Mike Flanagan’s “Fall of the House of Usher” remixes Edgar Allan Poe, “Succession,” and the Sackler family into a parable about wealth extracted from pain.
It’s not a question I’d have thought to ask, but Mike Flanagan — the creator of “The Haunting of Hill House,” “The Haunting of Bly Manor,” and “Midnight Mass” — takes it up with grisly flair. “,” his Netflix miniseries about a monstrously wealthy family getting their comeuppance, comes together via a playfully horrifying mash-up of Poe storiespoems and characters.
Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories,The basic setup here is borrowed from the Poe short story of the same name, in which an ailing man invites a friend to his dilapidated
childhood home. But the twins from Poe’s “Fall of the House of Usher,” Roderick and Madeline, are redrawn here as co-conspirators whose childhood trauma spurs them to build an empire on the annihilation of human pain.Each of the middle six episodes describes the gruesome death of an Usher child. Each is haunted by a mysterious woman who tempts the Usher in question to disaster. These amount to winky morality tales — fables, almost, riffing on Poe stories like “Goldbug” and “The Tell-Tale Heart.
Put differently: There’s a scattershot quality to the justice Flanagan dispenses here, and the most shocking moment accordingly comes not when an Usher suffers, but when a non-Usher is literally and graphically tortured.This isn’t a subtle show. It isn’t particularly deep. It is, however, a morbidly entertaining ride that winks at least as much as it instructs .
I’ve made much of the parallels to the Roys in “Succession,” but the more obvious reference point is the Sacklers, who received full immunity for all civil legal claims back in May, and upon whose opiate empire Fortunato is clearly based. That immunity may yet be stripped, but absent legal remedies, there’s at least a little catharsis in Flanagan’s resolution to visit graphic, imaginative and proportionate pain on characters who destroyed countless lives by hawking painlessness.
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