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´´La Caída de la Casa de Usher´´: Primeras Imágenes del Nuevo Horror de Mike Flanagan.

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TV Show - The Fall of the House of Usher

After an entertaining and very well-made first season of Only Murders in the Building, I felt the need to dive into something different. I remembered that I had once started The Fall of the House of Usher but turned it off right after the opening scene in the church. However, during a little book shopping tour, I saw a beautiful edition of The Fall of the House of Usher (which I ended up not buying), and it made me think I should give the show another chance.

Although Edgar Allan Poe's short stories serve as the inspiration, you quickly realize the allegorical nature of the characters. Yes, they are exaggerated and often over-the-top, but it also becomes clear that there are real-life counterparts. I won’t go into detail about whom those real-life figures might be—you’ll have to figure that out for yourself.

As a heads-up, comparing the characters to real people while watching the show can be quite entertaining!

This doesn’t only apply to the characters, though. Themes like ultra-wealthy family dynasties, abuse of power, and the corrupt practices of the pharmaceutical industry are also explored.

You quickly learn that the show revolves around the Usher family, though it takes a while for the details to unfold. What is revealed in the opening minutes is that it’s about the legacy of the two Usher siblings and why all of Roderick Usher’s children are dead. Along with that, we meet the prosecutor, Auguste Dupin, and with that, we have the main group around which the story centers—so it seems.

The first episode sets an intriguing framework and shows us right away that standard storytelling methods are only partially in use here. The conversation between Roderick Usher and Auguste Dupin serves as the base, and from there, many threads branch out across different time periods. Rarely is any timeline told all the way through; instead, there are constant additions. You can sense this storytelling style right from the first episode, and it skillfully weaves in a tension-filled narrative arc.

Fortunately, as I already peeked ahead a little, this applies to the storytelling around the children's deadly circumstances as well. "First episode for introduction, then one episode per child, and the last episode as the big finale." But that’s not how things will unfold here—you notice that right at the beginning of the first episode. Throughout, this unique storytelling style becomes more evident. The narrative constantly shifts back to Roderick and Auguste, to the past, or to scenes involving one of the other children. It doesn’t focus too heavily on just one scenario. This can be challenging for the viewer, but also refreshing.

Another point that stands out immediately is the style and visual presentation of the series. Sometimes it’s obvious, and sometimes it’s not, but CGI is often used as a tool to enhance scenes. As grand and inflated as some characters may seem, their surroundings reflect this as well. A strong contrast here is the location of the conversation between Roderick and Auguste, which takes place in the now decaying and dilapidated Usher family home.

I’m really looking forward to what’s to come, even though I already know a lot due to my overly eager research after the first episode. But that doesn’t bother me at all, as the visuals, as mentioned before, are captivating, and I’m excited to see what other challenges the show has in store for me.

TV Show - The Fall of the House of Usher II

In this episode, it quickly becomes clear that Roderick Usher isn't as sharp as he might have once seemed. At the same time, a mysterious woman is introduced—she’s appeared before, but oddly always in different forms.

The focus, however, is on Perry, who has been rejected by his father and aunt when he pitched what he believed to be a brilliant idea for a club. At first, their harsh response seems unfair, because from a distance, Perry's idea, though elitist, flashy, and a bit perverse, somehow fits. You’re left wondering why they dismissed him so brutally.

As the Usher family's story unfolds, you start to understand the reasoning behind this rejection, even though Roderick has already told Perry straight to his face. Either you change the world or your idea goes straight to the trash—anything less is unworthy of an Usher. Is this the secret to the family's success?

We also learn in this episode that there’s a mole in the legal case against the Ushers, led by Auguste Dupin, who is leaking information to the prosecution. Naturally, the Ushers won't stand for this. Their lawyer, Pym, immediately drafts new confidentiality agreements, which all family members and their partners must sign. This plot line alone is powerful, showing both how the Ushers operate and the wealth they use to protect themselves.

As for the mole, I have a theory, but I'll wait until I have more evidence. Now, back to Perry!

Determined to prove his father wrong, Perry throws an extravagant, orgy-like party. But just as he aims high, he falls just as hard—poor Icarus, metaphorically speaking. It fits perfectly with what happens: while the acid may have physically killed him, it was his hubris and ego that were the real culprits. Too bad for him that his brother’s wife, the person he was trying to get back at, survives, and I’m sure her story isn’t over yet.

