AHS: Freakshow – Episode 4.2 “Matinees & Massacres”

I always like to begin a review by looking at the title of the episode in question. Some programs put a lot of thought into episode titles (e.g., Hannibal), and some programs use titles as a type of summation (e.g., Friends). Freakshow’s second episode “Matinees & Massacres” appears relatively straightforward. And yet it isn’t. 

As far as “massacres” are concerned, there isn’t nearly as much murder in this episode as, say, last week’s premiere “Monsters Among Us.” There are only two deaths this episode (I say that as if it’s an anomaly in the AHS world), Meep and the toy store clerk, and we don’t actually see Meep’s murder. So, in considering an alternative definition of “massacre” let’s think of it in terms of “defeat.” In the context of this episode, defeat abounds.

Elsa bears most of the defeat (I’m assuming because Jessica Lange can handle ANYTHING), starting with the police officers announcing an indefinite curfew until the town murderer is no longer at large – a decision that will undoubtedly hurt profits because, as Elsa says, “people don’t come to see freaks in the heat of the day.” This news must have put Else in an agreeable mood because she accepted strongman Dell and three-tittied Desiree into the freakshow (which, in itself, was a type of defeat for the couple based on their reactions when they arrived).

Bringing Dell into the fold, though, only created more defeat for Elsa because not only is Elsa forced to entertain Dell’s matinee suggestion as a way to compensate for the curfew, but his posters he displays around town have Elsa billed at the very bottom; even more crushing was being billed in conjunction with Meep (Elsa’s reaction to this was both hilarious and on-point). As if her week couldn’t get any worse, she not only learns Dot can perform a fantastic rendition of Fiona Apple’s “Criminal,” but hordes of show-goers go wild over it when the matinee proves successful. Double defeat. But Elsa’s defeat by Dot is also a defeat for Bette, who so desperately wants to become a star and becomes humiliated by her newly assigned “backup singer” status.

Jimmy also experienced a fair share of defeat this week. Despite his borderline-overused mantra of “We’re humans just like you!” he attempts to take the rest of the freakshow characters to his favorite diner, only to be greeted with hard stares, suspicion, and disgust. And before Pepper can order her beloved meatloaf (more defeat) the owner refuses service and asks them to leave. Adding insult to injury (or maybe vice versa in this case), Dell beats the shit out of Jimmy for putting the matinee at risk by going out in public. Finally, the biggest defeat Jimmy experienced this week came when he tried to frame Dell for the murder of the police officer by planting his badge in Dell’s trailer. That this isn’t Dell’s first rodeo, he re-planted the badge in Meep’s trailer and the officers subsequently arrested Meep, which unfortunately resulted in Meep’s death.

There are more subtle examples of defeat in addition to the ones above. Dandy, who is way more twisted and infantile than the premiere intimated, gets harshly rejected when he approaches Jimmy to join the freakshow. Possibly because of this defeat Dandy decides to befriend Twisty; when Twisty’s two hostages finally escape the abandoned school bus, Dandy throws the woman over his shoulder and carries her back to Twisty’s lair – no doubt a crushing defeat for the hostages because, yeah, Twisty is terrifying.

Each of these examples illustrate a defeat of expectations, which is ultimately another way of saying there was a breakdown or collapse of the ideal. Aristotle would call it entelechy, Plato would refer to it as a Form, Burke would describe it as rottenness, and Freud would analyze it as repressive – regardless of what theory you subscribe to, it becomes clear how important the principle of perfection and the “ideal self” is to our characters, especially those experiencing defeat this week. While the various defeats our characters experienced are seen as a setback in achieving their perfect selves, these defeats sew the seeds of conflict for Freakshow.

Whereas last week’s premiere functioned by introducing us to the main characters, “Matinees & Massacres” dives into the start of drama between these characters. Kenneth Burke, the mastermind of theorizing socially-enacted drama (and frequent source for inspiration on this blog) helps explain how the threat of non-perfection initiates drama and conflict. When “exerting superhuman efforts in the attempt to give [life] a certain form” (p. 72), there is also the risk of great suffering when these attempts are continually unsuccessful. In our suffering, though, we begin our search for the perfect enemy – the scapegoat.

Elsa find her perfect enemy in Dot, and Jimmy’s in Dell, for example. Identifying our scapegoat allows us to transfer our failures, guilt, and fears to them, but it also arouses the desire for hierarchy by proclaiming order and superiority over the chosen enemy. Dot’s talent and triumphant performance no doubt initiated Elsa’s “hierarchal psychosis” (p. 73) – the need to declare “who’s really the star.” Similarly, in addition to Dell, Jimmy also has a perfect enemy in society (the attitudes of which no doubt contributed to Meep’s murder). Like Elsa, hierarchal psychosis has been aroused in Jimmy, but rather than declaring his superiority (such as he’s doing with Dell), he wants to be acknowledged as equal.

Although Dandy was explored more this week than last, his motivating principles have yet to be determined. His ideal self is threated by the crippling boredom of his lifestyle, and it’s possible he scapegoats his mother for this – evidenced by the need to exert power (hierarchal psychosis) over Twisty’s female hostage. Dell is equally ambiguous at this point – he does attempt to reign superior over Elsa and Jimmy, but the true nature of his “sacrificial lamb” remains unclear.

What we do know, though, is that hierarchy is a staple to Burke’s idea of society, and based on this understanding we can be certain the “massacres” are only beginning. Because with hierarchy, which implies order and law, there is certainly always chaos and lawlessness lurking around the corner.

Works Cited:

Burke, K. (1989). On symbols and society. Chicago: The University of Chicago Press.