear-shift that occurs three episodes deep–wherein nearly the entire cast gets wiped off the map for a reset and the witches make their grand entrance–is a stroke of genius. That sweeping moment with Cordelia (Sarah Paulson), Myrtle (Frances Conroy), and Madison (Emma Roberts) as they enter the outpost is just as iconic as the first time.
From this point, the season goes full-tilt insanity, delivering banger after banger in quick succession. We don’t return back until the season finale, where the final face-off between Michael Langdon (an excellent Cody Fern) and the witches can play out in a deeply satisfying manner. In fact, it’s probably the biggest and best straight up battle in all of American Horror Story. Apocalypse acts as a perfect sequel to what we know and love, particularly those hoping to revisit the Murder House again. Bringing back the legendary Jessica Lange probably helps. That masterful episode, directed by Sarah Paulson, marks one of the best in franchise history. Nearly every dangling thread from season one gets paid off in some way. Additionally, Michael Langdon is a phenomenal villain. Cody Fern has a natural aura that practically pulsates with every moment. He manages to pull off playing the whole boy-inside-a-man’s-body thing rather impressively. Kathy Bates hams it up as a robot/satanist dual role that leans into her nutso characterizations. What a treat that she was a major part of this special season. Langdon’s existence as the Antichrist is given plenty of texture and depth, with the only real misfire of an episode being “Soujurn”.
Apocalypse actually manages the impossible: it retroactively makes Coven a better season, one that can hold up better to rewatches since it’s not actually the anthology’s endpoint. Every issue I initially had with Coven gets remedied here, where they actually let the witches use their powers, death matters (a bit) more, and there’s no witch hunters (yay!). Instead, there’s a whole school of warlocks, and the fat has been trimmed. There’s not so much as a mention of Franken-Kyle, nor do we get much more from the voodoo queen or LaLaurie. The strength of its plot and the ultimate structure are a joy to behold, even though performance-wise, there aren’t as many standouts as those found in New Orleans-heavy Coven. All the character reunions are irresistible, as is yet another Emmy-nominated performance from Lange. By design, this twisted season was a total treat for fans that is still pretty beloved to this day. It’s ambitious, weird, and absolutely one of my favorites.
Favorites episodes: “Forbidden Fruit,” “Could it Be… Satan?,” “Return to Murder House,” “Fire & Reign,” “Apocalypse Then”
MVP Characters: Michael Langdon, Madison Montgomery, Mallory, Cordelia Goode, Myrtle Snow
5. COVEN (TIE)
Perhaps time has made me take a shine to Coven, but then, I was always extremely enamored with so many things about this season. The setup is among some of the best in all of AHS, especially the world-building involving Miss Robichaux’s Academy and the actual powers of each individual witch. For years and a couple rewatches, it has fallen near the bottom of my series ranks, but I had not rewatched since after Apocalypse came out, which I personally felt righted a lot of issues I had initially with Coven. Oh, how wrong I was.
The characters are so good, pretty much every single one of them. Even the hot neighbor (Alexander Dreymon) and his psychotic mother (Patti LuPone) are compelling. The New Orleans vibe and music score from James S. Levine scratched an itch I didn’t know I had. Frequent Ryan Murphy collaborator Alfonso Gomez-Rejon is majorly responsible for much of the visuals and wildly inventive camera angles, and directed the majority of the season. The cinematography is unparalleled, and gives Coven a unique look that future installments would try to emulate.
My original complaints were numerous. Evan Peters was completely wasted. The plot started strong before meandering into chaos. Witches versus voodoo witches should have remained the central conflict. The witch hunters felt unnecessary. The Axeman (Danny Huston) was an interesting concept who went nowhere. Death became meaningless because seemingly everyone died and returned multiple times. I was convinced that Fiona Goode (Jessica Lange) was wildly inconsistent. This rewatch changed my mind about almost all of it. Now, while I still think that Evan is overall wasted, I was completely wrong about Fiona. She consistently does evil shit through the entire season, with her every action being completely self-serving with few exceptions. Similarly, I was wrong about the plot being a mess. The season makes clear early on that most of the journey will be about finding the new Supreme, and that’s exactly the main plot. Some of the side elements might not work as well, but it’s always functional, and the actresses here are having a hell of a time. It’s far from reeking of cat piss, nor does it recall “knotty pine.”
The plethora of deaths and resurrections make the witchy vibes feel like an outlier among the others. Some of the most iconic stretches of dialogue and line readings in the series’ history occur during Coven. I could watch an entire run of nothing but Myrtle Snow playing her theremin and I’d be okay. I think many of my issues have dissipated simply because Coven is no longer self-contained. It has grown beyond its original box, receiving the most expansion of any AHS season, and in that way, I have to admire it. There’s so much style here, so much strangeness, and tons of blood, gore, and camp. I think I’m now officially a Coven believer.
