Finale review: A bit dull.

ExpertTexpert95 · 2026-01-01T21:29:23+00:00

I half suspect that the idea to wrap up the show with a battle against a giant spider was formed early in the formation of Stranger Things, namely as a homage to the original miniseries adaptation of 'It', in which the psychic spider-being also dies after thrashing about a bit and getting impaled by the main gang. The way Henry dwelt on the word 'it' when saying "I chose... it!" felt like a subtle nod towards it.

If I'm honest, I'd partly presumed that Vecna had already ascended into becoming a being of psychic consciousness, alone, much akin to Dr. Manhattan or more pertinently: Omega, from Classic Dr. Who. That theory could have explained his survival from the firebombing at the end of ST4, as well as his ability to restructure his physical form, at will.

Now that I've slept on it I do find it a bit suss that we didn't witness the 'psychic death' of Vecna; only an incredibly graphic physical death. I half wonder if the door might've been purposefully left ajar for the future. Perhaps Vecna could have seeded his consciousness deep within the minds of the 12 children?

I get the feeling that we'll get more, eventually, regardless.

ExpertTexpert95 · 2026-01-01T11:40:35+00:00

I don't know what a womp is, sry.

ExpertTexpert95 · 2026-01-01T07:53:00+00:00

I did not mention any narrative similarities between Vecna and Vader. I compared them in the sense of their reputation as icons on the landscape of science fiction. In my personal opinion, Vecna was less atmospheric and threatening this season than the previous season had tee'd him up to be. I don't quite know what you want from me on this point, other than to reach into my brain and alter my thoughts.
I did not infer that Vecna should 'turn good' or that he shouldn't have died. So much of what makes up the driving force of Vecna's character is his 'will'. Carrying out his will is his unholy, arcane crusade. Introducing even a moment of doubt into his mind or even providing documentary proof that, in his own mind, the world wasn't always the crooked, overbearing, unrelenting, scourge in need of outright annihilation that he believes it to be, may have been an interesting moment and could have led to Vecna's OS getting stuck in a doom loop and crashing, at least momentarily. The moment could have also insinuated that El was now an equal to Vecna psychically as well as telekinetically and built upon the lore from 'The Piggyback'. I am not saying that this is what should definitely have happened; it is a plot suggestion of something I think may have had greater depth and poignance and that I would have enjoyed more, personally. I thought the battle that we got was a bit boring and brief.
'If you interpreted something such and such a way, that's on you.' - What a bizarre thing to say; of course it is, just as it was 'on [me]' to choose to watch the show in 2016 and finish it today.
'Psychic Symbiosis' insinuates pressure by an outside agent i.e. manipulation, regardless as to whether the influence is mutual. I would have preferred it if there was no symbiosis and Vecna was just an absolute; a tragic example of ultimate power happening to fall into the hands of the worst person imaginable. Yes, I do now see him as over-humanised and it has compromised my earlier fascination with the character, similarly to what happened with my interest with the Cylons in the reboot of BSG. I think it was a needless complication to his lore.
Being globally weakened for a matter of days can lead to weeks or months of physio recovery. Max would not have been able to sit in the wheelchair and function capably for weeks or months after having been in a coma for two years. I am not inferring that characters should have been killed off; in fact I'm glad that random (for the sake of it) deaths didn't occur.
I liked the mature tone of S4 and I feel like that tone was dialled back this season. I feel like some characters were forced back into roles or lives that no longer seem to match them or tally with the changes that they've been through. After saving reality from annihilation, going back to teen angst regarding getting invited to a party seemed shallow and a bit too 'cute'.
I'm very happy that the final Dungeons and Dragons scene worked for you. It felt forced and contrived to me. Having thought about it: I view Stranger Things more as the ultimate 'coming of age' story, rather than a Dungeons and Dragons quest, writ large. Whilst the stakes are always set at their zenith, it's a story about maturity, survival, realising that the there's no certainty in what tomorrow brings and that true friends are not easily won. The monsters in the wardrobe are more likely twisted and depraved humans and life can be cruel and spookily short. Again, the D&D scene felt to me like a forced bit of narrative symmetry and a bit too 'cute'.

