Lemony Snicket's A Series of Unfortunate Events: Season 2 T.V. Review

If It Ain't Broke...

What was clearly evident to perceive within Netflix's interpretation of Lemony Snicket's A Series of Unfortunate Events last year was its inherent decision to ambitiously embroider numerous episodes that admirably upholded the conflicting tones of the original source and never once sought to out-do itself. In this age of peak television, where high-budget serials accordingly attempt and construct concepts that try to match the vision and production value of something like Game Of Thrones, it's rather comforting to find a show in the form of A Series of Unfortunate Events that never once takes itself too seriously and bestows natural melancholia, horror and comedy that is fitting and alluring to behold. Indeed, even though there were a few similarities to the 2004 counterpart of the same name, this series re-telling of these wistful and dismal tales matched accordingly with the wonderfully gothic tone of the books and emphasised on specific details that left you wanting more. Yet, with it solely adopting a contextual structure that saw two-episodes focusing on a particular story of the Baudelaire's out-witting and running-away from Count Olaf whilst discovering their parents' secrets, does this new season prompt more originality, or more of the same?...

Picking-up from where Season 1 ended, the second series of Netflix's A Series of Unfortunate Events begins with the Baudelaire orphans - Violet, Klaus and Sunny - waiting in the bleak lobby of Prufrock Prepatory school hoping to find any answers of their parents' secrets and the spy-glass that they currently hold. Having dealing with heartwarming caretakers who met ill fates, the wicked Count Olaf still prowls for the Baudelaire orphans' fortune however; desperately trying to snatch Violet, Klaus and Sunny in many numerous locations. From Western dustbowl towns to dazzling art-deco apartments and a nightmarish hospital, the Baudelaire's misery is far from being over, Yet, with each new acquaintance and setting, will they find the answers they've been desperately searching for?...

Like with every modern show out there that adopts a multitude of episodes and seasons, for a good T.V. series to continually work on a entertaining and intriguing way, it not only has to carry-forward its initial stylisation that was established in the first season, but it also has to introduce new elements that make the displayed story that much more gripping to perceive. In a rather simplistic way, the second of A Series of Unfortunate Events projects rather clearly. While the first two episodes of this latest season, both based on the fifth book named The Austere Academy, fit in the mold of the previous season, with the Baudelaire orphans centralised in a certain location whilst Count Olaf disguises himself to try and snare Violet, Klaus and Sunny, it's a continuation that promises transformation to the status quo thanks to the introduction of a few key characters and evolving story that deepens the lore of both the Baudelaire's lives and their parents' mysterious secrets. Even though one can simply pick-out how much the young Presley Smith, who enacts the snap-biting Sunny Baudelaire, has grown from the ending of season one to the start of this season (which is comically retorted by Klaus who sighs, "we've been waiting so long Sunny is starting to look less like a baby and more like a toddler"), it's a credit to shows creators, Mark Hudis and Barry Sonnefeld, how much familiarity and continuity there is between the preceding events and the sequences that firstly transpire in season two. Much of this recognisable cohesion is down to the visual stylisation and how the rather squared story-book esque backdrops that very much tailor to the ironic story-telling that's also articulated through the many fourth-wall appearances of Lemony Snicket. Indeed, crafted and framed as if you're about to watch a Wes Anderson feature, the gorgeously toybox-like set-designs are further effective by metaphorically placing the Baudelaire's in a self-contained space and makes curious as to how would a re-adapted Unfortunate Events film would look like if the aforesaid director was at the helm. As appetising as the first two episodes correctly imbued constructs and film-making elements from the preceding season that exhibited an array of acquaintance, one aspect that left me particularly apprehensive was the already-established episode structure. As much as the framework in season one appropriately detailed certain important plot points that were forever missing in Brad Silberling's 2004 filmic adaptation of the same stories, it can't be ignored how this methodical pace did, at times, leave the flow of the season rather stagnant and felt un-characteristically slow for a concept that progressively moved along with its inherent amalgamation of comedy and tragedy. While adhering to this formula to begin with, it's somewhat satisfying to notice how this second season doesn't wholly rely on its past credentials and progresses forward with its story by not always upholding to the contextual 'norm' of the Baudelaire's arriving in a new place and for Count Olaf, and his cronies, to chase after them. There's a greater emphasis on the Baudelaire's discovering the mysterious meaning of "VFD" rather than aforesaid and warrants fickle story-telling and progression that leaves you questioning where exactly do Violet, Klaus and Sunny end-up next. Much of this innovation is, thankfully, established early with this latest season, within The Ersatz Elevator story-line, where we're not only presented with a sub-premise that see's Olaf appearing early within the story, offering a nice shift to the status quo and throwing the Baudelaire children for a loop, but displays intriguing side characters that certainly provide an impact to the proceedings.

