Obligatory Nostalgia

Originality. This is a fundamental aspect of creativity and independence which has not only come to shape the way in which film and television creators fabricate a unique concept, but is a facet that influences the way in which we perceive artistic prowess. As much as feature films and lengthy T.V. series strive towards an idea that’s innovative and pioneering, it’s our need of contextualising which places these authentic methodologies as an inter-textual means of artistry; a premise which is shaped by another similar text through obligatory or optional means. This is certainly the case with Netflix’s and The Duffer Brothers’ show of Stranger Things; a series that feels unoriginal since it purposefully and artistically references the filmography of Steven Spielberg and literary works of Stephen King. Yet, even though it lives and breathes the ethos of 1980’s film and poetic culture, Stranger Things at the same time presents ideas that are intriguingly distinctive. It’s this amalgamation of pastiches and references to other pop-culture tropes, and how this combination is specifically communicated through the intricacies of the characters, that makes Stranger Things a pleasurable watch for younger and older audiences alike. With its lauded acclaim, it’s arguable to state the show has become a referential and pop-culture touchstone, even for those audiences who haven’t seen the films that inspired it, since it intricately demonstrates a mastery over its influences and this, indeed, can be applied to the series’ latest season…

Following on from the events that took place at the end of season one, Stranger Things’ latest season takes place a year later on Halloween where more mysterious occurrences are taking place within the small town of Hawkins, Indiana once again. While the gang of Mike, Dustin and Lucas may have defeated the terrifying Demogorgon and made a new friend in the form of Maxine (“Max”), there troubles are from over as they face a circumstance involving their friend Will who, still recovering from the ordeal he went under, is experiencing horrific ‘episodes’; harrowing hallucinations of the Upside Down that features visions of an enormous tentacled creature. While Nancy is still dealing with the loss of her friend Barb, Police Chief Hopper is trying to discover why all the pumpkins in town are rotting-away, all the while being a guardian for the very-much-alive, Eleven…

In receiving the vast acclaim that it initially did for the way it subtly amalgamated visual/contextual references from Spielberg’s E.T. with distinctive nuances of King’s novel FireStarter, specifically with the mysterious and supernatural way the character of Eleven is displayed, it’s arguable to state that it was always going to be a difficult feat for the Duffer Brothers to better themselves going into this latest season and provide new and refreshing constructs that would differentiate from last seasons investing stylisation. Indeed, since the entirety of season one implemented a premise that was filled with a variety of enticing citations towards recognised 80’s phenomena with an eight-episode structure that balanced a range of sub-plots that were all interlinked with one-another towards the climax, it was an assurance with the reception that the show received that season two of Stranger Things was inevitably going to accept a high-expectation that would flesh-out the loveable characters to a more relatable degree and introduce original supernatural ideas that would keep you engaged. While it’s clear to see that the Duffer Brothers retain many of the aspects that made Stranger Things what it’s perceived to be, it can’t go un-noticed how this latest season doesn’t warrant as much mysticism in comparison to the preceding events. Aside the moulding of literary and filmic nods, one of the other main reasons why the first season of Stranger Things was an enticing show to be gripped by was its mysterious premise and how each of the episodes gradually maintained this grounded enigmatic story through the eight episodes shown. Whether it was through the way in which one of the episodes opened with an alluring camera shot of the starry suburban-landscape to try and evoke this sense of metaphysical ambiguity or the way in which events ended in a tense cliffhanger that would be followed-up further down the line, the first season of Stranger Things was heavily imbued with mystery and intrigue that kept you on your seat in wanting to know more of the disappearance of Will and what exactly is the Upside Down. As much as this latest season introduces us back into the year of 1984 with a curious opener that comes into fruition near towards the end and leaves you questioning what this could mean for a certain character, it’s fair to say that the mysticism that was effortlessly established in the preceding season isn’t nearly as impactful here. Despite the Duffer Brothers introducing a rather ominous creature in the form of the Mind Flayer, the monster which appears in the sky in Will’s visions, it’s fair to say that much of the events that play-out in season two don’t come as a surprise since much of what’s elaborated was presented in the final stages of the preceding season; with Will himself after being recovered from the Upside Down still feeling the affects of the trauma he went through. If there’s one aspect, which the Duffer Brothers have again adopted, that keeps the viewing-gaze firmly towards the characters and what each one of them are doing, it’s the balanced structure and how each of the central and secondary characters get their respective time in the spotlight. In similar vein to what you might expect to see in Game Of Thrones, what’s easy to perceive once again in Stranger Things’ return to our television screens, is how, with such a large cast covering the show and new additions that fit well as supporting characters, it meanders between multiple story-lines and manages to balance all these sub-plots in a cohesive manner. Whether we’re seeing the gang of Mike, Dustin, Lucas and Will traversing their suburban routes in their rather niche yet appropriate Ghostbusters outfits or later when Eleven discovers things that she wasn’t initially aware of, each of the story-lines that we’re presented with are engaging and there’s never a moment where a particular character is given an ample amount of screen time; everyone showcased has their own moment to-shine and it’s the way in which all these sub-plots interweave together that makes for a rewarding and thrilling conclusion. In many regards, what’s interesting to behold, besides the obvious sci-fi tropes and paranormal events that inevitably unfold, is the manner in which the main characters are, mentally, still dealing with the traumatic incidents that they went through. Despite the show featuring kids as their main protagonists, Stranger Things doesn’t hold back when it comes to exploring the mental ramifications of what going through a traumatic event looks like. It’s a subtle yet smart contextual aspect that gives the second season an added sense of practicality and establishes the characters of Nancy and Mike even further; due to their lost friendships of Barb and Eleven respectively from the preceding season.