Favorite episodes: Bitchcraft, Boy Parts, Head, The Seven Wonders
MVP characters: Cordelia Foxx, Fiona Goode, Madison Montgomery, Myrtle Snow, Madame LaLaurie, Marie Laveau
4. 1984
The 80s will never die. That’s the whole concept behind the slasher and supernatural mashup that is AHS 1984. This one is a total campy blast from start to finish, with the eye of Ryan Murphy fixed primly on homage and throwback. His love letter to a subgenre of horror had yet to be tackled by the show, and that adoration has been poured into every episode. After the crazy highs of Apocalypse, 1984 shifts the action back to basics. That includes an aerobics-based opening title sequence that’s one of my favorites of the franchise. The mainstays take a bit of a backseat in favor of some new cast members, with the likes of Evan Peters and Sarah Paulson sitting this one out. The choice to shift actually gives the other cast plenty of time to shine. The supporting players being so varied is a major plus, making it harder to predict who will come out of the season alive.
There are plenty of surprises packed into this breezy nine episodes, with one of my favorite aspects of the season being that it takes place all in one night for the first five. The reinvention halfway feels similar to structurally to Roanoke. Leave it to Brad Falchuk and Ryan Murphy to foster this epic reinvention. The back half has even more to say, yet feels specifically 80s in style and messaging. The strong female characters are nicely balanced by the surprising depths given to John Carroll Lynch’s portrayal of Mr. Jingles. The villains of the season are so much fun. Fetching real life serial killer Richard Ramirez (Zach Villa), and positioning him in the camp along with a lumbering villain in Mr. Jingles and a corrupted faux final girl in the sadistic Margaret Booth (Leslie Grossman) makes for a potent cocktail of evil that few seasons are able to match.
There’s also a high rewatchability factor given the way 1984 tweaks the slasher formula. Camp Redwood is such a distinct place, with plenty of shots that emphasize its largeness and inherent beauty. The characters are all sharp and defined, with their introductions being a blast of decade-specific nostalgia. From the very first episode, I was on board with the entire concept. By the time we reach the surprisingly tender and emotional finale, I was left feeling wholly satisfied by the consistency and character depth throughout. Emma Roberts does a terrific job as Brooke, who goes far beyond just being a sweet damaged final girl. There are many such case cases of character switch ups and surprising motivational strokes that keep 1984 feeling fresh and dynamic.
It would’ve been so easy to simply rest in the 80s slasher atmosphere without making much effort. When the season was airing, I remember a lot of discussion going into Billy Idol and how they would choose to depict Camp Redwood’s massive festival finale. However, the binge watch all but eliminates that somewhat disappointing facet. Instead, it gives us time to experience these characters in a new way. It forgoes the expected for pivots into unknown territory. The bubblegum candy-colored neon dreamscape of 1984 is perfectly accented by a wild collection of 80s tunes that dial up the campy vibes immensely. I’m curious how they will continue or sequelize anything here in AHS 13 given the compact nature of the season. Camp Redwood is accepting applications to be a new counselor! Apply today!
Favorite episodes: “Camp Redwood,” “Red Dawn,” “Episode 100,” “The Lady in White,” “Final Girl”
MVP Characters: Brooke Thompson, Montana Duke, Margaret Booth, Richard Ramirez, Mr. Jingles
3. MURDER HOUSE
The season that started it all still absolutely holds up in all its fast-placed, completely unhinged glory. From the twists to the strong characterizations and that wild season finale, Murder House may be just the start for American Horror Story, but it’s undoubtedly still one of the best seasons yet. It starts out deceivingly simply too: we get a family of three, each with a specific set of problems, that move into an all-too-cheap home next to a bitchy neighbor who wants to feed Violet (Taissa Farmiga) barf-cupcakes. Each of the trio’s separate qualities tie into the overarching story beautifully, from Violet’s outsider nature, to Ben’s therapy setup, and Vivien’s eventual pregnancy arc.
The writing is some of the best in AHS. You can feel the passion for the horror genre and the story they are telling as it twists its way along, unfurling more disturbing elements as it goes. The wicked Tate (Evan Peters) is actually a school shooter. Larry (Denis O’Hare) lit his whole family on fire. Moira was not a seductress, but was the victim of an attempted rape. A queer couple is trapped in the house forever, with a wedge driven between them by Tate’s disturbing meddling. And going back far into the Murder House’s history explores the tragedy of the Montgomery family. So many of Murphy’s initial roster of regulars get their big starts here, and it was clear he saw the potential in many of them to play further characters as the show progressed.
