It’s overwhelming to unpack everything about A Series of Unfortunate Events. There’s just so much about it, from vocabulary words to moral relativism, that it’s hard to cover ground. Add the fact that A Series of Unfortunate Events, despite the books ending 13 years ago, left us with more questions than answers, and you wouldn’t really know where to start.
But let it be known: it holds a special place in my life, and its Netflix adaptation — all three seasons of it — has given me more reason to love it even more.
The books occupy a whole shelf in my room. They’re prized possessions, and with each hardbound copy comes a specific memory – one’s a library book that was never returned, two were bought in Europe. The series served as a barometer for my reading comprehension — with each book using more difficult words as you go along — and for my understanding of the world: it’s as secretive and unforgiving as much as it is hopeful.
Season 3 picks up exactly where Season 2 ended: a cliffhanger. Violet (Malina Weissman) and Klaus Baudelaire (Louis Hynes) find their caravan careening down a cliff, leaving their baby sister Sunny in the clutches of Count Olaf (Neil Patrick Harris) and his henchmen. It’s in these macabre proceedings — and there’s a lot after that runaway caravan — that the Baudelaires get to show their intellect. But unlike in previous seasons, they struggle to come to terms with the world’s gray areas: that even the most wicked/noble of people have done noble/wicked things.