American Horror Story: Freak Show – “Massacres and Matinees” Retrospective. Darkness on the Edge of Town.

By Connie Allen
October 15, 2014
9 mins to read

Step right up, there’s a new ringleader in Jupiter!

Season 4, Episode 2

Airdate: Wednesday, October 15, 2014, 9/8c on FX

Rating: ★★★★★

[warning] SPOILERS AHEAD [/warning]

Unflinching, eerie, and disturbing are just some of the words that best describe “Massacres and Matinees.” In yet another fascinating attempt to explore the depths of the human experience through violence and horror, the fourth season of American Horror Story (AHS) continues doing an admirable job of including a lot of twists with its 1950s era freak show subject matter. As the townspeople of Jupiter, Florida find themselves in the midst of a murder spree, Elsa Mars’ (Jessica Lange) traveling ensemble of biological curiosities endures their own trials and tribulations, which come to a boiling point when someone from Ethel Darling (Kathy Bates), the bearded lady’s past makes a surprising entrance. Meanwhile, her son, Jimmy Darling (Evan Peters), aka Lobster Boy, faces the consequences of his actions, resulting in one of the most tragic moments of the entire episode.

Atta Good Boy

I don’t know what it is precisely about the Mott family, but the dynamic between Gloria (Frances Conroy) and her son Dandy (Finn Wittrock) unnerves me. Perhaps it’s the visual contradiction of their clean cut Leave It to Beaver costuming mixed with the severely unhealthy codependent relationship they share beneath the surface. The way Dandy throw tantrums like a five-year-old, coupled with Gloria cooing at him like a child gives Norman Bates and his mother a run for their money. At times, the Mott family story line feels a bit exaggerated and surreal; maybe that’s intentional but it’s not a scenario AHS hasn’t shown before in previous seasons. Plus, with a character named “Dandy,” it kind of speaks for itself. That said, “Massacres and Matinees” makes up for what it lacks by delving a little bit deeper in Dandy’s mental instability, starting with a reference to his habit of killing animals, and the way he follows Twisty (John Carroll Lynch), the malevolent clown of every child’s and some adults’ worst nightmare, to his broken down school bus. Nevermind the fact Twisty is on a violent murder spree when Gloria hires him to be Dandy’s play date. Watching Twisty and Dandy side by side is one my favorite moments in “Massacres and Matinees” because it shows how evil can hide behind a pretty or terrifying face, challenging our preconceived notions of what good and evil looks like.

So Much For Normal

The monster versus the angry villagers is a common plotline in many classic horror films and television shows—which incidentally reached its peak in the 1950s—so it’s not a surprise AHS: Freak Show approaches its story in a similar fashion when Elsa’s sideshow encounters friction from the locals. Of all the characters, I have to admit, Jimmy is one of the strongest because he’s a great combination of someone whose good intentions and inner demons are always at odds with one another. Whereas, most of the characters on AHS: Freak Show have very transparent motives, Jimmy is one of the few who could really go all good or all bad. And in view of Jimmy’s futile attempts to cover up his crimes while endangering those he loves, it could prove to be his descent into the dark side.

Dell and Desiree arrive at the Freak Show and stir things up!

What is the price someone would pay to be “normal?” “Massacres and Matinees” does live up to its title when one of the “freaks” is taken in by local law enforcement. It’s a defining scene, making my heart twist in the end. Evans does a remarkable job of transforming Jimmy’s guilt into utter heartbreak. Evans, who has been with the AHS series from the very beginning is at his best portraying Jimmy Darling—showcasing a better range of emotions than in his previous roles within the various incarnations. It’s a moment where, even as a viewer, I felt uncomfortable because it’s so personal; one can’t help but feel like an intruder. The episode director, Alfonso Gomez-Rejon and writer Tim Minear really know how to pack a punch by balancing the right shots and dialogue. It’s easy to get lost in the multitude of story lines and secondary plot points but make no mistake, when “Massacres and Matinees” enters the realm of the macabre, it leaves a great impression.

Who’s Your Daddy?

In an attempt to protect its citizens, the law enforcement of Jupiter imposes a curfew that spells trouble for Elsa’s night time side show. Queue in the latest additions to the ever expanding cast of characters: strong man Dell Toledo (Michael Chiklis) and his sassy, three-breasted, hermaphrodite wife, Desiree Dupree (Angela Bassett). On the run from the police in Chicago, Dell and Desiree make their last stop with Elsa’s troupe. Their appearance pushes the story along when we learn Dell’s connection to Ethel, upping the ante with danger, making him one of the more frightening characters. Yes, the scary killer clown is terrifying but Dell is a different kind of monster. He’s the sort of character whose level of violence is unpredictable, and his tendency for cruelty is alarming. Aside from forcing Elsa’s hand to try out matinee shows, he bullies everyone who isn’t his wife. Adding to the fact he is also Jimmy’s father makes him a great antagonist. Meanwhile, Desiree is just the right diva and spark AHS: Freak Show needs when finding a rival for Elsa—despite the threat Siamese twins Dot and Bette Tattler (Sarah Paulson) pose as the headlining act.

Dell and Jimmy don’t see eye-to-eye, proving the apple can fall very far from the tree!

Bottom Line

On the topic of horror and monsters, acclaimed director and visionary Guillermo del Toro once said, “Monsters are a living, breathing f— you…” When Elsa remarks about her ensemble as “monsters” instead of “freaks,” Del Toro’s words immediately came to mind. After all, isn’t that what AHS: Freak Show addresses underneath the seemingly idealistic perfection of the 1950s Americana lifestyle? The monsters are a response to society’s search for perfection, and the harsh reminder of the lack thereof. AHS: Freak Show addresses people’s fear of the unknown, and considering the historical context, I appreciate what the show is trying to achieve with this season’s theme. AHS: Freak Show is great in demonstrating that despite the “monstrosities” of Elsa’s sideshow act, the true heart of darkness can hide in the most conventional of people and places.

Overall, I have mixed feelings about AHS: Freak Show so far because there are so many story lines going on at once. Then there’s the matter of the main premise; I understand it’s only the second episode but at times, the series toes the line of being a little too predictable. AHS is famous for being unfiltered and tackling taboo subject matter. So, I wasn’t shocked when Dandy makes some pretty bad life choices when picking out a partner in crime. Yet, the performances by a strong cast of characters make up for its minor setbacks. Plot wise, the episode could have been more progressive but as far as the emotional impact is concerned, “Massacre and Matinees” is spot on perfect. I have always loved the subject of carnivals and side shows so I’m curious to see if there will be a supernatural element revealed later; otherwise, AHS: Freak Show, I believe, will be the first of the series that doesn’t include a paranormal theme. But considering the show’s track record, I wouldn’t rule it out.

What did you think of “Massacres and Matinees?” Let me know in the comments below or on Twitter @conallen.

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