![]() ![]() At the Rue Morgue, Verna repeatedly tells Camille to leave and that she shouldn’t be there, but driven by the sheer hatred she holds for her sister, Camille stays to collect that evidence. Though it did earn her something the other Ushers were offered but that each passed on: a quick, painless death. And yet, it still wasn’t enough to write her off, just this once. Instead of having thousands upon thousands of deaths on her hands like her grandfather, Lenore’s actions caused a chain reaction that saved thousands and improved millions of lives. And that, in the end, it wasn’t really about punishing any of these people for their misdeeds anyway like most callus acts in this world, it was all just a transaction.ĭespite Verna telling Lenore that her death would be the most difficult to enact, she still did it she still made her pay a toll that wasn’t hers to pay. ![]() ![]() But, as the series comes to a close, Lenore’s (Kyliegh Curran) death is a sobering halt to that revelry, and acts as a stark reminder that good people will always get caught in the crossfire. The delight that comes from those kills reveals as much about the seemingly eternal Verna as it does those watching it happen it’s fun to watch people face their comeuppance. They deserve this, you say over your popcorn as Victorine (T’Nia Miller) stabs herself in the heart after mutilating her girlfriend, as Tamerlane (Samantha Sloyan) smashes all the mirrors in her home, as Fredrick (Henry Thomas) gets slashed in half then crushed by rubble. As we move further into the mutilation and atrocities committed by the eldest Ushers, it’s so easy to get lost in the revelry of the kills-there is joy in the bloodshed. Even Napoleon (Rahul Kohli), while a horrible person and partner, still wasn’t as bad as his older siblings. Camille (Kate Siegel), while admittedly a terrible person and an even worse boss, was tame enough, driven by a profound hatred for her sister fostered by their father’s penchant for pitting his children against each other. In the beginning, you could argue that Prospero (Sauriyan Sapkota) didn’t deserve it, not really-he was just a kid, too starved for affection but too gorged on money and access to have a caring bone in his body. The Fall of the House of Usher catalogs poetic justice, quite literally, through its adaptations of Edgar Allen Poe’s most famous tales, sending its titular Ushers through elaborate, Saw-like deaths in order to pay for their most egregious sins: simply being Ushers-oh, and all their own misdeeds as well. But that was the deal, wasn’t it? The mysterious Verna (Carla Gugino), seemingly Death herself, made it perfectly clear: the Ushers would be untouchable in life, but would go together in death. After all, even if Rodrick Usher was still standing at the moment, his kids have all already passed in increasingly violent and brutal fashion, each paying off a tiny fraction of their father and aunt’s tab one at a time. In the aftermath of acid rain, animal attacks, falls from thousands of feet, stab wounds to the heart and various other vital organs through thousands of glass shards, and a bisection followed by a crushing blow from a massive, collapsing building, it’s difficult to imagine that we haven’t already seen that justice play out. “And what does that look like?” Rodrick volleys back, to which Dupin follows with an assertive: “I’ll know it when I see it.” Auguste Dupin (Carl Lumbly) in The Fall of the House of Usher ’s final episode. “What do you want?” Rodrick Usher (Bruce Greenwood) asks C. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |