10 Strange Facts for Stranger Things

I love Stranger Things. And apparently, so does everyone else.

Despite its popularity, the rampant critical acclaim of Netflix’s Stranger Things was unprecedented upon its release. The initial script produced by the series’ creators, the Duffer brothers, had been repeatedly rejected by a string of cable networks. It was simply uncategorizable. The ensemble of children at the heart of the TV show—Eleven, Mike, Dustin, Lucas, and Will—made producers question: was Stranger Things a children’s show? Would adults enjoy it? And if it was geared towards children, shouldn’t the tone be lighter? 

Thankfully, the Duffer brothers never changed their stride, and neither did the show. It was picked up by Netflix in early 2015 and here we are: a homage of 80’s synth pop, jean jackets, and sci-fi movies later, Stranger Things now sits atop Netflix’s most-watched series list, and boasts a 95% fresh rating on Rotten Tomatoes.

So what was it that pushed Stranger Things over the edge of indie film territory and into pop culture appeal? Was it the soundtrack? The stellar casting? Steve Harrington’s hair? Maybe, but the response might also have something to do with nostalgia, and Stranger Things certainly had plenty of that.

You might have caught some of them, but here are 10 references you may have missed in Netflix’s monstrous hit.

1. E.T.

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Image from camiseteria.com

No surprise here; thematic shades of E.T. are all over Stranger Things. We see it in the cinematic shots of the series—kids on bicycles, anyone?—but it’s also stunningly prominent in the parallels between Eleven and E.T. As an “alien,” so to speak, Eleven and E.T. share a fixation on one type of food (leggo my eggo), have both dressed up in blonde wigs to blend in, and are both in hiding from shadowy government figures.

2. Dungeons and Dragons

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Image from roebeast.blogspot.com

I think we all caught this one. After all, the series opens with a Dungeons and Dragons campaign, in which Will fails to kill a popular a mythical creature in D&D lore. This scene does two things: first, it foreshadows Will’s capture, which happens immediately after and drives the entire season one plot; and second, it contextualizes the creature in terms that the kids (and us as the audience) can identify. For the rest of the series, the unknown creature from the Upside Down is known as the demogorgon. 

3. Alien

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Image from bustle.com

The demogorgon in Stranger Things has a few nods to Ridley Scott’s aliens. It leaves a lot of goo in its wake, and (spoilers!) it likes to incubate its victims with smaller creatures by forcing its victims to swallow them.

They’re kind of like…worms. Or snakes. It’s gross.

4. Stephen King

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Image from stephenking.wikia.com

I’ve listed Stephen King as a category in a vague sense, because Stranger Things has multiple horror motifs typified by King during his prolific career as a writer. Mainly, Stranger Things takes its cues from King’s novels Firestarter and Carrie. In both cases, Eleven’s telepathic and occasionally erratic powers, along with her abusive and watchful upbringing, align her with Carrie White and Charlie McGee.

5. Star Wars

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Image from heavyarmor.wordpress.com

This one is a bit more obvious, as the characters often voice the references directly instead of the Duffer brothers hiding them under cinematic quality. Eleven has “jedi powers,” Mike owns a Yoda action-figure and talks about the Force, and when Lucas thinks Eleven has betrayed the group he calls her “Lando,” after the Star Wars character who betrays Han Solo in The Empire Strikes Back.

6. Nightmare on Elm Street

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Image from elitedaily.com

Episode 8 of Stranger Things has Nancy and Jonathan trying to go head-to-head with the monster, luring it into Jonathan’s house with a brigade of traps and eventually setting it on fire. Sound familiar? It should—the climax of the 1984 Nightmare on Elm Street played out in a similar way.

7. The Goonies

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Image from mentalfloss.com

Everyone loves a good ragtag group of misfit kids. And we see a lot of similarities in the playful and mischievous behaviour of the Goonies squad to the Stranger Things crew. The main rule: no adults allowed. (But as a lover of Stranger Things, I’m willing to point out that we do have Joyce and Hopper involved, but they act pretty autonomously for the majority of the show and are in their own separate ‘clique’).

8. X-Men

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Image from comicvine.gamespot.com

X-men also has misfits, yes, but we’ll give that to The Goonies instead. A trickier reference to the Marvel comics actually happens in the first episode, when Dustin and Will are talking about an X-Men comic; the specific issue they argue about is volume 134, in which “Jean Grey mentally snaps…and inadvertently unleashes the Dark Phoenix, a cosmic force beyond her control,” which is a tip of the hat to Eleven later in the series.

