Compare IT: Welcome To Derry vs American Horror Story, Season 13

The violence is extremely graphic and can be effective horror for some viewers, while others find it excessive or hard to watch.

Viewers who approve of the slasher violence find the clown massacre and Piggy Man sequence entertainingly gory highlights.

Frequent strong profanity is treated as a major content concern rather than a neutral detail.

One viewer accepts Madison’s offensive language as part of her established abrasive persona, although the phrasing of her new line still feels awkward.

The dual child/adult structure can broaden Derry effectively, while the strongest pilot uses its setup and reversals especially well.

Splitting the material into short, separate installments can feel arbitrary and uneven. Several viewers would prefer a longer episode that intercuts the storylines and sustains their connections.

Some relationship drama is viewed as forced rather than organically earned.

The grief dinner creates genuine interpersonal tension when Ashley’s uncomfortable remarks complicate Ben’s idealized memory of Kira.

The show can swing abruptly between serious horror, emotional drama, and sillier spectacle, creating tonal friction.

The return to camp, grotesquerie, and dark comedy delights many longtime fans. Others find the switches between cartoonish ritual, grief drama, and serial-killer jokes unstable.

Connections to the films and wider King universe are a major draw, although the Easter eggs can become overbearing for some viewers.

The all-star reunion offers a rewarding homecoming for devoted fans. Its weakest moments reduce familiar characters to recognizable lines, disposable sacrifices, or cameos without enough story purpose.

The season earns praise for ambitious lore and emotional stakes, but the military plot and overloaded structure divide critics.

The caregiver mystery and witch conflict offer promising material, but the season’s overall story sharply divides viewers. Admirers see a return to form; critics see recycled plots struggling beneath cameos and exposition.

Many critics connect with the layered fears, grief, and friendships, although some reviews find portions of the ensemble underwritten.

Constance’s pact and some of the human grief material add welcome depth. Ben can feel underwritten, and critics of the second batch find the returning characters largely static.

When the character bonds land, the series can be moving and heartbreaking; weaker reviews say some intended emotional beats fail to resonate.

Cordelia’s apparent death hurts despite confusing plotting for one writer. Another finds the relentless numerical coincidences turning intended tragedies into jokes.

Effects quality varies sharply by episode, improving late in the season but suffering from conspicuous digital work earlier.

Mr. Nas’s grotesque body and transformation feel vividly tangible, and the bath sequences earn praise for their execution even when the imagery is unpleasant.

Direction earns strong praise for atmosphere, visual control, and the show's most effective horror sequences.

Murphy’s premiere direction is praised for unsettling atmosphere and focused visual choices. Another critic finds the repeated use of signature techniques too predictable.

Some military logic, character decisions, and plot mechanics strain credibility even within the supernatural premise.

Ben’s use of a chatbot feels believable to one viewer, but Ashley’s behavior is difficult to accept as that of a real person unless later revelations explain it.

One family-oriented review strongly objects to explicit bodily imagery and nudity in the horror material.

The intimate sponge-bath and urethra-cleaning material is repeatedly described as gross or uncomfortable. Praise for its execution does not remove that objection to the experience.

Suspense is inconsistent; the best sequences build real dread, but weak CGI and fragmented plotting often break tension.

The unsettling patient, confined penthouse, and looming supernatural conflict create strong dread for many viewers. Others find the mystery too heavy-handed or the tone too silly to sustain fear.

Early shocks and later reveals are among the most widely praised storytelling moves, especially the premiere's major reversal.

Ben’s unexplained 616 branding is praised as a restrained, intriguing reveal. Other disclosures add questions faster than the story establishes their meaning.

Horror effectiveness is highly uneven: some critics found the series terrifying and inventive, while others found many scares silly, repetitive, or too CGI-heavy.

The sinister caregiver mystery and witch conflict can restore the series’ camp horror appeal. Critics find other stretches too familiar, too fantastical, or too tonally confused to frighten or entertain.