There are also several mysteries at play that perfectly unspool as the season progresses, from the true identity of the Rubber Man to the rules of Halloween and the reality of the ghosts being stuck in the house itself. Ryan had initially described American Horror Story as being a psychosexual thriller, and that almost perfectly defines this early outing. It also helps four major performances shine above the others in my opinion. Jessica Lange, who would go on to win an Emmy award for her role as Constance, has a chilling coldness to her character as she destroys her own family from within in the past. It only becomes clearer how deeply enmeshed she is with the story as we get further in. Evan Peters as Tate would become a blonde-eyed image of perfection for an entire generation, a damaged cutie who commits unspeakable acts, yet somehow emerges as likable. But the most tragic character here is actually Moria, played dually by Frances Conroy and Alexandra Breckenridge. The yin/yang dynamic between the actresses genuinely feels like two sides of the same coin. It still leaves room for a deeply sad story about a woman trapped by circumstance, one who can only visit her mother once a year as she lays dying in a hospital. Of the Harmons, Vivien’s fiery commitment to the truth and resistance to being gaslight is masterfully played by Connie Britton. I wish we had her back more in future seasons.
There’s a reason the Murder House has been visited so many times throughout the series at large, and even its spinoff American Horror Stories: it’s iconic. The location has been seeped in history and a repulsive sheen of grime lingering just beneath the surface. The equally iconic opening title credits sequence would forever set the stage for everything that followed, utilizing creepy imagery that reflects the vibe and atmosphere of the season more than anything else. While Apocalypse would later devote one of the most satisfying episodes of the show to resolving nearly every plot thread left dangling, I still remember the shocker of discovering that AHS would become an anthology. With this revelation, Ryan Murphy forever changed the landscape of television as we know it. Murder House will always be a “pretty girl.”
Favorite episodes: “Pilot,” “Halloween (2),” “Rubber Man,” “Smoldering Children”
MVP characters: Tate, Constance, Moira, Vivien
2. FREAK SHOW
Every time I finish this season, I am fondly reminded of just how much of a marvel and rarity it truly is to experience a horror project that hits so many wild emotional highs. It also has some of the best production design television has to offer, and the period piece setting truly allows them to flesh out every bit of Jupiter, Florida, while tackling various social issues. Not to mention, boy are those first four episodes genuinely scary. I actually had a vivid nightmare during this rewatch, courtesy of Twisty the Clown (John Carroll Lynch) and his horrifying run at the camera.
Those who insist the season went downhill after the two-part Halloween special are taking some crazy pills. The back half is straight up amazing in my opinion, filled with impactful moments and shocking deaths. Unlike Murder House and Coven, deaths here are final—there are no saves. The best you’ll get are reappearances as parts of characters’ conscience. Sequences such as Ma Petite’s tragic demise, the entirety of “Orphans” [which includes not only Pepper’s full backstory, but also the backstory of how Elsa formed her troupe], Stanley’s twisted end, Dandy’s massacre, and the absolutely epic scene where Elsa Mars avenges Ma Petite by shooting Dell in the head? All of those were in Freak Show‘s back half. Nearly every major character dies, and every single one of them gets a definitive ending one way or another.
Dandy Mott takes (Finn Wittrock) inspiration from Twisty, and becomes a demented child, one who manipulates everyone around him, is an utter spoiled brat, and gives Wittrock an Emmy-nominated turn right out of the gate. What a knockout. Watching Dandy drown in a trap, turned into his own sort of twisted sideshow attraction, gave me so much pure joy. What a character. This was originally Jessica Lange’s final season, one she has often cited as a personal favorite. It’s not hard to see why: she’s definitively the main character, a flawed German queen who is somehow selfish and selfless at the same time. Her dynamic with Bette and Dot (both Sarah Paulson) throughout the season constantly shifts, and her dreams for Hollywood take center stage, particularly in the finale. The ending is the most beautiful accomplishment of the show thus far, giving Jessica Lange a standing ovation and a wonderful sendoff for her role in shaping American Horror Story into a full-blown phenomenon. Elsa Mars is not only Lange’s most complex AHS character, but my favorite performance I have seen of hers to date. As a side note, there’s a strange comfort to Kathy Bates and her portrayal of Ethel that was so satisfying to watch and hear. That accent is so bizarre that it burrowed into my soul.
