Well, the general idea Handler was going for included mysteries without answers, loads of obscured connections, unresolved plot lines... The idea that a story can never truly having an ending. Although I think the thematic experiment was lost on the target audience.
>>5417771 Read the serie when I was 8, really loved it, I read the twelth book and never read the end, I'm 21 and still don't know why. Should I pick it up? I have such a good memory of it, I'm afraid to be disappointed now that I'm older.
It has a different feel then the other books, kind of a fatalistic and actually depressing element to it. I thought it was interesting and vaguely satisfying of an ending, but that's a hotly contested question.
Overall, I thought The End was satisfying: similar to >>5418945, I had access to it early on but didn't get to it until much later. It ramps up the symbolic nature of the series to a high degree, while still giving us a look at the central four characters (the children and Olaf).
Speaking of this series, this is yet another personal reminder to check out All The Wrong Questions.
>"Oh yes we can!" Shirley said, in her silly high voice, and grabbed Violet's arm. Foreman Flacutono quickly grabbed her other arm, and the eldest Baudelaire found herself trapped. >"Klaus!" Violet cried, struggling in the grips of Shirley and Foreman Flacutono. "Do something!" >"Your brother can't do anything!" Shirley said, giggling in a most annoying way. "He's just been unhypnotized—he's too dazed to do anything. Foreman Flacutono, let's both pull! We can make Violet's armpits sore that way!" >Shirley was right about Violet's sore armpits,
How's that second series that focuses on Snicket's role in VFD? I read the first one back when it came out and while it wasn't terrible, I felt like he was trying to cash back in on the series for a quick buck.
Also, >tfw this could make a god-tier movie series but it is forever ruined by that dogshit film with Jim fucking Carey and Olaf. Fuck it all.
Film audiences demand closure and a clean and simple plot structure which can carry a story for an hour and a half without narration or background exposition. Unfortunate Events offers none of the above.
It's also wholly unfit for production. Most of the humor you enjoy from the series is from a sardonic third party playing with words and the narrative; the actual action is rather simple and unfit for actual film production.
It's stupid to try, too. Historically, except maybe for "The Grapes of Wrath" there has never been a "sad and cynical story forced into the happy ending box where the movie came out watchable.
>>5420386 As a popular series, sure it'd be terrible. As evidenced by the attempt starring Jim Carey. I could (and probably most of lit) handle a story without closure, maybe even a popular audience could since the books were pretty fucking popular. I will concede the fact that a lot of the humor and plot is driven by a narrator who both took part in the backstory and adds to the present story through his sarcastic remarks.
I dunno, I guess I'm venting frustration over the blue-balls the actual film gave me since it was so shitty and I was hyped as fuck for it when it came out.
>>5420409 >Watched film on payperview with parents because I was hyped as fuck and we couldn't make it in theaters. >Somewhat disappointed but hopeful they could turn it around >Dad's first comment after forcing him to watch the whole thing because of my hype: >Okay film. It's never getting a sequel though." >"Sorry little man." >tfw
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