Long episodes can feel bloated when the story slows down or repeats information.

The half-hour format is the most persistent practical concern, with some installments closer to twenty minutes. It helps quick viewing but often leaves too little room for the large ensemble and connected story.

Dialogue is a recurring weakness, with complaints about clunky exposition, wooden exchanges, and overly obvious monologues.

Lange’s sharp delivery can make the conversations entertaining, but repetitive explanations and awkward attempts at wit are common complaints. The date-night exchanges particularly strain credibility for some viewers.

Opinions split between fresh expansion of King lore and the sense that the show is repeating the Losers Club formula.

The shared-universe framework offers intriguing possibilities, but critics see recycled satanic plots, familiar scares, and a plane sequence reminiscent of Final Destination.

The premiere is widely seen as bold and memorable, with its opening and late twist frequently singled out even by otherwise negative critics.

Several viewers enjoy the atmospheric opening and disturbing plane sequence. A strongly dissenting reaction finds the three-part premiere lazy, chaotic, and insufficiently developed.

Casting, especially among the younger performers, receives strong praise and is repeatedly treated as a major asset.

The reunited veterans are a major attraction, and several viewers welcome Pollari and Waters as additions. One critic finds Peters too young for the historical-killer role being discussed.

The large ensemble can feel overstuffed, with too many characters and subplots competing for attention.

The crowd of returning personalities often overwhelms the available time. Several beloved figures receive little beyond an entrance, a ritual cameo, or a brief nostalgic exchange.

The deeper history of Derry, Pennywise, and the wider King universe is one of the most consistently praised elements.

The deep mythology rewards fans who enjoy tracing old storylines and recognizing details. It can also overwhelm viewers who skipped seasons or need clearer connections.

Script reactions are mixed, ranging from a strong pilot to complaints about contrivance and implausible dialogue.

Heavy exposition repeatedly replaces scenes that could dramatize the mystery or grief. Redundant backstory recaps and explanations make the writing feel less confident in its audience.

A few critics flag inconsistent character behavior and logic as part of the show's uneven writing.

Constance’s wish to recover her children is a convincing continuation of her maternal obsession. Elsewhere, altered behavior and selective knowledge make familiar characters feel unlike themselves.

Editing draws unusually sharp criticism for jarring transitions and weak rhythm.

Frequent cutting makes the opening story feel less fluid to one viewer, who wants scenes to connect more smoothly.

A small number of critics strongly object to the use of real-world trauma and prejudice as shock material.

One critic objects to portraying old age as inherently creepy. Another finds the use of Dahmer’s real predatory behavior as an app joke careless and unearned.

Multiple storylines and dense lore can make the narrative feel scattered, overloaded, or difficult to track.

New answers gradually emerge, but the many characters, rituals, and shifting timelines remain difficult to connect. Some enjoy the mystery; others want a clearer account of what is happening and why.

CGI is the clearest technical weakness: multiple critics found creature work obvious, cartoonish, or distracting even when the underlying scare ideas were strong.

Tate’s repeated mask removal looks conspicuously artificial to one viewer, with the apparent floating-head effect becoming a distraction.

Bill Skarsgård's Pennywise is usually a highlight when present, but many critics complain that the clown is held back too long or underused.

Mr. Nas’s silent stares, grotesque movement, and mysterious role make him an effectively creepy antagonist. The ominous threat and unsettling doctor also generate interest.

The music is repeatedly praised for heightening dread without overwhelming the drama.

The gothic orchestral music strengthens the infernal atmosphere, and the return of recognizable themes is enthusiastically welcomed.

Themes of fear, racism, collective apathy, and cycles of violence can add real weight, though some critics find the treatment too broad or didactic.

The number 13 can be effective connective tissue, especially for viewers who enjoy its meta framing. Repetition and reductive occult imagery leave others feeling that symbolism is standing in for depth.

Cinematography is usually praised for making Derry picturesque, eerie, and cinematic, though one review found it bland.

