Characterized by Victorian Gothic tones and absurdist textuality,[5][6] the books are noted for their dark humour, sarcastic storytelling, and anachronistic elements, as well as frequent cultural and literary allusions.

[3][7] They have been classified as postmodern and metafictional writing, with the plot evolution throughout the later novels being cited as an exploration of the psychological process of the transition from the innocence of childhood to the moral complexity of maturity.

[8][9][10] As the series progresses, the Baudelaires must face the reality that their actions have become morally ambiguous, blurring the lines between which characters should be read as "good" or "evil".

[5][11][12] Since the release of the first novel, The Bad Beginning, in September 1999, the books have gained significant popularity, critical acclaim, and commercial success worldwide, spawning a film, a video game, assorted merchandise, and a television series.

[17] In a separate author interview, Daphne Merkin wrote that Handler adapted a manuscript for a "mock-gothic" book originally intended for adults into a series more suited for children.

The siblings discover that Count Olaf intends to get his hands on the enormous Baudelaire fortune, which Violet is to inherit when she reaches the age of eighteen.

In the first book, Olaf attempts to marry Violet to steal the Baudelaire fortune, doing so by pretending that the marriage is the storyline for his latest play, involving the oblivious Justice Strauss.

[19] In the following six books, Olaf disguises himself, finds the children, and, with help from his many accomplices, tries to steal their fortune, committing arson, murder, and other crimes.

From The Austere Academy onwards, the connections between the Baudelaires, the V.F.D., and their parents' deaths are slowly revealed, leading the siblings to question their previous lives and family history.

For instance, in The Hostile Hospital, the Baudelaire children send a message via Morse code on a telegraph, yet the general store they are in has fiber-optic cable for sale.

[citation needed] Danielle Russell, a professor at Glendon College, argues that the settings are reflective of familiar places, but are "bizarre" enough that young readers feel distanced from the world of the Baudelaires.

[20] While the film version sets the Baudelaire mansion in the city of Boston, Massachusetts, real places rarely appear in the books, though some are mentioned.

Klaus Baudelaire, the middle child, is twelve when the series begins; he loves all types of books and is an extraordinary speed reader with a photographic memory.

In most books, the children's skills are used to help them defeat Count Olaf's plots; for instance, Violet invents a lockpick in The Reptile Room.

Snicket translates for the youngest Baudelaire orphan, Sunny, who in the early books almost solely uses words or phrases that make sense only to her siblings.

Others contain references to culture or people: for instance, when Sunny says "Busheney" (combining the last names of George W. Bush and Dick Cheney, presumably), it is followed by the definition of "you are a vile man who has no regard for anyone else".

[22] Although the series does not neatly fit into the genres of fantasy or science fiction, it does feature occasional instances of whimsy, the supernatural, and steampunk technology.

The books consistently present the Baudelaire children as free-thinking and independent, while the adults around them obey authority and succumb to mob psychology, peer pressure, ambition, and other social ills.

[37] Rebecca-Anne C. Do Rozario notes the nihilistic tone of the series, claiming the lines between good and evil acts become blurred to the point where they become meaningless.

He dedicates each of his works to his deceased love interest, Beatrice, and often attempts to dissuade the reader from reading the Baudelaires' unfortunate story.

Lemony Snicket starts each book with a "post-modern dissection of the reading experience"[10] before linking it back to how he presents the story of the Baudelaires and what their current situation is.

[citation needed] The plots of the first seven books follow the same basic pattern: the Baudelaires go to a new guardian in a new location, where Count Olaf appears and attempts to steal their fortune.

[43] The series includes thirteen novels as follows below:[44] In an article about children's literature, Bruce Butt describes the hardcover books as "elegant" and "collectible.

[16] There was an initial paperback release of the series, featuring restyled covers, new illustrations, and a serial supplement entitled The Cornucopian Cavalcade with The Bad Beginning: or, Orphans!, The Reptile Room: or, Murder!, and The Wide Window: or, Disappearance!.

[54] On September 4, 2015, it was announced that filmmaker Barry Sonnenfeld and True Blood showrunner Mark Hudis had agreed to helm the series.

However, it was announced that Sonnenfeld and Handler were both still on board, and that Neil Patrick Harris had been cast as Count Olaf and Malina Weissman and Louis Hynes as Violet and Klaus.

[66] Directed by Brad Silberling, it stars Jim Carrey as Count Olaf, Meryl Streep as Aunt Josephine, Billy Connolly as Uncle Monty, Emily Browning as Violet, Liam Aiken as Klaus, Timothy Spall as Mr. Poe, and Jude Law as the voice of Lemony Snicket.

[70] In June 2009, Silberling confirmed he still talked about the project with Handler, and suggested the sequel be a stop motion film because the lead actors have grown too old.

[77] The Times Online refer to the books as "a literary phenomenon", and discuss how the plight of the Baudelaire orphans helps children cope with loss—citing the rise in sales post-September 11, 2001 as evidence.

[81] A school in Decatur, Georgia criticized The Reptile Room for its inclusion of the word "damn", canceling an author event with Handler in protest.