“Welcome to the greatest show on earth!” So proclaimed Elsa Mars in all advertisements leading up to this monumental 13th season of Ryan Murphy and Brad Falchuk’s American Horror Story. Having been an avid viewer since the very first episode all the way back in 2011, AHS 13 was one of my most anticipated projects of the year. It had been two long years since Delicate came to an underwhelming close, with Murphy no longer writing or showrunning his once beloved genre outlet. For 13, Ryan Murphy returns to direct and write several episodes, co-creator Brad Falchuk is very involved, and of course, the biggest draw of all: Jessica Lange!
Many of the franchise’s most beloved characters return for this celebration of the past. While the season might not fully live up to impossibly lofty expectations given its crossover nature, 13 has a gorgeous aesthetic, excellent acting, and some of my favorite half-hours of the entire franchise. Crafted for fans who have been following the series since the beginning, 13 delivers a hodgepodge of quirky characters, grotesque body horror, high camp, and immaculate production design. In other words, 13 is peak American Horror Story.
The biggest shift in terms of structure that we’ve gotten in years comes this season. Instead of full length episodes, the format moves to half hour, bite-size bursts. 13 released in chunks each week, saving the finale for its slot just before Halloween. Admittedly, this change does take some time getting used to. Some episodes can feel a little lacking if you don’t consume them all in one sitting. Conversely, this may be a season that actually holds up better upon a rewatch, where it can be all binged for maximum viewing pleasure. This does have the effect of cutting the excess that can bog down a narrative very quickly. It’s a double-edged sword, allowing for tighter storytelling and compelling dynamics; occasionally, this leaves its most exciting ideas underdeveloped, perhaps to be expanded upon in future seasons.
The focal point is NYC’s fictitious The Apollyon, a mammoth apartment building with a striking architectural look. The Gothic vibes permeate early on, when our lead, Ben DeSoto, somehow miraculously survives a plane crash that kills his girlfriend and her entire birthday party worth of attendees. Ben is played by franchise newcomer Joey Pollari, who previously appeared in Murphyverse productions including Monster: The Ed Gein Story and The Beauty. Here, Pollari initially presents as a nervous, overly anxious person whose fear of the number 13 weighs him down in a ridiculous way. Eventually, his character expands with added depth and a renewed purpose.
Even from the premiere—aptly titled “13” and directed by Murphy—the theme of 13 runs rampant across every inch of celluloid. In a smart choice, the story begins contained and gothic, focusing on Constance Langdon, Ben, and the mysterious hospice patient, Mr. Nas before carefully opening up like Pandora’s box as the episodes progress. The storyline itself does feel a little overly familiar, especially being that both Coven and Apocalypse have tackled similar territory. This time, we aren’t just dealing with the Antichrist, but the Devil himself.
Having binge-watched the entire franchise again leading up to 13, there were certainly some missed opportunities to provide even more connective tissue between separate seasons. However, Murphy and new showrunners Ned Martel and Charlie Carver manage to weave together what was never meant to be connected in the first place. This means tracing a surprising heritage that makes for a seriously twisted family tree. Retcons aren’t a dealbreaker for me considering the elaborate nature of AHS has always played fast and loose with time travel and specifics of the mythological rules. Martel and Carver’s NYC season remains one of my favorites, and the darkness of their characterizations there transfer nicely into some of the season’s more eerie dialogue. The production design is a whole new layer of impressive, returning to the iconic, stylish camera angles and striking interiors that have marked AHS since the very beginning.
What a total hoot watching characters like Kai Anderson and Tate Langdon (both played by mainstay Evan Peters) interact with one another; it’s similarly hilarious to see Sarah Paulson as three characters at once in one episode, all of whom are abruptly sacrificed alongside narration from Lange’s iconic returning character Elsa Mars. Returning players like Queenie (Gabourey Sidibe) and Madison (Emma Roberts) get hearty new storylines that spectacularly complement their previous appearances. Madison even gets a mini love story (“Madison’s Happy Ending”) that crafts a believable couple in just one episode of screentime. A 10-minute monologue from Angela Bassett lets her step back into the iconic role of the voodoo priestess in a way that perfectly channels her appearance in Coven.
There’s a whole lot going on here, and more than any other season, 13 could have benefited from an extended runtime versus the short-form format it adopts. How great would it have been for a stand-alone episode of Mallory back in time in Salem? Similarly, the one and only way James Patrick March’s assault on Robichaux Academy could’ve been improved was with more time to see him twist his dastardly words. Still, it’s no surprise that some of these characters appear as one and done. The whole idea is incredibly ambitious, and there are several different concepts violently clashing against one another by the start and close of episodes. The messiness, though, is part of the charm.
