American Horror Story: 1984″ (Wednesdays, FX) is an unapologetic, unfettered case of giving people what they want: A straight-up slasher series in the mode of the “Friday the 13th” films, right down to the summer camp setting. The first of the 10 episodes, “Camp Redwood,” slathers on Eighties trappings like freeze-frames and grainy cinematography. We see the POV of a girl lifting her shirt over her head, and when her vision is cleared, her two kissing friends have been stabbed by a giant knife, their faces pinned together. It’s darkly funny — as is certainly intended by writers Ryan Murphy and Brad Falchuk, in their ninth season helming this repertory anthology series — but it’s also cleverly brutal enough that we know “1984” respects its genre.
Iwatched the trailers of some notable fall TV premieres so you don’t have to (but they are embedded here if you want to). Here are my thoughts on each, along with a “Go Bananas” Level (on a 10-point scale) of how excited I am for the series. All times Eastern:
Ihadn’t seen the 2014 movie “What We Do in the Shadows,” so I wasn’t sure what to expect going into FX’s spinoff series of the same name, but man, this show is hilarious. Basically, it’s like watching “The Office,” but with vampires.
It’s never before been so hard to pick the 10 best shows of the year, as streaming services deliver strong short series on a regular basis, and cable and network TV have mostly kept pace with the quality. Some staple entries have dropped out of my top 10 not because they got worse but simply because they were supplanted. Here are 10 shows worthy of special mention even in this age of Peak TV.
This week, “Atlanta” (10 p.m. Eastern Thursdays, FX) began its second season of being about nothing and everything. The episode “Alligator Man” opens with two ATL youths lounging around when one mentions that they can purchase drugs at a local drive-thru restaurant if they ask for the “No. 17.” We assume they are heading there to buy said drugs, only to find they are robbing the place at gunpoint. But the employee working the window is armed, too. Bullets fly, ending with a teen girl – unseen until that point — emerging from the backseat of the youths’ car, screaming. Cue the opening titles.
After eight long episodes of Noah Hawley’s literally brain-teasing “Legion,” it’s a comparative relief to get back to the familiar footing of his first hit show, “Fargo” (10 p.m. Eastern Wednesdays on FX), which launched its third season with a 90-minute premiere. The “X-Men” spinoff “Legion” asked viewers to follow the pathways of a mutant’s brain, but “Fargo” allows us to kick back and follow the creatively crazy connections between thick-accented folks in the north woods.
My first-episode impression of “Legion” (10 p.m. Eastern, Wednesdays, FX) is “What the heck did I just watch?” The 90-minute premiere is undeniably a mess. There’s no doubt it’s an INTENTIONAL mess, but whether you’re willing to stay on this ride will depend entirely on how much you like mind-trip TV shows.
I put off sampling the first hour of “Atlanta” (10 p.m. Tuesdays on FX) for a couple weeks because I knew I’d have a tough time watching police beat up an unarmed man, which happens in the second episode of this ultra-realistic half-hour dramedy. Indeed, it is tough to watch, but it’s so artfully staged, and says so much without saying anything (in dialog) that it’s hard to look away from this pitch-perfect show.’
Executive producer and lead writer Noah Hawley positions his chess pieces for another year of murder, crime-syndicate maneuvering and Minnes-ooh-ta accents and quirks in the premiere of “Fargo” (10 p.m. Eastern Mondays on FX) Season 2. This a brand-new story, but similar to the relationship between “Fear the Walking Dead” and its parent show, it is a prequel with loose connections to the original story. You won’t have to watch Season 1 in order to jump into Season 2 (however, you should watch Season 1 because it’s great).
A couple seasons ago on “The Walking Dead,” Rick and the gang agree to march toward Washington, D.C., on Eugene’s promise that there was a governmental structure in place working against the zombie plague. While the characters never spoke in-depth about the question of whether the government – which demonstrably failed to stop the zombie plague — should be trusted, I felt strongly that once the gang got to D.C., they would not find a safe government-run utopia.