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The Fall of the House of Usher 1x06 Full Reaction! (Patreon)

Published:
2023-12-14 13:45:00
Imported:
2026-06
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The Fall of the House of Usher 1x06 Full Reaction

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Ryan

This has one of the show's more unusual adaptation choices, with Tamerlane being given the story of the Poe character her husband is named after, a con man whose schemes keep getting derailed by a mysterious doppelganger. I guess Flanagan just really wanted to give Samantha a big showy role on their way out of Netflix (and speaking of, apparently his Gerald's Game movie exists in this world, so what is any reality?). It's rather provident that you're getting to this episode right after The Giggle, as it's even more fearless about the exact kind of people it's villifying and willing to give a bunch of specific names rather than just "random Prime Minister who doesn't care about anyone." Besides Samantha, I have to give a big shout out to Ruth Codd, and it's incredible to think she'd never considered becoming an actress until Flanagan came looking for a young, one-legged woman for The Midnight Club, and after killing it on that show she not only shows up here as a totally different kind of character, but completely steals the climactic scene from Samantha with her hilarious reaction shots, reminiscent of Varys from Game of Thrones. This also seems like a good place to point out the writing miracle that despite the show's basic setup meaning it has steadily fewer characters to work with as it goes on, it never once feels like it's slowing down as the ones who are left always pick up the slack.

Thomas Corp

Now we come to the episode where we talk turkey about Tamerlane, my favorite of the Usher children, largely because of Samantha. You sum it up well about her arc is very focused on how she projects her self-image. You can tell there is a strong amount of self-loathing that she’s tried to bury by projecting a different self-image, and as you observed, she seems to prefer being more a passenger to her own life rather than being in the driver’s seat. Verna even comments on it, and Carla’s line read sounds genuinely sympathetic. It’s for the reason of self-loathing, combined with her forced insomnia, which I knew that moment she’s trying to force herself to sleep would get to you as well, Tamerlane ended up being the Usher child I felt the sorriest for. It appears some fan reception agreed to the extent of her death scene was one of the more harrowing. It also stands out that, unless I missed something, morality notwithstanding, Tamerlane never breached any legalities, nor did the show ever imply she’s done so. And in the end, she stands out as the one most self-aware that she did wrong. Of course, like her siblings, she reaps the benefits of the glut of her father’s wealth and empire, so “innocent” would be a strong word to use for her. It is a strangely heartwarming moment when she momentarily dropped hostility toward Juno and briefly commiserated with her. I second Ryan’s statement of thoroughly loving Ruth Codd in The Midnight Club, and her doing marvelous here, loved all of your reactions to her at the launch. Yes, the production, and the colors of the green, my favorite, were immensely wonderful in this episode. I give a shout out to the music, both the original score by the Newton Brothers, and in this episode, the outstanding use of Beethoven’s Piano Sonata No. 17 in D Minor, which also plays over the credits. The framing device continues to be great, especially when you get more information about Arthur. Much of his past being drawn from the Poe story that contains his namesake, with a hint or two of Lovecraft it seems. Speaking of Arthur, for being one of the more serious and reserved characters, Arthur provides a fair amount of humor in this show. In this episode, there were two moments that got me good. First, I got a laugh at Arthur mentioning he’s having Richard Parker for dinner in the evening, and he might be late. I chimed in with, “Oh, don’t worry, I’m sure Richard will be happy to put off the dinner indefinitely.” Then there’s Roderick’s line of “I could make a hundred photos just like that. Give me three minutes, I’ll make a photo of Pym blowing Elon Musk.” followed by Mark perfectly selling Arthur’s indignant look of “What the fuck, Roderick!?” Bruce and Carl do a great job of conveying Roderick and Dupin’s lingering respect and affection for each other, despite the adversarial relationship over the decades, especially when Dupin shows genuine concern when Roderick gets spooked by, and I agree with you on this, the best jump scare, your reaction to that being fantastic. It’s great too in that I watch with the subtitles on. And although the subtitles indicate Roderick will get interrupted or cut off during his speaking, that still only gives you like two seconds warning, and it is still a hell of a jolt. It is interesting seeing the contrast between Roderick and Madeline’s perspectives on Verna. Mary continuing to be brilliant at bringing the Lady Macbeth by way of Mrs. Iselin energy in expressing her growing realization that Verna is something beyond comprehension, given Arthur shows the pictures of Verna with the real-life figures. I second Ryan loving that part of this. And she is especially shaken when Verna literally escapes her grasp. And Roderick, you can tell, has been hiding behind his illness to excuse Verna’s presence and is intractably and adamantly refusing to concede the truth because then he can’t deny it any longer. I KNEW the scenes with Fredrick would DEEPLY unsettle you. They affected me the same way. One thing that was triggering is judging by the state of Morella’s gauze, bandages, and dressing, Frederick is not changing any of that. Speaking from experience with my dad, that stuff you need to change daily, sometimes more depending on the circumstances, and it is disgusting what Frederick is doing. You say you don’t look forward to what he’ll do further. No, you do not. Now to a few small Easter eggs that I adored. First, the quoting of Poe’s prose, specifically first, Roderick’s quoting the line, “Those who dream by day are cognizant of many things which escape those who dream only by night.” which is entirely goddamn true, and Madeline quoting, “Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence.” Then there’s Lenore and Morella watching The Raven from 1935 starring Bela Lugosi and Boris Karloff, my two favorite actors. I adored the showcasing of the film. The second it was shown on screen, I immediately recognized it as I’ve seen it countless times since first discovering it when I was fifteen, and it is roughly tied with The Black Cat from 1934, also with Bela and Boris, for being one of my top ten favorite films. It makes for one of the most perfect double features, I highly recommend both films if anyone hasn’t seen them. As I said on youtube, Jess, the reaction was tremendous, your reactions to this show have been sensational, and I thank you so much for how amazing this journey has been.

Thomas Corp
>>124512683

If Flanagan’s intent was to give Samantha a big showy role on their way out of Netflix, I am not complaining, at all. He can keep doing so. When I sold this show to my brother, of the cast, I mentioned Mark Hamill, then I brought up Samantha. He was hooked. We both, more so me, both so thoroughly LOVED Samantha in Midnight Mass, thus we’re fully on board with anything she’ll be in going forward. Even if she ends up in something godawful, if she’s in it, we’ll see it. Yeah, when Arthur shows the pictures, upon recognizing the individuals, I cackled, “Oh, Jesus Christ, I love this!” Mark does amazing at selling his own realizations of what he’s dealing with, with the thought process of, “You say the woman is a woman, a, how do you, bartender or daughter of said bartender. Never do you mention she is, for real, a tiger.” (Or raven, as the case may be.) I loved Ruth Codd in The Midnight Club. Ruth as Anya was my favorite in that, followed by Annarah Cymone as Sandra. To see Ruth continue to be great in this show was a treat. That is a good point you raise of though the cast number is dwindling, everyone delivers so phenomenally that the show never feels like it’s slowing down. Great stuff.

Ryan
>>124528898

Those were also the days when we hadn't yet decided there was some minimum length a movie had to be, and if you only had an hour's worth of story, you could just tell it in that hour without having to throw in any kind of padding. So the "double feature" is just like watching a single movie today, and I really wish we could go back to that on occasion. The Black Cat also has the distinction of being the last horror film released before the Hays Code came down, and you can very much notice The Raven couldn't go as far in portraying the painful horror of the situation, though they certainly pushed the limit as far as they could.

Mister Lou

one of my favourite episodes! and it's because of the Juno scenes! she's so funny and vulnerable in this episode, I just love her!