Tag: series review

Revenge is Sweet: a review of the first 6 episodes of ‘The Glory’ with Song Hye Kyo

After having seen over a hundred Kdramas in the last three years, it’s glaringly obvious that the new Netflix Kdrama ‘The Glory’ is unlike any I’ve seen before. As a Netflix original, it is direct to the streaming platform and so it can do away with certain things we’ve come to expect: it only has 8 episodes (and its part two will be released sometime next year around March), its adult themes include imagery of graphic sex and some nudity, and way more graphic displays of violence. The show doesn’t pull any of its punches and it doesn’t have to since it isn’t released on Korean television, it doesn’t have to abide by their television regulations.

So the revenge story that is at the heart of ‘The Glory’ can get very graphic and detailed. There’s an almost campy way by which the bullies of the story, as they are depicted in the series, can appear one-dimensional and on the extreme side of evil. They have no redeeming factor and the victim, Moon Dong-eun, is a poor girl out of luck. No one is on her side and after a tremendous amount of bullying (as depicted in the first season), she has chosen to turn her whole life into an instrument of revenge against her bullies.

Photo from Netflix

This incident happened in 2004 and the story is set in 2022, so 18 years have passed and what unfolds is a dangerous game of vengeance that has been carefully planned for years. Dong-eun has been stripped off of all her dignity and her soul and she is ready to commit worse upon her tormentors. At the center of it all is her becoming the homeroom teacher of the daughter of the biggest bully of the group, Park Yeon-jin.

The show is polished and slick. It can be campy in how evil the bullies are (after 18 years, they have not mellowed in any way; they are just as cruel only older) and how steadfast Dong-eun is set on her revenge. It revels in its formalist tone with great lighting, amazing set pieces, and fantastic drone shots that really create a sense of place and bigness to the show. The largeness of the filmmaking makes Dong-eun’s scheme to exact her payback seem biblical, almost divine, even when scriptwriter Kim Eun Seok (of ‘Descendants of the Sun’) writes a stirring narration from Dong-eun that she doesn’t believe in god. How could she? The narration, written as letters from Dong-eun to Yeon-jin, reveals the deep obsession she has over her tormentor. It’s almost like the dark side of love. It creates a frightening effect that can really put a chill down your spine when you realize how far someone will go for revenge.

Photo from Netflix

The show is quick to justify Dong-eun’s vengeance, you even root for her, but it also manages to temper that bloodlust with a sense of humanity. On her way, Dong-eun finds people who are keen on helping her in her path, whether intentionally or not. And this is when the show is at its best.

Early on, she meets Mrs. Kang, who becomes a sort of partner. She also meets a young doctor Joo Yeo-jeong, from whom she learns the game of Go (the reasons of which are all part of her plan), who also falls in love with her. It’s in her interactions with these two people that Dong-eun finds herself in a moment of grace; a chance to feel like a human being and while she quickly holds her ground to maintain her purpose and determination to continue on her path of revenge, it’s in these moments where the show really shines.

Photo from Netflix

Song Hye-kyo’s last drama ‘Now We’re Breaking Up’ was not a good comeback for her as the character she played was flat and uninteresting and her performance didn’t help create any sort of texture for the character at all. Here, as Dong-eun, she is once again in that same vein – a person who is holding back, creating walls, and trying to look fierce as she goes head on against her former tormentors. In long stretches of scenes, she can play off on one note and so it becomes a breath of fresh air when she does have moments with Yeo-jeong (a very charming Lee Do-hyun) or with her interactions with Miss Kang (played excellently by Yeom Hye-ran), the two people who can bring out her softer side. It’s there where we can see the Song Hye-kyo of ‘Descendants of the Sun.’

Photo from Netflix

The bullies, on the other hand, Lim Ji-yeon, Park Sung-hoon, Cha Joo-young, Kim Hi-eora, and Kim Gun-woo, are having a blast being as evil as possible. They are chewing up the scenery at every turn and it seems they are having fun with it so we have fun watching their world slowly crumble as Dong-eun returns into their lives and turns the tables.

Photo from Netflix

With only 8 episodes on the first season, of which the first 6 does an excellent job at setting up the stakes and raising the tension, ‘The Glory’ is poised to be another daring Netflix original show that is set to explore the dark side of revenge. Strangely enough, it makes us root for the victim-turned-tormentor and gives us a space to really express our darkest thoughts against the topic of bullying and bullies. It’s not a comfortable feeling, this blood lust, but it’s an interesting one to explore and dig into as we enter a totally new year. How do we address the issues of bullying? And how long are we to accept a system that protects the rich and powerful?

