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Bad Bunny season officially begins tonight with the release of his fifth solo album Nadie Sabe Lo Que Va A Pasar Mañana which translates to Nobody Knows What’s Going To Happen Tomorrow. The full project will arrive with 22 songs and previously-release singles “Where She Goes” and “Un Preview.” The rollout for the project began with the video for “Where She Goes” which concluded with a billboard that read “Nadie Sabe…” which, of course, led fans to speculate about a new album. Their speculation proved to be true, and with just a few hours left until the album’s release, we finally have its tracklist.

The tracklist for Nadie Sabe Lo Que Va A Pasar Mañana delivers 22 songs, as promised, and features from… Bad Bunny’s fifth solo album will hopefully live up to the hype of his previous album Un Verano Sin Ti was the best-performing album of 2022 on the Billboard 200, the first Spanish-language album to reach 10 billion streams on Spotify, and the first Spanish-language album to be Grammy nominated for Album Of The Year.

You can view the tracklist for Nadie Sabe Lo Que Va A Pasar Mañana below.

1.” Nadie Sabe”
2. “Monaco”
3. “Fina”
4. “Hibiki”
5. “Mr. October”
6. “Cybertruck”
7. “Vou 787”
8. “Seda”
9. “Gracias Por Nada”
10. “Telefono Nuevo”
11. “Baby Nueva”
12. “Mercedes Carota”
13. “Los Pits”
14. “Vuelve Candy B”
15. “Baticano”
16. “No Me Quiero Casar”
17. “Where She Goes”
18. “Thunder Y Lighnting”
19. “Perro Negro”
20. “Europa :(”
21. “Acho PR”
22. “Un Preview’

Nadie Sabe Lo Que Va A Pasar Mañana is out 10/13 via Rimas Entertainment. Find out more information here.

It’s been 25 years the Seinfeld finale left Jerry, George, Elaine, and Kramer in jail after a trial that rehashed some of their various micro crimes against humanity and the strange cabal of side characters they encountered across 9 seasons. In the time since Team Seinfeld has gone back to the well with a fictional reboot of the show running through the 7th season of series co-creator Larry David’s Curb Your Enthusiasm and a commercial/episode of Jerry Seinfeld’s Comedians In Cars Drinking Coffee between him and Jason Alexander returning as George.

Despite previous dalliances with nostalgia mining, however, an actual full-on Seinfeld reboot never seemed likely. It probably still isn’t (based on 25 years of Seinfeld and David showing no interest in anything typical or substantial), but Jerry Seinfeld made a vague tease to a stand-up crowd in Boston the other night about “something” on the horizon, and now we’re allowing ourselves the space to dream or, at least, speculate wildly.

So, will this be another splash on Curb‘s upcoming new season? Another Super Bowl ad (please not a crypto ad, Larry)? Something more formal, less official? We have no earthly idea, but we do know that there are things that we don’t want any possible Seinfeld “reunion” or pseudo-reunion to be.

An Apology For The Seinfeld Finale

While Seinfeld and David bickered about the finale on Curb, public comments indicate they’re both good with how it wound up with Seinfeld chalking it up to a love letter to the people who worked on the show in comments made during a 2013 Reddit AMA. David’s response was even more interesting, as told to Bill Simmons on the Grantland podcast in 2014 (hat tip to ComicBook.com for resurfacing both quotes in a 2022 article):

“I think the thing about finales is everybody writes their own finale in their head, whereas if they just tune in during the week to a normal show, they’re surprised by what’s going on. They haven’t written it beforehand, they don’t know what the show is. But for a finale, they go, “Oh, well this should happen to George, and Jerry and Elaine should get together,” and all that. They’ve already written it, and often they’re disappointed, because it’s not what they wrote.”

Hey, that’s smart! Listen, the Seinfeld finale was far from perfect, it might even be chaotic and tonally confusing (more on that later – I swear!), but it was also a big swing and a big screw you to the idea of a more on-the-rails ending. Gotta respect that.

To Seinfeld’s point: Hell yeah, Jer! The idea that a finale has to be about saying thank you and goodbye to the audience is weird. Writers should trust the process and go toward their own satisfaction and the satisfaction of the various people who have made these things, first and foremost. Same as they usually do.

