Mike Flanagan harnesses the horror genre like a quintessential composer. However, the new-age-horror-virtuoso failed last year tremendously with his “Midnight Club,” a rare miss for the maestro. But worry not, he has finally compensated for that and more with one of the most exquisitely crafted shows of his career– an eight-episode curious case of a corporate family in demise. It is a prodigiously created show that proves why Flanagan’s uproar has become an industry sensation so quickly. From its exemplary world design to its beautiful mess to its chase-the-red gore, it is the show to cement Flanaverse’s legacy. So, today we review The Fall of The House of Usher, and in addition, we tell you why sleeping on it is anything but wise.
(Spoilers Ahead!)
Like most other shows by Flanagan, The Fall of the House of Usher presents exemplary storytelling. Roderick Usher, owner of a Fortune 500 pharmaceutical corporation, tells assistant US attorney Auguste Dupin how all his children died. Upon Dupin’s Response that those were all tragic accidents, Roderick unfolds a story spanning eight episodes that is fiercely dark, tragically emotional, and severely consequential. Originally written by Edgar Allan Poe, the narrative is exceptionally well placed into modern-day corporate greed, family values, and conscious fear in a vastly irresponsible world. The story becomes even more interesting as it’s later revealed that Roderick suffers from an incurable brain disease which results in repeated hallucinations. This means an unreliable narrator is telling the story, and we are struck with the question, does Roderick’s narrative have any truth at all, or is it just all a trippy construction of an old man with a terminal illness? This small detail becomes a well of confusion, which is even better!
Each character is also perfectly weighted with a sincere approach to their backstory. The offsprings of Roderick initially appear no more than spoiled wealthy adults, but as we dive deep into the story, they unfold as dynamic characters. They have been supplemented with a seemingly infinite amount of wealth throughout their life, which explains their disconnection to external empathy. Roderick later explains that his children came to him as humans, but as he guided them with nothing but wealth, they lost their innocence. Their greed is their demise.
The episodes go back and forth in time, telling two parallel stories. In one, we explore Roderick and his sister Madeline’s ascension from humble roots, Dupin and Roderick’s friendship and how it bittered, and Roderick and his wife Annabelle’s failed marriage. In another, we find the present-day narrative where each offspring meets a brutal fate. Roderick tells both stories in a braided structure, creating a synchronous effect that is tremendously beautiful.
It is worth noting that Roderick’s presence has found justice in Bruce Greenwood’s exemplary acting. On the other hand, Madeline, Roderick’s sister, is someone best defined by the term “controlled chaos”. She is clever and composed. It is her genius that Roderick and Madeline’s lives on a fateful night were exponentially bettered, shooting both through unprecedented stardom. Other characters, like Dupin and Annabelle, are outstandingly realized, and even in a story that boasts its grim tone, they always remain a positive force. It is not new that Flanagan’s casts are always absolute knockouts, and thankfully that again is the case.
Every other thing, including production design, editing and music, is on par with the quality of the story and characters so profusely created by Flanagan. Nevertheless, why should you see it? The answer is a one-liner: to become informed about manipulative indoctrination. It’s easy to understand corporate greed, but harder to fathom the gravity of its construction. This show masterfully takes a story and turns it into a cautionary tale about how billion-dollar ventures are curated to keep us in an oblivious bubble.
There is one scene in particular, which uses ‘lemons’ to emphasize the process of media manipulation. In this monologue, Roderick encapsulates corporate malevolence in an uncut two-and-a-half-minute scene where he eloquently recites each line. To comprehend what we are burdened with in a world of severely manipulating agendas, this show is a simple crash course for you to chew on.
Mike Flanagan is a modern-day genre saver. His horror embodies mortal demons residing inside human characteristics. This makes his shows responsive, and it is comprehensibly visible in his latest venture. As we delightfully enjoy his works, we ask, how will his next creation be any better, because The Fall of The House of Usher is perfect.
Saugata Debnath can be reached at [email protected]