#malina weissma

[snicketsleuth]

Slackin’ with the Sleuth: reviewing Netflix’s “The End”

There were many goodbyes, and there were many beginnings.

“The End” is perhaps the strangest and most controversial episode to date. It’s difficult to assess the actual quality of the episode as we are constantly reminded of all the ones which preceded it.

At the risk of sounding like a fool rather than a prophet, it’s possible that Netflix’s version of “A Series of Unfortunate Events” will go down in the history of adaptations. We’ve never had quite a literary retranscription like this one: no one has dared to go as deep into the source material, its themes, its inspirations, since, perhaps, Peter Jackson’s recreation of “The Lord of the rings”. The amount of mindwork necessary to make the imagination of the original author fit the screen is absolutely comparable. Let’s wrap up the series after the cut.

Let’s get the elephant out of the room: why would you give the longest book in the series less screentime than the others? The only other example which comes to mind is David Yates’ attempt at adapting “The Order of the Phoenix”, an achievement in shoppy editing, lighting mistakes, script derailment and overall cinematographic incompetence. That is not a strong pitch. Worse of all is the fact that the idea apparently came from Daniel Handler himself! In his words, “The Penultimate Peril” is the real ending while “The End” serves as more of a coda. Even though the ending, by classical tradition, is only supposed to come after the denouement. It’s right in the name of the hotel, for crying out loud. As moving as the montage to “There’s no happy endings, not here, not now” is, its inclusion could have worked just as well in the final episode. In fact, it already worked as the conclusion of the first season!

The reasoning behind this choice is quite skewed, because "A Series of Unfortunate Events" already had a coda: it's called "Chapter Fourteenth". It's short, it's sweet, it's symbolic, it serves as a moral compass for the entire series. It's the only epilogue the series deserves. On the surface, of course, the decision to fusion "The End" with "Chapter Fourteenth" is perfectly reasonable; even the fans don't know whether to classify "Chapter Fourteenth" as a chapter of "The End" or as a fourteenth book which just happens to be published in the same volume as "The End". It's also doubtful that Netflix would allow the showrunners to release a 10-minutes episode as a conclusion. We get it. But somehow, the show writers have convinced themselves that fusioning the last act of the story and its coda turns the entire final act into a coda, and... that's simply not how narration works. There's simply too much going on in that book in terms of plot, character development and themes to adapt it in less than an hour without something missing.

There may be several reasons behind this change. One might be a personal dislike for that particular book, a reluctance to certain chapters of it, a desire to get it over with as soon as possible. But it's unlikely given that the screenwriters adapted the story rather faithfully (the deaths of Kit and Olaf, in particular, are pretty much verbatim) in spite of the time limits. We personnally believe that budget may have had something to do with it: "The End" was always supposed to be filmed last, at a time where budget may be scarce. Recreating the illusion of many exterior shots when the series is filmed mostly on soundstages can't have been cheap, and most of "The End" happens on the outside, in a tropical location. So condensing the book could work as an excuse to cut corners when it comes to money: less screentime, less sets to build. What makes it believable is the fact that "The Penultimate Peril" was officially the most expensive episode to film because of the large crowds and the many returning cast members. Prior to the season, screenwriters had sold this format to the fans as a "mega-episode", which would be longer than the others. But in reality Netflix"s version of "The End" lasts 52 minutes, while the first part of "The Penultimate Peril" stands at a whooping 55! Unless official sources deny it, there's a strong possibility that the showrunners had originally planned a hour-and-a-half episode and had no choice but to "trim the fat" as buget ran out. As we explained in our review of "The Slippery Slope", production of Season 3 was more troubled than we were led to believe, and the final episode could be its greatest casualty yet.

So what did we lose exactly? Well, namely plot elements which drive home the most important themes of the book. The island of "The End" presents the fantasy of an utopia: an opportunity to flee society and regular contact with other human beings, as well as all your problems. But as the history of the island unfolds, we see that this utopia is impossible, nefarious, even. Society inevitably recreates itself, and schisms occur. Beatrice and Bertrand tried to turn the island into a force for good in the world, but that scared the refugees who only wished to be left in peace, away from the rest of humanity. So the Baudelaire parents, who had worked so hard for the happiness of the islanders, had to be banished. And there lies the contraduction: in their effort to flee from oppression, the islanders had to resort to exclusion themselves. The Baudelaire parents tried to break the schism only to create another. And the worst part of all that is that it didn't even work. In their desperate efforts to disengage from the world, the islanders installed Ishamel as a tyrant... only for a second schism to occur when he killed them all as he started to lose power. And even before that, islanders had started another schism by aligning themselves with Olaf and freeing him from his cage. The island is not an utopia, it is just a microcosm of the world at large and a poetic recreation of VFD's tragic history. A failed experiment which only reinforces the issues it tried to solve. And that's the real reason the Baudelaire orphans decided to leave the island at the end of "Chapter Fourteenth": they know that safety and neutrality are an illusion. Had they stayed there, chaos, dissession and conflicts would have occured eventually. Accepting our inability to control things is all part of growing up.

Therefore, the question is: did Netflix's version of "The End" manage to convey that philosophical discussion? Not really. There's simply too much going on in these 52 minutes for anyone to stop and think for a moment about the moral consequences or thematical implications of staying on the island or leaving it. What we get on a screen is a mostly plot-focused adventure where characters do the things they do in the heat of the moment, because they're forced to react to other brisk events. It's not badly written, as their decisions make sense, but it's undeniably a lesser product than the original. A story of this quality needed some room to breathe and explore its symbolism.