All this is to say that no one needs to apologize for the Seinfeld finale, so I hope there’s no cheeky “it was just a dream” retconning or other attempts to re-land the plane.

No Hollow Nostalgia Or Weepy Reunion Specials, Please

Seinfeld has, more than any show from the last 30 years, remained firmly stuck in the meat of the zeitgeist. We’re talking about it now because a newsworthy thing happened, sure, but people are always talking about and reassessing it, ranking it, writing books about it, podcasting about it, and collecting Funko vinyl pops of the characters like they’re Disney princesses. Streaming rights went for a fortune and the show is everywhere. Not just because of nostalgia for the ‘90s, but because people (of all ages) still watch the hell out of it.

I literally throw on an episode or two while I’m trying to fall asleep almost every night. It’s comfort food for my brain as I sometimes (often) mouth the words in tune with the actors – words that have often bled into the lexicon.

Across the generational landscape, people find new bits of “nothingness” to laugh at on the regular, keeping the show relevant with memes on Twitter and TikTok vids. Can you nostalgize something that isn’t really gone and, through the magic of minutiae and an allergy to topicality, still feels of the moment?

I bring all of this up because I really don’t want a weepy reunion special like what they did with Friends. It would feel weird because of the show’s lingering semi-relevance, but also because that’s just not really a Seinfeld kinda thing. Not that the cast and crew didn’t establish real bonds and relationships with fascinating behind-the-scenes stories that would thrill and delight fans. I’m sure they did, but Friends had a lot more heart than Seinfeld as its characters matured. Just way more touchy-feely moments were… well it’s in the song, isn’t it? They’ll “be there for you” and for each other. Isn’t that nice?

On Seinfeld, nothing was nice and nobody was rooting for anyone but themselves. All signs of personal growth were mocked and covered in dirt. It was a story about a nest of snakes, and I mean that in the best possible way.

Would a panel reminiscence fest cut with clips of sponges, chucked JFK golf clubs, Penis chess, sex pastrami, spotted sweaters, and Velvet Fog sing-alongs really provide any creative benefit for Seinfeld and David? Sounds like they’d be attending their own wakes. It also sounds hollow for fans who know all the stories and can recite the show’s best moments (hellooooo! la la la).

No Happy Endings, No Growth

Jerry Seinfeld and Larry David understood that you’d give people whiplash if these characters were rewarded with a happy ending or a group hug and poems about their shared journey. Seinfeld and David even played with all that with George’s near-death confessional, Jerry nearly getting everything he ever wanted, and Elaine and Puddy parting as she’s carted off to jail. Again, a lovely screw you to the idea that they’d ever deliver a cookie-cutter finale with all the usual notes. But…

While the finale was devoid of hugs and happiness, it wasn’t a finale about nothing. They still made a summary statement, they just made it about justice, consequences, and a kind of looping purgatory for these characters.

Though it took time for me to adjust to something that judged the characters so harshly the purgatorial part is now my favorite part of the re-assessed finale and the Curb episodes. These characters will never escape each other or the coffee shop or Jerry’s apartment. They should never escape. That’s the devil’s bargain of perpetual adolescence and the tragicomedy of Seinfeld. To have any value to other people or the world at large, these assholes would have to soften, mature, and change. As such, they wouldn’t be free to be this terrible and scathing to each other and everyone else. Which would KILL irredeemable George, Elaine, Jerry, and Kramer.

While it was vital in 1998 to not betray that key truth about these characters, it’s even more vital now if we’re actually going to spend any time with them (an admittedly massive if). At least if the intention is to hold to the ethos of the show. And no matter what this is, I believe that would be the intention. If these guys were going to sell out, they would have done it two decades ago with The Newman Chronicles, Jackie Chiles: Attorney At Law, or Monks Cafe: Nights.

So, What Should A Seinfeld Reunion Be?

Again, no idea. Funny? Smart? Worth our time? How about this: the Seinfeld sorta reunion should NOT be a massive tease, because I’m gonna want to flip over a comedian in a car getting coffee if this winds up being Jerry and the Soup Nazi for Progresso Chickarina Soup, a metaverse Seinfeld experience, or a Seinfeld X KITH Festivus home decor collab.