This may not be a popular opinion, but I could listen to Lange’s covers of songs endlessly from this season (even Evan Peters absolutely devours “Come As You Are.”) I would have openly embraced even more musical numbers. Why the hell have they never released the version of “Heroes” that Elsa sung in “Curtain Call”, yet nearly every other performance was released as a single? This was a gorgeously made season from top to bottom, as close to perfect as it can get in adding definition to characters and people that often exist only on the fringes of society. In Elsa’s Cabinet of Curiosities, everyone is family. And I would have gladly spent ten more episodes stuck inside its circus. A happy ending in the world of American Horror Story? Absolutely sold.
Favorite episodes: “Monsters Among Us,” “Edward Mordrake (2),” “Orphans,” “Curtain Call”
Favorite musical number (just because): “Gods and Monsters”
MVP characters: Elsa Mars (!!!), Bette/Dot Tattler, Jimmy Darling, Dandy Mott, Desiree Dupree
1. ASYLUM
After 12 seasons and 132 episodes, how is Asylum still American Horror Story at its absolute best? Asylum may genuinely be one of the greatest seasons of television of all time. It’s just completely perfect in every way from beginning to end, with immaculate sound design, visual aesthetics, makeup effects, and storyline. How the hell do you somehow mix aliens, demonic possessions, serial killers, and potent commentary on asylums/institutionalization and not make the end result a jumbled pile of crap? Against all odds, it just works. It never feels overstuffed either, carefully balancing each of these elements to alchemize a one-of-a-kind, singular experience. The sole music number, “The Name Game,” exactly fits the vibe of going insane. The addition of the Angel of Death adds a strange kind of beauty as well, and there’s even room for the twisted Thredson, rapist and serial killer.
Performers that were already great in Murder House are somehow even better in Asylum. Zachary Quinto as Thredson is utterly horrifying. His reveal still manages to hit just as hard even knowing what’s to come. Evan Peters embodying Kit Walker is a total opposite to Tate, a nice guy with a heart of gold who becomes the emotional heart of the season. The swirl of women around him only punctuate how great Kit is, and why exactly the aliens may have targeted him. Lily Rabe as Sister Mary Eunice has incredibly chemistry with the twisted Dr. Arden, the Emmy-winning James Cromwell. Even Jessica Lange is top tier as Sister Jude, a flawed nun with a compelling backstory driven to bold extremes. Even when her behavior seems cartoonish at times, Lange grounds her in a gripping complexity. The biggest revelation this time around though: Sarah Paulson as Lana Winters. While her psychic Billie Dean Howard character from Murder House was good, it didn’t even begin to scratch the surface of what Paulson had to offer. Lana becomes the ultimate final girl, a completely against-type horror hero for the ages who started off trying to unearth truths and instead found something much more awful underneath.
There is so much depth to all these stories and characters that even the one-offs add further texture. Adam Levine and Jenna Dewan meet nasty ends as their present-day torment gets peppered throughout, leading to an eventual brilliant colliding crescendo of time periods. The duo of Anne Frank episodes are chilling, and the disturbed Santa Claus is even better. Managing to thread these elements together could not have been easy, but Asylum does it effortlessly. The aliens are an eerie question mark lingering across the season, with their ethereal quality adding an extra bit of metaphorical subtext. Pepper’s story is even more interesting when you consider the additional depth that was added by Freak Show much later. But like the kiss of the Angel of Death, Asylum arrives when we most need it, delivering on every major plot thread while building to a masterful finale where Lana gets to face off against Johnny (Dylan McDermott).
A tragic beauty makes the harsher elements somehow more palatable. Murphy and Falchuk have plenty to say about the state of institutions, and the realistic horrors of subjecting loved ones to them when the modern day has much better solutions for how we handle the mentally ill. The scariest elements here are those real ones. Of course, Mary Eunice possessed by the devil or Arden’s nasty proclivities are plenty to stomach on their own. The corruption of something that is supposed to be a place of comfort in harsh times may be even more unnerving. Lana manages to pull Sister Jude out at one point in almost a direct depiction of asylums being revealed for their truest intentions. But, in the words of Sister Jude, “If you look in the face of evil, evil’s gonna look right back at you.” Asylum is the best season because it insists that the worst humanity has to offer may be right on the other side of Briarcliff’s front door, regardless of the time period.
Favorite episodes: “Welcome to Briarcliff,” “Unholy Night,” “The Name Game,” “Spilt Milk,” “Madness Ends”
MVP characters: Lana Winters, Kit Walker, Sister Jude, Dr. Arden & Sister Mary Eunice
Where will 13 fall into the rankings? As a culmination of all that came before, the excitement level is insanely high. We prayed for a season like this, and Satan seemingly answered! What future lies ahead for American Horror Story? Only Ryan Murphy knows the answer…
