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In Yearly Retrospect (2023)
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In Yearly Retrospect (2023)
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In Yearly Retrospect (2023)
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Year In Retrospect (2023)
Just finished watching the eight-episode miniseries The Fall of the House of Usher from Mike Flanagan, creator of other popular horror-themed television shows such as The Haunting of Hill House and Midnight Mass. Here are my thoughts on it.
As an interconnected piece of an overarching frame story on the fate of the titular Ushers as a whole (an extremely affluent, powerful, corrupt, and complicated American crime family), most episodes deal in the individual tragedy of a particular member of that family, each of those episodes additionally loosely based on one of the many classic horror tales of Edgar Allen Poe. The setup is incredibly compelling. Pulling such a complex premise made of disparate parts into a single cohesive work takes a good deal of intelligent architecting across multiple interconnected storylines and not insignificant literary knowledge (since much of it is based around Poe’s works). And Mike Flannigan’s crew mostly succeeds in this task, but every episode does not hit to the same standard in regards to the writing.
Visually, yes, and this makes sense as Flannigan himself directed every episode. The show is extremely consistent in its visual tone: each carefully-constructed shot is exquisitely rich with dark, brooding, Gothic atmosphere or (very often and, in the hybrid sense) modern sleekness. This hybrid tone permeates. In fact, I feel the show is too consistent, and ultimately stiff, when it comes to its horror elements. Most scares–and there are jump scares–are rendered relatively ineffective. Horror elements especially repetitious in pattern even begin to come across somewhat lazy as the episodes go on, not emotionally matching the dramatic sound cues accompanying. But consistent, and consistently high quality, the visual production (and sound design, I might add) certainly is.
The writing, again, not so much. None of it is terrible, although sometimes you can feel the voice of a single writer in dialogues rather than conversations feeling as different characters are speaking to one another each from their own head-spaces. This is exceedingly common in movies and TV, especially in talky scenes lacking any action. Drives me up a wall when I am presented a collection of characters merely cliches/stereotypes, that then all speak and act quickly and together as though driven by a singular motor toward the one purpose the writer has for this exchange of dialogue, with their individual cliche/stereotypical traits the only differentiation between the characters, like different flavor packets. Much of the writing is very good: cynically, satirically biting at various aspects of American culture and the “Elites” that run the show through all manner of malfeasance, perversion, and corruption. This is handled a bit comically heavy-handed and cliched in parts, but it’s dealt with quite similarly to Eric Kripe’s The Boys, at least somewhat self-aware of the over-exaggeration of its satire. And so it comes across, in the end, as… clever. Sometimes the writing is deathly serious, and other times–often in the same scene–supremely goofy. And all of this works quite well to keep things on the whole fairly engaging.
But, because you can put together very early on during an episode, how it is going to fall neatly into place within the established pattern of how each of this show’s episodes go… and never do any surprise… a lot of interesting potential, especially in regards to mystery, is squandered. Each episode becomes solely about how interesting the characters and dialogue is in going through the same tragic, downward spiral motions; how hard the important bits hit; and whether it drags or not. And some episodes are just weaker than others in all these regards. Final nitpick: there’s some serious believability lapses in the behavior of a few characters as the series progresses. A decent mix of careful nuance and hamfisted heavy-handedness, the writing driving the story is of high caliber but not without significant flaw, which is common in television with many writers, but even in overall conception in regards to the repetitive episode framework.
Speaking of mystery, therein lies the show’s biggest flaw in my eyes. A certain degree of predictability might be expected, seeing as the show is primarily based around well-known works of the 19th Century, but even when the show is trying to be mysterious, nothing in even a single episode, even when fully dressed by stingers and all to support, comes as a surprise. Sure, the title of the show kind of gives it away, and from the start it’s mostly told in flashback so the audience is asking, “How did we get here?” But, as an example, there’s one major twist in the whooole shebang, and they spoil this by revealing beforehand the character is going to do it.
All in all, The Fall of the House of Usher is well worth your time, especially if you think you’d dig a brooding drama about the rich and powerful becoming systematically undone that culminates time-and-time again in a myriad of outlandishly horrific ways.
We are each a tiny piece of the supremely complex machine of existence, most of which is likely to remain a mystery to us for the foreseeable future. And so, from our extremely limited perspectives within this massively complicated matrix of mysteries and the push-pull of unknown factors beyond our comprehension, our lives are destined to feel in relative chaos lest we take shelter in some protective bubble. Often I have found that the bubbles provided out-of-the-box of our birth are unfortunately (from the perspective of my current bubble at least) composed largely of illusion and delusion that frame this chaotic perspective as something else more mentally manageable. As something that feels agreeable by way of generations of social initiation, nostalgia, and other particularly emotional rather than logical connections. But even those committed to a life lived boldly true must shore themselves up within some bubble of “as far as I know” sense or risk becoming a lone, vulnerable leaf torn apart by the violent winds of “chaos,” which again, is not actually chaos but some conglomeration of factors too big for us to even get full visage of, let alone control.
