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How American Horror Story And American Horror Stories Differences Cater To Both Types Of Horror Fans

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وقت القراءة المقدر: 6 دقيقة (دقائق)

American Horror Story and its spin off, American Horror Stories, have noticeable differences that allow the shows to entertain a broader audience.
The success of American Horror Story also came with lots of feedback from fans that were longing for different elements of horror in the show. To respond to some of these remarks, Ryan Murphy created American Horror Stories to explore the beloved tropes of the horror genre that the original show lacked.
While American Horror Story is known for its impressive ability to reflect society through its horrific tales and its complex, dynamic characters, its dense concepts bored some horror fans. While the show is nothing short of impressively conceived and woven together, it is not as fast-paced and tense as many scary movies, which is what a good number of fans look for in horror–something that makes them jump.
In contrast, American Horror Story changes storylines every episode or every other episode, rather than every season, which gives it a much quicker pace. This hastened the pace and resulted in characters that are more outwardly monsters, rather than flawed people with room to grow, giving the spin-off series a more traditional horror feeling. By focusing less on the message in each storyline and more on what the fans would enjoy or be creeped out by, American Horror Stories is the dessert for those fans with a sweet tooth for more traditional horror.
Because fans of the horror genre can essentially be sectioned into two groups, it makes sense to have two versions of a horror series concept to appeal to both groups. The first type of horror fans are the basic structure fans who prefer a straight forward scary story, with slasher films, hauntings (by static ghost characters), and zombie action flicks being a few examples.
The other type of horror fans are those that prefer a structure with a message. In other words, they like for there to be a deeper meaning to the film than what is on the surface and for the characters in the story to be complex. Fans in this group also sometimes prefer more obscure plots, with an ambiguous or indirect sequence of events that can sometimes leave the story open-ended.
Though some viewers were hesitant of what the spin-off series would bring to the table, the differences between the shows seem to speak for themselves. When considering the two groups of horror fans and how significantly different their tastes are, it seems very reasonable to have both shows. They essentially explore very similar concepts, in different measurements of time and through different lenses to check off the many tropes of horror. It would almost be contradictory to explore the two styles of horror in the same show which seems to justify the decision to create the spin-off series even more.
Beyond the structure of the shows being different, the effects they have on audiences differ, as well. American Horror Stories, being the series that leans more into horror that is centered around effects and visuals, is more a show for the moment, meaning the creepy feelings it evokes in the viewer fades after a while.
On the other hand, American Horror Story explores the psychology, spirituality, and emotions surrounding each horrifying concept which gives the story more depth, and thus more to unpack, resulting in it having a lingering impression on audiences. The concepts in this show, being more developed, take a bit more time to process and have a stronger ability to leave viewers reflecting on themselves.
While there are several differences that set the shows apart from each other and justify the simultaneous existence of both, they share several qualities that distinctly brand them as contributing to the same world. That is to say, they share several concepts, locations, and iconic characters that link the two overlapping worlds of each show.
However, while the worlds of American Horror Story and American Horror Stories do sometimes intermingle, they are still written to stand out from each other. The biggest difference between them is that the characters in the world of American Horror Stories are aware of the world of AHS. This is important because it indicates that the characters in American Horror Story are already familiar with how these situations turn out because they’ve seen it in the show, but they learn nothing from that and still make the same mistakes. It’s possible that these characters were meant to nod to AHS fans that seek to live these haunting situations in real life for a thrill, rather than learning from the message of the show.
All this said, any fan of the horror genre is sure to find something they like between Falchuk and Murphy’s two shows. The genius in creating both shows is that no trope of the genre is left out and neither is any horror fan, because between the two shows, so many concepts are artfully balanced, allowing the world to appeal to a broader fan base. Whether you’re fascinated by how terrifying circumstances bring about different responses in people, or you’re looking for a quick thrill, American Horror Story and American Horror Stories have a tale that will speak to everyone.
Screenwriter, actor, nature lover, and film enthusiast.

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‘American Horror Stories’: Ryan Murphy Unveils New Chapters Of Fear & Frights In ‘AHS’ Spinoff Teaser

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Ryan Murphy ushers in new chapters of the American Horror Story franchise in a teaser for the upcoming Hulu anthology series, American Horror Stories.