As mentioned in the introduction, what’s distinguishable to perceive of Stranger Things’ overall look and appeal, is the way in which it utilises a variety of popular literary and filmic references towards a premise that’s charming yet original at the same time. It’s the combination of these multiple references, from the likes of Spielberg, King and other more notable horror films, that makes Stranger Things a contemporary example of intertextuality and has, in return, become a yardstick for audiences who aren’t familiar with every little homage remarked. As stated in my review of season one of Stranger Things, There is a fine line between taking a rather recognisable filmic/book reference and using it to amplify your own unique feature series, and using these references to re-create the source materials that you already know and admire; showing no originality. While the Duffer Brothers use these aforementioned references more than just to build the world that we see, for example when either Mike, Dustin, Lucas or Will are arguing with each and use pop-culture references from the likes of Dungeons & Dragons, Lord of the Rings, Star Wars and now Ghostbusters to communicate their code of ethics with another and use these nods to over-come the over-arching problem that they’re facing, it does have to be said that there are moments where Stranger Things obliges in imitating contextual references to the point of unavoidable expectation. Similar to the way in which the over-arching plot of the first series served to be reminiscent of E.T., how they used this idea of three kids hiding a supernatural person in their basement cupboard and this rather gifted person wearing a wig/dress to disguise and blend in with society seen very much in Spielberg’s sci-fi feature, season two goes about its business in similar style; hallmarking story-concepts from Ridley Scott’s Alien. To give away the circumstances in which Scott’s 1979 sci-fi/horror classic would be an injustice on my behalf, since a lot of you reading will want to watch the this latest season without needless spoilers being given-away. However, it can’t be helped to look upon the later episodes and notice how strikingly evocative events interlink with that of Alien and even, to an extent, William Friedkin’s The Exorcist. Not to discourage those who affiliate themselves with the referential nods and harkens back to certain audiences experiences and likenesses, it’s a premise, in the end, that feels wholly original and there are many homages that made me smile with comforting delight; in particular when Eleven is training herself to move bigger things with her psychic powers much like Luke Skywalker in The Empire Strikes Back. It’s just, if you take away the homages out of Stranger Things, would it still be the same show that people acclaim it to be? Then again, since it’s a premise set in the prime days of the 80’s, maybe it was always unavoidable for the Duffer Brothers to try and delve away from the phenomena of that time period. nitpicking aside, credit does have to go to the creators since they’ve comprised something that is rewarding and unique to watch.