At least for this fan, mammoth moments, such as the reveal that Fiona and Constance are sisters and daughters of the devil, or the Cortez Devil’s Night crew wreaking havoc on the witches at the Robichaux Academy are too much fun to overassess. Like any season of AHS, 13 is less concerned with weaving a coherent plot than it is with simply having fun and embracing campy fun. Where else are you going to see Kathy Bates eating a chunk of her own deep-fried skin, then proclaim it to be “finger lickin’ good?” The opening credit sequence, a longtime staple of the franchise, is among the best, and has nods to every single season. Likewise, Easter eggs for all twelve previous seasons are peppered throughout for eagle-eyed viewers to discover.
For some reason, 13 in particular has faced a vitriolic backlash. I have no doubt that some of that, at least, is due to the misconception that 13 would simply be Coven 3. Murphy’s idea to sequelize the earlier seasons for a greatest hits installment has been a talking point since the very impetus of this installment. The revolving door of actors and massive talent gave it an extra added element that others lack. Despite an abbreviated runtime, nearly every major member of the AHS repertory ensemble comes back. As much as I would have loved seeing Taissa Farmiga, Lily Rabe, Dennis O’Hare, Finn Wittrock, and many others return, the show was already overstuffed as is. I will forever be curious how exactly the Scream Queens crossover was meant to be written.
Plenty was riding on this season, so it was understandable that it would be so overly advertised, with extended clips released, exclusive content, podcast episodes, and even leaked set pictures. More than any before it, 13 was prone to spoilers and excessive scrutiny from jaded fans. Major plot points were revealed in behind-the-scenes videos. For a showrunner who typically leans into the mystery, it felt out of character for FX to force so many of these elements out early. The big “Coven Walk” moment that went viral being photographed in NYC doesn’t even occur until the finale. There’s really no one to blame with that element though, as the mere act of filming outside was bound to attract attention. Rather, it’s just unfortunate that the scenes were from such pivotal moments.
For those who simply wanted to have a good time, and revisit the past, 13 is an absolute blast. Who cares if it doesn’t fully stick the landing? Only special seasons of the show ever have, and if anything, the big swings taken by the finale set up potential for yet another crossover season in the future. Characters’ fates are left up in the air, and closure is nowhere to be found. The absence of Evan Peters or one final, deliciously wicked Jessica Lange moment does feel like a missed opportunity.
13 belongs to Lange. Seeing Jessica Lange’s absolute masterclass of slipping into four iconic characters wisely put her right at the center of the season’s action. Her characters are all expertly portrayed. Even though they only had one episode each, both Elsa Mars and Sister Jude have a spectacular showing. Elsa’s joyous “Is That All There Is?” was a highlight of the entirety. One wishes they left room for a big moment for her in the finale, but it was not to pass. If this is Jessica’s final appearance ever in American Horror Story, she has closed on a staggering high; both Fiona and Constance, essentially, receive a happy ending. Jessica’s curtain call as Elsa in the Freak Show finale hit impossibly high emotional resonance, and a subsequent swan song would be nearly impossible to measure up. Lange helped solidify the prestige status of the show at large in its early, formative years. She should be proud of the work she put in this season.
Sarah Paulson‘s Cordelia anchors the story with her commitment to her girls and the coven itself. The new character, Mr. Nas, both in old (Fedor Steer) and young (Paul Anthony Kelly) form, has a seductive allure to him that is closer to the devil described in the Bible. Kelly, in particular, brings a remarkable charisma, holding his own alongside some of the franchise’s most legendary performers. A Bram Stoker’s Dracula vibe can be felt right from “13.” While we could have used a bit more action and a little less monologue dumping, 13 stands out as an excellent return to form. The entertainment value should be undeniable for avid series obsessives. It makes me excited for the future of American Horror Story, to see what these creatives can spin up next. As long as Sarah Paulson or Evan Peters or any of the other returning cast continue to pop up in exciting ways, I will absolutely be seated for every second. The greatest show on earth may be messy and completely unhinged. Yet, thirteen seasons later, there’s still nothing else quite like American Horror Story.
Favorite episodes: “Is That All There Is?”, “The Return of Devil’s Night,” “The Baddest Witch of them All,” “Hell No,” “Sisters in Arms”
MVP Characters: Constance Langdon, Mr. Nas, James Patrick March, Queenie
The Apollyon has opened the doors to Hell, with the full season of American Horror Story 13 now streaming on Disney and Hulu.