9. The Thing

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Image from culturecreature.com

The 80’s horror movie The Thing makes a few appearances in Stranger Things. This one is a bit like Star Wars, in that there are a couple of casual mentions you can spot if you’re looking for them. In Mike’s basement there’s a poster for the movie on one of the walls, and when Dustin calls Mr. Clarke for information on how to build a sensory deprivation tank (which is the most awkward and amusing thing on the show), guess what Mr. Clarke is watching? That’s right: The Thing.

10. Minority Report/Fringe

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Image from movle.blogspot.com

Last but not least, I’m going to throw in a debatable one. When the characters on Stranger Things make a sensory deprivation tank for Eleven to heighten her telepathy and enter the Upside Down, some people got flashes of the 2002 movie Minority Report. Specifically, the scene when Spielberg’s pre-cogs lay in their own sensory deprivation tanks to get flashes of the future.

Now, as it’s Spielberg we’re talking about here (whose other movies are a big influence on the show), it’s probably a homage to him. But! For anyone who watched the hit TV series Fringe—did you not get flashbacks of psychic Olivia Dunham concentrating in a sensory deprivation tank? I did. I really did.

So, did we miss anything? Let us know if you caught something strange that we missed, and bonus points for the more obscure the reference is!

-Contributed by Lorna Antoniazzi

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Blood-Suckers vs. Hoppers: Vampire Showdown

 

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Illustration by Lorna Antoniazzi

Vampires have captivated the Western imagination for centuries. From Bram Stoker’s seminal novel, Dracula, to Anne Rice’s Interview with the Vampire, to the ‘90s masterpiece that was Buffy the Vampire Slayer, to the current season of American Horror Story, the list goes on and on.

Because the figure of the vampire has become so solidified over time—with each vampire movie and novel reinscribing very specific stereotypes—there is little variance in their defining characteristics. (Twilight, as always, is irrelevant here.) Yet, what about the vampires who appear in cultures other than the Western popular imagination?

Today, East meets West in a cross-cultural showdown between the undead. Our contenders: the Goeng-Si (殭屍; aka “Chinese hopping vampire”) and the Generic Vampire (aka “the dangerous but sexy English-speaking vampire of vague European origin”).

Appearance

Goeng-Si:

Goeng-Si, which translates to “stiff corpse,” gets its name from the condition of rigor mortis—whereby the limbs stiffen after death. With their outstretched arms and taut joints, the Chinese vampires are the literal manifestation of this name. Because of their stiffness and inability to bend their knees, the goeng-si have to hop to move. And so, the hopping vampire was born. As you can see, the Chinese take their horror very seriously.

What I gather from all the Chinese vampire movies I grew up watching is that, apart from the common dominator of hopping, the Goeng-Si takes on one of two appearances. The first involves an incredibly pasty complexion and smudged black circles around the eyes, not unlike my appearance during exams. The second involves markedly more decay and rotting flesh. In this case, a family member has asked a Taoist priest to resurrect a long-deceased beloved one, and he does so successfully.

All Goeng-Si dress in super traditional dynastic attire and have a paper talisman, which resembles a long piece of toilet paper or a shopping receipt, attached to their forehead. In essence, they look like they’re permanently trapped in a poorly funded period piece.

Generic Vampire:

Translucent white skin, cold to the touch. Inhuman eyes. No rotting skin (probably no pimple problems). Perpetual streak of blood meandering down side of mouth. Generally brooding. Often sexy.

Winner: Goeng-Si

I made this decision solely based on the fact that the Goeng-Si hops and belongs to the Chinese equivalent of a Jane Austen film. That is all.

Creation

Goeng-Si and Generic Vampire:

How someone becomes a Goeng-Si is surprisingly quite similar to how the generic vampire is created. The various ways for someone to turn into a vampire include being infected by another vampire, absorbing someone’s energy or spirit, using black magic, and being improperly buried.

Winner: Tie

Abilities

Goeng-Si:

The major difference between our two vampires is that Goeng-Si don’t actually suck blood. Instead, they suck the qi, or life force, from their victims. Envision Dementors, but instead of absorbing your happiness, they just go straight for the good stuff.

Generic Vampire:

They live off drinking human blood (duh), but can subsist on animal blood if necessary. Unlike the Goeng-Si who, to the best of my knowledge, have no other supernatural powers, the Generic Vampire has super speed, super strength, mind control, can climb super high walls (à la Dracula), can shape-shift, and… is looking attractive an ability?