Of the East’s top-6 teams from a year ago, the New York Knicks were the ones that had the calmest offseason and enter this upcoming year with the most continuity. After earning the 5-seed a year ago and seeing Jalen Brunson embrace a starring role, the Knicks enter the 2023-24 season with optimism they can not only duplicate that performance but build on top of it.

To do so, they’ll need to see some internal improvement, as their only real change to the roster was signing Donte DiVincenzo in their continued efforts to sign every Villanova player in the league and trading Obi Toppin to Indiana.

Biggest Question: Can All Their Stars Play Their Best In The Postseason?

The further up the contender ladder you go, the harder it is to reach the next level, and for the Knicks that would mean threatening the Eastern Conference Finals. The advantage they have over the two top teams in the East is depth, as Milwaukee and Boston have gone all-in on creating nightmare starting units. As we all know, depth plays less of a role in playoff success (provided good health) as starting units can play extended minutes and the benefits of having a better bench group is more limited.

That means the Knicks stars have to play as such to keep things closer against other starting units to allow their bench advantage to shine, and last year only Brunson really lived up to the billing. Julius Randle is the biggest playoff concern at the top of New York’s pecking order, as he has struggled mightily in his two postseason appearances with the Knicks. In those 15 playoff games, he’s averaging 17.1 points and 9.4 rebounds per game, but sees his efficiency drop off a cliff to 34.4 percent from the field and 28.3 percent from three, while having more turnovers (3.9) than assists (3.7). Randle has struggled to find his rhythm as he often takes a lot of tough shots, with more than 60 percent of his attempts last season coming from beyond 10 feet from the rim (with most of his midrange jumpers being self-created). Against the increased pressure applied by defenses in the postseason, his handle has been bothered and he’s struggled to create decent looks for himself. The challenge for Randle and the Knicks is finding ways to get him into a rhythm with easier looks and try and get him away from the isolation attempts that simply have not worked. That’s easier said than done considering his regular season shot diet is also a lot of pretty difficult looks that he just knocks down at a much higher rate, meaning he would have to change his offensive approach considerably.

R.J. Barrett took a step forward last year both in the regular season and the playoffs, but he also could stand to take another step forward in terms of efficiency. He’s terrific going to the basket and his ability to apply rim pressure is needed on this Knicks team. He has steadily improved his shot selection but needs the three-pointer to become a more reliable weapon to open up the floor a bit more for guys like Randle and Brunson. Cramped spacing has long been a concern with this Knicks offense, and when transition opportunities are limited in the postseason, their halfcourt offense can grind to a halt. He doesn’t need to become an elite three-point shooter, but simply raising his level from being a low-30s guy to a mid-30s guy from three would force defenses to think a little longer about sagging off and help New York.

It’s a tall order, but if this group is going to be something more than a mid-seed with a second round ceiling, it comes down to their best players raising their level in the postseason rather than simply maintaining it (like Barrett), much less falling off (like Randle).

X-Factor: Josh Hart

While the Knicks only made the one addition this offseason, this will be the first full season with Hart on the roster. After arriving in a trade with the Blazers at the deadline, Hart was sensational for the Knicks in his 25 games and continued that into the postseason. What he provides as a rebounder, cutter, and defender is incredibly valuable. Last year in the playoffs he was third on the team in rebounds per game (7.4), and while Mitchell Robinson, Isaiah Hartenstein, and Randle got rightful credit for their work against Cleveland’s bigs on the glass in the first round (effectively swinging that series), Hart’s work crashing from the wing was vital to that effort. However, as mentioned above, the Knicks have a spacing issue and for Hart to be on the floor he has to be more of a threat spotting up in the corners.

Hart was terrific from an efficiency standpoint in the regular season in a small 25 game sample (51.5 percent), but saw that dip to 31.3 percent in the playoffs. However, even when he was shooting well in the regular season, it was only on 2.1 attempts per game has he has a tendency to only shoot when wide open (which, naturally, boosts that percentage). He is a frequent record-scratcher, pump-faking against closeouts and then moving the ball. That isn’t always a bad thing, but there are plenty of times for this Knicks offense that creating a semi-open three is going to be the best look they create in the halfcourt. Passing that opportunity up sometimes forces them into a tougher shot, and Hart building his confidence to let it fly is important given he’s often on the floor with multiple other non-threats from deep. Hart can be a better three-point shooter than I think he is willing to give himself credit for, and embracing that part of his role (in a way he embraces the non-scoring parts so well) could unlock some things for this offense.

