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Post by Grace on Jan 27, 2017 11:04:23 GMT -5
Klaus has always been a sassafras. My favorites include "you mean bed! you've only provided us with one bed!" and how he never seems to get tired of saying "we know what that word means!"
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justsylvia
Catastrophic Captain
Posts: 94
Likes: 28
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Post by justsylvia on Jan 27, 2017 21:57:42 GMT -5
It took my son pointing this out to me: did anyone else notice that it seems like Olaf can actually understand what Sunny is saying?
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Post by lorelai on Jan 27, 2017 22:04:03 GMT -5
Examples please? We know the Hook-Handed man can, but what made your son say that about Olaf?
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Post by Liam R. Findlay on Jan 28, 2017 5:34:15 GMT -5
I think that video is a good comparison of the two adaptions (although I also disagree with the Mr. Poe criticism)!
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Post by A comet crashing into Earth on Jan 28, 2017 6:31:23 GMT -5
I'm still not sure whether I agree with the Mr. Poe criticism or not, but it's definitely an interesting point of view, and I liked the comparison to HDM.
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Post by Strangely on Jan 28, 2017 10:14:24 GMT -5
It took my son pointing this out to me: did anyone else notice that it seems like Olaf can actually understand what Sunny is saying? That's what I thought too. I don't think he consistently understands, but when she tries to say that he's Olaf in disguise he often reacts to her like he knows that she's accusing him.
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justsylvia
Catastrophic Captain
Posts: 94
Likes: 28
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Post by justsylvia on Jan 28, 2017 16:42:52 GMT -5
It took my son pointing this out to me: did anyone else notice that it seems like Olaf can actually understand what Sunny is saying? That's what I thought too. I don't think he consistently understands, but when she tries to say that he's Olaf in disguise he often reacts to her like he knows that she's accusing him. Yes this was our observation, too. Like at The Anxious Clown in E6 (12:30 mark) when Sham says "What fortune? I don't know about any fortune!" Sunny replies, "Sham!" And Olaf growls at her. Or in E4 (around 26:58) when Sunny says "Aha!" to point out that Stephano has just contradicted himself regarding his knowledge of reptiles, and Olaf jumps and gets a surprised look on his face.
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Post by Liam R. Findlay on Jan 28, 2017 17:03:30 GMT -5
I don't think Olaf ever understands Sunny, but rather reacts to her like she's a strange little creature. In the The Reptile Room, he flinches when she talks and says "what is it saying?" and in The Wide Window, he kind of hisses at her through his teeth. I find his Sunny reactions quite funny
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Post by ryantrimble457 on Jan 29, 2017 11:23:00 GMT -5
The Hook-Handed Man for SURE understands her, though. Which I love.
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Post by lorelai on Jan 29, 2017 18:19:56 GMT -5
I don't think Olaf ever understands Sunny, but rather reacts to her like she's a strange little creature. In the The Reptile Room, he flinches when she talks and says "what is it saying?" and in The Wide Window, he kind of hisses at her through his teeth. I find his Sunny reactions quite funny That's how I saw it too. Sunny is this creature that is reacting to things more frequently than he expects, and it just plain freaks him out.
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Post by ryantrimble457 on Jan 29, 2017 18:31:17 GMT -5
I think I figured out the difference between the movie and the show that makes me appreciate the show more. The SHOW understood the tone of the books, while the movie only understood the events. The movie also just equated like dark colors with sadness, assuming if they monochromed everything and threw in some confusing spyglasses it would be enough to hint at a mystery. The show, however, shows that mystery and confusion are all around us, all the time. The use of Lemony all over the show helped a lot. So much of the books' tone comes from Snicket's narration, which was lost in the movie. I never believed Jude Law could be Lemony Snicket. Warburton, however, IS Snicket in my mind now.
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Post by Liam R. Findlay on Jan 29, 2017 18:54:43 GMT -5
Edit: I got rid of a previous observation cos I changed my mind.
