14 Best TV Shows Similar to American Horror Story
Dead Boy Detectives
Dead Boy Detectives is, by its nature, a strange beast. Both a spinoff of MAX’s now-finished Doom Patrol series and Netflix’s own Sandman, it began as a sort of backdoor pilot two and a half years ago in the third episode of Doom Patrol Season 3. However, this series tossed the actors portraying the Boys and their living friend Crystal for an entirely different trio of performers. Now George Rextrew plays Edwin, the uptight turn-of-the-century boy. Jayden Revri steps into the jacket of Edwin's late 80s punk adjacent partner Charles. Finally, Kassius Nelson portrays their modern and still of this mortal plane third wheel, teen medium Crystal Palace. Soon after meeting and freeing Crystal from the clutches of a demon named David (David Iacono), the boys take her in, although Edwin is less than thrilled at the idea. Missing large chunks of her memory, she is anxious to throw herself into the boys’ work investigating cases for and about ghosts, usually in the name of sending them off to the Great Beyond. Their first case as a trio takes them away from their English home to Port Townsend, WA. Unfortunately, even after they close the case, forces conspire to keep the three stuck in the town. With only time to waste, they decide to make the best of it by solving the problems of Townsend’s surprisingly bustling phantom population. Kassius Nelson accesses those spooky-ooky powers. (Netflix) This kind of “neither here nor there” of the show’s beginning and the characters’ “house arrest” soon reveals itself as a kind of meta reflection of the series itself. Steve Yockey, the writer of that backdoor pilot episode and the creator of this series, clearly has enthusiasm and love for the concept and the characters. The central relationship between the spectral friends has a striking sweetness without being cloying. The two's connection never feels in doubt, even as they bicker or revelations of unrequited sexual attraction come to light. The scripting deftly avoids needless "can their friendship survive" melodrama or after-school special syrupiness. It doesn’t hurt that, despite the roster change, Rexstrew and Revri wear the roles like comfortable clothes. They give Edwin and Charles a casual depth that extends behind their simple archetypes. Continue Reading →
Hazbin Hotel
Messy writing keeps this solid cast from shepherding Hotel to strong Yelp scores. Hazbin Hotel is not for me. That is not a bad thing. If every piece of media appealed to everyone, the homogeneity would be stifling. I can see the appeal of a big, bombastic, gleefully violent, heart-on-its-sleeve musical cartoon for grown-ups (heck, I've enjoyed my fair share of them)—I just don't click with the show's ice-pop made-of-blood aesthetic, and I'm not a huge show-tune guy. Acknowledging the disconnect between the show's vibe and my personal tastes, as a critic, I have two primary takeaways from Hazbin Hotel's first four episodes: In terms of animation and voicework, Hazbin Hotel is solid—and Keith David's turn as the burnt-out bartending demon Husk is a standout among a game cast. In terms of writing, Hazbin Hotel is a mess, awkwardly careening between silly and dramatic without precision—most noticeably when it delves into the horrific life of one of its lead players. Hazbin Hotel's aesthetic is built on contrasts—primarily between series heroine Charlie Morningstar (Erika Henningsen)'s deliberate good cheer, bright smiles, and crayon drawings and the continual viciousness of Hell and most of its denizens. Visually, the cast (both the show's core ensemble and the wider community of Hell) is expressive and distinct. Hell's assorted players and agents are united across factions by the frequent use of red and black either alone or in concert in costume design. Each faction, in turn, has its own visual signifiers—the staff and residents of the Hotel tend towards a hybrid of casual and professional wear, while a powerful gangster clique goes all in on decadence. Heaven's murderous, brotastic angels, meanwhile, opt for a more uniform style. Continue Reading →
What If...?
Disney+'s animated exploration of what could've been continues to intrigue in Season 2, but not all episodes are created equal. With What If…? Season 2, the time seems right to take a look at both seasons and rank them for your entertainment. Is it wrong to rank art? Possibly, but we’re of the mind that something that feels this good can’t possibly be bad. On that note, let’s not waste a moment more and start counting down from worst to best. The Watcher (Jeffrey Wright) hates to be kept waiting! Continue Reading →
True Detective
Jodie Foster and Kali Reis shine as a pair of detectives investigating an increasingly surreal crime. In Sara Gran’s Claire DeWitt mysteries, the title character is a brilliant, eccentric detective haunted by the unsolved disappearance of one of her closest friends. Her cases are vitally recognizable and beautifully surreal. When The Infinite Blacktop, the most recent entry in the series, was released in paperback, Gran held a giveaway, including a copy of the book and some fun feelies. On one of those, a pen, the following was printed: “Open your eyes and learn to see that truth lives in the ether.” In the course of thinking about Issa López (Tigers Are Not Afraid)’s excellent True Detective: Night Country, it’s a line that’s been on my mind. It's the end of 2023. In Ennis, Alaska, the eccentric scientists of the Tsalal research station vanish just as the long polar night sets in. Ennis police chief Liz Danvers (Jodie Foster) and detective-turned-trooper Evangeline Navarro (Kali Reis) know that something is not right. Though bitterly estranged, the former partners share a drive to discover what happened at Tsalal and why. Their need to get to the truth only intensifies after the scientists are discovered in a ghastly, bizarre state—a collective corpsicle, all of them nude and visibly terrified. Continue Reading →
빨간풍선
