‘Grotesquerie’ Review: Niecy Nash Shines Through the Moral Murk of Ryan Murphy’s FX Horror Show

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As a seasoned critic who’s seen more than my fair share of dark and twisted TV shows, I must say that “Grotesquerie” has managed to pique my interest in ways I hadn’t anticipated. It’s like a wild, wacky buddy cop show set in the grimiest corners of humanity, starring an alcoholic detective and an obscenity-spewing nun – talk about an unlikely duo!

For Ryan Murphy’s television domain, the essence of branding plays a crucial role, yet occasionally, the specific brand names may appear somewhat interchangeable.

In this recent two-week period, Murphy’s production titles could have been rephrased as follows: “The American Sports Story: Aaron Hernandez” might be better titled as “Hernandez: The Monster — Aaron Hernandez Story”. Netflix’s series “Monsters: The Lyle and Erik Menendez Story” could potentially be named “Feud: The Menendez Family”. I haven’t watched ABC’s “Doctor Odyssey”, but based on the promotions, it appears to be akin to “9-1-1: Love Boat”.

In a flexible categorization, FX’s “Grotesquerie” might as well be titled something like “American Horror Story Presents: Grotesquerie.” The influences from “Cult,” “Coven,” and “Asylum” are quite apparent, suggesting that it aims to blend the distinctive elements of that show extensively.

Following just two episodes (none were shown to critics before its release), it’s premature to make a definitive judgement about whether the initial description will prove oversimplified, considering how broad the American Horror Story franchise has grown. Despite starting off with a characteristically bold yet somewhat predictable tone, neither title – Grotesquerie nor American Horror Story: Grotesquerie – fully encapsulates why viewers should tune in – primarily because of the sheer delight of watching Niecy Nash as the leading lady in what could potentially become her own unique series within Ryan Murphy’s universe. In previous works, Murphy has given Nash significant recognition, culminating in a well-deserved Emmy win for her performance in the Dahmer storyline. This new project may see one of her most impressive performances yet.

I, as the gamer, step into the shoes of Lois Tryon, a weary police detective nearing retirement in a small, powerless town where it’s almost always raining. Lois, who meticulously logs every horrific crime she’s managed to solve throughout her career, battles an alcohol addiction. She’s also grappling with the pieces of a fractured family: daughter Merritt (Raven Goodwin), a genius at solving puzzles and stubborn about diet changes for health reasons, and husband Marshall (Courtney B. Vance), once a philosophy professor now unconscious in the hospital.

At the start of the story, Lois is summoned to a shocking multiple murder scene where a family was brutally killed in a manner that combined ritualistic and exotic culinary practices. This case is unlike any they’ve encountered before, but it won’t stay that way for long. Over the course of the next two chapters, Lois will need to investigate at least three more grisly crime scenes, each one more disturbing and religiously themed than the last.

It is this second aspect that captures the interest of Sister Megan (Micaela Diamond), a nun with a knack for journalism, who suspects that these murders are intertwined in a way that hints at something bordering on an apocalyptic event, which Lois finds difficult to grasp.

Titled “Grotesquerie,” this captivating production was crafted by Jon Robin Baitz, Joe Baken, and Murphy. It’s a riveting blend of CBS/Paramount+’s “Evil” and the iconic horror film “Seven.” This gripping drama offers a somber fin de siècle critique on a world in chaos, a society that seems to be unraveling with no clear end in sight. We’re all just stuck here, grappling with issues like rampant homelessness, global pandemics, and a spiritual crisis so profound that even churches resort to sensational headlines for attention. The world has become incomprehensible, leading to complex challenges for Lois, who values logical precision. On the other hand, it presents an opportunity for Sister Megan, who may not fully grasp the circumstances but is well-versed in Biblical language to offer speculations.

According to Max Winkler’s instructions, the setting in Grotesquerie is a gloomy and dismal environment where everyone seems trapped in a shared muddy situation. This includes the lewd Nurse Redd (Lesley Manville), who provides care for Lois’ husband that appears either blatantly perverse or merely suspicious through Lois’ jaded perspective. Even Sister Megan’s supervisor Father Charlie (Nicholas Alexander Chavez) demonstrates a penchant for criminal activity as much as he does for self-punishing himself as a religious figure.

Father Charlie admits that he claims to watch crime shows and podcasts due to his compassion for the victims. However, he admits that in reality, he has a hidden, somewhat eerie interest in these topics.

In this fashion, Father Charlie’s words resonate not just with the audience, but also with the realm of the Ryan Murphy TV empire. It seems he is speaking to those who strive to rise above such melancholy, only to find themselves immersed within it instead.

Contrary to what it may seem from the outside, “Grotesquerie” isn’t just a mournful broadcast sermon. Not at all times, at least. While Baitz has a knack for dramatic monologues laced with Bible references that delve into the evolving concept of good and evil, this production could also be likened to an unconventional, offbeat buddy cop show. Picture two unlikely crime-fighting duo partners: an alcoholic detective and a foulmouthed nun – quite reminiscent of Cagney and Lacey, if you will, within the series itself.

The show features a nun and a priest discussing their favorite serial killers over burgers at a diner, with Father Charlie expressing his fondness for Ed Gein who will be the subject of the upcoming season on Netflix’s “Monster.” The atmosphere seems intentionally serious, but it leans more towards an obsession or peculiar taste rather than a parody. It’s reminiscent of “True Detective,” embracing its role as entertainment rather than high-brow TV.

Carolina Costa’s cinematography in this production gives solidity to the heavy moral fog, challenging us to locate glimmers of hope or moments of humor amidst it – yet manages to avoid feeling repetitive, thanks largely to Nash’s no-nonsense attitude that slices through. The character Lois is intentionally molded as a typical tough, alcohol-swilling, almost nihilistic detective, traditionally reserved for middle-aged white male characters in the genre. However, Nash breathes new life into this trope by ensuring her portrayal isn’t one-dimensional.

Her brief recollections with Vance reveal the authenticity of a long-term relationship void of present love yet brimming with collected memories. The scenes between Goodwin and her are exquisitely harmonious, blending affection with complete surrender. Witnessing Nash and Manville argue with nothing but biting words is so effortlessly dramatic that it seems surprising we haven’t had an entire season of American Horror Story centered around it before. However, this may change soon.

In her debut major TV appearance, Broadway actress Diamond captivates audiences with her charming, unconventional portrayal that’s unlike any other eccentric religious character we’ve seen before. She doesn’t simply fall into the category of quirky; instead, she presents a unique brand of peculiarity. Her performance alongside Chavez is particularly noteworthy, as he demonstrates remarkable self-restraint with his undeniable charm compared to his role as Lyle Menendez in “Monsters.” However, once Father Charlie delves into self-pleasure and mortification of the flesh, he transforms into a familiar, somewhat debauched figure of the clergy – a character type I’ve encountered too often to find even slightly surprising.

Regrettably, there’s a sense of repetition in the initial seasons of “Grotesquerie”. Despite the title and scenes involving retching police officers hinting at something grandiose and undeniably grotesque, what we encounter falls short. Although it is certainly more unsettling than the typical serial killer plotline in the 300th episode of “Criminal Minds”, it lacks the originality and eccentricity found in the “corpse-icle” scene from “True Detective: Night Country”.

Could it be that things will take an unexpected turn when Travis Kelce enters the scene? It seems unnecessary to bring such a well-known figure like him into the mix if there aren’t any intriguing twists planned. For now, though, the team behind Grotesquerie provides enough reasons to keep watching for a few more weeks.

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2024-09-26 22:25