‘The Glory’ shows us that revenge is sweet but also asks, “at what cost?”

My Rating:

.

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The Glory starts streaming on Netflix this December 30.

December 29, 2022
A Risky Return to Middle-Earth: a review of the first two episodes of Amazon Prime’s ‘The Lord of the Rings: The Rings of Power’

Peter Jackson’s ‘The Lord of the Rings’ trilogy is probably a benchmark of what fantasy films could be and it paved the way for fantasy adventure movies and television series for years to come. It was a global phenomenon that brought the works of J.R.R. Tolkien into the mainstream and gave us so many memorable cinematic moments that will forever be etched into our minds (and memes). It is so beloved that the new Amazon Prime Video show ‘The Lord of the Rings: The Rings of Power’ is such a risky move.

How does one produce a prequel to the well-loved trilogy without inviting comparison?

The first two episodes of ‘The Lord of the Rings: The Rings of Power’ brings us back to Middle Earth, thousands of years before the events of ‘The Hobbit’ and ‘The Lord of the Rings’ take place. In this show, the only two familiar characters (so far) are the elves Galadriel and Elrond, much younger versions of the characters portrayed in the films by Cate Blanchett and Hugo Weaving. The elves have left their home to face an evil entity known as Morgoth, who has wreaked havoc upon Middle Earth and whose reach has made it to even the home of the elves. In the ensuing battle, Morgoth is defeated but his successor, a powerful sorcerer known as Sauron has become the leader of the orcs but has disappeared without a trace.

The elvish commander Galadriel seeks to find where Sauron and his orc army have disappeared to but faces opposition from the elf king Gil-Galad and his right-hand man, Elrond. The elves are in a rush to end this war that has lasted for centuries and they want to declare a time of peace.

But this show is much larger than that of just the concern of elves. There are humans and dwarves and a race called Harfoots, who I suspect might be the ancestors of the Hobbits.

There are multiple stories unfolding simultaneously in the first two episodes of ‘The Lord of the Rings: The Rings of Power’ and the pacing of the show is actually quite good. There is a steady build-up of events that promises that the supposed “time of peace” that Gil-Galad wants to declare is a foolish mistake and that Galadriel’s obsession to find Sauron and his army should have been heeded more carefully.

If anything, ‘The Lord of the Rings: The Rings of Power’ is an expensive show: happening at multiple locations, following several different stories, each with fully realised sets and costumes and each with their own special effects needed to make everything feel like a fully-realised fantasy series. It’s massive in scale and scope.

The trick, though, is to give us a Middle Earth that looks like what the world of Peter Jackson’s ‘The Lord of the Rings’ would have looked like and felt like a thousand years before and this is where things get muddled.

In what is familiar to us, the elves were such elegant and graceful beings. They lived for thousands of years and there was such a mystical way about them as they were presented in the movies. This texture and nuance is completely missing from the show. The first twenty minutes are steeped into the affairs of the elves and they talk and behave just like humans do, sometimes even worse. Their politics, their system, and culture – it feels so alien from the elves that we are familiar with from the film. Morfydd Clark and Robert Aramayo, who play Galadriel and Elrond, respectively, have the unenviable task of bringing to life characters that were played by Blanchett and Weaving. They have to make us believe that these versions of the characters will grow up to be the Galadriel and Elrond that we know and from these two episodes, it’s night and day.

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Here, Galadriel is a warrior and proud. She’s obsessed with finding Sauron and seeking revenge. Elrond, on the other hand, is a stereotypical politician with an easy, rehearsed smile and always bargaining at every turn. Both characters are not easy to like.

With the constant reminder of Jackson’s Trilogy, it is quite difficult to get into this world that’s presented no matter how big its budget is. What it does have going for it is that the title itself leads us to suspect that the show will be about the forging of the titular “Rings of Power,” including Sauron’s ring, the one ring to rule them all and that is something I would want to see. Among the plentiful characters this show offers us, the one that I’m most attached to is the Harfoot Nori, played by Markella Kavanagh. Unlike the others of her race, she longs for adventure and curious about the world outside the safe ways of the Harfoot. Kavanagh has an innocence and a spirited way about how she plays Nori that fits so well into this genre. It’s her story I’m most eager to see unfold.

