Be warned: These spoilers will wreck your evening, your home life, and your day. Every single spoiler is nothing but dismay, so look away!
After my pre-show thoughts post, I spent the better part of my weekend binging this show, thinking about it, and enjoying the hell out of it. My favorite episode, by far, is The Reptile Room parts one and two, as they have hands-down the most likable guardian, the most joy that the Baudelaires experience so far, and the most clever and amusing hijinks and sleuthing of all of Season One.
I was surprised by how much Count Olaf’s henchmen add to every scene. It is funny how stupid and incompetent they are while still managing to avoid police custody, and their genuine awe and frank admiration when the children (or anyone else) outsmart them is charming. Neil Patrick Harris’s Olaf has grown on me immensely; while I still don’t find him the most intimidating, I have come to find him extremely charismatic. He has become likable and unlikable at the same time.
That is quite an accomplishment. I still believe that Jim Carrey brought a much more genuinely sinister presence to the role, but Harris does very well, and tends to be a bit more balanced. It’s very funny when he frequently forgets his own ruses, barely recovering before any nearby adults grow wise to his schemes.
On a side note, something about Stephano reminds me of Dana Carvey’s turtle guy. Olaf is perhaps the best worst actor out there.
As for the other actors, new Violet reminded me a lot of movie Violet, except for her accent and Hot Topic fashion sense. She also seems a bit smarter than movie Violet, because she has a few lines where she tries to lie or otherwise disguise her true feelings, and she does so pretty well. There is still plenty of “let’s tell the villain exactly what we plan to do to stop him” moments going on, but I get the sense that carries over from the book. It’s less obnoxious in the tv show, so I appreciate that.
I think I like movie Klaus better than new Klaus, if only because Liam Aiken reminds me more of a real boy at Klaus’s age, regardless of voracious reading habits, but new Klaus is perfectly fine. New Sunny and movie Sunny both have as much personality as a baby with subtitles can, and I like both very much. I like to imagine Tara Strong coming into the studio just to record a few odd gurgles and coos for new Sunny and that makes me chuckle. I wonder how well she gets paid for that.
I’m not crazy about the obviously fake effects, but I admit that they lend to the overall tone of the series quite well. They are forced, much like some of the indifference, stupidity, and unwitting cruelty of many of the adult characters. It contains some realism, but is biased and over embellished, much like a child’s world view. Violet’s inventions, as well as the other effects that stand out like sore thumbs, show how the Baudelaires rise up and face their challenges, putting themselves on as equal footing as possible with the walking-caricature adults who try to determine their fate without them. It’s interesting, to say the least, so I can only complain so much.
One thing that I can complain about, based on what little I know of the books, is the decision to include Jacquelyn, Mr. Poe’s secretary and recurring Volunteer Fire Department member. While I like her a lot, I think she detracts from both the tone of the series and the children’s accomplishments by her mere existence. The characters from the 2004 movie had no such possible bail-out (and apparently neither did the book Baudelaires), and even though she appeared more sparingly towards the end of Season One, Jacquelyn takes away from some of the tension.
The reveal of “the parents” not being the Baudelaire children’s parents was a nice touch, if a little extra cruel. For a non-book reader, it was not altogether unexpected, but still something of a kick in the guts moment. They have been mostly on their own up until now, and you know now that they definitely still are, if not more so, no matter how many shadowy V.F.D. people claim to be looking after them. It helps to counteract what Jacquelyn unwittingly takes away.
Also, hi Robin Scherbatsky! If you don’t want me to see Barney Stinson playing Count Olaf, maybe don’t bring in buddies from How I Met Your Mother, huh, Neil?
The music is great. It’s manic and energetic, but also off-putting and depressing at times. Sometimes, it delves into both areas at once.
Patrick Warburton has grown on me quite a bit, much like Harris, although I still can’t fully un-hear Kronk or Joe from Family Guy. The sets are nice and somewhat reminiscent of the movie, which is a plus for me.
There is more time for jokes and dialogue, but every once in a while, this can make a scene go on a little too long. For example, watch the scene where Klaus figures out Olaf’s plan involving The Marvelous Marriage.
Book fans will definitely find more loyalty here than they did with the 2004 film, but as usual with adaptation, there are still many liberties as well. Hopefully, the new elements will keep it from being stale or too predictable for them. For the rest of us, the show tells us to expect to be made miserable, and then proceeds to raise and lower our hopes on and off again throughout eight episodes. It’s very much like a rollercoaster, but despite the grim topics and disturbing bits here and there, it’s a family friendly romp that anyone can enjoy.
I’m definitely excited for a second season. I’ve enjoyed it a lot so far, and I’d like to see where this goes from here.
In the meantime, I suppose I should start reading the books. 🙂
*None of the images used in this post belong to me.