“Every episode brings you a different nightmare,” Murphy tweeted on Wednesday.

Murphy, who has been teasing American Horror Stories with posters on his social media accounts, dropped the teaser on Twitter. The brief snippet follows a rubber woman on a journey that revisits some of the most memorable locations in the AHS franchise.

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American Horror Stories is a weekly hourlong anthology series that will feature a different horror story in each contained episode. The spinoff will premiere exclusively on Hulu July 15. Earlier this month Murphy revealed that Kevin McHale, Dyllón Burnside, Charles Melton and Nico Greetham will star in the series.

During a panel for Ratched in August 2020, AHS and American Crime Story star Sarah Paulson said that she will direct some of the series.

The tenth installment of the flagship series, American Horror Story: Double Feature, will debut on FX Wednesday, August 25.

During the May Upfront presentations, FX Chairman John Landgraf said that American Horror Stories will commence in July and conclude on Halloween. The series is executive produced by Ryan Murphy, Brad Falchuk, Alexis Martin Woodall, John J. Gray and Manny Coto.

New horrors and fears await viewers in the American Horror Stories teaser – watch it below.

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‘Descent Into Darkness: My European Nightmare’ Is the Most Messed Up Found Footage Gem You’ve Never Seen

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وقت القراءة المقدر: 8 دقيقة (دقائق)

I’m always looking to be shocked. I want to be shaken to my core, changed by what I’m seeing, and unable to keep off my brain once the imagery has seeped inside. That’s what I look for in my horror films—and to be honest, it’s been a while since I’ve been surprised or even genuinely scared while immersing myself in the genre. And then along came Rafaël Cherkaski’s Descent Into Darkness: My European Nightmare, a found footage nightmare he wrote, directed, and starred in.
I first saw the movie during the 2020 virtual edition of Unnamed Footage Festival — an incredible festival I encourage you to check out — and was immediately intrigued by its sharp spiral into depraved territory. It’s a great feeling (you know, as a horror die-hard) when a story keeps you anticipating how gruesome and debased it might become. I couldn’t stop watching until I knew. The terrifying French film is, without question, a found footage masterpiece. But the fact remains that it is highly under-watched. Because of its lack of exposure, a lot of genre fans have yet to experience the horror of this film, and what it seeks to teach us. Something tells me it would be on a lot more “best of” lists and the subject of even more essays if they had. It’s the most messed up found footage gem you’ve never seen, so strap the hell in.
Descent Into Darkness: My European Nightmare follows a bright young man named Sorgoi Prakov, a journalist from a fictional Eastern European country who has just arrived in Paris to film a documentary about the “European dream.” You know, like the American dream. Same difference, basically. However, a series of bad decisions and unfortunate incidents set Prakov on a path of self-destruction, mayhem, destitution, and madness as his project is devastatingly thrown off the rails.
The 2013 horror story has a pretty simple premise, yet its specificity is what sets it apart from just being your typical documentary-gone-wrong. The very real spiral its main character is forced down by the also very real circumstances of the film is something a lot of people are a stone’s throw away from. The tendency to imagine yourself in the same position while watching makes things infinitely more terrifying. Add the kind heart and specifically generous spirit Prakov brings to the piece and it’s hard not to sympathize with the disturbing turn of events he deals with.
The film is a cautionary tale that presents us with several lessons we can’t help but learn, mainly because the end is so brutal that no empathetic and sane human could justify the means, nor could they imagine how to make their way out of such a mental and emotional struggle unchanged. Unfiltered panic coupled with alienation can warp your brain and throw you off course, even more so if you have a mental illness you’re keeping at bay.
For an hour and a half, Descent Into Darkness fights to prove that a little kindness can go a long way— especially for those who are struggling in ways we have never and may never fully comprehend. Further, it’s an indictment on normal folks and the way we treat unhoused folks who have come onto hard times usually through no fault of their own. There is a specific and nearly existential horror in the way we alienate houseless and financially insecure people, making them feel less than for their struggles. Prakov’s sanity waxes and wanes on his descent into darkness. Those tides stem from whether or not he has been shown kindness as he struggles to get back onto his feet and make his way home.
Descent Into Darkness shows how the mental toll of those struggles and the alienation manifests inside him, and it really is far from pretty. It’s incredibly dark, but so is how we treat unhomed individuals in developed countries. Their plights are deeper and more insidious than we could imagine. But this film does a great job of helping us see that baseless physical and emotional destruction firsthand.
Aside from its smart yet simple story, Descent Into Darkness also shines through its more technical aspects. The directing—expertly tackled by lead actor Cherkaski—is incredibly smart. The filmmaker focuses on Prakov’s buttoned-up optimism at the beginning of the film and truly takes audiences down a spiral through more than just the script. The beginning of the movie definitely has a professional tinge to it to match Prakov’s initial intentions. But as we travel further down the rabbit hole, Cherkaski’s direction becomes more erratic and unpredictable. He uses quippy camerawork and fiercely smart editing by his editing team — one particularly beautiful cut between daylight and nighttime comes to mind—to support the main character’s degradation into psychosis. It’s done in such a way that the pacing of the film ends up feeling perfect, too.
You know when a film’s story feels like it’s moving unrealistically fast, or even just achingly slow? It takes you out of the story, where you need to be firmly planted throughout the runtime, and tends to ruin the experience. The way Descent Into Darkness is shot and edited, with an almost staccato mindset as the film progresses, aids in supporting the story and evens out its pace. The result is a perfectly timed, eerily orchestrated nosedive into hell.
Aside from the crucial behind-the-camera brilliance that makes this film an underappreciated gem, it’s important to highlight one of the main reasons to watch this movie if you haven’t yet: the acting. Cherkaski is electric as Prakov and perfectly balances the character’s desperate innocence—which quickly bleeds into wild depravity.
In 2010’s Black Swan, Vincent Cassel’s ballet company director character is unsure if he can trust Natalie Portman’s Nina Sayers with the lead role in “Swan Lake,” because she excels at the virtuous white swan, but may not have the bite to also play the black swan. Cherkaski doesn’t have that issue. He is the white swan and the black swan in equal measure, which makes you as sad for him as you are for the victims of his senseless violence. It’s a really natural performance. Cherkaski makes for one of the most convincing, menacing, and downright evil antagonists in found footage—maybe even horror in general.
There’s a lot to love in Descent Into Darkness, which feels like an oxymoron when you type it or say it out loud. But it’s truly a special horror film that both shocked and changed me when I was lucky enough to catch a special cut at a film festival. It’s a movie that proved to me there’s magic in horror, that it can do crazy things and that those crazy things can make you feel renewed. It’s a movie that made me appreciate filmmaking that much more. Descent Into Darkness is underappreciated, underseen, and undervalued in an oversaturated genre. So, it makes sense that it would’ve been overlooked. Do yourself a favor and change that. Pop a little popcorn, dim the lights. Just don’t expect to feel like you haven’t, too, descended into darkness when it’s all over.