What is also interesting about this show is how it portrays the elves as some imperialist colonizers – coming to Middle Earth, setting up their own cities and kingdoms – and this has angered much of the human race. The humans were caught in a war, first with Morgoth and then the elves, and are disgruntled and prejudiced against the elves. This plays out in little moments throughout the first two episodes, which I hope they show us a lot more of in future episodes.

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This might even be explored as two characters, an elvish soldier and a human healer, may have a love story brewing. Even the way Elrond deals with the Dwarves resonates with similar dealings in our modern times. The stark differences between the races and how it is played out is when the show really begins to show its promise; that it can be more than just another high fantasy adventure series.

While I’m not happy with the way the elves are portrayed here – I still have to adjust and shift my perspective from Jackson’s film trilogy – nor am I attached to any of the many characters presented to us in the first two episodes (save Nori), I am intrigued by how good the pacing is and how quick the build-up of the narrative tension appears to be. Checking the internet, the first season only runs for eight episodes, so they have a lot of ground to cover. The biggest challenge for this show is how to carve out its own niche that is separated from Jackson’s trilogy and be a show entirely of its own and yet still be able to connect itself to that trilogy and to ‘The Hobbit’ trilogy at the end of its run.

The potential is there. I feel that production-wise, it can capture the massive feel and tone of the movies but it is still grasping at the tone and characterization. Maybe in the next few episodes?

My Rating:

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The Lord of the Rings: The Rings of Power premieres on Amazon Prime this September 2.

ALSO READ:
WATCH: Amazon Prime’s ‘The Lord of the Rings’ Series Unveils Title Trailer

September 1, 2022
On the Shoulders of Dragons: a review HBO’s ‘House of the Dragon’ Pilot Episode

There’s no question about the impact that ‘Game of Thrones’ has made globally. It can be argued that it was one of the most impactful and most successful television series of its time with many publications saying it is one of the most ambitious and probably one of the best series ever made for the medium. Despite the backlash it had received over its final season, there are still a lot of people who are searching for the next series that they can invest in as much as they did with ‘Game of Thrones.’

HBO hopes to deliver this was the spin-off ‘House of the Dragon,’ which is set almost two hundred years before the events of ‘Game of Thrones’ during a time when the Targaryens sat on the Iron Throne of Westeros, dragons were not an uncommon sight, and there was a reign of peace over the land. Fans of the world that ‘Game of Thrones’ built may want to return and see its history. The events of this series dramatize what is referred to in ‘Game of Thrones’ when they talk about that world’s past. It promises the same level of intrigue and violence that the first series delivered in droves.

But the expectations are high. After 8 seasons of ‘Game of Thrones,’ the show is now going to ask its viewers to fall in love with a whole new set of characters and reacclimate themselves to a different Westeros. As prefaced in the pilot episode’s opening, the Targaryens have ruled the land with the power of their mighty dragons (I believed ten was mentioned) and peace had reigned over their kingdom.

From the production design alone, everything looks different. While, in the ‘Game of Thrones,’ Westeros just came from a civil war, in ‘House of the Dragon’ it is peacetime. While the architecture looks less refined, it’s brighter and cleaner and there’s less debris. It’s that significant little textures that make this show visually appealing.

And within the first fifteen minutes of the show, you already get to see a dragon or two, which is always going to be a highlight of this show. So that’s crossing out some important items off of the checklist. The hour and fifteen-minute pilot goes straight into the action, comfortable that we already are aware of this setting and the milieu that it seldom slows down for us to really get to know the characters. In a way, the pilot feels more like a movie than an immersive fantasy show and that worries me.

^{Photo Courtesy of HBO}

We are introduced to the royal family – King Viserys (played by Paddy Considine), his daughter Princess Rhaenyra (played by Emma D’Arcy), the king’s brother Prince Daemon (played by Matt Smith), and the King’s cousin Princess Rhaenys (played by Eve Best) – and the dynamics of their relationships with each other. Through a prologue, the politics are already a play and the show takes no time to set things in motion. The Iron Throne is still the prize but as the first episode unfolds, it seems this one is fighting for the legitimacy of rulership.

This is a family affair and all signs point to a bloody and messy business in the succeeding episodes.

And while all the elements are there – production design, a strong cast, stunning visuals, and a healthy dose of politics and dragons – the pilot never really stops to settle down and allows us to get to know these characters well. Unfortunately, ‘House of the Dragon’ will be compared to its predecessor and because the first season of ‘Game of Thrones’ didn’t have the budget it did in later seasons, it really focused on character development and world-building. By the time Sean Bean’s Ned Stark brought his wife and children to King’s Landing, we had our favourites and we knew and felt the world fully that the surprise violence (and even deaths) had a powerful effect on us.