Taylor Swift’s bond with her Swifties can’t be reduced to a friendship bracelet, even if a friendship bracelet is at least semi-responsible for her romance with Kansas City Chiefs tight end Travis Kelce. On Wednesday night (October 11), AMC Theaters hosted the premiere of Taylor Swift: The Eras Tour at The Grove in Los Angeles, and Swift showed up in a custom Oscar De La Renta floral gown. (Yes, it was blue because we are mere weeks away from 1989 (Taylor’s Version), after all.) But Swift’s presence wasn’t limited to posing on the red carpet.

According to Entertainment Tonight, there were screenings in 13 theaters within AMC The Grove 14, and “Swift personally stopped by each of the 13 theaters to share heartfelt remarks.” Variety captured one of her three-minute speeches. Watch the video and read the speech in full below, then read Uproxx’s review of Taylor Swift: The Eras Tour here.

“Hello! I wanted to come and say hi. This is a very special theater because we got all the dancers in this theater. Every single person in this theater has been hand-selected and hand-picked and invited to this night because you’ve shown some sort of extra type of support for this tour, and I appreciate that more than you could possibly know. Like, I’m always looking out for people with elevated levels of passion, incredible senses of humor on the internet, attention to detail. These things are very important to me.

So, thank you for everything you’ve done that just got us all in this one room because, let me tell you, this tour — I’m just gonna start by saying I’ve always had fun doing this. I can’t believe I get to do music as a career. That’s crazy. Like, wow. I’ve always had so much fun doing it. I’ve never had this much fun in my life as I have had on The Eras Tour. It is far and away just the most electric experience of my life, and the reason for that is several things.

My band, my dancers, our crew, we did this show, rain or shine, in sickness and in health, no matter what was going in our lives, and we did it with a grin on our face because of what greeted us on the other side. Like, what you guys were doing in the audience — the amount of care and preparation and passion and intensity that you put into coming to these shows. You pulled us out of anything rough that might have been going on in our lives. You let us forget about it for three-and-a-half hours every night on that stage, so thank you so much for doing that for us.

I think the fans will see — and the dancers, you’ll all see — how much you are main characters in this film, and I love you so much. I appreciate you being here because this night — it is a core memory for me, and you’re a part of it. And you decided you wanted to spend your evening here with us. I really hope you have fun. I hope you love it so much. I hope you’re so proud. Thank you for being here. Love you guys! I love you!”

Taylor Swift: The Eras Tour is in theaters 10/13. Find more information here.

Taylor Swift’s bond with her Swifties can’t be reduced to a friendship bracelet, even if a friendship bracelet is at least semi-responsible for her romance with Kansas City Chiefs tight end Travis Kelce. On Wednesday night (October 11), AMC Theaters hosted the premiere of Taylor Swift: The Eras Tour at The Grove in Los Angeles, and Swift showed up in a custom Oscar De La Renta floral gown. (Yes, it was blue because we are mere weeks away from 1989 (Taylor’s Version), after all.) But Swift’s presence wasn’t limited to posing on the red carpet.

According to Entertainment Tonight, there were screenings in 13 theaters within AMC The Grove 14, and “Swift personally stopped by each of the 13 theaters to share heartfelt remarks.” Variety captured one of her three-minute speeches. Watch the video and read the speech in full below, then read Uproxx’s review of Taylor Swift: The Eras Tour here.

“Hello! I wanted to come and say hi. This is a very special theater because we got all the dancers in this theater. Every single person in this theater has been hand-selected and hand-picked and invited to this night because you’ve shown some sort of extra type of support for this tour, and I appreciate that more than you could possibly know. Like, I’m always looking out for people with elevated levels of passion, incredible senses of humor on the internet, attention to detail. These things are very important to me.

So, thank you for everything you’ve done that just got us all in this one room because, let me tell you, this tour — I’m just gonna start by saying I’ve always had fun doing this. I can’t believe I get to do music as a career. That’s crazy. Like, wow. I’ve always had so much fun doing it. I’ve never had this much fun in my life as I have had on The Eras Tour. It is far and away just the most electric experience of my life, and the reason for that is several things.

