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An ambiguous ending to the story of three intellectually curious children who spent three seasons crusading against a cabal of dummies wouldn’t feel satisfying now, to us, as adults.īut knowing that in the end - the real end - they prevailed? That the cure for the fungus was found, the cycle of violence broken, and the baby at the end of it all grew up to be just as clever and correct as the heroes who raised her? That feels like hope. We are currently caught in an uphill battle against blowhards who don’t read, and it has become so much harder to find a place in the world that feels, in the parlance of VFD, quiet. And god, isn’t hope important right now? More than ever? It’s painfully familiar for many people in our exact times to find themselves in the position of the Baudelaires, to have done their research and made their contributions only to have their careful work decried as fake news. In that world and in ours, that feeling of being both righteous and wronged doesn’t seem quite so childish anymore. Strip away the melodrama and the occasional musical number, and it's set in a world where the wicked are often rewarded, one’s heroes fall indiscriminately, and truth means little in the face of propaganda and ignorance. I do think, however, considering author Daniel Handler’s association with the series, that the Netflix ending says more about what the story was always about than it does about changing things for a television audience.Ī Series of Unfortunate Events always took place in a world that at first glance seems unlike our own but is in fact alarmingly similar. Books and television are entirely different mediums and have different storytelling expectations.
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It makes sense that a TV show would have a more traditionally satisfying ending than a series of very weird books from the '00s. What happened to Count Olaf’s theater troupe? They went on to perform in several successful theatrical productions.Īnd the big question, did the Baudelaires survive fleeing the island? Yes, and they lived on to raise Kit Snicket’s child to be a new kind of volunteer. What was in the sugar bowl? An inoculation against the medusoid mycelium.
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What happened with the box of darts at the opera? Beatrice Baudelaire and Lemony Snicket killed Count Olaf’s father. Some of the lasting mysteries of the book are cleared up in Netflix’s A Series of Unfortunate Events. The book ending (spoilers ahead) wherein the Baudelaires are alone at sea with a baby and no land in sight introduced me to another great fact of life: Not every story ends where you want it to end. That experience of being young, correct, and punished is what made me love A Series of Unfortunate Events. The fact that the Baudelaires are right and still lose is central to the series - it’s also the universal experience of being a child. Meanwhile, the adults sit around with their thumbs up their asses, discounting everything the children say by default of it being said by children. In each book, the Baudelaires are light years ahead of the grown-ups around them, using their skills of research and invention to uncover truths about Count Olaf, VFD, and the reality of their increasingly dire circumstances. Not every story ends where you want it to end.
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Snicket’s literary references, big words, dark asides, and morbid preoccupation with death was catnip for kids like me. When I first read A Series of Unfortunate Events, I was squarely within its target demographic of bookish, nerdy children who were just getting hip to the idea that the world they lived in was a total shitshow. Lemony Snicket's writing advice also applies to living well