One particular character addition that somewhat distracts you from the ever-predictable flow of each of the stories, is the inclusion of Jacques Snicket, enacted rakishly by Nathan Fillion. In being a faithful member of the ever-concealed VFD, Jacques introduces the viewer, and another key character best left unmentioned for spoiler reasons, to the world of the aforementioned secret organisation that the Baudelaire's are trying to desperately learn about and the role it serves on the central characters lives. While his appearances are only brief, is presence is a welcoming addition to the series; injecting not only a much-needed extra layer to the mythology that this season consistently builds-up upon and explores, but also a loveable swagger and enthusiasm that adds an extra-dimension to the enjoyability of watching this show. Fillion's way of talking or describing something matches perfectly with the eccentricities of the given-world and never once becomes a stale feat to behold. Much of the same can be said of Lucy Punch's performance as Esmé Squalor, who's Cruella De Vil-esque persona provides an unexpected edge to those who aren't acquainted with the original books. As for the recurring performers, Patrick Warburton as the ever-narrating Lemony Snicket remains slick and note-perfect in a role that demands simplicity and complexity all at the same time. His many expressions and moments popping-up from manhole covers to offer his deliberately deadpan commentary, in conveying certain phrases and humorous wordplay deriving from the books, feels natural and welcoming for the younger demographic watching. Neil Patrick Harris' interpretation of Olaf is slowly becoming the staple, since he provides a combination of moments that make him both entertaining and terrifying in many key moments. 

As the series goes past beyond The Ersatz Elevator story-line, proceeding to detail Handler's other books of The Vile Village, The Hostile Hospital and The Carnivorous Carnival, greater emphasis this time round is centred on the Baudelaire's desperately trying to find what VFD is and stands for. It's significance is appropriately fleshed-out and while the crux of VFD is solely devoted for the Baudelaire orphans to desperately find-out what this organisation is and stands for, it serves as an acronym that seemingly provides extra incentives towards other key players. Whereas Duncan and Isadora Quagmire, orphans that are introduced early-on in this latest season and face similar predicaments that the Baudelaire's are tasked with, are also trying to find information on said institution, it also serves as a platform that other players can exploit for their own gain; whether it's Olivia Calliban learning herself of VFD or Olaf using the organisation he was once a part of to his advantage in capturing Violet, Klaus and Sunny. 

While it was anticipated that Netlfix's continuation of Lemony Snicket's A Series of Unfortunate Events was going to simply carry-on using the same structural formula that oddly worked and hindered the prospects of the preceding season, it's efforts in breaking from its own story-telling constructs, by having the Baudelaire's venturing off on their own rather than relying on a guardian for safety and answers, is welcoming to say the least. While there are shortcomings revolving the pacing of certain episodes and the events that take place, the second season of A Series of Unfortunate Events applies itself by amalgamating its established and loveable idiosyncrasies of the preceding season with new twists and characters to a simplistic formula and deepening a colourful yet deplorable mythology that's bolstered by bold story points and charming characters. If there's one thing that this series delicately gets right, it's the manner in which it can arguably sway younger audiences to gauge themselves into books and reading and that, will less than Unfortunate indeed...  

On that note, it's time for me to end this week's T.V. Review. As always everyone, thank you for reading my latest Blog Post where I review Netflix's continuation of Lemony Snicket's A Series of Unfortunate Events and I hope you've all enjoyed the read! 😉 If anyone has an opinion on either the T.V. series or the review itself, you're more than welcome to comments your thoughts down below. For next week, I'll be reviewing Wes Anderson's latest stop-motion feature, Isle of Dogs. Thank you once again reading my latest Blog Post and I hope you've all enjoyed your weekend! Adieu! 😃😲👀

★★★ - Alex Rabbitte