Aside the more notable aspects that the Duffer Brothers have purposefully integrated into a nine episode structure, Stranger Things wouldn’t be the show that it acclaims to be without its strong and large cast who all, individually, get their moments to shine. With each of the main and secondary characters all splitting off on their own sub-expeditions, we’re greeted with far greater depth of the ensemble this time around which helps accentuate our need in wanting to relate to each of the characters and what each of them are doing. This is certainly the case with the character of Steven Harrington, played by Joe Keery, who, throughout the course of season two, matures and evolves in a way that is likeable and builds a fond relationship with Dustin; as seen in a little moment where Dustin is trying to describe how he feels about this girl he likes and Steve giving him advice on relationships and what he actually does to style his hair. It’s these little moments that, for sure, gives Stranger Things are charming and savouring quality to it. If there’s one enactment to choose from this large cast however that performed on a level that was consistently yet fluidly, in relation to their characters situation, it would be that of Noah Schnapp’s acting contribution as Will Byers. As much as he was relegated to another dimension in season one and was only properly seen and heard from through flashbacks of his friends and family, Schnapp provides us with a breakout performance in season two and manifests a character that once again goes through a lot in terms of being called “zombie boy” and facing-up against a sinister and ever-looming shadow figure in the visions he unexpectedly has. The very fact that Schnapp took time to research this idea of ‘possession’ in films like The Exorcist in relation to what happens to his own character later in the season, simply shows his dedication as a young child-actor. Much of the same can be said of Millie Bobby Brown’s return as Eleven since, she also, is provided with more appropriate screen-time and dialogue set-pieces that unearths more qualities and details of her past. It’s difficult to go into the specifics of her arc without revealing too much, but there are fascinating new places for her to go and people to meet this season that suitably develops her understanding of what she wants in life after being experimented on initially. In terms of the newcomers, the addition of Sean Astin as Bob, Joyce Byers’ boyfriend, relevantly suited with a moderate amount of the cast and served his role as a supporting character really efficiently. Less could be said other additions of Maxine and her older brother Billy who don’t really add anything sufficient. While Maxine helps to establish more of the character intricacies of Dustin and Lucas, her role in the season is pretty moot apart from that one thing. Her only purpose was to create problems between the young boys and while there’s a clear backstory with her older brother and they’re exactly related to one another, it’s never an angle that’s brought into fruition which is disappointing. As far as the rest of the cast are concerned, Dustin, as we’ve already elaborated on, is featured more this season in comparison to Finn Wolfhard’s Mike, who takes more of a ‘back-seat’ approach this time around. Similar to way in which we see the family of Lucas, we’ve presented more of Dustin’s home-life as well; again adding greater depth and reliability to characters that we’re already akin towards. 

Despite the minor reservations of the way in which specific references are used to formulate the encompassing story-line to a certain degree, the second season of Stranger Things is a delight to watch and further bolsters the Duffer Brothers’ series even further. While it doesn’t arguably embrace much of the mysticism that was so effortlessly established in the preceding season, it’s a series of nine episodes that manages to not only bestow excellent performances from both new and returning cast members, but it also contrives in delivering a winning combination of darkness, horror, humour and expected nostalgic references whilst developing its plot and characters in new and enticing directions. Indeed, it’s fair to say that the Duffer Brothers have kept everything that audiences loved from season one and have constructed a follow-up that ultimately won’t leave you disappointing. Yet, with it ending in the way that it did, it’ll be interesting, going forward, what the creators of the show will pursue next in Hawkins…

On that note, it’s time for me to end this weeks T.V. Review. As always everyone, thank you for reading my latest T.V. Review of Netflix’s Stranger Things: Season 2 and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either the review or on the show itself, you’re more than welcome to comment down below! For next week, I’ll be presenting with a film review of either Thor: Ragnarok or Murder on the Orient Express. Thank you once again for reading this week’s Blog Post and I’ll be back next week! Have a nice weekend! Adieu! 😊😎👽👾👻

★ ★ ★ ☆ ☆ – Alex Rabbitte