Sometimes a season of American Horror Story is a hit or a miss, but what you can always depend on being scary is the opening credits.
The Big Picture The horror anthology can be a hit or miss when it comes to characters or plotting. Killing off Twisty so early in Freakshow to replace him with Dandy lost scare power. The nearly season-long flashback for Apocalypse might be forgiven if it delivered on the promised crossover between Coven and Murder House. The longer American Horror Story goes on, flaws are obvious to spot, whereas in previous seasons they might be easily overlooked.
Coven blended witchcraft and voodoo, with credits for actresses that related to their character arcs, such as revealing Sarah Paulson’s rise to be the Supreme. For the fourth season, Freakshow gave a stop-motion, carnival from hell, in the fifth outing, Hotel went for the Roaring ’20s gone sinister, and to jump ahead to season nine, there is the synth-heavy, VHS-inspired 1984 title sequence.
There are the babies in formaldehyde jars from Murder House, as if the location is a demented maternity ward. In Freakshow, the skeletons of the stop-motion circus are no Rankin/Bass creations, they grope at each other, hungry for the pleasures of when they had skin. Or there is the cosmetics and body horror of Delicate, where beauty seems to be clinically taken from grisly violence.
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