Zeitgeisting TV: 'American Horror Story: Freak Show'; Episode 3

Jason St. Amand (national news editor):

I've finally reconciled that this season of "American Horror Story" is just not going to be that scary. But unlike "Coven" I care a lot more about these characters and it's clear the writers and producers etc. have spent more time at crafting character drama and story threads here but decided to trade in something authentically scary with camp, music and style. What "Freak Show" lacks in fright, it makes up for in cinematography and set design.

Episode three, "Edward Mordrake (Part 1)," was another episode building up to something. "Freak Show" is proving to be a slow roll out, but like a good horror film, the first act always takes time to come to a surface, offering a few spooks here and there. So, I guess what I'm saying is though this season, so far, has been spooky-less, I think (hope) that it's barreling down toward a big payoff. In this episode, we are introduced to even more characters, who are all outside forces looking to bring down Fraulein Elsa's Cabinet Of Curiosities, which says a lot about modern life, but it's the two subtle dangers that are really going to destroy the troupe: death and "Dragnet."

We have a lot to unpack here (there were a lot of developments, plus that Lana Del Rey cover) but what did you think of "Edward Mordrake"?

Robert Nesti (arts and entertainment editor):

At first I was annoyed that Mordrake, played by Wes Bentley like a Victorian dandy that wandered out of "Penny Dreadful," wasn't in the episode at all. Instead he was introduced in a third-person recollection by Kathy Bates and put into the background as the plot evolved around Fraulein Elsa and her brood. But when he came into the story, it was a clever touch - fulfilling Esmarelda's prophecy, but not the way that calculating psychic had planned. That Fraulein Elsa fell so easily for Emma Roberts' character was a bit hard to believe, but begins to make sense when realizing how Norma Desmond-like Frauliein Elsa truly is. She's waiting for that close-up and will grab at anything to get it.

But when I realized that the episode is an extended one (clocking in at 80 minutes), this build-up to Mordrake's appearance is very smart. If you remember, Bates' story about Mordrake takes place over two days and this episode only covered Halloween night. His impact will come with the conclusion as he wanders about the show picking his victim.

Whether that process will be as riveting as it was with Kathy Bates remains to be seen. Again, what makes this show so watchable, even extraordinary, is the level of acting when it's good; such as in the last twenty minutes of this episode. Starting with Elsa coming into the tent and interrupting Dot and Bette's rehearsals, that camp factor ratcheted up a couple of notches; but so did the drama. Nothing like a good bitch fight to heat things up and Lange was at her best when she confronted the two Sarah Paulsons. "How dare you?, she admonishes in one of Lange's diva turns. "I have been a star for decades now. You are nothing, nothing, but a two-headed freak stumbling around the stage, squeaking out a crummy tune. Go back to your tent and stay there, or I'll take you into the swamp and leave you there." Don't mess with Fraulein Elsa.

This leads what's harder to understand: why Emma Roberts again? Her scene with Fraulein Elsa nearly broke the tenuous thread to the main narrative. Last season the actress was cast-for-type: the spoiled Hollywood star; here she seems out-of-place as Denis O'Hare's assistant and (it is implied) girlfriend. Though the answer to why may have been revealed in O'Hare's scene with a hustler (dressed as Thor) where his freakish appendage was implied. (Hint to it can be found in the show's credit sequence.)

As for Evan Peters? Is he suppose to be like James Dean? It is that period.

Jason St. Amand (national news editor):

Things just fall into place too easily on this show, but I guess if i were to defend Elsa's decision to believe Esmerelda's fortune-telling, I'd say it was because she was high as a kite. Add that to her Norma Desmond-mindset, as you put it, and it's pretty understandable. But her going after something unrealistic, or unattainable, is lazy and played out. We saw it last year when Fiona in "Coven" would do anything to get eternal youth.

Are all these episodes about an hour-and-a-half long? I think they are. I'm not complaining, it's just interesting that "Freak Show" is an extended edition of "AHS."