Winner: Generic Vampire

For sheer quantity of skills alone.

Killing Them/Countermeasures

Goeng-Si:

According to many reputable sources (my mother and my stash of 80s Chinese vampire movies), Goeng-Si can’t die because they’re already dead. Garlic won’t stop them. Holy water won’t stop them. Sunlight is a mere annoyance. And a stab to the heart is just a flesh wound! The only way to impede their attack is to stop their hopping. And this is where the paper talisman comes in. The strip of paper must have some kind of binding spell on it, written by a Taoist priest with blood. Attaching this paper onto the Goeng-Si’s forehead renders it indefinitely paralyzed, unless the talisman is removed.

A very legitimate scholarly search on Wikipedia tells me that there are actually a myriad of ways to prevent Goeng-Si from sucking the living qi out of you. Most of them involve some variation of throwing rice and eggs. Call it nostalgia, but I’d like to think the only way to stop those suckers is to smack yellow receipts on their foreheads to stop their hopping, and your impending death.

Generic Vampires:

One thing that I will never understand is why vampires of vague European origin are so delicate. Nearly everything kills them. In a way, they’re almost as fragile as humans are; perhaps even more so, because garlic is amazing and delicious and the vampiric race is missing out on a whole lot of Italian cuisine—human or otherwise.

Winner: Goeng-Si

Imagining me stop a Goeng-Si by smacking a shoddy piece of paper on its forehead, thereby stopping it mid-hop, makes me so happy.

ULTIMATE WINNER: You decide!

 

 

-Contributed by Janice To

 

 

 

 

 

Sandman : Handful of Dust

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Image from empireonline.com

 

When a young Neil Gaiman first approached Vertigo comics about The Sandman, he was pitching a simple revival of the 70s series of the same name by Joe Simon and Jack “The King” Kirby. But DC editor Karen Berger insisted that while they keep the name, Gaiman should create a new character.

And thank goodness he did, for otherwise the world would have been robbed of something beautiful. Running from 1989 to 1996, for a total 75 issues collected in 10 volumes, The Sandman managed to create its very own expansive self-contained mythology.

The original artists Mike Dringenberg and Sam Kieth fashioned the title character after Gaiman himself. The Sandman, also known as Morpheus or Dream, and by many other names, carries with him an aura of inhumanity. While early issues exist in the DC comic universe with appearances by The Martian Manhunter and John Constantine (hellblazer), the creators quickly realized that Sandman should be a world unto itself, and so that is what it became. Sandman used several different types of stories to keep itself going and to keep it feeling new and alien all the way through to its final issue, but over its run, three types of stories were prevalent.

The Sandman was able to hold on to many overlapping threads throughout its near decade-long run, with characters who appeared in early issues later returning to have their stories told in elaborate detail. This worked well for the first main kind of story that was used. While several volumes are focused on the Sandman himself, there are also a number of stories in which the title character only appears in a minor capacity, and sometimes he fails to appear at all, instead being merely alluded to or referenced by the other characters. These stories were all set in the present and centered on ordinary people who are pulled into problems or adventures that they don’t understand, becoming involved with magic and monsters.

But even when Dream himself didn’t appear, Gaiman never lost focus on what the series was about. Even in these more domestic stories, the focus is on these ordinary people’s dreams, and the effect that dreams can have on the waking world. Whether it be the story of a young woman named Barbie who becomes trapped in her own dreaming, or of a girl named Rose who finds herself with mysterious powers, the underlying idea behind the story is always clear—what is important are the dreams that these characters have, and how these dreams provide a glimpse into the effect that Dream has on the world he inhabits .

The next kind of story that Gaiman used most often involves the various preexisting mythologies that the world has to offer. In The Sandman, the deities from various cultures and mythologies coexist. This allows Dream to engage with different stories from various mythologies, and allows Gaiman to teach the reader about histories and mythologies that they might not have been exposed to otherwise.

The Sandman also includes Biblical figures such as Cain and Able, who in the series exist as servants to Dream in his mystical realm. Cain is doomed to always kill his brother and Able is doomed to be endlessly resurrected. The devil himself is a key figure in several volumes, with Dream actually visiting hell to sort out his conflicts with the infamous fallen angel Lucifer. One such conflict is when Lucifer decides to retire and leaves Dream in charge of hell, leading to all sorts of problems .

