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He continues to torture his wife, Morelle, with nightshade paralyzing drugs and disfiguring her mouth with pliers. Verna, appalled by Frederick's cruelty, whispers in his ear and adds the paralyzer to his cocaine stash.As Frederick goes to the demolition site, he accidentally snorts the paralyzer and falls to the floor. Verna confronts him about his actions and uses a walkie-talkie to imitate Frederick's voice, giving the demolition crew the okay to bring down the building. A swinging beam slowly descends, splitting Frederick's body in half and ending the line of Usher children.However, this does not spell the end of the Usher dynasty, as Lenore, Roderick's granddaughter, is still alive. It sets the stage for the final episode, leaving viewers wondering what fate awaits the remaining Usher family members.
Swifties: it’s time to quit the detective work
However, it's an incredibly easy show to enjoy on an episode-by-episode basis, largely because Flanagan’s direction is sharp throughout, including excellent use of music and tight editing—some scenes are too underlit, but that’s just the Netflix brand nowadays, and I’m done fighting it. In November 2023, Roderick Usher, the CEO of pharmaceutical company Fortunato Pharmaceuticals, loses all six of his children within two weeks. Auguste Dupin, an Assistant United States Attorney who dedicated his career to exposing Fortunato's corruption, to his childhood home, where he tells the true story of his family and unveils the Ushers' darkest secrets. He feels that the growth around the House of Usher has this peculiar ability to feel and sense matters within the house itself. This otherworldly atmosphere enhances Poe's already grimly threatening atmosphere.
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]
Is The Fall of the House of Usher a true story? Everything you need to know about new Netflix horror series
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The now ghastly pallor of the skin, and the now miraculous lustre of the eve, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity. A letter, however, had lately reached me in a distant part of the country—a letter from him—which, in its wildly importunate nature, had admitted of no other than a personal reply. The writer spoke of acute bodily illness—of a mental disorder which oppressed him—and of an earnest desire to see me, as his best, and indeed his only personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady.
The House of Usher
Roderick grows more erratic in his behaviour, and the narrator reads to his friend to try to soothe him. The plot of the romance (a fictional title invented by Poe himself, called ‘Mad Trist’) concerns a hero named Ethelred who enters the house of a hermit and slays a dragon. Roderick Usher is a gifted poet and artist, whose talents the narrator praises before sharing a poem Usher wrote, titled ‘The Haunted Palace’. The ballad concerns a royal palace which was once filled with joy and song, until ‘evil things’ attacked the king’s palace and made it a desolate shadow of what it once was. The story is narrated by a childhood friend of Roderick Usher, the owner of the Usher mansion.
His air appalled me — but anything was preferable to the solitude which I had so long endured, and I even welcomed his presence as a relief. In an instant afterward he rapped, with a gentle touch, at my door, and entered, bearing a lamp. His countenance was, as usual, cadaverously wan—but, moreover, there was a species of mad hilarity in his eyes—an evidently restrained hysteria in his whole demeanour. His air appalled me—but anything was preferable to the solitude which I had so long endured, and I even welcomed his presence as a relief. English majors will likely know where some of the stories are going just by seeing the episode names.
About Edgar Allan Poe
Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn. He admitted, however, although with hesitation, that much of the peculiar gloom which thus afflicted him could be traced to a more natural and far more palpable origin—to the severe and long-continued illness—indeed to the evidently approaching dissolution—of a tenderly beloved sister—his sole companion for long years—his last and only relative on earth. I regarded her with an utter astonishment not unmingled with dread—and yet I found it impossible to account for such feelings.
It's the how and the why of their deaths that plays out over the course of Mike Flanagan's new horror anthology series, now streaming on Netflix. Even though Poe maintains that he did not approve of symbols or allegory, this particular story has been, as suggested above, subjected to many and varied types of allegorical or symbolic interpretations. Basically, however, the story still functions as a great story on the very basic level of the gothic horror story, in which the element of fear is evoked in its highest form.
On the other hand, there are plenty of strange things about the Usher family. For one, “the entire family lay in the direct line of descent,” meaning that only one son from each generation survived and reproduced. Poe implies incestuous relations sustained the genetic line and that Roderick and Madeline are the products of extensive intermarriage within the Usher family.
Note how Madeline is barely seen for much of the story, and the second time she appears she is literally buried (repressed?) within the vault. The tale highlights the Gothic feature of the doppelganger, or character double, and portrays doubling in inanimate structures and literary forms. The narrator, for example, first witnesses the mansion as a reflection in the tarn, or shallow pool, that abuts the front of the house.
At times, again, I was obliged to resolve all into the mere inexplicable vagaries of madness, for I beheld him gazing upon vacancy for long hours, in an attitude of the profoundest attention, as if listening to some imaginary sound. I felt creeping upon me, by slow yet certain degrees, the wild influences of his own fantastic yet impressive superstitions. The pallor of his countenance had assumed, if possible, a more ghastly hue—but the luminousness of his eye had utterly gone out. There were times, indeed, when I thought his unceasingly agitated mind was labouring with some oppressive secret, to divulge which he struggled for the necessary courage. An unnamed narrator approaches the house of Usher on a “dull, dark, and soundless day.” This house—the estate of his boyhood friend, Roderick Usher—is gloomy and mysterious.
Certain accessory points of the design served well to convey the idea that this excavation lay at an exceeding depth below the surface of the earth. No outlet was observed in any portion of its vast extent, and no torch, or other artificial source of light was discernible; yet a flood of intense rays rolled throughout, and bathed the whole in a ghastly and inappropriate splendor. No outlet was observed in any portion of its vast extent, and no torch, or other artificial source of light was discernible; yet a flood of intense rays rolled throughout, and bathed the whole in a ghastly and inappropriate splendour. When Alessandra (Paola Núñez) finds out that Victorine (T’Nia Miller) is pushing the human trials for the heart mesh device along –– by not just scheduling her for surgery, but also forging Alessandra’s signature on data reports (does this scheme sound familiar at all?) the good doctor is furious. Alessandra refuses to do the surgery, breaks up with Victorine, calls the entire Usher family monsters, and makes it quite clear that she isn’t afraid of the Pym Reaper’s NDAs — she’s going to the authorities about the fraud.
(Poe had one too.) Roderick has been haunted by all his awful children who have shuffled off this mortal coil, and it’s because it feels like the ghosts are finally coming for him that he is ready to confess. He’s having visions of monstrous ghosts, including the recurring specter of Verna (Carla Gugino), a figure that connects most of these tall tales as a sort of vengeful force of karma, the devil come to take what she’s due from a man who profited off the pain of others. At the opposite end of this phantasmal interpretation is the modern-day psychological view that the twins represent two aspects of one personality. The final embrace, in this case, becomes the unifying of two divergent aspects into one whole being at birth.
It was, he said, a constitutional and a family evil, and one for which he despaired to find a remedy—a mere nervous affection, he immediately added, which would undoubtedly soon pass off. He suffered much from a morbid acuteness of the senses; the most insipid food was alone endurable; he could wear only garments of certain texture; the odours of all flowers were oppressive; his eyes were tortured by even a faint light; and there were but peculiar sounds, and these from stringed instruments, which did not inspire him with horror. Upon my entrance, Usher arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality—of the constrained effort of the ennuyé man of the world.
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