If there's one thing I'm thankful for in this heyday of digital streaming, it's the wealth of opportunities the format presents to the field of adaptation. There are so many stories that simply wouldn't work as standard-length films; the idea that a but a single of George R.R. Martin's A Song of Ice and Fire books would be condensed into a single two-hour film (roughly the equivalent of two episodes of Game of Thrones) is laughable. As technology has evolved, it has become a more feasible venture to adapt long-term stories into long-term series, as evidenced not only with Game of Thrones, but also with Netflix's latest offering, A Series of Unfortunate Events. I recall reading several of the books as a child and was excited to see the works of Lemony Snicket done justice (at least, moreso than the 2004 film adaptation starring Jim Carrey).
The story, as told by the enigmatic Snicket (Patrick Warburton), follows the three Baudelaire children; Violet (Malina Weissman), Klaus (Louis Hynes), and Sunny (Presley Smith). After their parents are killed in a mysterious fire, the three orphans are carted off to their (physically) closest living relative, a sinister actor by the name of Count Olaf (Neil Patrick Harris). As is stated in their parents' will, the children are to inherit an enormous fortune once Violet comes of age; it is Olaf's ambition to seize the Baudelaire fortune in any way that he can. The series follows the three children as they are sent from guardian to guardian, constantly pursued by Olaf and his troupe of villainous acting buddies. The events that transpire are sardonic, macabre, and, as the title would imply, unfortunate.
The first season of the show covers the first four books in the series: The Bad Beginning, The Reptile Room, The Wide Window, and The Miserable Mill. Each book takes up two episodes and each episode clocks in at more or less an hour a piece. It's one of the neatest formats I've ever seen for a series such as this, keeping everything organized and easy to absorb. The 2004 film condensed the first three books into a single movie, sacrificing the subtle, methodical tone and pacing of the source material. Here, everything unfolds at a perfectly respectable rate, not too quickly and not too slowly. This is definitely a point in the show's favor, considering this is a series which aims for a decidedly younger crowd than the bloody action of Daredevil or the existential dread of Bojack Horseman.
I can easily see some criticizing the show of losing sight of its target audience; while the books can be found in elementary school libraries, the show's dry tone and drab, stylized visual style may be a turn-off for the younger crowd. While I can agree that not every child will be taken in by what this show has to offer, I feel as though those who enjoy things on the macabre side will greatly enjoy themselves. This is very much a show for the bookworms, packed to the brim with literary humor and colorful language. That is to say nothing of the underlying theme of the whole thing; at the heart of the Baudelaire's plight is the sad, simple truth that adults often just don't listen to children. The siblings are all very intelligent, well-spoken, and well-read, yet are constantly held back by their age. Nearly every authority figure they come across is either condescending, naive, villainous, or some combination thereof; it's very much a tale for kids who feel disenfranchised and talked-down to by authority figures, and it gets this message across in superb form.
That said, I do have my share of nitpicks to address as well. While I adore the set design and visual style of the series (which implements sharp, contrasting colors and striking anachronisms to create a sort of hybrid aesthetic between early Tim Burton and Pushing Daisies), the use of CGI is simply painful in most cases. I don't fault the showrunners for using digital effects to portray giant leeches gnawing through a boat hull or a baby gnawing bark off a log; in those cases, it actually looks mostly passable for an online series. But I don't understand why, with all the gorgeous (and likely expensive) practical sets, they felt the need to use digital effects for something as simple as a shot of the main characters riding a trolly. It's something that completely pulled me out of this unique, immersive world whenever it showed up. I can only hope, with the massive acclaim the series has been receiving, that Season 2 will see an increased budget.
I also feel as though the show sometimes thinks it's a bit more clever than it really is; while I love the various literary references, absurdist humor, and dry dialog exchanges, the show can sometimes layer it on a bit too thick. Though that may just be my jaded cynicism talking. I did, on the other hand, thoroughly enjoy the performances of all the main cast. The show boasts talent such as Alfre Woodard, Aasif Mandvi, and Catherine O'Hara, and no one at all feels wasted. The three Baudelaires all do well as young protagonists, coming off as believable, capable, and relatable without once coming off as grating (important for any story starring children, absolutely vital for this particular property). As is to be expected, the one who steals the show is Neil Patrick Harris as Count Olaf (though my personal favorites were his acting troupe).
The role was formerly filled by Jim Carrey in the aformentioned film, so it's safe to say that Harris had some rather large shoes to fill; the character of Count Olaf is one who operates on theatricality and trickery, adopting various disguises in an attempt to swindle the Baudelaires out of their family fortune. Thankfully, NPH pulls it off with aplomb, burying himself under tons of prosthetic makeup and seemingly having a ball. I do wish that his character had more chances to come off as genuinely threatening (since he's responsible for some genuinely uncomfortable moments early on in the series), but even his goofy showmanship is fun and engaging to watch. Carrey's take on Olaf was undoubtedly the strongest aspect of the 2004 adaptation, and the same is true of Neil Patrick Harris' performance here.
Regardless of the various disclaimers presented by the very catchy theme song, I do heartily recommend you check out A Series of Unfortunate Events. There may not be much here for those who didn't grow up with the books, but I still found myself having a fun, engaging time watching it. The underlying lore of the source material is definitely more pronounced here than in the books, since the show explores other characters from time to time, aside from the three main children. The mystery which runs through the story of the Baudelaire orphans is interesting enough to keep the audience engaged, leading up to a fabulous end-of-season twist that has me eager to come back for more. It's a drier, darker, more subversive breed of children's entertainment that I feel the world could always use more of. Definitely give it a watch.
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