My band, my dancers, our crew, we did this show, rain or shine, in sickness and in health, no matter what was going in our lives, and we did it with a grin on our face because of what greeted us on the other side. Like, what you guys were doing in the audience — the amount of care and preparation and passion and intensity that you put into coming to these shows. You pulled us out of anything rough that might have been going on in our lives. You let us forget about it for three-and-a-half hours every night on that stage, so thank you so much for doing that for us.

I think the fans will see — and the dancers, you’ll all see — how much you are main characters in this film, and I love you so much. I appreciate you being here because this night — it is a core memory for me, and you’re a part of it. And you decided you wanted to spend your evening here with us. I really hope you have fun. I hope you love it so much. I hope you’re so proud. Thank you for being here. Love you guys! I love you!”

Taylor Swift: The Eras Tour is in theaters 10/13. Find more information here.

You, you, you oughta know Olivia Rodrigo‘s favorite album.

The Guts singer was a recent guest on Pitchfork‘s The Pitchfork Review podcast, where she was asked to name an album that she considers to be a 10 out of 10 masterpiece.

“My perfect 10 album is Jagged Little Pill by Alanis Morisette,” Rodrigo said. “I grew up listening to like Jack FM with my parents and they play like ‘Hand In My Pocket’ and ‘You Oughta Know’ and ‘Ironic’ and stuff like that, so I think subconsciously maybe knew those songs. But I remember a piano teacher of mine telling me, ‘Oh my gosh, you should listen to this album. It’s incredible.’ I remember listening to it and being a 12-, 13-year-old girl and being like, ‘Oh my god, you can say this in music? This is so crazy. And then I did a deep dive. You can say, ‘Did you go down on him in a theater’ in a song?!”

Unfortunately for Dave Coulier (allegedly), you can.

Rodrigo said that the first song she listened to on Jagged Little Pill was “Perfect,” one of the album’s few non-singles. “I must have been such an angsty kid who had the pressure of perfectionism on them in a different way,” she said. “It wasn’t from my parents, but I must have had that on me and I just listened to that song and was like, ‘Oh my god, this speaks to me so much.’” Rodrigo added that Jagged Little Pill makes her feel “empowered,” and called it “the most human album I’ve ever heard.” It’s also great live.

You can listen to the podcast below. It’s worth it just to hear Rodrigo’s Morisette impression.

You, you, you oughta know Olivia Rodrigo‘s favorite album.

The Guts singer was a recent guest on Pitchfork‘s The Pitchfork Review podcast, where she was asked to name an album that she considers to be a 10 out of 10 masterpiece.

“My perfect 10 album is Jagged Little Pill by Alanis Morisette,” Rodrigo said. “I grew up listening to like Jack FM with my parents and they play like ‘Hand In My Pocket’ and ‘You Oughta Know’ and ‘Ironic’ and stuff like that, so I think subconsciously maybe knew those songs. But I remember a piano teacher of mine telling me, ‘Oh my gosh, you should listen to this album. It’s incredible.’ I remember listening to it and being a 12-, 13-year-old girl and being like, ‘Oh my god, you can say this in music? This is so crazy. And then I did a deep dive. You can say, ‘Did you go down on him in a theater’ in a song?!”

Unfortunately for Dave Coulier (allegedly), you can.

Rodrigo said that the first song she listened to on Jagged Little Pill was “Perfect,” one of the album’s few non-singles. “I must have been such an angsty kid who had the pressure of perfectionism on them in a different way,” she said. “It wasn’t from my parents, but I must have had that on me and I just listened to that song and was like, ‘Oh my god, this speaks to me so much.’” Rodrigo added that Jagged Little Pill makes her feel “empowered,” and called it “the most human album I’ve ever heard.” It’s also great live.

You can listen to the podcast below. It’s worth it just to hear Rodrigo’s Morisette impression.