I like how this episode focuses on Perry, while still giving us glimpses of the others—there's some crazy stuff happening, but it’s not shoved in your face. That’ll sure come later, but for now, we’re just getting small bites. The scenes with Auguste, Roderick, and Madeline working in the basement add even more intrigue.

Another aspect I appreciate is the deeper exploration of Roderick and Madeline’s past—how they became such a powerful family and built their wealth. The way this is woven into the present-day storyline adds the right amount of context just when it’s needed.

The episode also touches on the painkiller Ligadone, its supposed side effects, and how addictive it can be. I wonder if this is another reference to the opioid crisis in the U.S., where drugs like Oxycodone and Fentanyl have caused widespread addiction.

Many doors have been opened, and I’m eager to see what paths, obstacles, and dark secrets lie behind them. I’m also hoping we’ll learn more about the mysterious woman, who keeps appearing in different forms.

I’d love to see the visuals continue to evolve—the series' style, especially how it portrays different time periods, is something I really enjoy. On the surface, it might seem lavish and exaggerated, but when you look closer, you find something distinctly Edgar Allan Poe-like. I wish more shows would dare to take these kinds of creative risks.

TV Show - The Fall of the House of Usher III

How can you tell if a series is excellent? It completely absorbs you, making you forget your surroundings. I notice this strongly with The Fall of the House of Usher, especially at the end of each episode when the logo appears with that spine-chilling sound. It’s already shocked me three times because I completely lose track of time and have no idea how much more is left.

We learn that Roderick and Madeline's beginnings were far from easy, even though they have a certain right to the company. Remember, their father was the former manager of Fortunato before he was strangled by the siblings' resurrected mother.

By now, you start to understand how the series works, and your mind begins to race. From the beginning of each episode, you start wondering which of the Usher children will die next—and more importantly, how.

Right after it’s revealed that Perry is dead, and that the family should keep a low profile because of the ongoing trial, we see Camille in full swing. She’s trying to exploit her brother's death, and the more you listen to her, the more realistic her plans seem. Every tasteless media strategy she suggests has been done before in real life. We’ve all seen people turn the death of a loved one into a way to promote themselves. Whether intentional or not, there's always that small voice in the back of your head saying something feels off. I think when that voice speaks up, someone like Camille is behind it.

But Camille's curiosity and ambition, especially with her role in the Usher family, ultimately lead to her downfall. She’s suspicious of her sister Victorine, doubting her research is as advanced as she claims. Naturally, Camille starts snooping around and comes across one of Victorine's chimpanzees, which becomes rabid (not literally, but in a state of rage) and mauls her. She dies from her injuries, but not before taking a picture of the mysterious woman, revealing the chimpanzee.

I haven’t mentioned Juno, Roderick’s current wife, yet. Honestly, the series hasn’t really given me a reason to. She’s there, she has her own backstory, and she’s apparently taking an insanely high dose of Ligadone, but that's about it. Maybe there’s more to come, but for now, she feels more like a side character.

What Roderick says about the lemon is fascinating. It sounds eerily familiar, doesn’t it? There are products that have followed this exact trajectory, and I’m not naming names, but we’ve all seen it happen. The way he describes the campaigns and all the steps they take—it’s incredibly relatable. These kinds of things aren’t often revealed openly, and it can take years or even decades for the truth to come out. But this isn’t even allegorical anymore—it’s a direct parallel to the real world. Given the series' setting, it could be interpreted as the result of the very process Roderick describes. Not a very comforting thought.

We’re getting a clearer picture of the Usher family's shady dealings, and it’s not just Madeline and Roderick. The children are far from good people, too. We haven’t seen much of some of them yet, but I’m convinced they have plenty of skeletons in their closets as well. This episode felt incredibly close to reality, despite being fiction. I’ve done some reading, and I found out that each episode not only draws from The Fall of the House of Usher, but also shares the title of one of Edgar Allan Poe's short stories, with thematic similarities. I think I need to dig deeper into that. Furthermore, I love these kinds of connections—it’s like finishing a delicious five-course meal and getting an extra dessert!

