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Roderick Usher’s children are getting what they deserve, not merely because they are the fruit of a very poisoned tree but because they have made horrific decisions to stay in the shelter of wealth and privilege. The narrator is mysteriously trapped by the lure of Roderick’s attraction, and he cannot escape until the house of Usher collapses completely. Characters cannot move and act freely in the house because of its structure, so it assumes a monstrous character of its own—the Gothic mastermind that controls the fate of its inhabitants. Poe, creates confusion between the living things and inanimate objects by doubling the physical house of Usher with the genetic family line of the Usher family, which he refers to as the house of Usher.
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Poe’s writing helped elevate the genre from a position of critical neglect to an art form. “The Fall of the House of Usher” stands as one of Poe’s most popular and critically examined stories. Within a few hours of the narrator’s arrival, Roderick begins to share some of his theories about his family. Much to the narrator’s surprise, Roderick claims that the Usher mansion is sentient and that it exercises some degree of control over its inhabitants.
A Midnight Dreary
“There is a lot about my job that I love, but there are moments like these that bring me no joy,” Verna tells her in her bedroom after a conversation that found Lenore telling Roderick that it wasn't too late to use Fortunato and the family's largesse for good. Keep in mind that Lenore still had this pureness of mind after seeing her mother burnt within in inch of her life by acid (thanks to Prospero's foolish orgy party) and then tortured by her father, who himself had just been brutally killed in a ridiculous freak accident. BY THE TIME you reach the final episode of The Fall of the House of Usher, the latest of Netflix's horror limited series from writer/director Mike Flanagan, there have been a lot of scares, a lot of violence, and a lot of lore.
Henry Thomas
A “playboy” with a drug for every occasion, Leo welcomes the ability to numb the pain of his reality, but his drug use has started to become a problem for his boyfriend, Julius. Whether the reader is trapped by the house or by its inhabitants is unclear. Poe uses the term house to describe both the physical structure and the family. On the one hand, the house itself appears to be actually sentient, just as Roderick claims. Its windows are described as “eye-like,” and its interior is compared to a living body. On the other hand, there are plenty of strange things about the Usher family.
The Masque of the Red Death
Roderick eventually declares that he has been hearing these sounds for days, and that they are being made by his sister, who was in fact alive when she was entombed. Fearing that her body will be exhumed for medical study, Roderick insists that she be entombed for two weeks in the family tomb located in the house before being permanently buried. The narrator helps Roderick put Madeline's body in the tomb, whereupon the narrator realizes that Madeline and Roderick are twins.
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To that end, Roderick's deteriorating condition speeds his own torment and eventual death. From his arrival, the narrator notes the family's isolationist tendencies, as well as the cryptic and special connection between Madeline and Roderick, the final living members of the Usher family. Throughout the tale and her varying states of consciousness, Madeline completely ignores the narrator's presence. After Roderick Usher claims that Madeline has died, the narrator helps Usher entomb Madeline in an underground vault despite noticing Madeline's flushed, lifelike appearance. The narrator is impressed with Roderick's paintings and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar. Roderick sings "The Haunted Palace", then tells the narrator that he believes the house he lives in to be alive, and that this sentience arises from the arrangement of the masonry and vegetation surrounding it.
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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. Through the years, the siblings convinced themselves that this simply couldn't have actually been real. They shared a traumatic event at a formative time in life, and had been drinking quite a bit—their meeting with Verna must have been a shared delusion, and for years, they wrote it off as such. And as Roderick Usher got sicker and sicker in real life—his rare form of vascular dementia gave him horrific hallucinations, including Griswold's Jester costume and his various children's dead bodies—his bill came due, and all of his children died in front of him.
Limited Series – The Fall of the House of Usher
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. The narrator observes that the house seems to have absorbed an evil and diseased atmosphere from the decaying trees and murky ponds around it. He notes that although the house is decaying in places—individual stones are disintegrating, for example—the structure itself is fairly solid.
“The Haunted Palace”
He listens to Roderick play the guitar and make up words for his songs, and he reads him stories, but he cannot lift Roderick’s spirit. Soon, Roderick posits his theory that the house itself is unhealthy, just as the narrator supposes at the beginning of the story. In November 2023, Roderick Usher, the CEO of pharmaceutical company Fortunato Pharmaceuticals, loses all six of his children within two weeks.
While Madeline tried to skirt the system by having Roderick overdose on his own Fortunato meds, Verna wasn't letting that happen. And so Roderick invited Madeline over to their childhood home, where their mother once died (and rose again, only to strangle a man to death before finally dying herself), to share a drink. By doing this, Roderick was briefly arrested for perjury, but earned goodwill with both Griswold and the larger Fortunato community; he was willing to take one for the team.
Described by Frederick as “Gucci Caligula,” Perry is the youngest of the Usher children. Having only recently been thrust into the life of the ultra-rich, Perry’s goal is to make life one big party, and he’s hoping to use his family’s money to achieve just that. Napoleon “Leo” Usher is a video game patron and the closest to a socialite the Usher siblings get.
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