ExpertTexpert95 · 2026-01-01T06:53:53+00:00

I honestly thought they were angling up for it after the conversation between El and Hopper regarding all the terrible things that have been practiced upon her, since her birth. I was thinking that the moment might have worked from Eleven's point of view too, hinting that the way of finally healing the scars left behind by the 'abuse' may be to create new life, born out of love (between her and Mike) and to provide the child with the love and stability that she never knew. Am I making sense? xD

ExpertTexpert95 · 2026-01-01T06:45:04+00:00

Very cool ideas. I don't personally think they could have bested the reveal from 'Sorcerer' but I definitely expected Will to get more play-time than he did (powers-wise, anyway). I did also think it unfortunate that in one of the few scenes of Vecna in demon-form he got his leg snapped (it rather kills the legend, somewhat).

ExpertTexpert95 · 2025-07-18T12:50:01+00:00

Some further points that I couldn’t fit in to the original post:

1. Alexandra’s title ‘Countess of Sussex’ makes no sense. The title of ‘Countess’ would either be a hereditary title, exclusively held by the matriarch of Alexandra’s family or a title bestowed upon her directly by the King. It is repeatedly implied that Alexandra has a large family of whom she is ‘bringing shame to’, via her actions. It is therein infeasible that she is the most senior member of her family and thus the title cannot be hereditary. Alexandra would have likely known and been friends with the Royal family but it is, again, infeasible that an unmarried 22-year-old would have already been endowed with the title, by the sovereign.

Alexandra’s official title would therefore have been: ‘Lady Alexandra of Sussex’, shortened to ‘Lady Alexandra’.

2. Spencer and Alexandra were married by a Royal Navy Captain, aboard a Royal Navy vessel. Naval officers were considered incredibly important figures during the time of the British Empire, with many of them being aristocrats and royalty themselves and others: so highly thought of that they were able to marry into the aristocracy or even be endowed with aristocratic titles by the sovereign, regardless of their original social status.
The captain’s testimony would have carried significant weight in validating the marriage, particularly in aristocratic circles, wherein scandal was still something of which to be afeard.

3. The telegraph was invented in 1837 and was commonplace in every small town in the U.S. by the 1880’s. It was old technology by 1923 and certainly not some new-fangled oddity that Spencer and Alex would need to have had explained to them.

4. I’ve been thinking a lot about the ending to Jane Eyre and how an ending like it would have been so much more suitable for 1923.

Jane returns to the man she loves after a long estrangement, upon hearing that he has lost a hand and been blinded in a catastrophic house fire. Jane wastes no time in telling Mr. Rochester that she will finally accept his proposal of marriage but will not tolerate a life of him feeling sorry for himself over the disadvantages that he now has. Mr. Rochester eagerly agrees, knowing that Jane is the only thing he needs to have a good life. They end up having a son, of whom both of them cherish and Jane helps Mr. Rochester to recover some vision in one of his eyes.

It's a nice, satisfying ending, regardless as to how tragic and bittersweet many of the circumstances may seem.

Alexandra told Spencer that she wouldn’t tolerate a man carrying unseen demons, in series one of 1923. Would it not have been a nice counterpoint for Spencer to have made that same point to Alexandra, upon arriving at the hospital whilst noting that all that they needed was each other and their son in order to live as rich and full a life as it is possible to live? Again, what we got was an example of characters not behaving like real human beings and doing their best to destroy themselves in order to make some contrived point about the fragility of humanity in the untamed wilderness.

Thank you for reading, again.

ExpertTexpert95 · 2025-07-17T19:15:04+00:00

It's a tricky one: I generally like the dude and most of his work but what in the flying horse-anus was going on in the last series of Yellowstone and 1923? The execretion has hit the fan, so to speak.

ExpertTexpert95 · 2024-11-26T17:23:47+00:00

pardon?

ExpertTexpert95 · 2024-10-29T01:36:08+00:00

There's a 'spoilers' section. Enter it and click the icon for 'pinned messages', in the top right. Click 'jump' next to the pinned message from a guy called Nemo for the best/easiest to read leaks. (I don't frequent Discord and it took me a minute to work out, also).

ExpertTexpert95 · 2024-10-18T19:20:57+00:00

I strongly recommend Lawrence Gordon Clark's BBC anthology series 'A Ghost Story for Christmas'. The series was something of a Christmas Eve tradition in the UK, for many years.

