In this episode, it quickly becomes clear that Roderick Usher isn’t as sharp as he might have once seemed. At the same time, a mysterious woman is introduced—she’s appeared before, but oddly always in different forms.
The focus, however, is on Perry, who has been rejected by his father and aunt when he pitched what he believed to be a brilliant idea for a club. At first, their harsh response seems unfair, because from a distance, Perry’s idea, though elitist, flashy, and a bit perverse, somehow fits. You’re left wondering why they dismissed him so brutally.
As the Usher family’s story unfolds, you start to understand the reasoning behind this rejection, even though Roderick has already told Perry straight to his face. Either you change the world or your idea goes straight to the trash—anything less is unworthy of an Usher. Is this the secret to the family’s success?
We also learn in this episode that there’s a mole in the legal case against the Ushers, led by Auguste Dupin, who is leaking information to the prosecution. Naturally, the Ushers won’t stand for this. Their lawyer, Pym, immediately drafts new confidentiality agreements, which all family members and their partners must sign. This plot line alone is powerful, showing both how the Ushers operate and the wealth they use to protect themselves.
As for the mole, I have a theory, but I’ll wait until I have more evidence. Now, back to Perry!
Determined to prove his father wrong, Perry throws an extravagant, orgy-like party. But just as he aims high, he falls just as hard—poor Icarus, metaphorically speaking. It fits perfectly with what happens: while the acid may have physically killed him, it was his hubris and ego that were the real culprits. Too bad for him that his brother’s wife, the person he was trying to get back at, survives, and I’m sure her story isn’t over yet.
I like how this episode focuses on Perry, while still giving us glimpses of the others—there’s some crazy stuff happening, but it’s not shoved in your face. That’ll sure come later, but for now, we’re just getting small bites. The scenes with Auguste, Roderick, and Madeline working in the basement add even more intrigue.
Another aspect I appreciate is the deeper exploration of Roderick and Madeline’s past—how they became such a powerful family and built their wealth. The way this is woven into the present-day storyline adds the right amount of context just when it’s needed.
The episode also touches on the painkiller Ligodone, its supposed side effects, and how addictive it can be. I wonder if this is another reference to the opioid crisis in the U.S., where drugs like Oxycodone and Fentanyl have caused widespread addiction.
Many doors have been opened, and I’m eager to see what paths, obstacles, and dark secrets lie behind them. I’m also hoping we’ll learn more about the mysterious woman, who keeps appearing in different forms.
I’d love to see the visuals continue to evolve—the series’ style, especially how it portrays different time periods, is something I really enjoy. On the surface, it might seem lavish and exaggerated, but when you look closer, you find something distinctly Edgar Allan Poe-like. I wish more shows would dare to take these kinds of creative risks.
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