When does American Horror Story double feature come out?
American Horror Story Season 10, also known as American Horror Story: Double Feature, premieres on FX on Wednesday, August 25th at 10 p.m. ET, and will be available to watch on FX on Hulu the following day. Rolling StoneHow to Watch ‘American Horror Story: Double Feature’ — and Binge the Entire Series for Free
What time does AHS air?
When does American Horror Story air? Wednesdays at 10 p.m. ET. syracuse.comHow to watch ‘American Horror Story’ season 10 premiere: Time, TV channel, FREE live stream for ‘Double Featu
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26 August, 2021 - 04:20pm
26 August, 2021 - 11:34am
Divided into two parts -- the stories "Red Tide" and "Death Valley" -- American Horror Story's tenth official season, Double Feature, kicked things off with the one-two punch opener, "Cape Fear" and "Pale." It's a slow-going, and somewhat soggy and grey, start with "Cape Fear," but the Red Tide tale picked up significantly with "Pale," delivering a fresh Shining-style writer's block spin on vampires.
Though not as dramatic a format shift as FX on Hulu's summer series American Horror Stories, which was a straight episodic anthology, Double Feature also seems like it's out to solve American Horror Story's middling middle-episode problem. Even when the series significantly shortened its seasons, around the time of Roanoke, it still had issues maintaining momentum and narrative focus. Now, still sticking with a 10-episode season, American Horror Story is giving us two five-chapter sagas, one by the sea and the other by the sand, in an attempt to craft tighter, stronger scares.
Red Tide rolls in with a handful of AHS familiars, including mainstays Evan Peters and Sarah Paulson (of course) in supporting roles, along with Finn Wittrock and Lily Rabe as an unsuspecting couple, Harry and Doris Gardner, wintering in the seasonally desolate Provincetown, Mass., to help them both focus on their creative careers. Right out of the gate, it's clear the sleepy streets are plagued with Salem's Lot-looking bloodsuckers, though the local law (Adina Porter) chalks most incidents up to tweakers and speed freaks. "Cape Fear," the first episode, is mostly standard horror set-up stuff, presenting us with an unlikable family about to be in over their heads in an attempt to better themselves. Meta aspects aside, it is interesting how many scary stories involve frustrated artists looking to find fame or recapture old glory.
"Cape Fear" isn't quite good enough to stand on its own, even with the introduction of Peters and Frances Conroy's friendly and fancy fellow writers, Austin and Sarah, who claim to have the key to unlocking any budding wordsmith's full potential. It ends with Harry agreeing to take a mystery "muse" pill and blasting out into full manic genius mode, but it's not as good of a grabby cliffhanger as we find at the end of "Pale," in which Harry and Austin's violinist daughter, Alma (Ryan Kiera Armstrong), takes a pill and joins her dad in the realm of cursed vampirism. That was a very good twist of the knife, and one that made the Gardner family's plight a lot more interesting, since Harry going feral all by himself wasn't all that captivating.
Some vampire lore is sort of sacred, narratively, even though it's all just "make 'em ups." Attempts to stray too far from tried-and-true vampire rules can often go awry, but Red Tide's take is a fairly fun one, delivering a horde of undead weirdos who, apparently, are all, or were all, aspiring creatives. The mystery pill offered up by playwright Austin apparently only gives you boundless gifts if you already had innate talent to begin with. If you're a hack, you become a mindless vampiric animal plaguing the overcast shores. As a functioning vampire, though, one's teeth don't even turn into fangs. You can opt to have them sharpened for convenience (when it comes to killing). There's definitely a different set of rules to introduce here, which is where Harry comes in handy the most, but it's not so much that it lessens the bite of the story.
With these first two episodes, Red Tide builds nicely from a kind of boring bummer into a fiendish family affair, playing with the idea that a particular pop-culture portrayal of vampires is that of an insufferable, immortal noble. So why not create a legion of them out of awful sell-their-soul wannabes? Most aspects of American Horror Story deal with the clash between the clever so-called "coastal elite" and horror tropes, and Red Tide keeps that formula chugging along, but this particular vampire tale holds potential. Though, one has to wonder how these vamps connect to the lore in AHS: Hotel, given that this is all a shared universe.
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26 August, 2021 - 11:00am
Red Tide will wash away all your bad memories of the spinoff.