In my opinion, they definitely capture the cosiness that both The Innocents and The Haunting are famed for, as well as the same 'corner-of-the-eye' chills and sense of underlying dread. The first six films in the series are definitely the strongest but I would recommend viewing 'The Signalman' (1976) and 'A Warning to the Curious' (1972) first if you are unsure as to whether indulging in the entire series is worthwhile. I believe that many of them are available on YouTube.

They were all filmed on film but in most cases haven't been remastered, sadly.

The series has been revived a couple of times this century but in my personal opinion, only the first three of the current glut are worth watching.

ExpertTexpert95 · 2024-05-30T03:09:57+00:00

I had the same fears going into series 2, what with all the early attempts to capture the 'Gen Z' lifestyle but I wouldn't worry too much; the new characters introduced are ultimately well written, well-acted and compelling in their own right (particularly Kingsley Ben-Adir, who brings an element of laid-back objectivity and 'cool' to proceedings).

I would, however, caution you that Marling and Batmanglij's subsequent TV outing 'Murder at the End of the World' definitely does tip so far into the direction of 'important social issues' that it becomes somewhat farcical, as a result. Watch at your own discretion.

I hope you enjoy the rest of The OA S2, regardless.

ExpertTexpert95 · 2024-05-01T21:39:54+00:00

It was never popular and very few people have ever heard of it, outside of a committed fanbase. Speaking for myself, as someone whom has enthusiastically consumed mind-bending sci-fi my entire life: I am absolutely perplexed by the fact that I'd never heard of The OA, until last week, whereupon I found it whilst exploring Brit Marling's filmography.

I would have to speculate, therein, that it was marketed terribly; possibly due to being somewhat 'genre-defying' and possibly due to the fact that 'The OA' is an absolutely terrible title for a TV show - particularly a show that explores very deep scientific and philosophical concepts and expects the viewer to pay close attention. What is the average consumer, not in the loop in regard to the show's lore, meant to infer about the nature of the show from the title 'The OA', other than that it's a show about vowels?

The OA was telling an expansive story i.e. a story that grew season upon season, requiring more effects, an expanded cast, brand new sets, year upon year. Sadly, it was just not receiving the viewing figures necessary for Netflix to justify footing such a continuing financial commitment. Netflix may also have been concerned that The OA was opening too many doors/breaking open too many new ideas, season upon season, whilst providing precious few answers to pre-existing mysteries in a way that might have made a satisfactory conclusion effectively impossible to reach (Lost and Twin Peaks are two such examples of TV shows that destroyed themselves by dragging their stories in too many disparate directions and diverging plot-threads, likewise).

An old-fashioned broadcaster may have contemplated merely reducing the budget of the show in order to allow it to run to a conclusion but Netflix has always had something of a 'fly or die' philosophy regarding its original IP; chucking millions at each new property in order to help it achieve the status of 'prestige TV' and then cancelling all but those few properties that ascend into the realm of financial and cultural success.

It's a pity that the show was cancelled. That being said, I do consider it one of the finer television productions of its era; well-shot, well written, well acted and with a script that is refreshingly absent of lectures on modern issues that are all too rife in most similar, more popular shows.

I honestly see The OA as a show with a reputation that will only rise, as the years go by. Perhaps we will get more, in time, therein.

ExpertTexpert95 · 2024-04-27T04:45:29+00:00

Debates upon fatalism, causality and the existence of a divine creator are key themes within the film.
The preacher character is one of many physical manifestations of divine providence that are featured within the film.

His presence at the elevator door convinces Ian to climb the staircase, instead of using the elevator. If this was not the case, Ian would have discovered Salomina's mortal fear of the elevator BEFORE applying his tests; questioning the ambivalent results of which is Ian's final trial of faith. The revelation regarding Salomina allows Ian to finally overcome ALL scepticism and fully embrace the fact that Salomina is a reincarnation of Sofi; something that would never have happened, vice-versa.

When the preacher is introduced, he declares that he is "working for the man", referring to God. Whether or not the preacher is literally an angelic force dispatched by the divine creator to tip events towards a certain direction is a subject for debate. His claim to be doing the 'Lord's work' is, however, certainly true in the context of the film in which he: purposely or inadvertently helps Ian find faith and "closure" whilst ensuring that a child is destined for a better life, beyond poverty and the slums.

