Mild spoilers ahead.
The premiere's opener is as eerie as ever, and sets the scene beautifully, as AHS always does. By now we all know that Sarah Paulson's character is actually two people, but the mystery is still there--the first shot in the episode obscures all but Paulson's (left) face, leaving the unknowing viewer to assume she is but one person. (I don't really believe in the unknowing viewer; perhaps the mystery is maintained for those viewers ten years from now who stumble upon the series at 2am on the Syfy network. Still makes for good TV.) Her diary narration is splendidly ominous, although I had to hear it a second time for it to earn my interest.
The rest of the episode plays out elegantly, if not just a little dull. Given AHS's aesthetic, though, you'd never know it; every scene is vibrant and colorful, creating a character for the locale itself--something AHS is no stranger to. In this case, the character is the Freak Show, occasionally glamorous and fascinating, always dark and full of secrets. It's just a cluster of tents, but it sows seeds of darkness. The first ever instance of video blackmail is a disturbing glimpse behind the marquees.
The show has its human characters as well, brought to life by the series's brilliant cast. Sarah Paulson's twins are easily the most fascinating characters in the show so far: their dichotomous personalities, the mysterious death of their mother, their telepathic communication, not to mention their synchronized, sullen faces. It's no wonder they're the "headliner" for the show. Their personalities are embodied in their diary entries, always in twos, always of painfully stark contrast.
Jessica Lange's Elsa Mars is a mesmerizing, abrasive German. Again, the most powerful character in the series, but is her authority valid? Perhaps it's her confidence and sass that legitimize her in the end. Before her audience throws some hot shade her way, that is.
AHS really pulled off the terrifying, murderous clown character. His ubiquity and his penchant for murder are striking, but there is little to be known of this man so far.
Jimmy Darling (Evan Peters) is less likable than his previous characters: I think his charm is lost in his nasty lobster hands, but there's a lot more to him than that. Maybe he'll grow on me.
Kathy Bates is perfect to put a beard on, so I'm glad that she was cast as Ethel, the sideshow's bearded lady and Elsa's dearest henchman. I lose myself in her accent, which fluctuates between Somethingish(?) and her signature southern drawl.
Perhaps one of the most perplexing moments in this episode is the stage show: a mother bought out the entire theatre for her bratty son, and they watch the show together. But before any deformities can be properly exhibited, Elsa claims the stage in a musical number. Her eyes are fearful and sad, and we see her struggle for a moment. The song's melancholy rises to the surface, and its awkwardness is highlighted by the fact that there are exactly two people in the audience.
A lot is left to the imagination at the end of the premiere, a good foundation for the next twelve episodes. Look forward to next week!
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