Did you find Mordrake scary, though? Were we supposed to even find him scary? I guess his little face on the back of his head was freaky, especially after he hanged himself and it was giving that grin in the olde timey clips/flashbacks.

I think this week's Best Acting Award goes to Bates. Her scene with the nice guy doctor (who I am PRAYING does not come back into this show and ends up as the most evil of them all because that would be one of the most horrific and nihilistic "AHS" could do this season) was incredibly touching and the scene when she and Dell looked out on the murky Florida lake was not only one of the most beautifully filmed scenes in "Freak Show," but also engaging.

But I agree about the Lange scene you're talking about. This episode started off pretty Lange-less, I don't think she appeared until about 20-minutes in, but her open fight with the twins says something: that Elsa is entering phase two and moving towards becoming the total Head Bitch in Charge.

I also didn't think Roberts worked here but we'll see where it goes. Roberts was the best thing of "Coven" because of her badass, broken girl, attitude. She's not happy to be surrounded by freaks and I'm sure it's only a matter of time before she blows her cover in a huge bitchy explosion. Roberts and O'Hare's characters show that what's scarier of a crazy clown killer is that "normal" people can destroy you too.

Speaking of Twisty, how the hell did he drag that kid across two cities without being noticed? Maybe you're right - with the introduction of the Mordrake the ghost, I wouldn't be surprised if Twisty is also from the afterlife, only allowing some to see him. Also, I found Dandy the scariest part of this episode: his clown outfit was 10 times scarier than Twisty and when he was teasing the kidnaped kids had me on edge. Also, his little scene fight with Patti Labelle, who plays Dora the maid who is sick and tired of all these crazy ass white people. "AHS" needs to give her a song or else this show is total mess in a bad way. The "Gods & Monsters" cover was fun and like the other covers was a little dumb, but I enjoyed it.

Robert Nesti (arts and entertainment editor):

Yes, but Fraulein Elsa seems relatable if only because those that seek this kind of validation never give up, especially when a psychic tells them, "It's never too late. You're like the aster that blooms in the fall" as Esmeralda tells her. I only wish Emma Roberts were more convincing, but that's a drawback to a repertory company. Imagine how powerful, though, Lilly Rabe would be in this role.

But enough Emma Roberts-bashing. We'll see how she fits in amongst the freaks. I do like Evan Peters, but thinks he's stretched a bit here. Still the interpersonal dynamics between the "secret" family of Michael Chiklis, Kathy Bates and Peters (along with Angela Bassett's vixen-like presence) shows promise. I hope that Denis O'Hare proves to be as creepy as he's been in the past. As you pointed out to me, the notion of a character (or characters if his partner-in-crime Roberts is added to the mix) out to exploit the freaks for their own ghoulish, monetary gain shows a new low in humanity, and adds another bleak meme in this already dark show.

I also thought the face on the back of Edward Mordrake's head was a clever touch - a personification of a person that hears evil voices in his head. But I thought the scariest moment came when he arrived on the scene. It may just be the Victorian get-up, but Bentley exudes an evil gravity that makes him a supernatural force to be reckoned with, and his scene with Kathy Bates was a high point of this season thus far. I can't wait to see where the plot goes next week.

And, yes, Dandy's clown costume is really creepy, plus his exchange with the maid Dora (Patti LaBelle) had great tension. The show has already established that Dandy is unhinged enough to kill; but it is also obvious the pair have a long history, which keeps him from killing her as he might a stranger. But has he killed anyone yet? He's formed an alliance with Twisty, but it's more just to torture the victims they've kidnapped thus far. Still, I find this plot line pretty scary, if only because it fits into the kind of kidnapping-torture-horror genre that is popular today. I love the idea that anything can happen on this show and, though the story is still in exposition mode, it shows promise to be a wonderfully evocative addition to an already groundbreaking series. And part of that comes from the look, which is both beautiful in a Spielbergy-way and creepy in the way it details the seedy carny atmosphere.

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