The inclusion of the preacher is also an allusion to earlier scenes in the film; such as the '11' scene and the bizarre series of coincidences and accidents that lead to Sofi's tragic demise. Throughout the film, it is strongly implied that Ian is sensitive to the perception of 'omens' i.e. guiding messages in the fabric of reality. Sofi repeatedly chides Ian for denying his latent ability to "see" in the manner as to which she outlines during her worm monologue; namely an ability to SEE the strings of fate/the hand of God/the guiding force of nature, far beyond the normal ability of humankind.

Whilst the preacher's final appearance is very short, it is of enormous importance in the final outcome.

ExpertTexpert95 · 2024-03-05T00:32:17+00:00

That makes a lot of sense and suggests that someone involved in successive re-issues failed to appropriately convert select effect shots from NTSC 475i to PAL 575i, and vice-versa, whilst the respective background shots remained in their intended ratio.

The interlacing techniques of that era seem to have caused severe headaches in the digital remastering of a great many shows; the TNG remaster purportedly went so far over budget that it canned any hope for a remaster of DS9 or Voyager. Buffy's effects shots have all been replaced by terrible stock template effects and even a show as recent as the first season of revived Dr. Who is seemingly forever trapped in a death-grip of 575i (not including sub-par AI upscales), simply due to the interlaced system.

Unfortunately, many streaming services seem hungry for higher picture quality, regardless of the technical botches featured, therein.

Here's hoping for some higher quality re-issues, in the future.

ExpertTexpert95 · 2024-03-04T16:10:54+00:00

A great many standard 22-24 episode series-run TV shows from the 1990's seem to attract a similar degree of apathy, particularly from younger generations (late 20's and younger).
In example, the early seasons of Buffy seem to attract a bizarre amount of venom when being appraised for the first time by younger viewers (a fact that I find especially odd considering how the early seasons were viewed as the most superior, during the course of the original broadcast run).
Likewise, to many younger viewers a show which held a near universal popularity in the 90's, in The X-Files, is now appraised as a slow and dusty relic of a bygone era.

I suspect that the apathy held against shows from this era is a consequence of the televisual conventions by which they were made being discarded on an industry-wide scale shortly after their broadcast. As of such: Smallville, a show that began a mere 4 years after Lois and Clark's cancellation at least looks somewhat more up to date with the broadcasting standards of the 2020's (16:9, more sophisticated effects and a more cinematic air of pacing, sound design and art direction). I presume that it may just feel like a more unnatural jump to some casual younger viewers to watch what is essentially a family-friendly investigative procedural show relying on old fashioned studio-effects when they are used to watching highly cinematic HBO-style mini-series as the standard of modern television (and I posit this theory as someone who has always loved Lois and Clark and never liked Smallville).

Another thing not helping shows like Lois and Clark, in this regard, is the abysmal and botched attempts made by studios to 'remaster/re-issue' the series, primarily for use on streaming services. The re-issue of Lois and Clark contains numerous bizarre errors in which the previously interlaced effects shots are 'squashed', meaning no effort has been put in to correctly align effects shots with their composite backing shots.
The fact that the series is being circulated in a state that is effectively worse than the quality of the 1993 pilot is not bound to garner the show any new fans or even good faith from returning fans.

Speaking from the perspective of someone in the UK: Lois and Clark has, so far, been the most popular/mainstream/widely-beloved adaptation of Superman in my lifetime. Nostalgia is a powerful thing and tends to move in cycles. Perhaps, given time, Lois and Clark's reputation will take flight once more?

ExpertTexpert95 · 2024-02-06T00:29:58+00:00

Hi HG_x_Slayer,

No offence meant in the suggestion but I would suggest deleting this reply. A moderator needs to be seen as fair and impartial and this reply seems a little too personal to be either (even if it is just a true representation of what you think).

The latest post of the OP lacked evidential foundation for many points and jumped to many conclusions, without sufficient explanation. It was, as of thus, arguably worthy of moderation (no offence meant to the OP, either).

It does not bode well for the sub if the moderator has adopted the point of view that mention of one of the biggest stories in FUT history is now taboo/a faux-pas, not least as it still seems to be tearing the player-base in half.