Kelly Ripa has outlasted the departure of multiple Live! co-hosts at this point. There was, of course, the late Regis Philbin who retired and passed the baton to Michael Strahan. Later, Ryan Seacrest occupied the slot for six years but will soon be replacing Pat Sajak on Wheel Of Fortune. This led to the seemingly fine development of Ripa’s husband and former All My Children co-star, Mark Consuelos, stepping into co-host duties. However, this quickly turned into too many sex-life stories, which might make you miss Ryan Seacrest.

Well, never fear because Seacrest decided to visit Kelly’s SiriusXM podcast, Let’s Talk Off Camera, where a very un-sexy story re-surfaced. Ripa requested that he retell a story that he first told on Live! about four years ago. You can see that previous, lovely exchange above, where Seacrest animatedly revealed how he was horrified to clog Kris Jenner’s fancy toilet.

Naturally, the Kardashian matriarch has a super-electric toilet with all kinds of bells and whistles. It’s a black throne that’s difficult to see in a darkened powder room, and Seacrest couldn’t figure out how to operate the thing, so it either malfunctioned, or something else (even grosser) was happening. And this is how Seacrest mimed his inner debate on if he should reach in and scoop out his own poop. Kelly Ripa’s reactions are *chef’s kiss* here.

This was definitely a story that needed to be retold. Via Page Six, this is how that went: “I’m thinking to myself, ‘What do I do?’ Do I stick my hand in there?! Do I say, ‘Hey Khloe, don’t tell Kim and Kourtney, but can you help me out over here;’ Or do I just tell Kris, ‘I think your toilet has got a problem?’”

Seacrest was “panicked” after the water had “overflowed up to the seat level.” Then he attempted to quickly tie up the story: “It began to settle down, but I quickly got out.” Ripa wasn’t done with him yet, though. She told her audience that Seacrest had to “retrieve” what was in the toilet, and then came a “ladle” joke from a co-host. At which point, the situation devolved into complete chaos, and Seacrest insisted that there was no “ladle” but a “toilet ring cleaner” that helped him out. Whew.

For the extra-curious, Kim Kardashian has confirmed that Kris’ toilet is a bit of a nightmare. After Seacrest initially told the story on Live!, she visited the show and explained how Kris made her guest bathroom into an overly complicated affair. Hopefully, Ryan has some closure after the rehashing, too.

Kelly Ripa has outlasted the departure of multiple Live! co-hosts at this point. There was, of course, the late Regis Philbin who retired and passed the baton to Michael Strahan. Later, Ryan Seacrest occupied the slot for six years but will soon be replacing Pat Sajak on Wheel Of Fortune. This led to the seemingly fine development of Ripa’s husband and former All My Children co-star, Mark Consuelos, stepping into co-host duties. However, this quickly turned into too many sex-life stories, which might make you miss Ryan Seacrest.

Well, never fear because Seacrest decided to visit Kelly’s SiriusXM podcast, Let’s Talk Off Camera, where a very un-sexy story re-surfaced. Ripa requested that he retell a story that he first told on Live! about four years ago. You can see that previous, lovely exchange above, where Seacrest animatedly revealed how he was horrified to clog Kris Jenner’s fancy toilet.

Naturally, the Kardashian matriarch has a super-electric toilet with all kinds of bells and whistles. It’s a black throne that’s difficult to see in a darkened powder room, and Seacrest couldn’t figure out how to operate the thing, so it either malfunctioned, or something else (even grosser) was happening. And this is how Seacrest mimed his inner debate on if he should reach in and scoop out his own poop. Kelly Ripa’s reactions are *chef’s kiss* here.

This was definitely a story that needed to be retold. Via Page Six, this is how that went: “I’m thinking to myself, ‘What do I do?’ Do I stick my hand in there?! Do I say, ‘Hey Khloe, don’t tell Kim and Kourtney, but can you help me out over here;’ Or do I just tell Kris, ‘I think your toilet has got a problem?’”

Seacrest was “panicked” after the water had “overflowed up to the seat level.” Then he attempted to quickly tie up the story: “It began to settle down, but I quickly got out.” Ripa wasn’t done with him yet, though. She told her audience that Seacrest had to “retrieve” what was in the toilet, and then came a “ladle” joke from a co-host. At which point, the situation devolved into complete chaos, and Seacrest insisted that there was no “ladle” but a “toilet ring cleaner” that helped him out. Whew.

