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| Scene from Stranger Things |
Welcome to a new column called Channel Surfing, in which I sporadically look at current TV shows and talk about them. These are not ones that I care to write weekly recaps for and are instead reflections either on the episode, the series, or particular moments. This will hopefully help to share personal opinions as well as discover entertainment on the outer pantheon that I feel is well worth checking out, or in some cases, shows that are weird enough to talk about, but should never be seen.
Nowadays, supernatural series with a hook come at a dime a dozen. Almost every network has their summer programming line-up that features some sort of weird happenings. The only thing that seems to come at more dimes per dozen is new Netflix shows, released almost biweekly with many getting buried due to lack of promotion. Somewhere in the crossfire lays Stranger Things: a series from The Duffer Brothers that intends to be a nostalgic look at horror by going back to the days of 80's Spielberg movies. Unlike cinema's recent attempt to make this work, Super 8, the series for the most part works as a cross section of references all used lovingly and not blatantly to create a show that seems perfect for Netflix's binge watching regiment. At only eight episodes, the mystery will likely wrap up quicker with the twists and turns inspiring people to press "Next" by the end credits.
As the first episode suggests, Will Byers (Noah Schnapp) goes missing after wandering into the woods. As he finds his way back to civilization, he meets friendly diner workers and a secret organization that is after him. Meanwhile, people in his hometown panic, wondering where he went. By the episode's end, there's a lot more on the line than the initial and impacting opening sequence that captures the awe of the 80's horror that featured kids sassing to parents while naively wandering into danger. It's a nostalgic trip in the most literal sense and rewards those familiar with the references both directly stated ("Lord of the Rings," Poltergeist) and implied in the DNA of the show's atmosphere.
In fact, the show's best description has been given by the Duffer Brothers in interviews. The series is tonally E.T. crossed with John Carpenter. This is most apparent in the sparing but haunting opening credits where the electronic thuds recall Carpenter's classics. Even the font is reminiscent of the sort that is often seen on Stephen King books from that era. There's a lot of passion that goes into the small details, and it only elevates the sometimes familiar mystery aspect into something more compelling. Even the choice to cast Winona Ryder as the geeky mother is a nice reference to her days working with Tim Burton and starring in films like Heathers. While it has yet to be seen how effective these aspects are as more than character starting points, it does help that this feels personal.
In typical form, the first episode is an introduction to the universe. While little is known about the town before Will's absence, there's a certain eerie quality that underlies everything by the 10th minute. There's a lot of concern as to what is going on and why the parents seemed to not care, or are repressing their fears. It is the set-up that is often seen in King literature where the haunting nature slowly builds, coming towards the middle. The positive is that the series doesn't simply linger on the mystery, but allows the viewer to piece together where things could be going. Will may be missing, but we're still given plenty of peculiar events with him. We get the involvement of police as well, and it only helps to make the sense of community stronger.
While it isn't yet apparent if this is a miniseries type program, it does seem like it is Netflix's answer to series like True Detective or Fargo - but in a horror vein. This would be greatly welcomed, as the streaming service hasn't really captured the horror market as well as they have comedy and drama. Considering that Stranger Things is capable of being riveting without being violent and isolating, it does stand a chance to appeal to an audience keen on throwback culture and want some quality 80's spooks. The first episode definitely delivers the goods for a promising show. Now it's time to see how the rest of it goes.
As the first episode suggests, Will Byers (Noah Schnapp) goes missing after wandering into the woods. As he finds his way back to civilization, he meets friendly diner workers and a secret organization that is after him. Meanwhile, people in his hometown panic, wondering where he went. By the episode's end, there's a lot more on the line than the initial and impacting opening sequence that captures the awe of the 80's horror that featured kids sassing to parents while naively wandering into danger. It's a nostalgic trip in the most literal sense and rewards those familiar with the references both directly stated ("Lord of the Rings," Poltergeist) and implied in the DNA of the show's atmosphere.
In fact, the show's best description has been given by the Duffer Brothers in interviews. The series is tonally E.T. crossed with John Carpenter. This is most apparent in the sparing but haunting opening credits where the electronic thuds recall Carpenter's classics. Even the font is reminiscent of the sort that is often seen on Stephen King books from that era. There's a lot of passion that goes into the small details, and it only elevates the sometimes familiar mystery aspect into something more compelling. Even the choice to cast Winona Ryder as the geeky mother is a nice reference to her days working with Tim Burton and starring in films like Heathers. While it has yet to be seen how effective these aspects are as more than character starting points, it does help that this feels personal.
In typical form, the first episode is an introduction to the universe. While little is known about the town before Will's absence, there's a certain eerie quality that underlies everything by the 10th minute. There's a lot of concern as to what is going on and why the parents seemed to not care, or are repressing their fears. It is the set-up that is often seen in King literature where the haunting nature slowly builds, coming towards the middle. The positive is that the series doesn't simply linger on the mystery, but allows the viewer to piece together where things could be going. Will may be missing, but we're still given plenty of peculiar events with him. We get the involvement of police as well, and it only helps to make the sense of community stronger.
While it isn't yet apparent if this is a miniseries type program, it does seem like it is Netflix's answer to series like True Detective or Fargo - but in a horror vein. This would be greatly welcomed, as the streaming service hasn't really captured the horror market as well as they have comedy and drama. Considering that Stranger Things is capable of being riveting without being violent and isolating, it does stand a chance to appeal to an audience keen on throwback culture and want some quality 80's spooks. The first episode definitely delivers the goods for a promising show. Now it's time to see how the rest of it goes.
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