Fisheye lenses, disorienting angles, and rich color contrasts restore a distinctive horror atmosphere. Admirers find the images cinematic, while one critic sees the familiar techniques becoming repetitive.

Performances are one of the most dependable strengths, with frequent praise for both the child ensemble and key adult leads despite a few complaints about stilted moments.

Lange and the returning ensemble frequently elevate the material, while Pollari divides viewers between a useful audience surrogate and a flat lead. Some performances still feel strained or artificial.

Several critics found the expanding mystery easy to get hooked on and were eager to continue once the story gained momentum.

Brief episodes make the opening batch easy to watch together, even for someone who normally prefers taking a series slowly.

The young ensemble often sells the friendships and group dynamics, though some critics feel the chemistry falls short of the 2017 film.

Ben and Ashley can feel surprisingly grounded together, while the returning Cult siblings provide entertaining dinner-table friction. The bond between Pollari and Lange also supports their shared scenes.

Added rules and weaknesses around Pennywise sometimes make the entity feel less unknowable or less threatening.

Repeated alarm over witches developing new abilities feels routine to one viewer, making each supposedly momentous escalation less convincing.

A slow or uneven first half is a common complaint, with many full-season reviews saying the back half improves substantially.

The season often seems slow to move beyond reintroductions and setup. Later batches offer stronger conflict, but disconnected strands and a dull middle episode weaken momentum.

Individual episodes are unevenly paced, with slow stretches, rushed revelations, and a frequently criticized midseason lull.

Brisk horror sequences compete with prolonged introductions, recaps, and static conversations. The fifth episode is frequently singled out for dragging the momentum down.

Where practical creature work is used effectively, it is praised as more convincing than the weakest CGI.

The clown-school massacre earns strong praise for its practical effects, which help make the carnage an enjoyable horror highlight.

The core kids are often easy to root for, and several reviewers became emotionally attached to them quickly.

Constance remains a compellingly acidic presence, but Ben is often considered bland or frustratingly passive. Tate’s self-pitying ritual speech also irritates some viewers.

The series is presented as accessible even to newcomers who have not read King or watched the films.

Longtime fans get the most from the returning characters and dense callbacks. The central caregiver mystery can work for newcomers, but many find the required background daunting.

Critical response is visibly divided, with rave notices for craft and terror alongside sharp complaints about plotting and scares.

Reports of early critical reception are favorable, although they describe small samples and contrast sharply with less satisfied audiences.

The episodic format gives Derry, its history, and its mythology more room to breathe, which many critics see as a major advantage.

Global grave robberies and the expanding supernatural setting suggest an ambitious larger threat. Inconsistent rules and oversimplified occult symbols can undermine that promise.

Sound design and immersive audio are praised for making quiet scenes threatening and big sequences more enveloping.

Cracking bones, labored breathing, and ominous audio contribute to a familiar, deeply unsettling atmosphere around Mr. Nas.

Period clothing is consistently praised for helping transport the show convincingly into the early 1960s.

Jamie Brewer’s scalloped neckline earns an enthusiastic reaction as a charming detail in the dark holiday gathering.

Sets and overall production design are major strengths, giving Derry a polished, period-specific identity.

The lavish penthouse, carefully arranged rooms, fiery settings, and rich gothic detail are reliable strengths. The visual polish often outlasts confidence in the story.

Derry often looks polished and striking, especially in credits and period design, but flat lighting or artificial backdrops occasionally undermine the look.

Lavish gothic imagery, bold lighting, and distorted camera angles restore the recognizable early-season atmosphere. Some viewers enjoy the excess even when the plot is weak.

Adult supporting work is generally respected, even when critics feel the material gives those actors too little to do.

Petsch’s absurd cheerfulness and Notaro’s deadpan comedy fit the heightened world particularly well, bringing energy to brief appearances.

The main ensemble, especially the younger cast, receives broad praise for carrying fear, grief, and emotional stakes.

