American Horror Story Season 9 – All Updates on Release Date, Cast, and Plot in 2022

American Horror Story Season 9 – All Updates on Release Date, Cast, and Plot in 2022

Season 9 of “American Horror Story” reintroduced audiences to all the clichés, titillation, gore, sex, and s’mores of classic 1980s slasher films, after handling haunted houses, witches, monsters, asylums, aliens, ghosts, vampires, and the actual apocalypse. Creators Ryan Murphy and Brad Falchuk viewed eighties nostalgia through a contemporary lens in “AHS: 1984,” using the latter to comment on and praise the former in the series’ most campy season yet.

While the season’s unconventional approach to the “AHS” universe didn’t go over well with some viewers, it was largely well-received by those looking for some good old-fashioned jump scares and silliness after seasons like “AHS: Cult” and “AHS: Apocalypse.” However, in addition to playing up some all-too-familiar slasher tropes and archetypes (e.g., Death by Sex, the Final Girl, Satanic Panic, and Sympathy for the Devil), “1984” also managed to weave in some familiar Ryan Murphy themes, many of which were completely absent in the decades-old narratives that inspired the season. The season finale, named “Final Girl,” brings all of these themes and explorations to a climax, and Murphy takes a special effort to make sure they’re communicated as clearly as possible.

American Horror Story Season 9

In the closing scene of AHS: 1984, we see redemption and accountability.

All of your favorite slasher stereotypes appear in “AHS: 1984.” The “slut” (Billie Lourd’s Montana Duke), the character dealing with a previous offense (DeRon Horton’s Ray Powell), the virginal Final Girl (Emma Roberts’ Brooke Thompson), and, of course, the super-human killer (Billie Lourd’s Montana Duke) (Mr. Jingles, played by John Carroll Lynch). The absurdity of — and sociological justification for — these individuals’ presence in the American psyche is exposed as the season proceeds.

Montana, a film by Bill Lourd Duke, for example, possesses something her predecessors in the 1980s lacked: a vexingly acute knowledge of the injustice of — and misogyny — behind her position in the story. Montana (“the harlot”) is pitted against Brooke (“the virgin”), making them more than typical foils, but true sworn adversaries. Only in an “AHS” slasher film would the good girl in self-defense gut the femme fatale with a big knife. Furthermore, these women can only be saved by letting go of their mutual rage – a symbiotic rage-fueled solely by the men in their life.

American Horror Story '1984' Spoilers and Fan Theories About Season 9

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In addition to Montana, Ray, “Mr. Jingles,” and other “violence and sex” obsessive figures (for whom the original 80s slasher storylines have nothing but contempt) find salvation after accepting responsibility for their anger and flaws. Ray saves Brooke’s life in the end, allowing her to become one of the two Final Girls. In order to safeguard his son, Mr. Jingles makes self-sacrifice. Margaret Booth (Leslie Grossman) and Richard Ramirez, the previously malicious and “irritated” spirits of Camp Redwood, join together to combat the true evil at hand (Zach Villa).

The final scene of AHS:1984 features freedom and the final girls.

Gaining liberation from the dark powers of their past becomes the ultimate desire for some of Camp Redwood’s cast of individuals. While Mr. Jingles, Ray, and Montana don’t reach freedom in life (or, as the sentimental eighties end-note puts it, “in the living years”), they are eventually free of their guilt, hatred, and rage. Psychologist Donna Chambers (Angelica Ross), good girl-turned-badass Brooke, and Mr. Jingles’ son Bobby (Finn Wittrock), on the other hand, are able to acquire some form of independence from their history without having to die first.

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American Horror Story recap: Season 9, episode 7: The Lady in White | EW.com

“AHS: 1984” finishes with not one, but two Final Girls, which is no coincidence. It’s no surprise that Brooke, the brunette, bookish, and white virgin, survives, and it’s totally appropriate for the slasher genre. (“I promise you’ll be known as a feminist hero…”), Donna says to her earlier in the season. But the fact that the other Final Girl is a conflicted Black woman with a terrible background and plenty of blood on her hands, much to her own surprise, is huge. Characters who “do horrible things” and have to work to make amends and gain forgiveness aren’t supposed to live, and as Donna points out in an earlier episode, Final Girls don’t usually have “(her) complexion.” While Brooke’s seeming flight to Oregon and marriage to a wealthy doctor is all cliché, Donna’s departure is a call-out of the stereotype.

Importantly, the characters who achieve freedom do so by letting go of their demons rather than confronting and murdering them, as in previous slasher films. The final scene of “AHS: 1984” depicts vengeance as its own type of prison. Violence can’t be defeated by more violence, according to the story.

The most self-referential season so far is AHS:1984.

From one of Ben and Vivien’s first talks in the pilot episode of “American Horror Story: Murder House,” it was evident that the show had no intention of shying away from severe self-reference, even initiating a direct dialogue with viewers. “There’s something about it that I find strangely comforting,” Vivian (Connie Britton) says of the grotesque and terrifying mural that covers the walls in their new home, to which her psychologist husband (Dylan McDermott) responds, “… people tell stories to cope with their fears… to give us some sense of control over the things we’re scared of.”

American Horror Story' Season 9: Everything We Know So Far | Glamour

Murphy and Falchuk, on the other hand, take the discussion to a whole new (and even more direct) level in “AHS: 1984.”

Montana, enraged, cries out, “Men do heinous s— all the time!” “f— dead corpses, carve up tits What’s more? They’re lavished with attention as if they’re rock stars. There’s been a flood of fan mail, movies, and books. And it’s always Mommy’s fault for not loving them, or his wife’s inability to satisfy him, or the pretty girl who turned him down. Why is it that we are always the scapegoat for sick men to blame their nonsense on?”

This was partly expected: “intentional camp” is, by definition, self-aware (as explained by the BBC). However, in Season 9’s finale and penultimate episode, this understanding is expressed so forcefully that it feels as if the producers are interrupting the story to communicate directly via their characters. When you combine Margaret Booth’s thriving “macabre real estate” business (“Murder has always sold well,” she asserts) with Montana’s prolonged monologue, Stefanie Black’s National Enquirer reporter appears to be a fun-house mirror proxy of Murphy himself. She boasts, “I can make serial killers look seductive and enjoyable.”