Grotesquerie: A Dark Twist on Familiar Horrors Awaits

Ryan Murphy’s latest series, Grotesquerie, takes a surprisingly somber approach compared to his usual horror projects. The show opens with four dramatic massacres within the first two episodes and features a body count that may surpass the number of living characters. However, Grotesquerie seeks to deliver a deeper narrative amidst the gothic horror rather than simply relying on visual spectacle.

Niecy Nash stars as Lois Tryon, a tough, hard-drinking detective facing personal struggles, fitting the archetype of a female cop in television. Despite the familiar trope, Nash injects depth into her character. Lois believes she has seen it all until she investigates the brutal murders of a local radiologist, nutritionist, and their three children, all killed by an unidentified assailant with a troubling psychological motive. A lower-ranking officer suggests that the crime is fueled by hate, with Lois questioning the target, to which he replies, “Everything.”

Murphy’s signature lack of subtlety is present as the story serves as a commentary on contemporary fears. Themes of societal breakdown permeate, reflecting ideas explored in previous seasons of American Horror Story, but here are elevated with theological and philosophical questions about human nature. A local homeless preacher warns, “the end is near,” while Sister Megan, a journalist nun and true-crime devotee, guides Lois to find religious connections among the crimes. Sister Megan describes the current state of news and calamity as personal for many, highlighting a decline in rationality.

The series risks a delicate balance as it critiques the sensationalism surrounding murder while presenting an intelligent, artistic mass murderer, introducing moral complexity to the narrative. A particularly disturbing murder method parallels real-life war crimes, leading to Sister Megan linking the “atrocity” to hopelessness in chaotic environments. Though such comparisons may feel distasteful, the show’s ability to evoke fear and unease in its turbulent setting is compelling. Grotesquerie’s preference for slow-building dread, as opposed to quick jump scares, enhances the unsettling atmosphere.

Aesthetically, Grotesquerie presents a haunting beauty through its gothic visuals. The trauma of grotesquely staged crime scenes leaves onlookers in a state of shock, evoking a more poignant metaphor for horror. However, the show occasionally undermines this visual strength with excessive exposition that feels awkward.

Although the buzz about Grotesquerie included the anticipated acting debut of football star Travis Kelce, he does not appear in the initial episodes. Instead, viewers are introduced to a charismatic priest and Lesley Manville, who plays Nurse Redd, a sharp-tonged caregiver for Lois’ husband, Marshall, who is comatose. Manville delivers a performance that deftly balances absurdity with deadpan seriousness.

As a slow-burn series, Grotesquerie touches on a myriad of themes, including reality TV, addiction, firearms, religious faith, and the mundane aspects of marriage. While it risks overwhelming viewers with its multifaceted approach, it seeks to find a distinction between genuine provocation and shock value. The early episodes suggest that this ambitious horror series deserves a chance to develop further.

Grotesquerie is currently available on Disney+ and Hulu in the United States.

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