Additionally – and for the first time – Violet and Klaus strongly disagree on a course of action and on whether or not to trust someone. They learn not to trust what is printed in the newspaper, that sometimes hesitation and consideration is necessary, that doing the wrong thing for the right reasons does not absolve you, that safe and comfortable is not always the best option, and that everyone has their own story to tell. Rather than a fight to protect themselves and their fortune from Count Olaf, the arc of the third season is the Baudelaires gathering the strength and the courage to take control of their own lives. Without words, her eyes reflect simmering frustration and disappointment in her lack of control of her surroundings and the adults that continue to fail her. You want to keep your eyes on the screen as the story unfolded, not knowing how the Baudelaire orphans will extract themselves from increasingly fraught situations. Malina Weissman is superb as Violet Baudelaire. With the exception of a couple slow spots in "A Slippery Slope," the pacing was perfect. The show was almost too faithful to the material: some of the jokes did not transfer between media, and the action seemed to drag as more and more secondary characters were introduced, especially in "The Hostile Hospital" and "The Carnivorous Carnival." Netflix While good, it felt like something was missing.
There were several stand-out acting performances, most notably Weissman, Lucy Punch as Esme Squalor, and Neil Patrick Harris as Count Olaf. They took the amazing writing from the books and translated it visually, almost like watching an audio book. The first two seasons of A Series of Unfortunate Events were good.
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