TV Show - The Fall of the House of Usher IV

Once again, we learn more about Roderick and Madeline's turbulent past. However, it quickly becomes clear that Roderick wasn’t always as strong as his older self. His early days at Fortunato were full of difficulties, and his sister advised him to submit to the system, even if it meant getting involved in illegal activities.

But this episode focuses mainly on Leo. He has moved in with his boyfriend, Julius, but we already know that Leo wasn’t ready to take him to the family gathering. It seems like, in a drug-induced state, Leo killed Julius’ black cat. So, he tries to find a replacement, and along the way, he too encounters Verna.

After a lot of drugs, broken drywall, and several seemingly dead small animals, Leo also ends up dead. That sounds simplistic, but Leo endures some serious psychological torment. It’s almost as if he’s driven mad, and he ultimately takes his own life, obsessed with the black cat on the balcony.

By now, it’s clear through the flashbacks and Verna’s repeated appearances before each child’s death that everything is connected. Something Madeline and Roderick did on New Year’s Eve in 1979 has had lasting consequences for the entire family.

What stands out to me is that Perry is the only one who doesn’t die from a hallucination or vision caused by Verna. While all the other children encounter Verna before their deaths, Perry dies as a result of the acid in the sprinkler system. Camille dies from a vision of Verna, who actually turns out to be the chimpanzee, and Leo dies chasing a vision of the black cat on the balcony railing.

These visions are obviously caused by Verna, and maybe I’m overthinking it, but I find this detail fascinating.

Roderick, plagued by unnecessary jump-scare-style shocks, increasingly sees his dead children. Sometimes it’s during the retelling of events, but often it happens while he’s talking to Auguste. And we keep seeing that open door, wondering what’s happening down in the basement.

There’s one more thing I want to highlight because it’s important to me, and this show sets a great example. Victorine and Leo both have same-sex partners, and Camille has sex with her two assistants. What I really love about the way the show handles this is that it doesn’t make a big deal out of it. Let me explain! The show doesn’t force it in your face, nor does it make any special mention or focus on it. It’s treated as completely normal, just like everything else, and I love that. I wish we could see much more of this in other series.

In my first post, I mentioned that not every episode centers on one of the Usher children, but now I realize that’s not entirely accurate. There’s a constant mix with the past of the Usher siblings and the rise of Fortunato, but we’re also getting more of the present. As the story refers back to the past, we can see that something terrible must have happened back then.

It’s clearer in the flashbacks, but even in the present, we’re constantly reminded that maybe Roderick is just a figurehead, and the real captain of the Usher/Fortunato ship is Madeline.

I also feel a growing urge to learn more about Edgar Allan Poe’s short stories. I think I’ll need to visit some bookstores in the coming days and see what I can find. The show continues to entertain and remains consistently thrilling! It was created by Mike Flanagan, and I think I’ve seen something from him before—The Haunting of Hill House, if I’m not mistaken. I liked that too, but after The Fall of the House of Usher, I’ll definitely check out more of his work. He also wrote and directed Gerald’s Game, and interestingly enough, the lead actors from that movie, Bruce Greenwood (Roderick) and Carla Gugino (Verna), are also in this series. I love it when directors and actors form a team, work well together, and then reappear in other productions.

TV Show - The Fall of the House of Usher V

This episode was packed with information, even more so than before. There’s a lot going on here. My head is spinning a bit, and I hope I can remember everything. Where should we begin?

Auguste and Roderick met each other when they were young, as even back then, Fortunato wasn’t a great company—it was just like any other shady pharmaceutical company we know today. They tried to work together against Griswold and secretly help the Usher siblings claim their birthright. Because as we already know, before Griswold was Longfellow and he had an affair with the mother of Roderick and Madeline. 

Roderick is hallucinating more and more, and these visions of his dead children are getting stronger. At first, they only appeared in the church, but now they keep showing up in the old family home, where he and Auguste talk. What started as simple appearances has now turned into something more tormenting, making you wonder if these visions are one of the reasons why he’s even talking to Auguste.

Shockingly, we find out that there wasn’t any informant at all. I’m not exactly sure why, but I’m not fully convinced about this. Of course, I can believe that Auguste Dupin would pull off such a clever move, but something inside me says that’s not the whole story. I have two guesses, but I’ll wait and see if more information comes up before sharing them.

