American Horror Story: NYC Review: Requiem 1981/1987 Part 1 and Part 2 (Season 11 Episodes 9 and 10)
American Horror Story: NYC Season 11 Episodes 9, “Requiem 1981/1987 Part 1,” and 10, “Requiem 1981/1987 Part 2,” are somewhat confusing and lackluster ends to the season.
With a series like American Horror Story, you never know what will happen or what you’ll get. Well, at least in the beginning seasons, that saying could be true. Lately, the series has been predictable: produce a confusing season with just enough information to keep people watching and then end without providing any answers.
Like on previous seasons, American Horror Story: NYC prides itself on providing the bare minimum in its conclusion, leaving the audience to come up with their own conclusion and fairytale of what things could have meant.
Before I discuss where these episodes go wrong, I want to give credit where it’s due. The emotional, vulnerable, and raw performances from everyone involved were immaculate. Russell Tovey and Joe Mantello deliver exquisite performances that cement their moments on this outing as definitive highlights of the season.
I’ve yet to determine whether it’s a good thing or not, but I have never cried this hard at any other American Horror Story episodes in history. I was a bawling mess for a good percentage of “Part 1” and the majority of “Part 2.” The content alone is harrowing, and the performances by Mantello and Tovey only amplify the overwhelming feelings of sadness felt while watching.
While I’m not fond of the execution this season, I respect the symbolism and accurate depictions of what it was like for the LGBTQ+ community during the AIDS pandemic. They were isolated, left to fend for themselves, and there was a blatant disregard for their lives. It was a horrific time, and there should be stories about the events. But maybe not in American Horror Story.
This entire season felt more like a grittier version of Pose rather than the typical elements we see intermixed on American Horror Story. The stories of LGBTQ+ people need to be told, but with the myriad of television series Ryan Murphy is connected with, I’m sure he could have found a better one suited for the source material.
Where “Requiem 1981/1987 Part 1” and “Requiem 1981/1987 Part 2” truly fail is there’s not one cent of information provided outside the context clues we’re supposed to get. “Requiem 1981/1987 Part 1” is nothing but a montage of the characters meeting their fate and hallucinating while doing so.
On “Requiem 1981/1987 Part 2,” Gino is forced to endure Patrick’s funeral and watch as Big Daddy slaughters the men around him one by one. It’s clear after the series conclusion that Big Daddy is nothing more than symbolism for the AIDS virus and how it decimated the LGBTQ+ population during the 80s.
Nonetheless, it doesn’t explain why multiple characters were able to see him throughout the season and he was able to make physical contact at various times. If his character is supposed to be nothing but symbolism, he should not have been able to make contact. He should have stood in the corner as a confusing statue meant only to stupify the audience.
A significant opportunity to intermix the supernatural aspect we all love on American Horror Story is lost by not incorporating it via Big Daddy’s character. It should have never been introduced if there were no intentions of providing an ample conclusion that touches upon the supernatural aspect.
Furthermore, the series fails to produce any conclusion for the lesbian characters on the season. We’re given this beautiful montage meant to provide vague answers for the audience about what happened to the gay men, but it’s as if the lesbians have ceased to exist.
Fran is given no proper closure for her storyline, and none of the other lesbians are seen again after “Fire Island.” It’s deplorable and upsetting.
Even with all my critiques, this season is nowhere near the worst. Nothing will ever beat the hot mess that was American Horror Story: Double Feature.
Stray Thoughts:
- Words can’t begin to believe to describe the level of betrayal I felt when the season went to commercial after Gino’s funeral and then came straight back to the credits. It was seven minutes earlier than when we should’ve been getting credits!
- Patrick and Gino’s death scenes may be the saddest we’ve ever seen on the season. You’re a certified monster if you didn’t cry during Kathy’s performance for Patrick or Gino’s montage!
- I will never be over Sam removing Big Daddy’s mask and him deflating into a white, scrawny twink. I’ll never understand why Ryan Murphy thought it was a heartfelt or emotional moment needed on screen. We’ve been waiting for Big Daddy to be unmasked all season, and when it finally happens, you whitewash the character? It’s utter garbage and disrespectful.
- Hate to say it, but maybe Sarah Paulson was astute to get out while she could.
- With the series renewed through season 13, it feels as if Ryan Murphy has been putting less and less effort into the recent seasons.
- Leslie Grossman and Hale Appleman were completely underutilized, and Charlie Carver should’ve been provided with a better ending.
What did you think of this episode of American Horror Story: NYC? Share your thoughts in the comments below!
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American Horror Story: NYC is available to stream now.
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Cade Taylor
Cade Taylor is a television and film critic living in St. Louis, Missouri. He is a Senior Writer for Tell-Tale TV. His love for television developed at a young age, with a concentration on queer stories, sitcoms, teen dramas, and science fiction thrillers. In addition, he works full-time as a news producer, telling the stories of Missourians and helming "Produced in the Bi-State," a segment spotlighting actors, musicians, and entertainers from the St. Louis area. He can be reached by email at cade@telltaletv.com.
One thought on “American Horror Story: NYC Review: Requiem 1981/1987 Part 1 and Part 2 (Season 11 Episodes 9 and 10)”
The AIDS symbolism with the leatherface killer was pretty obvious fairly early in the show. The Mai Tai Killer was obviously inspired by a real serial killer of gay men in NYC, the Last Call killer. He is still alive, and in prison, and he did his murders in the early 90’s, so the timeline didn’t match exactly, but it worked well into the story line. The sex scenes were a little too graphic for my taste, but then it is a horror story, after all. I agree that it did a good job of evoking the fear and horror in the gay community back then. I was a health care worker, and took care of many AIDS patients in those days. It was a sad and desperate time. HIV was a death sentence, and everybody was scared, even health care providers who should have known better. As a result, patients often died alone and afraid, without the compassionate care they deserved. It was a sad time, and fear and hate ruled.
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