![]() ![]() They understand what underpins their reference points, and in particular they get how the “neighbourhood apocalypse” genre works. Stranger Things might be an indulgent 1980s homage to horror, cold war thrillers, hacker movies, fantasy, and films like The Goonies or Stand By Me where a bunch of unsupervised kids try to save the day but its creators, the Duffer brothers, aren’t just superficial pasticheurs. A group of sympathetic adults, meanwhile, are stuck in a grimy Soviet Union prison, battling a creature left over from a previous season. Psychic superheroine Eleven (Millie Bobby Brown) has unlocked memories from a childhood spent in a secure facility for kids with strange powers, revealing that she opened up the interdimensional portal while confronting One, a murderous fellow inmate, thus turning him into the vengeful Vecna. Where were we? In Hawkins, Indiana, in 1986, waiting for a gang of plucky teens to mount a final assault on Vecna, the demon who roams a dank dimension beneath the town. ![]() But if it hasn’t quite overstretched itself yet, you do wonder where Stranger Things can possibly go from here. It’s crazily, luxuriously sprawling, running to nearly four hours, and does everything fans could have expected plus several dollops more. The double-bill denouement – held back for a month by Netflix to allow hype to build – is more expansive still. It was clearly more expensively produced, with a larger cast and a surer sense of why all the monsters, heroes and hangers-on were there. S tranger Things season four was already bigger and better than anything the show had done before. ![]()
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