Our first encounter with Eleven (Millie Bobby Brown) had us questioning the road this series would take. Consistent dark lighting, combined with a delineated mystery, set the tone for the remainder of the show. From loosely connected storylines to memorable set pieces, the final episode culminates in a heartfelt conclusion.
Mike Wheeler (Finn Wolfhard), Will Byers (Noah Schnapp), Lucas Sinclair (Caleb McLaughlin), and Dustin Henderson (Gaten Matarazzo) have discovered the Upside Down, a pocket dimension of their hometown. In their venture to restore normality to their world, they go from fighting American officers to grotesque 7-foot monsters. Our protagonists have aged significantly over the course of the series. As they walk the graduation floor at the end of the series, the viewer doesn’t see Max and the boys who have just started 7th grade, but individuals who have survived trials and tribulations.
Perhaps “trials and tribulations” isn’t quite adequate to describe the conflict, yet one thing surprised me: there were no significant deaths in this final episode. Although it was hinted that Eleven died in her final standoff, her fate is actually left ambiguous due to Mike’s final monologue. This ties back to a problem that I had with the Duffer Brothers’ writing. They seem to be so connected to the main characters that they don’t find the will to kill any of them off.
Therefore, they are often credited with establishing memorable minor characters and killing them off in the same season. This list includes Bob Newsby from season 2 and Eddie Munson (Joseph Quinn) from season 4. Kali Prasad’s death further amplifies my point.
Although I wasn’t expecting an event like the Red Wedding from Game of Thrones, I do hold the sentiment that death should not be avoided out of fear of heartbroken fans. Death is a misfortune in the real world, yet it is a natural part of life that must be grappled with in films and TV shows to show its inherent significance. Director Stanley Kubrick often claimed that death does not always signify an end, but rather a revelation of something more profound in human nature.
This is why Steve Harrington’s (Joe Keery) near-death scene rubbed me the wrong way. As he gets knocked off the edge of the tower, you gasp, holding on to the edge of your seat, not knowing his fate. Yet, the suspense suddenly breaks as Jonathan Byers (Charlie Heaton) saves him. Steve is indisputably the most beloved character in the series; therefore, I see the rationale for not killing him off. But we viewers have been teased with the deaths of many characters throughout these episodes; consequently, we’re left with a void, leaving us to say, “nothing really happened.”
The Duffer Brothers’ use of music to enhance their scenes is as formulaic as James Gunn’s use of it in his films. Yet, they’re both equally effective in making a scene go from good to exceptional. Eleven’s “death” scene was an extraordinary use of music and flashbacks that combined to create an atmospheric feel that had you applauding for its direction rather than its tragedy. Being a Prince fan myself, I was pretty surprised that the series got the rights to use “Purple Rain,” but the song can undoubtedly make an impact in any imaginable context. Hats off to the Duffer brothers for using the song in a way that (to me) surpasses Max Mayfield’s (Sadie Sink) Running Up That Hill scene in season 4.
Vecna (Jamie Campbell Bower) succumbing to evil in the end surprised me. In the Hollywood of today, where villains are often given a storyline of redemption, I was quite expecting the same for this story. The shock on my face when I saw his head get axed off by Joyce Byers (Winona Ryder) was quite a sight to see.
Throughout the series, I was taken away by Winona Ryder’s memorable performance as an apprehensive mother battling institutional disbelief. Her transformation into a vengeful spirit yearning for revenge, a revenge she finally gets in the end, left me fulfilled.
In its entirety, the Vecna arc is memorable, not only for the unpredictability of his motives but also for the thematic gravity it subtly exerts on our main protagonists. I am somewhat delighted with how all the established storylines tied together in this final season, even if it felt rushed at times. Although I was expecting more death, I understand the connection that writers often hold to their characters. Yet, that does not take away from the more emotional and fulfilling ending we could have gotten.
Even though I’m arguing for a sadder ending, I believe that it would have made this series finale more memorable if only the risks had been taken. Regardless, as the boys venture off with their lives on their bikes with “Landslide” by Fleetwood Mac playing in the background, we’re left with a warm, heartfelt conclusion.
