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In addition to the literary selections, you’ll find meditation sessions, game nights, story time, book talks and clothing swaps. This formerly Silver Lake now Atwater Village comic book and graphic novel shop has shelf upon shelf of illustrated stories, as well as beautiful art books and local zines. If you’re into illustrated stories, this is the place to go—the shopkeepers will geek out with you over the newest issue of Aquaman or the sophomore effort of a graphic novelist.
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But the show drowns in its uneven grasp of the source material, when it needn’t have relied on source material at all. The key to the ideal Flanagan series likely lies not with more cherry-picked adaptations, but with more stories that are entirely Flanagan’s own. This setup allows the show to flit between ongoing references to well-known Poe themes and episodes focused on a specific story. 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.
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As writers, both Poe and Flanagan are moody, more than a bit shameless, and obsessed with psychological and philosophical questions about death, grief, and loss. Poe’s infamous short story that provides a basis for this work possesses an additional affinity with Flanagan because it shares his obsession with family. Like some of Flanagan’s previous work — Hill House is based on a Shirley Jackson novel and Bly Manor a story by Henry James — House of Usher is the kind of adaption that uses the source material as a skeleton to build something entirely new upon. Since The Haunting of Hill House debuted in 2018, Mike Flanagan has steadily built up an impressively diverse anthology of limited series on Netflix, with releases coming on a near-annual basis. The intervening years have included a romantic puzzle box, a small-town vampire story, and a collection of teen ghost stories.
The Fall of the House of Usher review – a gleefully terrifying take on Edgar Allan Poe - The Guardian
The Fall of the House of Usher review – a gleefully terrifying take on Edgar Allan Poe.
Posted: Thu, 12 Oct 2023 07:00:00 GMT [source]
The Fall Of The House Of Usher review: The guy who does horror with heart takes on the heartless
It's pure Gothic horror, a genre that inspired Poe's many short stories and poetry in the early 19th century. Though enjoyable, the middle episodes of “The Fall of the House of Usher” do drag a bit. The narrative shifts away from the motivations and desires of the Usher children, focusing more on Roderick and Madeline as perpetrators of the opioid epidemic. This element of the series was often too on the nose, and much less compelling than the random displays of immorality and wickedness that make the Ushers rotten to the core.
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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. Each episode owes something vaguely thematic to a different well-known Poe short story, with the manner of death unfolding in a Final Destination-like hodgepodge of calamity. The gruesome deaths of the Ushers (a clear analogue of the Sacklers) are supernatural retribution for America’s opioid crisis, which Usher helped, um, usher in. The ghastliness of the epidemic seems to have summoned a supernatural Lady Death, a.k.a. Carla Gugino, OG member of the Flanagang, who dons a series of personas in order to hasten the Ushers to their fates.
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All of these nightmarish visions are attached to the family drama that Usher offers up for Dupin, giving the season a clever episodic structure in that each chapter intertwines a different Poe source into the overall saga of the Ushers. After 20 years of growth, Planet Salon now consists of an elite team of exceptional stylists and color specialists. They are located in Los Angeles, California, and have excelled in an industry that is competitive and challenging.
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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. Like Hill House before it, House of Usher features a good blend of slow, spooky scares and outright shrieks as Roderick recounts his complicated tale to Auguste in the musty carcass of his childhood home. Both the past and present timelines are filled with the kind of horrors you’ve come to expect from Flanagan, but he really flexes in the methodology of murder as tragedy barrels its way through the Usher family. Roderick has come from a miserable childhood with a puritanical, sickly mother who believes that “pain and suffering are the kiss of Jesus”. The family is made up of Flanagan’s regular ensemble of actors, and to buy them as relatives requires a lot of suspension of disbelief, but for Flanagan fans, there’s great fun to be had seeing how these favourites fit into his new tale of terror.
A glitzy, gory Poe modernization
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From Susan Davis’ costume department to the extensive visual effects team, each crew came together to deliver their absolute A-game. The new entry into the Mike Flanagan pantheon is always firing on all cylinders, and it’s sure to join many a fan’s annual rotation of spooky time traditions. What Flanagan and his team of writers did wasn’t just develop individual odes to “The Masque of the Red Death,” “The Black Cat,” “The Tell-Tale Heart,” and more – they married them together to create what is one of the most impeccable shows in recent memory.
When one steps back and looks at the whole narrative of the season of “The Fall of the House of Usher,” it sags in places. Most of the flashbacks to a young Usher and Dupin are thin, especially compared to the wicked fun on display in the fates of the Usher children. It feels like padding to get episodes to a full hour when Flanagan and company could have leaned even more into the episodic structure that highlights a single Poe per chapter.
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