‘American Horror Stories’ hits the gas with a surprising episode that offers a fresh take on a quintessential horror classic.
“This is wrong. This is all wrong.”
Part of the novelty in anthology horror series is their freedom to tackle so many of the genre’s biggest staples. American Horror Story is able to routinely pull in audiences at the start of each season because there’s a natural curiosity to see what their take on witches, vampires, or serial killers will be. The anthology series has riffed on urban legends and apocryphal horror in the past, but they’ve never been addressed as directly as they are in the latest installment of American Horror Stories, titled “Drive.”
“Drive” explores the tragic irony of the simple-yet-effective “Killer in the Backseat/High Beams” urban legend in a way that evolves the premise and also feels true to the cautionary moralistic nature of urban legends. However, the episode is not without its speed bumps and “Drive” takes a bit of a plodding scenic route before it reaches its final destination.
The “Killer in the Backseat” urban legend that “Drive” hitches itself onto makes for quality material to inspire an episode. However, the greatest hurdle that “Drive” faces is that the marital melodrama between Marci (Bella Thorne) and Chaz (Nico Greetham) that’s designed as the episode’s emotional center just isn’t very compelling. After nearly a year of an open marriage, Marci and Chaz feel more distant than ever and what’s even worse is that Marci seems to have accepted this complacency. These two aren’t just in different places in this relationship, but Chaz actively works towards protecting his wife from a toxic tailspin while Marci seems to genuinely resent her husband.
The malnourished marriage in “Drive” functions as a microcosm for larger communication issues between this couple. It’s unlikely that Marci and Chaz are going to stand out much among the pantheon of struggling spouses from the American Horror Story universe. None of the specifics of their relationship and journey are that memorable, yet the broader strokes tell a fascinating story about how love can be just as much a force of destruction as it is something that heals.
This schism spills over into Marci’s relationship with the other pillar of support in her life, her best friend Piper (Billie Bodega), who’s equally critical of Marci’s irresponsible behavior. Some of Marci’s confrontations and her following actions feel abrupt, but they make a little more sense once all of the big twists in “Drive” come to light. There’s stilted dialogue that doesn’t leave much to be desired during these revelatory moments. Bella Thorne is perfect casting for a Ryan Murphy production and it’s honestly a little surprising that it’s taken her this long to show up in American Horror Story. That being said, she doesn’t pop much as Marci, especially after the character’s killer instinct is revealed. It’s always nice to see new faces in the series, but in this case one of Murphy’s repertory performers like Emma Roberts or Taissa Farmiga might have brought more to the role.
Speaking of fresh blood, “Drive” is directed by Yangzom Brauen, a newcomer to the American Horror Story universe who doesn’t show any signs of struggle with this stylized piece. Manny Coto returns to pen the episode’s script, but this is an entry where the directing and visual elements are more effective than any of the writing and dialogue. Brauen creates a look that’s evocative of American Horror Story: 1984 and the urban legend segments are shot like classic slasher movies where a mysterious sense of danger is omnipresent.
Like most episodes of American Horror Stories, the strongest aspect of “Drive” is the clever twist that its final act hinges upon. A riff on this stereotypical urban legend that puts Marci on the defensive for the whole episode wouldn’t be new or exciting. The key to the installment’s success is that Marci doesn’t just turn the tables on her predator, but that she’s the predator herself. There’s an extremely cynical nature to all of this that works in “Drive’s” favor. There are moments where Chaz seems relieved to learn that his wife is a serial killer rather than an adulterer because it means that their love still has a chance.
The final act of “Drive” is highly reminiscent of You where murder is presented as the ultimate form of therapy and possibly the only bonding exercise that will make this fractured couple whole again. Like most Ryan Murphy productions, this message is exceedingly glib and lacks the nuance and character dissection that makes something like You work. But it’s still the most exciting and original outcome for an episode that begins in a world of clichés.
“Drive” is another satisfactory episode of American Horror Stories that benefits from strong subject matter that’s ideal for the anthology series’ episodic format. “Drive” succumbs to the same issues that are prevalent throughout the horror franchise as a whole, but it at least sticks the landing with a smart, sick twist. It’s an episode where love and death can thrive in tandem, which is really what the world of American Horror Story is all about.
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