Things get intense after they look at photos from a security camera, and there’s a heated discussion between Madeline, Roderick, and Pym about who this mysterious woman could be. Madeline and Roderick recognize her from New Year’s Eve in 1979. We also see Roderick sitting and staring at a brick wall more often now. I wonder if this has something to do with that New Year’s Eve night and what the meaning behind it is.

Victorine meets a tragic end in this episode, leading to her death by her own hand. Up until now, I thought Leo’s death was the most gruesome, but Victorine’s death takes things to a new level. First, she kills her own partner, then there’s that nerve-racking sound, the pressure from her father (which she probably wasn’t fully aware of anymore), and overwhelmed by guilt, she takes drastic measures that lead to her demise.

The Usher family is falling apart more and more, and by now, it should be clear that these deaths aren’t just coincidences. Something horrifying is behind all of this, and Verna plays a big role. By the way, Verna is also an anagram of "Raven." I mention this because the raven isn’t just a symbol of death, but is also closely tied to Edgar Allan Poe (in fact, his gravestone is marked by a raven).

I think the Edgar Allan Poe references are increasing, and I should probably do some more research. I’ll save that for later, though, to avoid spoilers, and I’ll definitely write a few extra posts to dive into those connections.

It’s great to see that the show is still keeping up its quality, continues to be exciting, and is visually impressive. The jump scares are a bit much, though—I don’t really need those. But with Roderick’s decline, I think there might be even more coming.

TV Show - The Fall of the House of Usher VI

In this episode, it finally happens—we get a bit more insight into Tamerlane’s life, and Juno gets a bit more screen time. However, the most interesting part for me is Pym, Arthur Gordon Pym (and that’s important, remember it!).

Just a heads-up: Juno sticks to her role as a side or outsider character, even though she gets a bit more screen time. We only learn that she might not be as happy with her life as she initially appeared to be. On top of that, she wants to get off the extremely high dose of Ligodone, though everyone around her tells her that it’s not a great idea.

I’m curious to see if we’ll find out how that turns out. I’m also wondering if Juno is even really married to Roderick. There’s been a lot of talk about a wedding, but did they actually go through with it?

Tamerlane is completely stressed out because of an upcoming presentation and suffering from a lack of sleep, making her an easy target for Verna’s visions. At first, Tamerlane experiences brief moments of sleep and minor blackouts. The presentation is a disaster, and back at home, Verna plays her usual tricks, leading Tamerlane to smash the ceiling mirror above her bed, falling onto the shards, which pierce her back.

Now, only Frederick is left, and the family is also starting to have problems with the company since he’s the only child, and therefore the only remaining board member.

Roderick and Madeline have a deeper conversation about Verna and are no longer sure she couldn’t possibly be the same woman from New Year’s Eve 1979. When Pym digs deeper, he finds photos of her that trace back to the 19th century. Roderick doubts it, but Madeline is convinced that something isn’t right. Through the flashbacks and Verna’s interactions with the children, it becomes clearer that there must have been a pact or something similar in the past.

We then shift back to Roderick and Auguste, and it’s at this point that Roderick gives a more detailed description of Pym. He tells Auguste about a journey to the North Pole, the northernmost island called Ultima Thule, and an underground world inside the hollow Earth. At least, that’s how Pym described it to him.

Ultima Thule stuck with me, and after a quick search, I found that it directly references a short story by Edgar Allan Poe, along with many other references. The short story is called The Narrative of Arthur Gordon Pym of Nantucket, and this rang a big bell for me. That story is also about the Earth’s interior, another clue that I need to dive deeper into these connections, especially when they’re presented so clearly. I already knew the series was inspired by Poe, and that the episodes were named after his short stories, but now we’re also seeing the character names and their backgrounds, which is fascinating!

One thing that really stood out to me, and deserves some applause, was the different photos of Verna that Pym shows. Usually, when present-day people are inserted into old photos, it looks like terrible Photoshop. Not here! They did a great job, placing the actress in the images so well that you only notice on a second or third look.

Funny detail: When Lenore is looking after her mom, and they’re watching old films and TV shows together, you see her scrolling through a Netflix-like menu at the end of the movie. She lands on Gerald’s Game. As mentioned earlier, Bruce Greenwood (Roderick Usher) and Carla Gugino (Verna) star in that film.

