Netflix, the show’s host network, is a haven for a second-screen audience – those interacting with multiple devices at once – with their endless catalog of series and movies that don’t require your full attention. But there comes a time when fans hold real expectations for a new season – especially after waiting over three years for it.
The finale’s dialogue is lengthy and lacking the conversation where characters’ chemistry can easily shine through, as proven by the first seasons. The overexplaining and never-ending monologues were unnecessary, tempting me to reach for my phone rather than pay attention to the show in front of me. “Stranger Things” is not a show for casual viewing and it’s heartbreaking that the finale wasn’t treated accordingly.
Looking at the finale’s redeemable qualities, arguably the best cast addition, Nell Fisher, replaced Anniston and Tinsley Price, the twins that portrayed Holly Wheeler in the first four seasons. Delivering a fearlessness in both Holly and as an actress at only 12 years old, there’s no denying Fisher has remarkable talent and a successful acting career ahead of her.
Even with the value of Fisher in her role, her abundant screentime took away from the original characters, not able to show as much growth as we’d expected in our last sight of them. In only one of these original characters did a greater screentime and character development come out – in more ways than one.
“Chapter Four: Sorcerer” was the highest-ranked of the eight episodes – rightfully so. Since Season 1 revolved around Will going missing, Noah Schnapp’s character of Will Byers has lacked the screentime of others who’ve lasted since the pilot. Yet, the lost time was somewhat made up for in his emphasized character development during the first volume of Season 5, where we see the collectiveness of his mental strength. Through a newfound comfort in himself and who he is, he’s able to tap into the Upside Down hivemind and use Vecna’s powers against him, protecting those he loves with a manipulation of Vecna’s powers.
Will’s appearance in the second volume also includes a failed attempt at an emotionally charged coming out scene, diminished by poor dialogue and too many anecdotes. However, the oversharing holds value as the fear he begins with at the start of his monologue dissolves when he shares his similarities with everyone, ultimately vanishing when his friends and family embrace him in held arms and unanimous acceptance of his sexuality despite its stigma during the 1980s.
Developing a soundtrack exclusively made up of the music from this time holds a lot of potential, which the show took and ran (faster than Max Mayfield (Sadie Sink) and Holly escaping the Upside Down) with. The catchy tune of “Upside Down” by Diana Ross in “Chapter One” is a clever nod to the supernatural world where the show’s most terrifying creatures reside. No matter how many times it sticks in your head though, the songs in “Chapter Two” up the tension of two of the episode’s most important scenes. ABBA’s “Fernando” starts out mostly as background relaxation for an overwhelmed Karen Wheeler (Cara Buono) until becoming a fight song as the Wheelers face a blood hungry demogorgon, the scene comparable to Season 4’s level of gore – proving more terrifying and disturbing as the seasons progress and both the characters and audience mature. In closing, we hear the chilling tune of “Mr. Sandman” from The Chordettes after confirming our suspicions of Henry Creel (Jamie Campbell Bower) being Holly’s imaginary friend, Mr. Whatsit. It seemed obvious enough but the song mixed with the “Alice in Wonderland” parallels (most notably in the outfits of Whatsit and Holly) are clever additions to an otherwise predictable ending. Tiffany’s “I Think We’re Alone Now” in “Chapter Three” also contributes to the feel-good wonderland Holly’s led to that contrasts the dark, twisted reality of her kidnapping and manipulation.
Saving the best for last, the greatest music picks for the show seemed as a weak attempt at making up for the biggest television disappointment from fans of a franchise since “Game of Thrones.” At the time of watching the finale, Prince’s “Purple Rain” didn’t fit as the soundtrack to the show’s leading death scene. After reviewing the last four episodes and fan opinions, it’s hard not to get lost in the sentimental nostalgia that makes it a good song selection. For the Sentimentality that follows 18 months later, a viral “Landslide” by Fleetwood Mac delivers Robin Buckley’s (Maya Hawke) final radio broadcast as “Rockin’ Robin” to show the change and growth of the town and characters. Her next song choice, and a personal favorite, “Here Comes Your Man” from the Pixies quickly raises spirits, confirming the fan favorite couple Lucas Sinclair (Caleb McLaughlin) and Max Mayfield (Sadie Sink) – better known as Lumax – is back and stronger than ever. Concluding the episode is “Heroes” by David Bowie over a mid-credits scene of artwork from the five seasons, representing the pages of a D&D-style player’s manual, a perfect symbol for the adventure “Stranger Things” is. Even after it ends predictably, the musical and graphic representation of the show perfectly sums up all our favorite characters have gone through and the true heroes they were throughout the show.
Regardless of the pressure riding on it, the “Stranger Things” finale did not live up to our expectations, which died as tragically as the show’s protagonist. Even while successfully completing storylines developed since the pilot, Season 5 still left us desperate for the clever writing we’ve seen from the Duffers (directors and brothers Matt and Ross) before. The pressure was on for a powerful goodbye we’d talk about for years to come, but we were slapped across the face with cheesy dialogue and an inappropriate ending to a franchise categorized as drama.
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