^{Photo Courtesy of HBO}

By the end of the episode, I’m still unsure of how I feel about these characters. No matter how good the acting is – and I love the casting of Emma D’Arcy as Princess Rhaenyra – I don’t feel attached yet to anyone. I’m following the plot more than I am the characters and, for a television series, that’s a dangerous thing. It’s the characters that get you through to the next episode and the next season.

There are some things that stand out. In a negative way, there’s the gratuitous nudity and objectification of women (and men as well, and while the misogyny is part of the world and it is addressed narratively) it just feels like it’s there because it’s a ‘Game of Thrones’ spin-off. At the same time, one of the lords of the court, Lord Corlys (played by Steve Toussaint), is a black man with white hair. Is he a Targaryen? I’m not sure.

It’s so glaring because in ‘Game of Thrones’ there were no people of color in Westeros (though Dorn was inhabited primarily by Hispanic actors) though there were many in Mereen and Pentos and the lands East of Westeros. While I’m all for diversity, it just stood out so much in the first episode. Maybe it will be addressed? Maybe I’ll just let it go after a few episodes? I don’t know but it’s there.

^{Photo Courtesy of HBO}

On the other hand, the ‘House of the Dragon’ pilot episode reaches a fever pitch in a wonderfully edited scene during a jousting match and a birth – these two simultaneous events are the catalyst for the main conflict that is hinted at in the preview of the season at the end of the episode – there’s cinematic genius here as the juxtaposing images of violence and childbirth underscores the dangers of this world and that this period of peace is hanging by a thread.

And with regards to the misogyny, it seems that Princess Rhaenyra’s story would center around her own battle for independence and liberation. There’s talk about a woman’s place in the kingdom and she will have none of that. If the show pursues this and even begins to subvert the gratuitous nudity and sex in the succeeding episodes, then it will start to really veer away from the shadow of its predecessor.

Because ‘Game of Thrones’ has left a big impact upon the world, everyone will be critical of ‘House of the Dragon.’ It’s got tough shoes to fill and can’t afford any mistakes in its first season. The promise is there and it’s off to a shaky start. But if ‘House of the Dragon’ manages to give us characters we can invest in, then it will probably help fill the ‘Game of Thrones’ shaped hole in our regular television viewing habits.

My Rating:

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House of the Dragon premieres on HBO GO this August 22.

ALSO READ:
Here’s Your First Look at the Cast of ‘Game of Thrones’ Prequel ‘House of the Dragon’
WATCH: ‘Game of Thrones’ Spinoff ‘House of the Dragon’ Drops Trailer

August 22, 2022
A Dream I Don’t Want to Wake From: a review of Netflix series ‘The Sandman’

I read the complete ‘Sandman’ graphic novels over fifteen years ago and it is one of my favourite graphic novel collections I’ve encountered. It’s literary. It’s profound. It’s magical. Neil Gaiman’s imagination is boundless and the art by Sam Keith and Mike Drigenberg was so different from the superhero comic books that I collected in the 90s. It was mature and elevated my opinion of comic books back in the late 90s.

For ‘The Sandman’ to finally be adapted into a television series was something I was nervous about. I’m glad to hear that Neil Gaiman was part of the creative team behind the show, which means that any of the changes would be approved by the writer of the source material. This is as important as the immense world-building that Gaiman did for the series.

There are quite a lot of notable changes – some characters have been gender-swapped, some are portrayed by actors of color, the show is set in the present-day whereas the graphic novels were set in the late 80s, and the like – but it never feels like a ploy for relevance nor does it take away from the story. In fact, it adds nuance and inserts additional layers into the work that I don’t remember from having read the series many years ago.

https://www.youtube.com/watch?v=83ClbRPRDXU

‘The Sandman’ is the story about an otherworldly being known as Dream or Morpheus or The Sandman. He is one of the seven Endless, immortal beings that are in charge of aspects of the universe. Dream is the lord of the sleeping world and king of dreams and nightmares. The first season of ‘The Sandman’ adapts the first two volumes ‘Preludes and Nocturnes’ and ‘The Doll’s House’ wherein Dream is imprisoned in the mortal world by a magician with the hopes of catching Death, Dream’s sister. While Dream is imprisoned, the dreaming world begins to fall apart and Dream must get out and restore the dreaming world to protect the waking world.

