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It’s as though Flanagan drew a line from Poe’s fabled love of opium to the modern opioid epidemic and ran with a thought experiment without giving too much more thought to the emotional essence of Poe’s work. (Poe probably wasn’t even an opium addict.) Perhaps that’s because a part of Flanagan would rather be writing his own stories. House of Usher contains many moments of pure, undiluted horror, stylish and masterful.
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The framing device roughly follows the titular short story plot, as wealthy Roderick Usher (Bruce Greenwood) tells prosecutor C. It’s just a bonus if you understand the importance of ravens, or why Roderick and his sister Madeline (Mary McDonnell) will at times stare meaningfully at a basement’s brick wall. And some references are just Easter eggs, like Dupin being named after a recurring Poe character who is widely considered the protagonist of the earliest fictional detective stories. Located in downtown Los Angeles, the salon offers a full menu of hair styling services for men and women. This includes haircuts, full coloring, highlights, Brazilian blowouts, perms, and conditioning treatments. She specializes in soft hair painting, extensions, and volumizing hair.
Edgar Allan Poe
But with The Fall of the House of Usher — which is likely the final collaboration between Flanagan and Netflix — the showrunner has created his most ambitious story yet. It’s still the slow-burning human drama fans have come to expect, but this time, it tells a much more complex story that touches on everything from AI to the opioid epidemic, all viewed through the lens of gothic horror. Broken up into eight chapters, the six middle episodes of “The Fall of the House of Usher,” each named for a terrifying Poe tale, illustrate the death of one of the Usher children. Fans of creator Mike Flanagan know that his entire body of work sits within the horror genre, but this show is more sinister than chilling. As the episodes press forward, an aura of foreboding is infused throughout the scenes.
A glitzy, gory Poe modernization
However, it’s also a reminder that while the powerful may delay settling a tab, debts must often be paid in blood when collection time comes — whether in one generation or the next. One of the most intriguing components of life is the realization that we all have a tab, and at one point or another, a bill will come due. The 1% who hold the majority of the wealth and influence globally typically don’t abide by these same rules.
If what you came for were eight cycles of impending doom counting down to their garish conclusions, you’re in luck. Flanagan finishes his Netflix contract on a high, gleefully capturing Poe’s magic, eerie romance and sense of dread. His shows have become the streaming service’s best offerings for spooky season, and it is hard to imagine how that void will be filled. It’s not perfect – the order in which the Poe family meet their fates is a case of diminishing returns, as its most intriguing members are dispatched too quickly.
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Although the person described in the song isn’t literally Roderick, the description of physical and emotional deterioration evokes his own, showing self-awareness of his pitiful state. Armed with serene, beautiful cinematography, murky moral developments, and a deep bench of talented character actors, The King Tide is a quiet gem that demands to be seen. There’s a fierce pride in their struggle to survive independently, evident in the simple lodgings and the antiquated alarm bell that is rung whenever fishing ships from the mainland stray too close. It’s a chilly, atmospheric calling card for one of the most picturesque provinces in Canada, but it is a perfect complement for the folk horror narrative.
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Review: “The Fall of The House of Usher” – The Argonaut - Argonaut
Review: “The Fall of The House of Usher” – The Argonaut.
Posted: Tue, 12 Dec 2023 08:00:00 GMT [source]
Since there are more than a couple of fictional representations of the Saclker family in media, the show would’ve been even stronger had it not leaned so heavily into those story fragments, and remained aligned instead with the “Succession” aspects of the series. Also, the framework of the Usher legacy is most poignant when Flanagan shines a light on the twins’ ambitions, even as teens and young adults, as well as their unbridled loyalty to one another. “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. Double Hair Salon is a beauty salon that serves Los Angeles and the surrounding areas. It offers hair cutting and styling services, hair coloring, perms, keratin treatments, head spas, and Balayage.
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.
Stories Books & Cafe is a funky, cozy spot off Sunset Boulevard in Echo Park, with new and used titles packed floor to ceiling. There’s a little cafe in the back with good coffee and fresh food, and an outdoor patio popular with the freelance crowd. If you’re looking for an obscure title, chances are they’ll have it here. There’s also a good selection of gift-y things such as greeting cards, coloring books, magnets and mugs. The story explicitly ties the physical House of Usher to the Usher lineage, stating that the peasants in that domain use the phrase “House of Usher” for both.
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His version of The Tell-Tale Heart is a modern gem, and “The Gold-Bug” is reimagined as a new brand for the Usher company. But the themes remain the same—guilt, obsession, vengeance, and a supernatural sense of justice. 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. Usher has been reimagined as the head of a massive pharmaceutical company he runs with his twin sister, Madeline (Mary McDonnell).
Production design, oddly, is less central, and this is the first of the Flanagan shows not to be a tour de force in that department. The show generally doesn’t look cheap and there are evocative images aplenty, but despite “house” being right there in the title, the domestic locations, however ostensibly opulent, are never memorable. The horror auteur uses his familiar acting troupe and the works of Edgar Allan Poe as the backdrop for an eight-episode takedown of an opioid-pushing family that somewhat resembles the Sacklers. In many ways, Mike Flanagan is the perfect creator for the current era of Netflix. The streaming giant has moved in recent years to making fewer seasons per series, and frequently canceling shows before they’ve finished telling their respective stories. Flanagan technically doesn’t make an ongoing series, but rather writes and directs various miniseries that tend to feature a lot of the same actors, like Carla Gugino, Henry Thomas, Rahul Kohli, and his wife Kate Siegel.