"It's breaking all the rules and I'm here for that." In our first introduction to season 10's Austin Sommers, Evan Peters is chaotically referring to the idea of drinking an Aperol Spritz in winter. But what about American Horror Story itself? Is season 10 a game-changer for Ryan Murphy's flagship show?
It's been two years since American Horror Story last gave us nightmares, and 10 seasons in, we couldn't help but worry that the show might start to feel a bit repetitive or uninspired this time around. After all, 1984 was pretty divisive while the American Horror Stories spinoff genuinely got us wondering if it was supposed to be bad.
Two episodes from the first half of season 10, subtitled 'Red Tide', have now aired, and thankfully, we're very happy to report that Double Feature is an absolute return to form for American Horror Story, even if it doesn't exactly rewrite the rulebook.
'Cape Fear', the first of these two episodes, introduces us to the Gardner family as they arrive in a sleepy seaside town called Providence. Except, this being American Horror Story, there are plenty of things here to keep even the most seasoned horror fan up at night.
That much is made clear early on when the struggling author played by Finn Wittrock is ambushed by a grimy, run-down version of Sarah Paulson in the supermarket. "Get the f**k outta here," she screams, channeling Hypodermic Sally's ghost in the new and seemingly unrelated role of Tuberculosis Karen. "They're gonna eat your balls!"
It's at this point we're obliged to describe Paulson's performance here as truly supreme, and it is because the queen of American Horror Story can do no wrong. Even with a character who initially seems unlikeable, Murphy's muse always knows how to steal any scene she's in, regardless of how much screen time she's given.
Soon after, Lily Rabe's pregnant mother, Doris Gardner, is ambushed by someone — or something – made even more unsettling by the fact that it happens in the local cemetery. Together, she and her daughter run from what can only be described as the pasty offspring of Voldemort and the vampires from Salem's Lot.
This 'Pale Person', as they're described in the credits, is a chilling creation, all jagged movements and freaky glares. Without spoiling anything, the disturbing presence of this creature and its kin intensify further in the second episode, culminating in the kind of daytime horror we so rarely see in shows or films of this nature.
But despite all that, we doubt they'll end up being your favourites this season, because that honour will undoubtedly go towards Austin Sommers and Belle Noir, AKA "the pugilists of prose", AKA Evan Peters and Frances Conroy in two of their best roles yet. And we're not just talking about American Horror Story either.
When we first meet the 'warriors of words', they're singing an entire rendition of Dolly Parton's classic 'Islands in the Stream', complete with deliciously camp and gothic attire.
With this scene, Ryan Murphy truly does embody that "Gonna give the gays everything they want" meme. You just know that every line they bounce off each other is both a series standout and also an inevitable meme of its own too. To share everything they say here would spoil the fun, but trust us when we tell you that Austin and Belle will soon be your new obsession.
The fact we haven't even got to Billie Lourd, Adina Porter, Leslie Grossman and Macaulay "frottage" Culkin yet doesn't reflect poorly on them. It's more an indication that there's just too much to celebrate and not enough time or space in this review. And that's even before the likes of Angelica Ross and Denis O'Hare will show up at some point beyond these first two episodes.
But of course, it's not just the actors who elevate this season. Everything from the eerie music and direction to the camera's washed-out colour palette all collides here to unnerve and entertain in equal measure. That's a tricky balance to maintain, one that Ryan Murphy and his team know all too well.
For years, American Horror Story has struggled to find that sweet spot between camp and terror, often veering too far one way at the expense of the other. But as of right now, 'Red Tide' steers the boat perfectly in between these two extremes, delivering some genuine scares along with the show's trademark absurdity and endlessly quotable dialogue.
The usual pacing issues that longtime fans have come to fear might not drag things down this time around either thanks to how season 10 has been split into two separate stories – although it's safe to say that both 'Red Tide' and 'Death Valley' (AKA part two) will probably end up connecting to some degree by the end.
Aside from that intriguing choice, season 10 isn't breaking all the rules, per se. Inspiration from earlier seasons and a whole host of Stephen King stories ensure that, so far at least, this isn't the most original chapter to date.
But still, that doesn't matter when the writing's this good. Did Ryan Murphy and Brad Falchuk take the same "tragic magic little black pills" as Finn Wittrock's character? If so, then we're absolutely here for it. Let's just hope the writing doesn't become something monstrously bad following such a strong start.