I wonder if I'd like Netflix's A Series of Unfortunate Events more if it didn't remind me quite so much of Pushing Daisies.
They have more than a few things in common; from an omnipresent narrator to a visual style right on the border of the uncanny-valley, to gleeful descriptions of the weird and macabre events that occur and a peroccupation with alliteration and repetition. Daisies jacked the saturation up where Unfortunate Events turns it down, but the art design and camerawork in one will be familiar to fans of the other.
But it's not quite right.
Daisies' nameless narrator was off-screen, always ready to offer a brief comment or witty rebuttal; while Patrick Warburton's Lemony Snicket exists in much the same role, it takes time for him to move on or off screen, which almost kills the pacing. (His leisurely delivery doesn't help matters.)
Unfortunate Events also seems to struggle with tone - Neil Patrick Harris is unreservedly great as Count Olaf, but the constant switching between careful enunciation and off-the-cuff banter feels less like a deliberate directorial choice than a mistake. That no other character does this only highlights the disconnect.
I also find myself wondering how many of the distracting touches are references for book fans; Mr. Poe's cough adds little to the character, and most of the stuff with the theatre troupe feels like padding.
I'm willing to see how Unfortunate Events finds its feet - only two episodes in, there's a lot to like and the little I know about the series' structure has me intrigued. But the promise (warning?) of no happy ending is a bit offputting. It's hard to see how it could reach a satisfying conclusion with the Baudelaires failing to ever find happiness.
Of course, Pushing Daisies never had a classically romantic ending on the cards for Ned and Chuck. Then again, as TV executives are wont to do with Bryan Fuller shows, an ending was never really on the cards for them at all.
Post a Comment