First Season Not So Unfortunate

Netflix’s first season of A Series of Unfortunate Events, based on the acclaimed children’s book series of the same name written by Daniel Handler under the pseudonym Lemony Snicket, was released in early January. The show balances dark themes with a light-hearted aesthetic, offering a story that is both tragic and ironic.

The series follows the lives of the three incredibly smart and unorthodox Baudelaire orphans- Violet the eldest, her younger brother Klaus, and their baby sister Sunny – after their parents die in a mysterious fire. They are sent to their “closest” living relative, the conniving Count Olaf, who will stop at nothing in order to attain the orphans’ enormous fortune their parents have left to them.

The children are faced with incompetent adults and followed by unfortunate tragedies, always under the pursuit of Count Olaf. The narrator -played by Patrick Walburton, in his deadpan delivery, alludes to his ties to the Baudelaire children while foreshadowing major events. The script relies on puns and other clever tricks of language.

Season 1 recounts the events of the first four novels in Snicket’s 13-book series. Being based on a children’s book series, the performances in the show can, at times, feel a bit exaggerated or cheesy- but for the most part, the show manages to use that to its advantage, conveying a nostalgia for childhood fantasy.

Formulaic, each 2-part episode begins with the orphans being sent to their next temporary residence. By the end of each episode something awful has happened- which sets up the next episode as the children uncover more about the untimely deaths of their parents. There is a sense of mystery about the Baudelaires’ fate that is compelling.

Though in nearly every episode the orphans encounter someone that seems to be a beacon of hope,  for every lucky occurrence or competent guardian that the Baudelaires encounter, contentment is only fleeting.

The show is unique in that it offers a child’s point of view. As child actors carry this show, sometimes, the performances seem campy, and so do certain plot lines. A viewer has to be willing to put up with a little bit of this, bearing in mind that the series is based on a children’s book series.

One thing that the show does particularly well is create a distinct aesthetic that consists of elaborate sets, vivid (yet vaguely dreary) colors, and well-crafted costumes.  It is remeniscent of Wes Anderson’s style, who is known for films like The Grand Budapest Hotel.

The show is fresh and original, and portrays the Baudelaire’s story with its grim but quirky blend of fantasy and nostalgia.