“There’s no magic pill for greatness”
American Horror Story first made its mark back in 2011. Titled “Murder House”, the first instalment in the anthology series combined outstanding cast members with shocking visuals - re-imagining the horror genre entirely.
Aesthetically, the show is incredibly striking – disturbing graphics dominate each opening sequence, teasing the viewer with a glimpse of what’s to come. While this may be what initially draws people in, it’s the poignant principles which are so subtly and cleverly addressed that make the program an unmissable, unsettling watch.
Fast-forward a decade later to August 2021 and season 10 was released in the US, with its UK debut following soon after, premiering in October on Disney Plus. While it may seem as though I’m late to the party, writing about a series that was released 6 months ago – I can assure you that the complexities I want to touch on are relevant now more than ever.
Before I reveal the main premise of this article, I want to acknowledge that season 10 of AHS, named “Double Feature” , is divided into two separate parts. Part one is called “Red Tide” with the latter titled an equally chilling, “Death Valley”. From hereafter, I will be addressing the former.
As an avid fan of Ryan Murphy and Brad Falchuk’s production, I must confess that “Red Tide” spoke to me in a way that no other season has. The series points to something universal, that touches all our lives in one way or another – creativity.
The show explores the intricate, nuanced relationship between talent, ambition, and success. It is human instinct to want to do well, to achieve our goals and surpass others. However, this begs the question, what is the true price of success? More importantly, does success equate to genuine fulfilment? These are just some of the questions that AHS: “Red Tide” raises – two pivotal points that I intend to unpack further. However, before we go on, it’s time to give a brief plot overview.
A family of seemingly struggling creatives move to Provincetown, an eerie beach town based in Massachusetts. The idea is that the isolated setting will provide Harry Gardner (Finn Wittrock) a serene place to break out of his writer’s block – something that myself and all fellow writers can relate to. Long story short, as the family settles into their new home – all is not what it seems (shock). Soon after their arrival, the mysterious residents that inhabit the town emerge in true AHS style. Donning 80s-inspired, sharply structured jackets – these bald, zombie-like figures are terrifyingly distinctive. Their appearance is overcome by an exceedingly pale complexion, which is matched by irreparable aggression. However, contrary to what you might think, there is far more to this season than your typical vampiric ghost story.
We later find out that these creatures who are literally known as “pale people” are mere test results gone wrong, after taking a little black pill. Configured by the mystical “Chemist”, the pill, also known as “The Muse”, is what unlocks “greatness” in those with creative talent. After being introduced to two of the town’s most prolific artists, romance novelist, Belle Noir (Frances Conroy) and playwright, Austin Sommers (Evan Peters), Harry is quick to be swayed by the drug’s effects, becoming the latest creative to suddenly strike genius. However, this magic does not work for everyone. For those who are simply mediocre, the pill turns them into a phantom-esque ghoul – destined to roam the streets with an insatiable appetite for human flesh.
Even if you’re one of the gifted ones, the downside to all this newfound inspiration is that you essentially become a vampire – or as Sarah Paulson’s character, Tuberculosis Karen likes to put it, a “blood-sucker”. Upon taking the drug, the body is depleted of vital minerals in the blood, forcing the user to feed on the living to replenish themselves. For experienced, vampire-crazed artists, Belle and Austin – this is no biggy. The merciless duo selects their victims with ease, thriving off each kill as it supercharges their creative flair. The same can be said for Harry’s devilish daughter, Alma (Ryan Kiera Armstrong). She also succumbs to the power of the pill, revelling in all its glory as she strives to become the next violin prodigy. However, as Harry soon finds out, it’s not long until the deadly consequences of harbouring true “greatness” are revealed, positing unique insights into how far one will go to achieve success.
Albeit unhinged – AHS is making a prevalent point about creative ambition. It’s safe to say that during the pandemic, there was a sufficient lack of support for the cultural and creative sectors. While nearly every industry suffered because of Covid-19, the arts were overlooked both from an economic and political point of view. Ironically, engagement in art-based activities is what kept many of us entertained during lockdown. At a time when mental health deteriorated for most adults, creative outputs acted as a much-needed form of escapism. Subscriptions for online streaming platforms such as Netflix soared, with people relying on creatively led outlets such as TV and film to keep them occupied. So, if the arts play such an integral part of everyday life, particularly during a time of crisis – why do we neglect them?
It's no secret that the job market is imbalanced, particularly for young and upcoming graduates who are just starting out in their careers. More “corporate” roles pertaining to sectors such as finance or law are emphasised far more than those which are considered “unconventional”. Paving the way for a viable career in your twenties is hard enough as it is, but when your pursuits lie solely in the creative sector, the path to success can seem insurmountable at best. For most artistic avenues, there is no set scheme, apprenticeship, or roadmap. Those with creative potential must rely largely on self-belief to propel them forward. Having the confidence to champion your own talent is a daunting prospect, but it’s also what most creatives thrive off.
The characters in AHS: “Red Tide” must trust in their own talent when choosing whether to take the “Muse”. If they cannot harness that self-belief, to begin with, the true capabilities of their potential will never be revealed. While the risk that the characters take in the show is clearly dramatised – the premise behind it still rings true today. To reap the rewards of success one must be prepared to fail (or in the case of AHS: “Red Tide” – become a “pale person”). Everyone that is presented with the “Muse” faces an internal debate in which they must tentatively ponder the nature of their talent. They are forced to assess their abilities – truthfully and transparently, confronting their creative ambition and passion to succeed in their respective fields.
Success can mean several things. For some, success is determined by a certain salary or paycheque – for others, success is dependent on personal fulfilment. For those that embody creative talent, I would argue the latter.
The true impact of creative artistry is not something that can be defined or explained – that’s the beauty of it. Iconic creators such as Walt Disney, Mozart, and Picasso all became known for their extraordinary talent, but are remembered for their legacy. The ability to generate emotion through art is at the heart of being creative. Provoking feelings in the spectator or listener that are unfathomable is what spurs people on to pursue careers in the creative sector.
Arguably, for artists, it is the act of creating itself that is far more addictive than “success”.
Written by Liv Leftwich
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