The rich world of ‘The Sandman’ is given a glossy, CGI-heavy treatment that departs from the book’s visuals in a drastic way. It took me about three episodes to get used to the bright, crisp visuals of the Netflix show. Sam Keith and Mike Drigenberg’s art style was something I’d describe as dirty, messy, and very dark. It was so well-suited to the material and such a great departure from the superhero comics that were so in vogue at the time.

The clean CGI of the show goes the opposite of that and so it took me a while to sync into this new look. The original art underscored the darkness of the material, but the refined visuals contrasted the heaviness of the show and it’s great because Dream is not an easy character to connect with.

Photo courtesy of Netflix

Dream is an immortal being of immense power. He’s rigid and cold. He’s fascinating to watch because he’s so far removed from humanity and while it reads well in the comics, in the show, it can be a little off-putting. Tom Sturridge does a brilliant portrayal of this. He has the signature pout and that blank expression that betrays nothing. He carries all the gravitas and majesty that Dream should have and it’s mesmerizing.

But Dream is not an easy person to like and so the lush visuals and glossy treatment help humanize the world that Dream moves through and the characters that he interacts with creating a nice dynamic for him to play off of. The other characters keep him interesting until later on through the show when you begin to invest in him because you can finally understand what he must be going through.

Photo courtesy of Netflix

And that’s what is brilliant about this show. Dream is in charge of all our hopes and fantasies and our fears. As Dream sets out to restore the dream world back to its former glory, the show becomes a deep dive into some of the driving forces of the human race. It is a dissection of how we react and deal with the things that we want and the things we are afraid of and how different these things are for each person – whether human or otherworldly.

‘The Sandman’ is not a superhero television show. It’s a fantastical drama that delves more into philosophy and a study of human nature and other high concepts. It can be slow at times for people who are not keen on detailed and careful world-building. Being faithful to the books and with Neil Gaiman developing the show alongside David S. Goyer and Allen Heinberg, the show is more a showcase of the limitless imagination of Gaiman and how the world that he has built works. There’s not a lot of action. Instead its meditations on power, responsibility, mortality, and humanity.

To keep things interesting, the show is filled with magical moments and captivating characters. Other than Dream, the show is filled with memorable characters that populate this rich fantasy world. Of the many slight changes to the source material, three notable characters are played by women: Lucienne (Lucian in the books) is played by Vivienne Acheampong, Lucifer Morningstar is played by Gwendoline Christie (of ‘Game of Thrones’ fame), and Johanna Constantine (originally John Constantine in the books) played by Jenna Coleman.

All three actresses do memorable performances, with Coleman really capturing Constantine’s swagger and bravado and Christie adding quiet, otherworldly confidence to her portrayal of Lucifer but it is Acheampong who adds the most to the gender swap role. By turning Lucian into Lucienne, it creates a really interesting new layer into the relationship between Dream and his librarian. There is a warmth and a beating heart that the show needs in their interactions that might not have been there should they have kept Lucian as he was in the books.

Photo courtesy of Netflix

There is such a strong understanding of how much needs to change for the television version of this story. There is an awareness of the demands a viewing audience would have over the material versus a reading audience and I feel that this was addressed through the filmmaking of ‘The Sandman.’ The story is intact but the modernization of the material addresses real-world issues. As a fan of the original material, I’m enjoying the adjustments and marveling at how watching this show is bringing me back to the same wonder of reading the graphic novels but also opening my eyes to things I wasn’t aware of fifteen years ago.

I’m very happy with this adaptation and I can’t wait for the second season. This is not for those who are looking for something easy and light to watch. This is a show that will take its time to establish the vast and rich world of Dream and the Endless and it’s going to get even more dense and complicated as the show continues. I hope it continues. This is a dream I don’t want to wake up from.

My Rating:

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The Sandman debuts globally on Netflix on August 5, Friday.

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WATCH: ‘The Sandman’ Main Trailer and Official Key Art Debut

August 5, 2022
Great in parts, ‘Stranger Things 4’ Volume 1 lacks the intimacy of past seasons as the world gets bigger

It has been a long while since season 3 of the Duffer Brothers’ hit series ‘Stranger Things’ premiered on Netflix. Three years have passed since the last season and so much has changed. The characters have all grown up now with the younger set moving on to high school, Joyce (Winona Ryder) takes her family – Jonathan (Charlie Heaton), Will (Noah Schnapp), and Eleven (Millie Bobby Brown) – to California to start anew, the rest of the group have stayed in Hawkings, Indiana, while (as the trailer suggested) Hopper (David Harbour) has found himself in Russia.

https://www.youtube.com/watch?v=yQEondeGvKo

Volume One, the first seven episodes of season 4, is one gigantic set-up with the characters all spread out in different locations around America and the world. The first three seasons had everyone split up but just within the confines of Hawkings (except that one season when Eleven went to the city and met Eight) but the world of ‘Stranger Things’ has gotten bigger now. In Volume One alone, the story shifts between Hawkings, California, Russia, and later to the open road, Alaska, Nevada, and Utah. While the largeness in scope truly makes the world of ‘Stranger Things’ bigger and the world-building richer, what it does is take away from what made the first three seasons so enjoyable.

