Ryan Murphy’s latest horror venture, "Grotesquerie," kicked off with its premiere on Wednesday night, bringing his signature blend of shock and intrigue. Did it live up to the chilling promise of the trailer? Let’s dive into the highlights of the first couple of episodes.
The series introduces us to Det. Lois Tryon, portrayed by Niecy Nash-Betts, who wakes from a haunting nightmare, only to be thrust into the grim reality of a murder investigation. As she arrives at the crime scene, the atmosphere is thick with tension. One of her officers remarks, “If this isn’t a hate crime, I don’t know what is,” setting the tone for a narrative steeped in societal issues and personal demons.
The eerie setting and unsettling imagery are hallmark Murphy, as the show navigates the dark corners of human nature and the horrors that often lurk beneath the surface. The premiere establishes a complex narrative, drawing viewers into Lois’s struggle as she unravels the mystery while confronting her own past.
Inside the scene is quite gruesome, with three bodies arranged at the dining table, hands bound behind their backs, and their own organs stuffed into their mouths. Another body, without a head, lies on the kitchen floor amidst a pool of blood. While other officers are visibly sickened by the sight, Lois appears only mildly puzzled.
Lois's constant proximity to a drink, even while driving, hints at underlying issues. Her daughter, Mary (Raven Goodwin), questions if something happened at work. There seems to be a focus on Mary eating dinner which later in the two episode premiere is explained that her father (more on him in a second) worried about her weight.
The following day, Lois visits her husband Marshall (Courtney B. Vance), who has been in a coma on life support for 28 days. Lois confides in Nurse Red (Lesley Manville) that she no longer senses his presence, but the peculiar nurse insists that Marshall is still aware. Red admonishes Lois for her lack of engagement during her visits, revealing surveillance cameras in every room on Marshall's floor. As Lois storms out, Red asserts, "He knows! He hears! He feels!"
Back at work, Lois is stumped: the perpetrator left no fingerprints or DNA, and the mysterious black substance found on the floor remains unidentified. The Burnside family appeared perfectly normal and well-liked, leaving investigators baffled as to who would want them dead. "You must truly despise people to commit such an act," Lois remarks. "It's inhuman. No — it's unhuman." Despite this, she can't shake the feeling that this scenario is eerily familiar.
Lois is interrupted by the arrival of Sister Megan (Micaela Diamond), a young Catholic nun who identifies herself as a journalist from The Catholic Guardian, a magazine dedicated to social justice. Megan specializes in covering crimes and cults, with a keen interest in exploring the manifestations of good and evil within them. The Burnsides’ priest is acquainted with the nun, and Lois agrees to provide her with information on a confidential basis.
While Sister Megan listens attentively, Lois recounts the harrowing events involving the family. The mother and three children were bound at the table, still alive. Lois describes how the father was prepared with various seasonings and roasted in the oven, accompanied by sunchokes and baby carrots. The killer then served the father’s remains to the family and proceeded to boil the baby. The mother and children succumbed to heart failure, described by Lois as a form of acute shock, before a neighbor alerted the authorities due to the eerie sound of Mozart’s “Requiem” resonating from the house at 3 am.
Upon correctly identifying the music playing, Sister Megan momentarily triggers Lois’ suspicion that she might be conversing with the perpetrator. However, Megan reassures her by mentioning her intuitive abilities. Seeking assistance in identifying the mysterious black substance that emits varying odors, Megan describes it as often having an “acrid” smell.
The discussion veers off course when Megan inquires about Lois' beliefs in God, to which Lois responds negatively but acknowledges her belief in prayer. Megan admits to wavering in her faith, stating that believing half the time is preferable to not believing at all.
The following night, another mass murder occurs, this time targeting drug users in a dilapidated building. The perpetrator drained the blood from the three victims, dismembered their bodies, and then affixed the torsos to the wall — all while the mysterious black substance was present. Sister Megan arrives unexpectedly, prompting Lois to deviate from standard procedure by having Megan document the scene.
During her next hospital visit, Lois heeds Red's advice and engages Marshall in conversation throughout. Eventually, she finds herself in bed with him, pleading for his return. Overwhelmed with emotion, she describes the feeling as if a void had opened up in the world, leading to tears.
Upon returning home, Lois senses a presence in the house. Armed with her gun, she searches each room, catching glimpses of someone evading her sight. In the kitchen, she hears chamber music playing on the radio. Despite chasing the intruder and firing her weapon, the figure manages to escape, leaving Lois unsettled.
While Sister Megan theorizes about the crime scene, Lois is troubled by the encounter at home. Before she can express her concerns, the young nun bluntly remarks that the perpetrator might be intentionally provoking her. Highlighting the chaos in the world, Megan suggests that everyone feels personally affected. Reviewing the lab analysis of the black substance, they discover high levels of sulfur dioxide, leading Megan to draw a connection to brimstone from the Bible. Lois, frustrated, labels the perpetrator a religious fanatic.
The second episode continued to ramp up the intensity, especially with the introduction of Father Charlie (Nicholas Alexander Chavez). His character adds an intriguing yet complicated layer to the narrative, but it seems like the focus might be shifting too much towards shock value rather than a cohesive storyline.
As the murders escalate and the plot becomes less clear, it can be disorienting for viewers looking for a more structured narrative. Balancing character exploration with a clear direction in the mystery is crucial, and if it feels like the show is losing its thread, that can be disappointing.
Grotesquerie doesn't hold back when it comes to its portrayal of brutality. The graphic nature of the murders, combined with the psychological tension surrounding Det. Lois Tryon, creates a chilling atmosphere that keeps some viewers on edge. Each scene heightens the sense of horror and dread, making it clear that the series delves into the darkest corners of humanity. The combination of grotesque imagery and deep character struggles is both unsettling and compelling, drawing horror audiences deeper into its nightmarish world.
For others, the pacing itself a bit too much for your taste, and the repetitive dialogue can definitely drag down the intensity. While some viewers appreciate slow builds for character development and atmosphere, it can be frustrating when it feels like the story isn’t progressing. If the dialogue isn't adding depth or intrigue, it can make the brutal imagery feel less impactful.
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