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Since its 2016 debut, has captivated audiences with its nostalgic 1980s setting, supernatural horrors, and endearing characters.
However, the show’s fourth season released in two parts in 2022 marked a tonal shift, delving into psychological trauma, unchecked government experimentation, and the moral ambiguities of power.
While praised for its ambitious storytelling, the season also sparked debates about narrative bloat, excessive violence, and the ethical implications of its real-world parallels.
Season 4, while a technical and emotional triumph, suffers from uneven pacing, problematic depictions of trauma, and a troubling reliance on shock value raising questions about whether the Duffer Brothers’ expansion of the universe has come at the cost of narrative cohesion and responsible storytelling.
Season 4 split its narrative across multiple locations Hawkins, California, Russia, and the eerie Vecna’s Mind Lair creating a sprawling epic that often felt disjointed.
While Eleven’s (Millie Bobby Brown) backstory in the Hawkins Lab provided crucial lore, critics like ’s Caroline Framke noted that the California subplot (featuring Mike, Will, and Jonathan) lacked urgency, slowing the season’s momentum ().
The Russia storyline, though thrilling, stretched believability, with Hopper (David Harbour) surviving inhuman conditions a narrative choice that prioritized spectacle over logic.
The season’s darkest element was Vecna (Jamie Campbell Bower), a villain who preyed on his victims’ psychological wounds.
Max’s (Sadie Sink) arc particularly her near-death experience in Dear Billy was a standout, blending horror with raw emotion.
However, some mental health advocates argue that the show’s depiction of trauma bordered on exploitation.
Dr.
Rebecca Weston, a clinical psychologist, warns that risks glamorizing suffering by using traumatic flashbacks as a narrative device without adequate resolution ().
The season deepened its critique of Cold War-era government malfeasance, with Dr.
Brenner (Matthew Modine) continuing unethical experiments on children.
While this aligns with historical MKUltra conspiracy theories, scholars like Dr.
Jonna Eagle () caution that the show simplifies complex history into entertainment fodder, potentially distorting public understanding of real victims ().
has evolved from Spielbergian adventure to full-blown horror, with Vecna’s gruesome killings pushing the boundaries of its TV-14 rating.
While some fans applaud the mature tone, others, like ’s Lucy Mangan, argue that the show’s violence feels gratuitous, losing the charm of its earlier seasons ().
Defenders of the season highlight its emotional depth, particularly the character development of Eddie Munson (Joseph Quinn) and the exploration of grief through Max.
The Duffer Brothers have stated that the darker tone was necessary to reflect the characters’ growth and the escalating threat ().
Additionally, the season’s musical score and cinematography especially the use of Kate Bush’s Running Up That Hill were widely praised for their innovation.
Season 4 is a paradox: a visually stunning, emotionally charged installment that struggles under its own weight.
While it succeeds in expanding the show’s mythology and delivering standout performances, its narrative sprawl, questionable handling of trauma, and escalating violence suggest a franchise at a crossroads.
As the series approaches its final season, the challenge will be balancing spectacle with substance lest it succumb to the very darkness it seeks to portray.
The broader implication here is a cautionary tale for modern storytelling: when does complexity become convolution, and when does darkness overshadow meaning? - Framke, C.
(2022).
‘Stranger Things 4’: TV Review.
- Weston, R.
(2023).
Trauma as Spectacle in Modern Horror.
- Eagle, J.
(2022).
Conspiracy Theory as Entertainment.
- Mangan, L.
(2022).
Has Stranger Things Lost Its Way? - Duffer Brothers.
(2022).
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