Lange repeatedly emerges as the opening season’s anchor, with Peters and Paulson also providing welcome range. Even admirers of the actors sometimes find their showcases unable to rescue the script.

Even mixed reviews often find stretches fun or entertaining, especially when the horror, lore, and Pennywise material are working together.

The reunion ranges from wickedly enjoyable camp to an exhausting, tedious exercise in nostalgia. The clown massacre and Lange’s scenes are common pleasures, while Date Night draws especially harsh complaints.

An affected Mid-Atlantic delivery grates in the serial-killer storyline, making the performance feel studied rather than natural.

The plane disaster is praised for its staging, and the Piggy Man attack supplies a striking slasher set piece. Implausible reactions can weaken the latter’s impact.

The interconnected reunion loses some of the appeal of a season that can be watched independently, especially for viewers who enjoyed skipping installments that did not suit them.

The ensemble’s diversity is valued as a strength, with Jamie Brewer emphasizing the range of people the series brings on screen.

The portal reveal and witch attack create excitement for some viewers. Others find Cordelia’s apparent death cheap or emotionally empty because resurrection seems almost inevitable.

The intersecting timelines offer ambitious possibilities, but unclear ghost rules and confusing time progression frustrate viewers. A cast member describes the planned intersections as carefully coordinated.

The focus on racism, civil rights, and Indigenous history is often seen as meaningful, but some critics call parts of the treatment shallow, stereotyped, or heavy-handed.

The Portuguese dub cast is enthusiastically praised, with Mônica Rossa’s performance singled out as beautiful while the former voice is fondly missed.

The expansion feels King-like to some critics, while others question creative liberties or fan-fiction-like additions.

The show is emphatically not family-friendly because of graphic violence, disturbing imagery, and strong language.

Lange’s acidic instructions, the squabbling siblings, and self-aware ritual moments can be very funny. Other viewers find the modern killer jokes unnecessary or the camp undercut by self-seriousness.

Mr. Nas’s makeup is a standout for its grotesque detail and impressively convincing execution.

Some embedded audience commentary strongly rejects the show's perceived contemporary political framing.

Cars, clothing, sets, and social context often sell the 1960s setting, though one critic found the era artificial and unlived-in.

Ben’s decision to remain around obvious supernatural danger makes him seem implausibly passive to one frustrated viewer.

Weekly batches encourage enjoyable theorizing for one fan. The changing batch sizes and staggered international availability can also be confusing or frustrating.

Interest in more seasons is positive overall but not universal; some reviewers are eager for more lore while others fear repetition.

The Ben–Ashley connection occasionally feels grounded, but several viewers find Date Night painfully dull or dramatically pointless. The earlier relationship with Kira also fails to interest one admirer of the lead actor.

The later episodes and finale earn substantial praise for spectacle and payoff, though a few critics found the ending bland or disappointing.

One optimistic viewer sees the compact total runtime as a possible restraint on the franchise’s tendency to wander away from its plot.

The prequel's value is contested: some call it essential or worthy, while others see it as unnecessary franchise extension.

Missing release-time information makes finding the UK premiere frustrating, particularly for viewers hoping to watch before work.

Disturbing opening imagery, season-title books, and the familiar atmosphere make the titles an effective return to the series’ older horror identity.

The human-scale grief thread is praised as the strongest material in one critical assessment, particularly when shared loss produces uneasy intimacy rather than another explanation.

The graphic horror and disturbing material are viewed as inappropriate for children.

Tig Notaro’s arrival is welcomed, with her deadpan presence adding a surreal comic edge to the clown-school sequence.

The promised return to the original tone feels delivered to one viewer. Another sees the vague promotion as a reflection of the season’s unfocused collection of fan favorites.

Returning themes and Elsa’s musical number are enjoyable highlights for many viewers. One strongly negative reaction regards the extended Elsa showcase as unwanted time away from the story.

The physical 4K release is described as economical and well stocked with extras for committed fans.