Albert Lamorisse's flights of fancy come to Criterion courtesy of a gorgeous new box set. There are few things more wondrous than a child's imagination -- its capacity to uplift itself beyond the pain and doldrums of everyday life to see the world through new eyes. One of cinema's greatest chroniclers of that imagination is French filmmaker Albert Lamorisse, a contemporary of the French New Wave who literally went high where his peers went low. His domain was in short, charming, powerful films often linking child protagonists to wonders both terrestrial and supernatural: an animal that captures their heart, or the unyielding power of flight. Now, Criterion has captured that magic in a new two-disc Blu-ray set containing the bulk of Lamorisse's flashes of cinematic whimsy. The crown jewel of the pack, of course, is 1956's The Red Balloon, the only short film to ever receive a major Academy Award (for Best Original Screenplay; no small feat, considering the film, like many of Lamorisse's, relies on very little dialogue). It's a simple, elemental tale of a boy (Lamorisse's son, Pascal, a frequent star of his works) walking the grey, rundown streets of postwar Paris -- the Ménilmontant neighborhood, to be specific -- only to find himself befriending a bright red balloon that follows him everywhere. The two seem to build some ineffable connection, a bond that plays out through the streets of Ménilmontant. The boy's parents and teachers don't understand their friendship. His peers envy it, chasing them through the streets to tragic ends. Continue Reading →
A Murder at the End of the World
Hulu’s crime thriller/environmentalist warning is less than the sum of its references, but star Emma Corrin earns viewers’ attention. The plot for A Murder at the End of the World goes a little something like this. A wealthy tech genius invites a group of similarly impressive individuals—including a detective who seems not to belong—to an isolated location for not entirely clear reasons. A murder sets everyone on edge as competing interests suggest several suspects and impede a proper investigation. Things only get worse as more die, and a storm ensures the group has no means of immediate escape. If you find yourself thinking back to Glass Onion, rest assured you can’t be the only one. Functionally, the series plays as a kind of Anti-Glass Onion, the film’s cracked mirror image. While it is still plenty critical of the rich, it treats them with significantly more credulity. Their reputations earned, they’re genuinely talents apart from the rabble. The big issue isn’t that they're idiots and buffoons but that they’re squirreling away their gifts from the masses. Continue Reading →
Lawmen: Bass Reeves
Screenwriter Josh Olsen (A History of Violence) used to tell anyone who would listen that his passion project was an account of the life of Bass Reeves, a man whose life and career were the stuff of fables. Reeves was the first Black deputy sheriff west of the Mississippi, with an arrest record in the thousands by most accounts. Best of all, legends assert that he almost never killed or shot anyone he didn’t have to. Continue Reading →
Everything Now
As the TV series Everything Now begins, Mia (Sophie Wilde) is eager for freedom. After spending months in a hospital undergoing treatment for her anorexia, her supervisor, Dr. Nell (Stephen Fry), has decided she’s well enough to return to school with her best friends Becca (Lauryn Ajufo), Cam (Harry Cadby), and Will (Noah Thomas). Cooped up inside for what seemed like an eternity, Mia is bursting with enthusiasm about finally undergoing many teenage rites of passage like first dates and big parties. Continue Reading →
The Fall of the House of Usher
The most gripping moment in 2022’s Academy Award-winning documentary All the Beauty and the Bloodshed is when members of the now disgraced Sackler Family, whose pharmaceutical company manufactured and marketed the highly addictive painkiller Oxy-Contin, are ordered to attend a virtual hearing in which they're confronted by families who had been impacted by the drug. Listening to tragic stories of accidental overdoses, birth defects, and young men cut down in their prime due to a prescription medication that had been promoted as safe and non-addicting, the Sacklers could not look more bored, even slightly annoyed. It’s a chilling reminder that extreme wealth often results in a loss of empathy, if not one’s entire soul. Continue Reading →
Sex Education
There’s a moment in Sex Education Season 4’s first episode where a dark thought crosses one mind. “Wait…was this always JUST a sitcom?” Continue Reading →
Only Murders in the Building
The surprise, sustained hit Only Murders in the Building brands itself as a comedy-mystery on Hulu. But, as season three hits the streaming service, with another murder for the Arconian trio of Charles (Steve Martin), Oliver (Martin Short), and Mabel (Selena Gomez) to solve, something becomes apparent. The series isn’t going for big laughs. Instead, it provides warmth, small chuckles, and genial goodness between the triumvirate. The show remains about found family, intergenerational friendships, and murder mysteries. It’s perhaps best described as a cozy mystery, a murder show with a heart of gold, an oxymoron of concepts. Continue Reading →
Good Omens
The 2019 adaptation of Neil Gaiman and Terry Pratchett’s 1990 novel Good Omens was a charming show that succeeded in translating the book’s strengths and weaknesses to the small screen. It was clever like the book, with an ingenious plot (what if there had been a mix-up at the hospital and the Antichrist went home with the wrong family) that parodied The Omen while conjuring an apocalyptic tale all its about an angel and demon whose millennials-long rivalry grew from mutual antagonism, to grudging respect, and finally admiration and even a kind of love. But it also carried over the book’s weaker elements, its wonky pacing, plurality of uninteresting characters, and the fact that the first two thirds of the story is essentially table setting for the final third. Continue Reading →
The Horror of Dolores Roach
On a fundamental level, The Horror of Dolores Roach confirms that old chestnut, “You can never go home again.” The titular Dolores Roach (Justina Machado) tries it twice over the course of the limited series—adapted from a Gimlet podcast which, itself, was adapted from an off-Broadway play—and each time finds an increasingly hostile environment has overtaken the “home” she knew. Continue Reading →
Mrs. Davis
Betty Gilpin is a dramatic arts treasure. Capable of ringing tears or laughs out of any situation she deserves all her flowers and more. She is so good, her portrayal of Sister Simone nearly pulls Mrs. Davis across into great television. Continue Reading →