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With all the pomp and ceremony of an ornate Gothic horror, writer-director Mike Flanagan (Midnight Mass) casts an affectionate eye over Edgar Allan Poe as he dives into The Fall of the House of Usher, introducing an extended family of pampered siblings who are waiting around for Roderick Usher (Bruce Greenwood) to die. That it begins at a funeral with each sibling six feet under suggests things went horribly wrong, as their father waits in silence simply marking time until he can leave without others passing judgement on the parent who put a price on disloyalty and encouraged his family to turn traitor.
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With the genetic code of Edgar Allan Poe coursing through this Netflix adaptation, Usher takes its time unpacking plot, dissecting character, and leaning into backstory as Mike Flanagan goes full Gothic horror with a contemporary twist. By making this family a pharmaceutical phenomenon there are immediate parallels to be drawn with the Sackler dynasty who run Purdue Pharma, produced Oxycontin, and got sued by half of America for instigating an opioid epidemic. This sense of superiority and insulated wealth, that came through so strongly with Disney’s Dopesick, instantly defines the Usher clan as they try to impress their father with business ventures worthy of the legacy he has created.
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Alongside his sister Madeline (Mary McDonnell), who is an ice-cold creation with a heartless head for cunning calculation, this story slowly reveals the flaws of each Usher as they back bite and bad mouth each other in the fight for approval. With the likes of Carla Gugino (Gerald’s Game) and Mark Hamill (The Sandman) packing out an excellent ensemble cast, there is no denying the pedigree of acting talent on display throughout this dive into family dysfunction, as each new episode reveals another layer of tainted entitlement it begins to resemble Succession in all but name, as Usher tries and fails to scale those lofty heights due to one fundamental flaw.
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Despite the engaging performances from Kate Siegel (Camille L’Espanaye), Henry Thomas (Frederick Usher) and Carl Lumbly (C.Auguste Dupin), this show rarely feels dynamic. Flashbacks help unpack backstory, give momentum to motivations, and define relationships both past and present, but Usher rarely feels scary. This feels more like an anthology show than an overarching tale of treachery and family betrayal that Netflix would have audiences believe it might be. If Mike Flanagan had stripped out the Edgar Allan Poe element and just presented a story with supernatural overtones, rather referring back to classic literature throughout, then perhaps Usher would have a clearer identity, and therefore feel more original. However, as it stands this latest offering falls short of delivering excellence and settles instead for a middle ground that will short change some people.
The Fall of the House of Usher is available to stream on Netflix now.