The Mind Flayer is back, Hawkins has a shiny new mall and the kids have to face puberty: Strange Things have never been more frightening. During the fourth weekend of July, The Ringer will show all events of the third season of Stranger Things with episodic collapses highlighting the greatest scenes, themes and moments of character. The following is the eighth and final episode of Season Three, "The Battle of Starcourt."
Stranger Things is undoubtedly a crowd puller between the interdimensional monsters and the stress-inducing attempts of growing up. The Emmy nominations in season one were a welcome surprise, but the Duffer brothers seem to have a greater interest in collecting entertaining set pieces, delightful childhood moments, and countless 80s setbacks. Clearing Season 3 on July 4, while the series simultaneously follows the events surrounding Independence Day in 1
In Hawkins, bad things happen often, and sometimes the characters die (calm in power, Bob and Barb!); However, these moments are not at the expense of the good mood of the show. But "The Battle of Starcourt" provides a devastating turning point for the series and its immediate future. Chief Jim Hopper is on the wrong side of the Russians' upside-down opening device, which is messed up. Although he has defeated the Russian Terminator in a tricky combat sequence, he has surrendered to his fate – it is the only way to stop the Mind Flayer. With a look of solemn acceptance, Hopper agrees that Joyce destroys the machine that sets fire to him and anyone near the wreck.
In a nutshell, Hopper – the most convincing character in the series, the Lord of Dad-Bods and the reason why David Harbor blossomed from a character actor to a full-blown star – is dead. While we technically do not see that Hopper dies – and a post-credits scene in Russia makes the strange decision to discover that the Russians are holding an invisible "American" prisoner in a cell – the fact that the rest of The Finale is in post-hop pathos should alleviate all speculation that it is a situation of the type Jon Snow. (But it's worth pointing out the Duffers: Please Do not bring Hopper back from the dead!)
The decision to kill Hopper is brave and certainly at odds with earlier summers -Blockbuster thrill, but Stranger Things have never been more emotional. The ambitious choice of narration is also an indication of the ripening process of the show. In a tear-engulfed voice-over – courtesy of a speech Hopper makes to Eleven over her ongoing make-out sessions with Mike, who later reads Eleven – Hopper delivers what follows the third season's thesis, "Me I know you're getting older. " Growing. To change. And I think, if I'm really honest, that's what scares me. I do not want things to change. [Side Note: Give David Harbor Another Emmy Nomination.]
Stranger Things could not escape the inevitable growth of his young actors, trying to maintain the charm Of the earlier seasons – the games of Dungeons & Dragons the Ghostbusters – imaginary group outings on Halloween – developed the series with. This transition phase left behind characters like Will Byers and Hopper, who struggled to cope with Elfen's natural teenage urge to mess around with her boyfriend and yearn for old times. Maybe the audience was too.
Hopper's speech also touches upon the other things that define the universal experience of growing up: making mistakes, learning from them, and understanding that change is an inescapable event that one should nurture and not avoid. It is depressing that Hopper can not share those moments with Eleven, who has now lost the only paternal figure she has ever had in her life. Her bond was strengthened by the trauma that both had suffered in her life – elf in Hawkins Lab; Hopper loses his daughter – and although they disagreed most of the season, the mutual love and respect they shared was never doubtful. It moves into the Byers clan, which has understandably decided that they need a fresh start outside of Hawkins, the most cursed city on television since Buffy the Vampire Slayer (19459004) in Sunnydale. Elsewhere, Robin and Steve may not have a job with Scoops Ahoy – one of the drawbacks of Starcourts zero point for a fight against the Mind Flayer – but they both make an appearance on the local video store they could keep you busy for so long until the streaming site that runs this show is ruining the business. Max and Lucas are still strong; it also turns out that Dustin's science camp friend, Suzie, is actually real; Jonathan and Nancy will give a long-range shot with Mike and Eleven. The paths of all are more divided than in any series, and Hoppers death is a bigger trauma for characters who have experienced an overwhelming amount of it. But you also get the impression that all the children will be fine, as the lessons learned from the fight against upside-down creatures and were drawn from the ever-unpleasant stages of puberty.
A fourth season is almost certainly on the way – the Duffer brothers have envisioned shooting four or five seasons, and there's no way Netflix will cancel this thing – Hoppers death is likely to go far beyond the show's ethos invade as Barbs or Bob has ever done it. Strange things are breaking new ground, and several protagonists move outside of Hawkins, the charm of shameful Russian villains (they seemed to have conquered the Demogorgon in the motherland!) And the emptiness left by one of his survivors became the most important and most popular characters.
It would have been easy for the Duffer brothers, who wrote and staged the finale, to banish the familiar feelings of '80s nostalgia during the third season – the one that highlighted the massive appeal of the show the most. But "The Battle of Starcourt" and its excellent, emotionally shattering coda make it clear that the show will do its best to reflect Hopper's farewell words. Change is a scary thing, and not all shows are prepared for big narrative and thematic developments. Stranger Things not only responds to the literal growth of its actors, but actively builds a future that shifts the status quo.