Also, my parents just watched the Quagmire parents reveal. Mum asked for clarification as to whether they actually weren't the Baudelaire parents and if the other children were just there as plot devices. I explained how they're the Quagmire triplets, who will feature more later on and she said 'it's all a bit strange'. As I think Daniel Handler said, it seems that this moment is a relief for book readers and a disappointment for non-book readers, while the potential of them being the Baudelaire parents at the start was a disappointment to book readers and a relief to non-book readers!
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Post by Isadora Is a Door on Mar 11, 2017 12:00:14 GMT -5
As a whole, there were some problems which developed throughout the series, which i can't attribute to a specific episode, but was something I noticed a lot more as it went on.
one problem I has was that the series lacked a sense of focus and forward momentum for me. A lot the time the Baudelaires seemed to not be working towards any specific resolution to the plot, or if they were it wasn't made clear enough. TBB and TWW are the worst offenders on that count, whilst TRR and TMM were definitely better. I'm not sure, however, if the problem lies in the baudelaires story, or in the other stories. There are a lot of events going on in the background, showing us more events for which the baudelaires were not present. This helps to provide more of an ongoing mystery to early volumes where there wasn't any in the books. But i think, perhaps this has caused a slight lack of focus. I think the Jacquelyn stuff, and other smaller subplots, worked okay, but one particular problem I have is with the 'parents' subplot. As a narrative, it lacked a lot of content, and seemed to only exist solely as a mystery to drive the series forward, when the thing driving the show forward should be the baudelaires. To many episodes ended with cliffhangers of what the 'parents' were up to, instead of focusing on what the children were going through, and I think it has a negative impact on the show. However, this subplot did improve for the last three episodes, and in such a way that if it had simply been introduced then, then I feel none of the above problems would apply
But overall, of course, I massively enjoyed the show. My favourite things being the musical numbers, Patrick Warbuton, the white faced women, and sunny.
I decided to take my ratings for each episode and work out the averages
Ep 1 - 8/10 Ep 2 - 7/10 Ep 3 - 9/10 Ep 4 - 8/10 Ep 5 - 4.5/10 Ep 6 - 8.5/10 Ep 7 - 9/10 Ep 8 - 9.5/10
TBB - 7.5/10 TRR - 8.5/10 TWW - 6.5/10 TMM - 9.25/10
which gives Series 1 an average score of 8/10
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coolcat667
Catastrophic Captain
Posts: 89
Likes: 16
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Post by coolcat667 on Mar 20, 2017 13:12:53 GMT -5
I was up until 4:30 AM watching the first three episodes (they went online at 2:00 AM local time) and finished the last five today. I'll admit that I was completely thrown by the parents' red herring. I thought for sure that we would watch Beatrice and Bertrand continuously just miss reuniting with their children until their unfortunate death in the series finale (presumably involving a leaky submarine). It still didn't click when the Quagmire triplets were first shown being served pancakes that they were their parents. The sub-plot with Jacquelyn and Gustav is new, but I do like it. If I recall correctly, there wasn't much talk about VFD or the secrets during these first few books, so it helps bring the mystery element into the series. Plotwise, I think the series was perfect and stayed fairly true to the books, aside from the changed to TMM which I think helped move the story along. Now that I've seen this glimpse of Esme, all I can picture is Lady Gaga's Countess character from American Horror Story. Were there movie still of Zomies in the Snow in the autobiography? I feel like I have seen that exact set before. Excuse me, but by "the series finale", do you mean the finale of this this season, or the finale of the very last season?
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Post by Liam R. Findlay on Mar 22, 2017 7:31:50 GMT -5
one problem I has was that the series lacked a sense of focus and forward momentum for me. A lot the time the Baudelaires seemed to not be working towards any specific resolution to the plot, or if they were it wasn't made clear enough. This is a good observation and I agree with the fact that the lack of any particular goal for large sections in The Bad Beginning and The Wide Window are generally what makes them weaker; Part Two for both is where any real narrative dilemma comes in, whereas The Reptile Room and The Miserable Mill jump straight into action. I remember when I watched the first episode with my parents and I thought how the cliff-hanger with the Parents was a good way to end because the plot leading up to it was generally uneventful and potentially uninteresting for first-time viewers.
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