So, come right this way. We have many models of mental shelters and bubbles available. Some like glass or clear plastic: weak but with a clear view of the outside. Some like brick or metal: much stronger, but offering zero perspective of anything but the minutia of the inhabitant’s small world. We could install a window or two for the latter if an Allegory-of-the-Cave-kinda experience is what you’re after. Most of us exist on a spectrum between these two extremes (generally closer to the latter), so we’ve likely seen others in their bubble from our own (and judged them and their bubble, of course). We’ve seen the soap bubble occupier in a perpetual state of being either confused or completely lost as they move from one volatile circumstance to another whenever their latest temporary bubble breaks like so many before under the teensiest pressures of reality. And we’ve seen the iron bubble occupier, so preoccupied with their own inane life and rules that they’re completely oblivious to anything outside that context. So… made up your mind? No pun intended. Keep in mind: there’s no warranties. Our bubbles burst too regularly for that, but we have many, many suitable replacements ready (even of the lemons that are guaranteed to break from the sneeze of only one of God’s nostrils). And we’re always coming up with new bubbles to try out when the old ones our ancestors used don’t work so well no more. Also, it’s not that big of a deal, but before you make your final decision, keep in mind that many throughout history have died for their choice of bubble.
Kidding aside, I believe shoring oneself up to thrive as well as one can despite any eventualities that could arise in the relative chaos of ours lives is paramount to both living a life worth the limited energy we’re allotted at birth and surviving it true of heart within a bubble of composed of as little illusion and/or delusion as possible. Which means… at the very least… looking at the most significant things in our lives (actions, histories, routines, habits, people, places, values, et al.) from as many perspectives as possible. Both from in and out of our current value system. In the full, fantastical scope of possibilities: past, present, and future. If this happens; or this; or you do this; or this comes out of nowhere. From the perspective of a life subjectively better; and worse; and just different. From the perspective of others both close and intimate to us and far and away.
This doesn’t mean worrying. Rather, it means, when the circumstances of life change for whatever reason–and they will in all but the most socially protected of bubbles–one has already dealt with and processed all the possibilities and their negative effects. So this process of broad and deep introspection frees one of worry, at least as far as we can humanly achieve. Because there’s nothing we humans fear more than the unknown. Even if we are enticed toward something completely opposite of who we are for whatever reason, change generally happens over time in steps. Seen in captures of skipped time, how one has moved from one place to another might often be shocking. (This is basis of much art and entertainment.) But over the normal, moment-to-moment passage of time, even the most grand of changes is unnoticed for how incremental it is. This is true of both individuals and organizations, from families to nations to humanity as a whole.
Those necessary alternate perspectives, which collectively generate wisdom that can persist outside of our individual bubbles, can be shared/taught, as they are through a good book or movie, but even the most comprehensive work will always pale in comparison to the full, uncontextualized experience of life lived oneself. Especially that of life lived with a mindset of broad introspection. But even so, we are creatures bound by the here-and-now, so that which we share socially (via whatever language or medium), allowing access to perspectives otherwise difficult or impossible to experience (albeit with the understanding they will all be to varying levels of limited and biased) is just as vitally important as getting out there and living ourselves.
And it’s important to know experience alone isn’t wisdom. Just because we learned something from an event (whether it be conscious, as in a statement we can tell ourselves, or unconscious, as in an instinctive reaction) doesn’t mean we learned something worthwhile that we should pass on as wisdom. In fact, funnily enough because of our regular lack of introspective preparation, we very often learn the opposite of what’s worthwhile by sudden force of need, developing unhealthy coping mechanisms, going on to socially distribute disinformation based on limited perspective, and so on. We shouldn’t consider an event fully understood, and act/live upon it, until we’ve looked at it through through a test of more broadly-evaluated introspection.
If you do such broad and deep introspection enough, it inevitably becomes an important part of your personality due to how powerful it is as a habit. But learning to be comfortable in the state of virtuous uncertainty that comes with in a world largely incompatible with any form of doubt–by nature of our cultures being designed principally by those who have ruled from extremely dense, blind, and protected bubbles–is an even more difficult skill. Most will simply choose to live out their life in the most comfortable bubble near to that of the bubbles they spent considerable time in and around in their youth, and that’s that.
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