For the extra-curious, Kim Kardashian has confirmed that Kris’ toilet is a bit of a nightmare. After Seacrest initially told the story on Live!, she visited the show and explained how Kris made her guest bathroom into an overly complicated affair. Hopefully, Ryan has some closure after the rehashing, too.

WARNING: Spoilers for Netflix’s The Fall of the House of Usher below.

Mike Flanagan has gifted horror fans chilling adaptations and beautifully moving originals on Netflix for half a decade but his final masterpiece — for this streamer at least — is a deliciously macabre ode to the father of Gothic literature: Edgar Allan Poe.

In The Fall of the House of Usher — a title borrowed in name and theme from one of Poe’s most lauded short stories — Flanagan wields the poet’s Victorian-era symbolism and prose to spin a dark, twisted tale of greed, moral decay, and the absolute corruption of absolute power.

Its cast — a lineup of Flanagan regulars including Carla Gugino, Kate Siegel, Rahul Kohli, and Henry Thomas paired with fresh additions like Mark Hamill, Bruce Greenwood, and Mary McDonnell — serves as walking cautionary tales, garbed in Fendi bodysuits and Gucci loafers, and equipped with the kind of self-aggrandizing God complexes to justify the gleeful anticipation of their imminent, very painful, demises. Roderick Usher (Greenwood), the family patriarch and CEO of a billion-dollar pharmaceutical company, narrates his family’s fall from grace, skipping back in time to relive each of his children’s gruesome deaths in order to build up an even more sinister central mystery surrounding his success and that of his sister, Madeline (McDonnell).

The end result: an episode-by-episode amalgamation of Poe’s best-known works viewed through the prism of modernity. Flanagan touches on everything from AI to the opioid epidemic, splattering his morbid parables with Poe Easter Eggs that feel most satisfying when they’re discovered before the bodies begin dropping. To that end, we’ve done a bit of detective work to spot some of the most important references to Poe’s works in Netflix’s latest horror hit that make watching the show so much more interesting.

The Fall of the House of Usher

This short story written by Poe in 1839 is the frame Flanagan used to build his ghastly tale. In it, an unnamed narrator visits an ailing friend named Roderick Usher who recounts the decline of his health and sanity. His twin sister Madeline, also suffers from an affliction, which the siblings blame on the house itself, and his tale ends with their violent deaths and the destruction of the family legacy holding them hostage. Though Flanagan has expanded on Poe’s work — adding family members and narratives beyond the original — the story of two siblings effectively destroying their bloodline and themselves is pretty central to the Netflix series. In having Roderick narrate the downfall of his house to his old frenemy, Auguste Dupin (Carl Lumby) — a nod to a brilliant French detective Poe often featured in his writings — Flanagan starts fans at the finish line, running them back through generational traumas and tragedies before ultimately arriving at where this terrible tale truly began.

The Raven

The Raven is likely Poe’s most famous work of poetry and that ominous feathered harbinger pops up plenty in The Fall of the House of Usher. He’s often gleefully cawing at Roderick’s mounting misfortune with the Usher patriarch even reciting bits of Poe’s poem to him as the creature perches on a ballast and stares blankly in the face of his misery. Lenore — Roderick’s granddaughter and the only child he seems to love — borrows her name from the woman at the center of this poem, whose death the narrator mourns. The name of Gugino’s character — Verna — is an anagram of Raven, which seems to hint that the seemingly supernatural figure might somehow be a stand-in for concepts like death and fate.

The Pit and the Pendulum

One of the more grisly deaths doled out to the Usher kids thanks to their father’s misdeeds belongs to Frederick Usher (Thomas) the bumbling, coked-up first-born son whose erratic behavior only becomes more disturbing as the show goes on. After his wife’s accident, Frederick spirals, taking control of her medical care at home in an attempt to torture the truth from her. His preferred method of abuse is to drug her and pull out her teeth — a callback to Poe’s Berenice in which a man plagued by obsession keeps his wife’s molars in a tin can — but he faces his own harrowing end when a building demolition goes haywire. In Poe’s short story, a prisoner of the afterlife narrowly escapes death by tricking rats into chewing through his bindings before a giant swinging axe can cut him in two. In Flanagan’s version, Frederick isn’t so lucky.