 663 اجمالى المشاهدات,  11 اليوم

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‘Captive Audience: An American Horror Story’ Review: More Shocking Than Fiction

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وقت القراءة المقدر: 2 دقيقة (دقائق)

Too smart for “true crime” and far more artfully constructed than standard-issue nonfiction, “Captive Audience” revisits the case of Steven Stayner, who in 1972 disappeared without a trace and then resurfaced seven years later, with a fellow kidnap victim in tow. Those with long memories will know right off where else the Stayner family saga is going, but others will be utterly shocked—which is supportive evidence in the case being made by director Jessica Dimmock. “If you have an experience and it doesn’t become a story,” says Steven’s mother, Kay, “it dies.” Which, coming as it does near the end of episode 3, is a statement as startling as any other in this three-part series.
The word “story” is repeated at least a dozen times in the opening moments of “Captive Audience,” mostly by TV anchors and correspondents, framing the Stayner case as it led the news circa Dec. 4, 1972: a 7-year-old boy, vanishing on his way home from school in humble Merced, Calif., stoking the worst fears of parents, inspiring exhaustive searches and then, as all such stories do when they aren’t solved, going cold. The very sympathetic Kay Stayner, who says she never stopped believing her son would return, concedes that when the police contacted her in March 1980, she immediately expected the worst. “I had all this hope for all these years, and at the end I thought it was going to be bad news.”

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