For the first time in this episode, I’m starting to feel like Verna and her visions might not even be visions. I mean, sure, the show heavily implies and shows them as such. But what if all this stems from what happened on New Year’s Eve? Years of mistrust, always looking over their shoulders, wondering if someone is coming after them.

If I say this is the “most boring” episode, I don’t mean it negatively at all. Sure, more things are being explained, and the info we get is becoming more significant, but my initial thought is coming true: each child gets their own episode, but the others are still dealt with along the way. It’s still enjoyable—don’t get me wrong—but the balance from the earlier episodes feels a bit off. Maybe it’s because there aren’t as many children left, so there’s less variety. They tried to offset this with Juno and Lenore, but it only worked to a limited extent.

That said, the show is still running on a high note and is excellent. What I’m doing here is nitpicking at a very high level. I’m just glad that shows like this still exist and that not everything is becoming uniform!

TV Show - The Fall of the House of Usher VII

Now, the last of the Usher children must meet their end. But is it really the last child? I wonder if Lenore counts as one of the Usher kids. If I recall correctly, I haven't seen her in Roderick’s visions yet.

Frederick is still left, and in hindsight, he’s not only the biggest fool in the family but possibly the worst. By now, we’ve learned what he did to his suffering wife. Interestingly, in the German version, he has the same voice actor as Alan Harper (Jon Cryer) from Two and a Half Men. For me, this little detail makes Frederick seem even more foolish. He’s such a wannabe, and this connection amplifies it even further. This impression is underlined by his behavior at the construction site just before the building gets demolished.

I wonder if the creators took some inspiration from the SAW movies. I seem to recall that the method by which Frederick is sent to the afterlife is also a medieval torture technique. But the scene from SAW immediately came to mind.

When he dies, he pays a hefty price, as Verna doesn’t let him go as easily as the others. She prolongs his suffering significantly. Here, it feels like she’s not only collecting a debt from the Usher siblings, but also acting as an avenging angel. Unless, of course, she really is an avenging angel—because it’s getting a bit frustrating not knowing what actually happened on New Year’s Eve.

1979 marks the big turning point! In the recent episodes, we’ve seen how Auguste and Roderick were preparing to betray Griswold. At first, Roderick’s wife is shocked, but shortly after, Madeline explains the grim plan to her. That was a shocking moment for me! Even though the plan makes sense, and I was already wondering what could have happened to turn Auguste and Roderick into enemies, I didn’t expect it to happen this way.

Juno also has to face a tough blow. After talking to Roderick and telling him that she wants to stop taking Ligodone, he reveals to her that he’s only with her because her high tolerance for the drug is excellent publicity. At the same time, he lists all the side effects that await her if she stops taking it and explains that it would take about three years for them to subside. A tough pill for Juno to swallow, and as a viewer, you’re left wondering if she’s strong enough to get through it.

There are no more Usher children left; all of them have been wiped out by Verna, or with her help. One of the siblings almost met their end, too, as Madeline manages to convince Roderick to take an overdose of Ligodone and end his life. But Verna prevents it, as Madeline wanted to break the pact with Verna. Naturally, she doesn’t allow this and brings Roderick back to life.

Madeline will stop at nothing, even if it means sacrificing her own family. If it wasn’t clear by now, with all the flashbacks and events leading up to this point, it’s undeniable now—she has no scruples.

The “boredom” I mentioned earlier has completely dissipated, as this episode ties many threads together and gives the story more substance, even though the children are all gone. Roderick’s distorted visions aside.

I have a feeling that quotes from Edgar Allan Poe’s short stories are becoming more frequent. Often, the characters slip into quoting something during their conversations, even if it sounds like their own words. I suspect that these might be taken from the short stories. I’ll have to listen to the English version again because I’ve been watching the series in German, and I’m not sure how the translation handles this.

Now, nearing the end, I’m really hyped! I’ve already seen that they’ve given the final episode a bit more runtime.

TV Show - The Fall of the House of Usher VIII

Madness has now completely consumed Roderick, and we finally get an answer to a previously asked question: Is Lenore also one of the Usher children, and must she share the same fate?

People are falling from the sky as a symbolic representation of the Usher family’s, or more specifically Roderick Usher’s, deeds. It’s a drastic image that, in my opinion, is not without significance. Especially since it’s not just a brief shot—it goes on for quite a while, and we even see the bodies pile up. It’s practically the prelude to the meeting with Auguste Dupin.