The hustle and bustle of previous installments meant that the split-up characters eventually bump into each other as they must face a terror from the Upside Down, the shadow world parallel to ours where monsters exist. With such distance between the characters, it’s hard to create that sense of narrative intimacy. There was always some level of joy when the younger set collided with the young adult set – Jonathan, Nancy (Natalia Dyer), Steve (Joe Keery), and later addition Robin (Maya Hawke) – and then later on with the older set of Joyce and Hopper and the parents.

Image courtesy of Netflix

But there’s not much of that here. That sort of narrative interweaving only really happens in Hawkings and it quickly happens because the characters know each other already and have been through this before. As the Upside Down throws another horrible monster into the fray, this time a powerful creature named Vecna, those in Hawkings quickly band together to solve the case.

That’s when the show really and truly feels like ‘Stranger Things.’ Cut up into four parts – Hawkins, California (split into Joyce and Murray, played by Brett Gelman, and the younger set) and Russia with Hopper – the show feels a little disjointed. It doesn’t help that they split them up into five stories by the halfway point. For the first time in three seasons, I wasn’t interested in all the stories. I actually wanted to skip parts and just focus on one part, which was Hawkins.

Image courtesy of Netflix

By the fourth season, you can tell that the Duffer Brothers and their creative team have run out of steam for some characters. For Joyce, Hopper, Jonathan, Will, and Mike, there doesn’t seem to be anything new to do with them (or even interesting). You can even see this as Jonathan, Will, and Mike start to have less and less scenes as the season progresses. Joyce and Hopper must deal with an external struggle, a tangible goal, and while it does not test Joyce’s character to a point of any real change, Hopper has just one and this is explored only by the last two or three episodes. Prior to that, it’s just trying to survive in Russia.

And while Eleven is poised to be the show’s central figure, her character must endure a necessary trial to get her abilities back but plays out a story we’ve all seen before in one shape or another. It feels more like Eleven’s storyline was meant more to introduce somebody new.

It’s in Hawkins where the show really feels like the show we’ve come to love and it’s there that I want to focus all my attention. It’s in Hawkins, with Nancy, Steve, Robin, Dustin (Gaten Materazzo), Lucas (Caleb McLaughlin), Max (Sadie Sink), Erica (Priah Ferguson), and new addition Eddie (Joseph Quinn), where the mystery of Vecna is truly explored, experienced, and felt.

Image courtesy of Netflix

It’s in Hawkins where the heavy themes are truly explored like radical conservatism and surviving trauma, which are handled in a way that shows their frightening aspects but also still done with a good mix of seriousness and humor. The monster is not that important, though the show manages to pivot that thought later in the season in an interesting way, but his presence is necessary because that’s the impetus for the fun stuff to happen – when the Hawkins group tries to solve the mystery, working together and using past experiences to rationalize their findings. It’s the stuff that pays tribute to old 80s and early 90s movies like ‘The Goonies’ and ‘E.T.; and ‘Nightmare on Elm Street’ and the like that gave the show its working DNA.

And on a personal note, I just love how pivotal a Kate Bush song becomes in two episodes of the season. Amazing use of music, as always.

Hopefully, when Volume Two arrives in July, episodes 8 and 9 will interweave the stories again to give us the show we’ve come to love and prepare us for the announced fifth and final season of the show.

And hopefully, they won’t make us wait another three years before we can properly say goodbye.

My Rating:

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All episodes of ‘Stranger Things 4‘ Vol. 1 are now streaming on Netflix. Vol. 2 will premiere on July 1, 2022.

ALSO READ:
‘Stranger Things’ Season 4 Interviews: Darker Journeys, New Faces, and Vecna of The Upside Down
11 Scenes from ‘Stranger Things 2’ that Gave Us Chills
All Grown Up: A Review of ‘Stranger Things 3’
Close Encounters with Eleven: Q&A with Netflix ‘Stranger Things’ Star Millie Bobby Brown

May 30, 2022