Then again, there is another point of adaptation where Netflix's version is actually superior to the books. You see, alongside "The End", a supplementary material called "The Beatrice letters" was released, detailing the actual ending of the Baudelaires' story. It focuses on Lemony, years after the events of "The End" and now famous for writing the books, being chased by a mysterious "Beatrice". He eventually realizes that this Beatrice is actually his niece, who was raised by the Baudelaire orphans, and who is tracking them down once again. This fundamentally changes the ending of the series as 1) Beatrice's survival strongly implies that the Baudelaire orphans are alive too, 2) Lemony, after losing so much of his friends and family members, once again has someone to care for. This is in stark contrast with Lemony's depressing "rock fall, everyone dies" conclusion to "The End". Most readers will never read "The Beatrice letters" or even know it exists, which is infuriating as it contains the "real" ending of the books, one that the author very much intended. So one has to applaud the screenwriters' decision to end the series with the reunion of Beatrice and Lemony. They had obtained a deal to adapt "A Series of Unfortunate Events", not "The Beatrice Letters": they were under no contractual obligation to do so, but we're glad they did. It prevents the series from devolving into mere nihilism, and instead proposes something more interesting.

But more impressing is this episode showing how the TV series has truly come into its own in two aspects. The first one is the aesthetic, as the overly-saturated scenery engulfs the actor. The show has always dismissed realism as a passing craze, but this is the most extreme example of how cartoony the world of Lemony Snicket would look: it’s so fake, it’s real. As the island is a pretty good allegory of purgatory, it makes sense that the story would take place in a completely surreal atmosphere. The care taken to the production design remains, in our humble opinion and careful hypothesis, the real reason “The End” was cut so short, but that money is well-spent. As your eyes get used to the CGI, it becomes increasingly difficult to distinguish what’s real and what’s not. However even this exploit has its limits: the arboretum is a far cry from the biblical majesty of the scene as depicted in the books, but it will have to do.

The second aspect where marked improvements are to be mentioned is the acting, mostly that of Louis Hynes and Malina Weissman. We were lucky enough that they were decent at all in season 1 (casting child actors is a pretty hit-or-miss line of work), but as of season 3 they really stand head and shoulders with the rest of the cast. They deliver the right emotion in every single emotional scene, in spite of the challenge. Klaus and Violet have come alive. Their recollection of their own tragic existences in the trial scene of “The Penultimate Peril” is particularly impressive.

But the real standout of “The End”, of course, remains the death scene of Kit and Olaf. For a moment, everything goes quiet and we forget that we are watching an adaptation. It was perfect in the books and it’s perfect here, to the letter, although letting Olaf look intently into the Baudelaire orphans’ eyes as he mutters his last verse is a welcome and tasteful addition. We were all wary of the way the showrunners were going to adapt the end of “The End”: the Netflix series has taken a comedic approach and this is the least comedic scene imaginable. It should have been a monumental failure, but judging by everyone’s reaction, it seems to have worked. So bravo to the production team for having the nerve to take a risk and deliver the tragedy of it all in spite of tonal dissonances with the rest of the show. Hard work pays off.

So is this the adaptation of our hopes and dreams? Of course it’s not. But is it the best possible story we could have hoped for in the Hollywood system? No, it’s much better than that. There’s something particular about the age of streaming television which somehow allowed this adaptation to happen. We hope it’s no a fluke, and we hope the success of Netflix’s homage to “A Series of Unfortunate Events” will give inspiration to many other creators. It’s a teachable moment on how to nail down the emotion and message of an original work. And that’s perhaps why the end of the TV series is a tad more hopeful than its book version: because its showrunners were happy, so happy they could complete this project the way they had intended, in spite of impossible things. So of course they put a few less deaths into the conclusion of the overall story. Happy people write the most frightening horror stories, and, in spite of its reputation, horror loves a happy ending. After all, the publication of the books was an anomaly, a miracle in and of itself. Daniel Handler has confessed many times that he’s still dumbfounded at their success.

So for now on, and in spite of our many gripes and nitpicks, let’s be grateful. There are so many fans of other works out there who have it worse than us, guys! But not us. We had the books, we have the show, and we will have each other. At long last... we’re the fortunate ones.

[red-pandas-and-books]

I will confess, I was a little disappointed with the final episode-- especially since it was following the penultimate peril episodes-- right up until the part where Olaf and Kit die. When I saw that, it was like everything else faded away. It was so real and well done. The look on everyone's faces as Olaf started reciting a poem, the way Kit told him it wasn't alright, the way he growled out those last lines at the Baudelaires... It was masterfully done.

Slackin’ with the Sleuth: reviewing Netflix’s “The End”

There were many goodbyes, and there were many beginnings.

“The End” is perhaps the strangest and most controversial episode to date. It’s difficult to assess the actual quality of the episode as we are constantly reminded of all the ones which preceded it.

At the risk of sounding like a fool rather than a prophet, it’s possible that Netflix’s version of “A Series of Unfortunate Events” will go down in the history of adaptations. We’ve never had quite a literary retranscription like this one: no one has dared to go as deep into the source material, its themes, its inspirations, since, perhaps, Peter Jackson’s recreation of “The Lord of the rings”. The amount of mindwork necessary to make the imagination of the original author fit the screen is absolutely comparable. Let’s wrap up the series after the cut.

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