As we see all the already deceased children appear, Lenore is among them as well. Thus, all of the Usher children are gone, and now we finally understand why. We also finally learn what happened on New Year's Eve in 1979! (I always chuckle a bit here, since 1979 is my birth year.) Even though we’ve already been given a grim picture of the Ushers, this image gets filled in with even more gruesome details. Madeline and Roderick are bolder and more ruthless than we ever imagined. And yes, they will stop at nothing, even murder, and we learn who the first victim is and how they met their horrifying end.

But before that happens, Lenore and her mother are saved, as they call the police. Before Lenore passes away, Verna reveals to her that her mother will live a peaceful life and that all the money she inherits will be invested in a foundation named after her.

Before Roderick’s conversation with Auguste, Pym and Madeline also meet with Verna at the Usher house. Madeline is forced to realize in a very intense way that perhaps she’s not as tough as she has always appeared to be. The timelines blur a little here, but she meets with Roderick in the basement once again, and something horrific happens. Roderick drugs her, removes her eyes, and replaces them with stones, just like in an ancient Egyptian ritual.

In a conversation with Pym, Verna speaks about a client and the deal made with them. Due to certain searches and which search results my post might appear in, I won’t go into detail here. However, this is another critique the series beautifully wraps up and throws right in our faces. Could Verna actually be the Devil himself? Pym’s question about whether this client will soon get their comeuppance remains unanswered. But who knows? Maybe it will happen soon!

Could there have been a better choice for Pym than Mark Hamill? I don’t think so! And here’s a provocative question about Pym: Could he be the only honest and upright person among all these other characters, who have clearly stared into the abyss, as Nietzsche described, for too long and too deeply? But it’s not just about the abyss—it’s also about the struggle with monsters and not becoming one yourself, which fits perfectly, in my opinion. However, this is a question the series doesn’t answer, leaving it up to each viewer to form their own conclusion based on what’s shown.

In the end, it’s undeniable, especially after Madeline’s monologue, that the series also serves as a critique of society. I’ll definitely have to check whether a similar critique is hidden in the original short story that inspired the title.

It’s interesting how the house in which Auguste and Roderick have been staying all this time metaphorically represents the titular “House of Usher,” and it too crumbles into dust and ashes, just like the entire family. Before that, we see Madeline rushing up from the basement to strangle Roderick. The previously mentioned ritual, which was only hinted at, is now visually confirmed. It’s horrifying, but after everything the series has shown us, perhaps this is a fitting end for the Usher siblings. But was that the point of it all?

Although he’s only a peripheral character, I find it quite satisfying that Auguste Dupin seems to find peace in the end. At the Usher family grave, he closes the chapter, as his case no longer makes sense, and Roderick’s confession is now irrelevant. He talks about how he wants to spend the next phase of his life with his partner—a very pleasant conclusion!

The Fall of the House of Usher, what a series. The casting, the settings, and even the use of CGI have all gone the extra mile. More effort was put in, rather than just settling for an average series. And the connections to the works of Edgar Allan Poe—there’s a lot of research involved, otherwise, the real fans would call you out, but I haven’t seen any backlash.

Even the recitations of the works—while I can’t claim to have understood all of them—are always delivered at the right moments by the respective characters. And I have to give a shoutout to the German dubbing team. Even though I can’t verify the accuracy of the translations, they clearly paid attention to ensuring that the voices carried the proper weight.

Reflecting on all these connections in a post is going to take some time. There are quite a few stories I want to revisit, and I want to do it properly. I’ve seen that the Wikipedia article on the series already lists some, but I’d like to refresh my memory with the stories, especially those that share titles with the individual episodes.

I wholeheartedly recommend The Fall of the House of Usher. It’s a series in which you can truly immerse yourself, especially with all the previously mentioned connections. But even if you don’t care about those, the series still leaves a lasting impression. There’s plenty to reflect on, to discuss, and perhaps even to rewatch. In the end, however, that’s for each viewer to decide, and the series gives you that freedom. Maybe that’s why I like it so much. If you just want to enjoy it and be entertained, great. But if you want to take a deep dive like I am, the series offers that too. It’s wonderful that such content is still being made. But I’ll save my Hollywood criticism for another time.

Picture of my Deep Dive! (Can't wait to read the book about Arthur Gordon Pym!)