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Each Usher kid has their own episode, which, while they all talk to each other, gives each actor embodying the crazed Poe tale the space to do the absolute most without devouring other actors in their space. In other episodes and characters, we see iterations of The Tell-Tale Heart, The Pit and the Pendulum, The Masque of Red Death, The Premature Burial, The Black Cat, William Wilson, The Cask of Amontillado, The Raven, and substantially more. But the narrative mostly lacks the poetic sensibility and depth of feeling, the weight of profundity that makes Poe such a perennial favorite.
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Roderick Usher’s children are getting what they deserve, not merely because they are the fruit of a very poisoned tree but because they have made horrific decisions to stay in the shelter of wealth and privilege. The Fall of The House of User doesn’t match the near perfection of Flanigan’s other series. The focus on modern problems in such overt terms often comes across as insincere and hamfisted. However, despite this, the series has a grim charm that captures the spirit of Poe that somehow it’s messiness captures. Any disjunction the series feels in balancing the massive personalities in its stacked cast is mostly solved by the almost anthology format.
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It was met with positive reviews, with critics praising its production values, directing, and performances (in particular from Gugino, Greenwood and Mark Hamill), although they were divided on its narrative, notably in relation to the source materials. Mike Flanagan (for me) is personally one of the best horror directors out there today. The Fall of the House of Usher is a great way to exit from Netflix. Im only a couple of episodes into The Fall of the House of Usher and I'm loving it. I'm enjoying the way the story is being told, and I love the overall atmosphere of it and the family drama.
A glitzy, gory Poe modernization
For instance, references to the famous poem “The Raven,” the classic revenge story “The Cask of Amontillado,” and the titular short story occur throughout. This litany of allusions ranges from blatant to coy, clever to annoying. At one point, Roderick’s stone-faced lawyer Pym (a superb Mark Hamill) mentions having a guest for dinner, a reference to the original Poe narrative in which another Pym cannibalizes said guest. One character even bears the name of Poe’s real-world enemy, Rufus Griswold. Flanagan tends to work with a core rotating ensemble of actors, similar to American Horror Story’s anthology approach to recurring casts. This series, they all commit themselves completely to the conceit that they’re in some kind of Poe-ian shadow world, effortlessly dropping off-kilter lines from Poe poems and novels alongside zings and barbs about NDAs and PR spin.
Though the series’ title comes from only a single source, fans will already recognize that this is more of a hodgepodge. There are familiar character names, directly absorbed plotlines, overt and subtle visual nods. This is the first of Flanagan’s series that I have seen, but I can say I am now ready to binge every single show he has ever made! It is hard to put into words just how amazing this series is without listing spoilers, so I am going to do my best! The series kept me on the edge of my seat, which is hard to do because I love horror, and I feel like I know what to expect early on in a project. There are so many twists and turns, but the very best part of this series is the phenomenal storytelling.
The narrator also notes that Madeline's body has rosy cheeks, which sometimes happens after death. Over the next week, both Roderick and the narrator find themselves increasingly agitated. Of course, that tragedy is more for the patriarch than it is for us, and their deaths, while instrumental to the story, aren’t really what it’s about. Though their respective demises come in varying degrees and patterns of awful, almost every member of the House of Usher is despicable in their own way. Imagine watching Succession and seeing each of the series’ miserable players get what they deserve in the most lethal way possible? That’s the type of delicious schadenfreude that The Fall of the House of Usher offers.
Instead of adapting every scene, he chooses to adapt the spirit and emotion from the works, and in that way, The Fall of the House of Usher is a beautiful and intimate look at the works of Edgar Allan Poe and not just an adaptation of one story. The bedroom door is then blown open to reveal Madeline, bloodied from her arduous escape from the tomb. In a final fit of rage, she attacks her brother, scaring him to death as she herself expires.
As the narrator reads of the knight's forcible entry into the dwelling, he and Roderick hear cracking and ripping sounds from somewhere in the house. When the dragon's death cries are described, a real shriek is heard, again within the house. As he relates the shield falling from off the wall, a hollow metallic reverberation can be heard throughout the house.
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For example, the Poe short story “The Black Cat” is originally about a murderous addict who succumbs fully to his violent impulses. But in the House of Usher episode “Black Cat,” that aspect of the focal character is almost entirely absent because we barely spend any time with him before he’s battling his furry demon. Instead, that psychology gets handed to the subject of the “Pit and the Pendulum” episode. As a result, that episode has little in common with its origin source, while “Black Cat” lacks any of the depth and murderous intensity that makes Poe’s story so memorable. The “Murders in the Rue Morgue” episode features death by primate. The episode named after “The Masque of the Red Death” becomes a modern-day bacchanal that goes horribly wrong.
Roderick and Madeline are the only remaining members of the Usher family. In bringing Poe’s fables to the contemporary world, Flanagan’s The Fall of the House of Usher centers on some of today’s greatest evils. Fortunato – the Usher’s pharmaceutical company and a name plucked from Poe’s “The Cask of Amontillado” – is the core driver behind all of Roderick and Madeline Usher’s actions. Meanwhile, the latter’s obsession with immortality is constantly playing on the fringes, only brought to the forefront to appropriately mock AI and any place it has in storytelling or the human experience as a whole.
Loosely based on various works by 19th-century author Edgar Allan Poe (most prominently the eponymous 1840 short story), the series adapts otherwise unrelated stories and characters by Poe into a single nonlinear narrative set from 1953 to 2023. It recounts both the rise to power of Roderick Usher, the powerful CEO of a corrupt pharmaceutical company and his sister Madeline Usher, the firm's genius COO, and the events leading to the deaths of all six of Roderick’s children. It stars an ensemble cast led by Carla Gugino as a mysterious woman plaguing the Ushers, Bruce Greenwood as an elderly Roderick and Mary McDonnell as an elderly Madeline. “The Fall of the House of Usher” updates the work of Edgar Allan Poe for the era of Big Pharma, turning his most famous tales into a sprawling story of the decline of a wealthy American family. It’s “Succession” meets The Tell-Tale Heart, a story of vengeance, power, betrayal, and bloody parts. The eight-episode mini-series reimagines eight of Edgar Allen Poe’s most recognizable tales and features countless references to some of his other works.
In 1956, NBC Matinee Theater on US television broadcast The Fall of the House of Usher starring Marshall Thompson and Tom Tryon for episode 197. In 1950, a British film version of The Fall of the House of Usher was produced starring Gwen Watford, Kay Tendeter and Irving Steen. Like Madeline, Roderick is connected to the mansion, the titular House of Usher.
From his arrival, the narrator notes the family's isolationist tendencies, as well as the cryptic and special connection between Madeline and Roderick, the final living members of the Usher family. Throughout the tale and her varying states of consciousness, Madeline completely ignores the narrator's presence. After Roderick Usher claims that Madeline has died, the narrator helps Usher entomb Madeline in an underground vault despite noticing Madeline's flushed, lifelike appearance. The partners didn't do as much as they should have to take care of their people, considering their circumstances. But it broke my engagement when I couldn't help but think these people should've shown more concern and love. Like you look at Leo - if it was me, I would've immediately drawn his attention and enticed him to come with me.
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