Masque of The Red Death

Another Usher sibling doomed to die a particularly nasty death is young Prospero (Sauriyan Sapkota), a 20-something playboy interested in positing his father’s fortune into a nightclub empire. In Poe’s short story, Prospero is a Prince who holds a carnival-like masquerade for his wealthy friends as a terrible plague sweeps through the countryside. A red-robed figure in a death masque wanders the party as his guests begin dropping like flies. The same happens in Flanagan’s version, although Prospero throws his bash in an abandoned pharmaceutical lab with hazardous chemicals stored in the water reserves. Instead of turning the sprinklers on to signal the start of a massive orgy, acid rains down on his guests, burning through skin and fat until only charred bodies remain. Sounds like a party Poe would love, tbh.

The Pym Reaper

It must be said: Pym Reaper is a terrific name for a character in a Gothic horror story based on Edgar Allan Poe’s writings. And, while much of the man’s backstory remains a mystery, he’s based in part on the author’s only finished novel, The Narrative of Arthur Gordon Pym of Nantucket. In the book, Arthur Pym was an explorer who sailed the world, adventuring to remote territories and surviving terrible tragedies. Mark Hamill’s Pym probably did the same, which is why when Verna comes to him with a deal, he’s the only member of the Usher circle who has the courage to simply walk away.

The Murders in the Rue Morgue

Poe’s fictitious detective Auguste Dupin investigates the brutal, bloody murders of a woman and her young daughter in this Gothic whodunnit that also serves as inspiration for the show’s third episode. Siegel’s Camille L’Espanaye borrows her name from one of the victims and while the setting for her gruesome end is different — she heads to her family’s lab hoping to prove her sister’s science experiments have failed — the culprit is the same. In Poe’s original, Camille and her mother were killed by an orangutan brought back from Borneo by a sailor hoping to sell him on the black market. In Flanagan’s retelling, the chimps Victorine (T’Nia Miller) has been testing her heart device on are the ones who, well, go apesh*t.

The Black Cat

Ravens weren’t the only supernaturally-touched animal Poe loved to spin a yarn about. In another short story, he wrote about a man who killed his cat, only to buy another before going mad with guilt. The same happens to Kohli’s Napolean in The Fall of the House of Usher — albeit in a luxury high-rise apartment with a balcony that’s just a bit too easy to topple over.

The Tell-Tale Heart

Another renowned Poe masterpiece, The Tell-Tale Heart recounts the ramblings of a madman who, after harboring an obsession with an old man’s eye, kills him and stuffs his body beneath the floorboards. When the police come looking, it’s his own thumping heart that drives him to confess. In Netflix’s version, Victorine — a name pulled from yet another Poe writing — accidentally kills her partner and is plagued by a similar beating sound that eventually costs her her sanity.

Cask of Amontillado

One of the more satisfying deaths in The Fall of the House of Usher belonged to Fortunato CEO Rufus Griswold (Michael Trucco). The smarmy, greed-driven exec tried to blackmail a young Roderick and Madeline before meeting his end thanks to a bottle of sherry, some masonry tools, and a dangerous delusion of his own invincibility. Poe’s tale sported those same themes, telling the story of Montresor, a man who swears revenge on a man named Fortunato after repeated insults. During a carnival, he lures his enemy to the catacombs with the promise of better sherry before changing him up and entombing him in his family’s crypt as the bells on his cap jingle. Another fun fact? Rufus Griswold was a literary critic whom Poe had a long-standing feud with so he’d undoubtedly appreciate the changes Flanagan made to this one.

Tamerlane

Tamerlane is the title of another Poe poem, this one about an ambitious man willing to sacrifice love and happiness for power and prosperity. Samantha Sloyan’s character does the same on the show, spurning her himbo husband Bill (Matt Biedel) — a name nod to another real-life Poe enemy, poet Henry Wadsworth Longfellow — to see her Goop-inspired empire Gold Bug to fruition. The name Gold Bug is an Easter Egg tied to a short story about treasure hunting in South Carolina, but Tamerlane’s terrible end on the show pulls inspiration from William Wilson, a story about a man tormented by his doppelganger via the use of mirrors.

Netflix’s ‘The Fall Of The House Of Usher’ is currently streaming.