Dream also has stories with characters cut from Egyptian mythology, such as the cat god Bast, and characters from Norse mythology, such as Thor, Odin, and Loki, with the latter two becoming important figures in The Sandman’s later volumes. The three Fates from ancient Greek mythology also figure, and in the end they become Dream’s most important foes.

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Image from wikimedia.org

But the third—and probably my personal favorite—kind of narrative that The Sandman employs is historical: the blending of the Sandman’s unique and eerie magic with historical figures and events. This is used to showcase the Kings of Rome and Marco Polo, and, most notably, is used when Morpheus visits the dreams of William Shakespeare, helping to inspire some of the famous playwright’s most beloved works. In issue 19, collected in the third volume Dream Country, Shakespeare’s company puts on A Midsummer Night’s Dream for Morpheus, with actual Fairy Folk sneaking into production. This issue is the only comic book to ever win the World Fantasy Award.My favorite example of this blending of history and fantasy will always be from Volume 6, Fables and Reflections, in which Dream inspires the broken and suicidal Joshua Abraham Norton in the year of 1859 to become the self-proclaimed Emperor of America, a real historical figure who solved social disputes in the city of San Francisco.

The Sandman is an intelligent, unnerving saga that follows an inhuman, monstrous magical figure. It traces his deeds and misdeeds throughout history with his siblings Destiny, Despair, Desire, Destruction, Delirium, and Death. The Sandman is a unique and beautiful series, and should always be remembered both as one of Gaiman’s crowning achievements and as one of the greatest creations of the comic book medium.

-contributed by Ben Ghan

The Giants Made Me Eat My Spinach: From Then to Now

Giants.  From the English fairytale “Jack and the Beanstalk” to the most recent iteration in the anime and manga Attack on Titan, giants are a well-established element of fantastical stories. However, as with all story elements, they are subject to evolution. Giants in some form or another had existed in folktales and stories well before Jack and his beans were conceptualized in the late 1790s. Greek folklore is thought to contain the first of the giants in its stories of Kronos and his cohort, who both gave birth to and terrorized the gods. Legends continued to spring up around the world, culminating in Ireland with the story of Fingal (or Fionn mac Cumhaill), who is the vertically-enhanced being responsible for the Giant’s Causeway. By then, giants were an integral part of European folklore, eventually coming to England with the well-known tale of Jack and the Beanstalk.

In Jack’s story, the giants are a thinly-veiled metaphor that essentially admonishes people not to be little brats or else they’ll be stepped on. It is a cautionary tale used to remind children that the world is not a forgiving place. What better way to scare them than to tell them of huge humans, with human desires and emotions, but with devastating strength and a penchant for vendettas? This metaphor has been reused constantly across almost every tale involving giants since then, from Roald Dahl’s BFG to J. K. Rowling’s Harry Potter. In both, the giants are, for all intents and purposes, just tremendously big people. Though perhaps not as lucid as Jack’s giants, they still demonstrate extremely human traits. These giants also have rather blatant similarities in the messages that they are attempting to convey. The world (giants) is big and scary, and if you aren’t nice to it, it won’t be nice to you. And it may even squash you anyway.

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Image from fanshare.com

 

Along comes the twenty-first century, and, apparently, a new set of rules. The anime and manga, Attack on Titan, takes the giant and gives it an entirely new spin. The giant is still big. Still bad. Still very much set on stomping. However, any human emotion, desire, or purpose has been utterly erased. These giants exist for one purpose: slaughter.

This complete reversal of everything giants had been, stylistically, up to that point, brings with it an entirely new metaphor. “Jack and the Beanstalk”, BFG, Harry Potter, and Fingal’s stories had all been written with nineteenth and twentieth century criteria. The giants in those stories were created to underline the age-old ideas of what it means to be good. Thus, it was important to see some part of ourselves in the creatures intended to be the externalizations of our punishments should we fail to be good. Attack on Titan departs from this line of thought. Its giants are pure and animalistic. Gone is “eat your vegetables, dearies, or you’ll be pulverized”. These giants seem to have a much deeper, much darker purpose—one that would take volumes to analyze, but seems to boil down to this: climate change, wonky political systems, and “don’t nuke your neighbours”.

from animediet.net
Image from animediet.net

 

Every part of a story exists for a reason, and all parts are subject to revision as society and media changes. Whether it be to inspire kids to go to bed on time or to highlight the various fallacies of modern society, giants are one such part.

-contributed by Rej Ford