(Untitled screencap of Constance Langdon)
In this chapter, we learn that self-monitoring helps us manage our self-concepts by adjusting our behavior to project a desired public image. In the first episode of American Horror Story, Constance Langdon proves to be an incredibly low self-monitor.
In this scene, Constance has invited herself into her new neighbors' home to introduce herself. "People on the low end express whatever they are thinking or feeling without paying attention to the impression they're creating" (Floyd, 2011, p. 79). Fitting this explanation perfectly, Constance ignores the cues given by Vivien, consisting of short answers and uncomfortable facial expressions. She instead jumps right in to a personal story about having a daughter with Down Syndrome and how her dreams of having a film career didn't pan out.
In this scene, Constance has invited herself into her new neighbors' home to introduce herself. "People on the low end express whatever they are thinking or feeling without paying attention to the impression they're creating" (Floyd, 2011, p. 79). Fitting this explanation perfectly, Constance ignores the cues given by Vivien, consisting of short answers and uncomfortable facial expressions. She instead jumps right in to a personal story about having a daughter with Down Syndrome and how her dreams of having a film career didn't pan out.
"Because low self-monitors are less skilled than high self-monitors in adjusting their behaviors to the demands of the social situation, they frequently appear unsophisticated or socially awkward. As a result, they are more likely to make a poor first impression" (Floyd, 2011, p. 80). Indeed, walking into a stranger's home without knocking and using phrases like "green pasture" and "mongoloid" within a few minutes of meeting does not make a good impression. That's not the only social norm Constance ignores in the scene, though. Constance soon leaves, but not before commenting that she thought "those people" (meaning the gay couple who lived in the home before the Harmon family) had style and offering another iconic extremely low self-monitoring line that is completely dismissive of Vivien (Murphy & Falchuk, 2011).