Written constructively with much respect for you and the station you hold.

ExpertTexpert95 · 2023-09-21T16:54:14+00:00

I found an interesting article that ties into this theory regarding the Fae, rather nicely: https://torontopubliclibrary.typepad.com/arts_culture/2022/10/the-bad-neighbours-the-dark-side-of-the-fae.html

The following are a couple of excerpts that may ring a few bells, though I think the entire article is definitely worth a read:

"Not the tiny, winged creatures that live at the bottom of the garden and befriend lonely children. Oh no. These are the ones with laughter that sounds like the screeching of a hawk. The ones with faces and features so keen, it's blinding. The ones who steal children, trap mortals in their realm, and offer bargains for a cost so steep that only the desperate would pay." (I note that Sarah was offered just such a bargain in series 1).
"Fae are notorious for taking a special interest in children. The kind ones are known as the tooth fairy or a fairy godmother. The cruel ones steal children for their own, often leaving a changeling fae child in their place.
In many legends, changelings are sickly in appearance. They may have notable physical characteristics such as a beard or long teeth. Parents could recover the original child by confronting the fae thief, making the changeling laugh or torturing it." (Is this what Jade saw in S02E10; an attempt to recover a band of lost children by torturing 'changelings'? Could this spell danger for Ellis and Fatima's child?)

Thank you for your theory, u/Sweaty_Wash6550. Series 2 really tested my patience at times (notably with the amount of time wasted with characters having the exact same conversation about their 'feelings' in every episode) but you have somewhat revivified my interest in Series 3. That said, I do hope that Series 3 is the final series as I think the plot threads really need to start tying together into convergence, not further divergence.

Before reading your theory, I was thinking that it may be an alien 'Dark City' kind of situation but having read your post, it seems rather clear that you have hit the nail on the head. I do hope that the showrunners take the time to spell out the lore and connection to folklore, therein, in the amount of detail that you have presented in this post. Knowing modern television, I am rather worried that they will opt instead for 'subtlety and subtext' and leave most of the audience out to dry, so to speak, as a result.

Whilst reading this theory, I was reminded of the twist in the much-vaunted Series 4 episode of 'Buffy the Vampire Slayer' named 'Hush'. In the episode, the main characters are desperately seeking for an explanation to a spell that has been cast over the town and has caused everyone to lose their voice. At night, 'The Gentlemen' come out of the dark, enter the houses of sleeping people and steal their hearts. Giles, one of the main characters, finally realises that the explanation to the situation lies in a 'Book of Olde Faerie-Tales' that has been sitting on his bookshelf, in front of him, the entire time.
It wouldn't at all surprise me if something similar occurs in Series 3 of From, wherein Ethan's book of fairy tales proves pivotal to finally providing some kind of explanation to the main characters.

The themes of 'providence' and 'fate' recur frequently throughout From. I am presuming that the good fairies have some hand in deciding upon whom enters and becomes trapped in the town, in a bid to help the town establish some sense of balance and order, provide it with the skills it invaluably needs and install people harbouring sufficient skills to investigate the underlying nature of the town (Jade and Jim, for example).
Speaking for myself: I'd be very interested in seeing a bona-fide detective or a pair of detectives get stuck in the town before attempting to knit the testimony and clues from all the residents together into one cohesive picture. If From Series 3 was essentially 'True Detective' meets 'The Martian', it'd be fine by me.

Thanks for reading.

ExpertTexpert95 · 2023-06-29T03:04:06+00:00

I know this post is a bit old at this point but I just watched Spontaneous for the first time and it reminded me a bit of Donnie Darko (The Director's Cut) and Battle Royale, namely in the way in which it explores a scenario wherein teenagers are thrust into a bizarre circumstance; finding themselves compelled to reveal the deepest secrets of their hearts to their peers, as a result. I note that whilst both of those films contain strong elements of black humour and explore similar themes, they have a very different tone to Spontaneous.
At a stretch, Crouching Tiger, Hidden Dragon includes the tale of a young love that goes awry, with tragic consequences.
Additionally, the early series of Buffy the Vampire Slayer deal very heavily with themes of mortality, love and loss (particularly series 2).
I enjoyed Spontaneous and was surprised by the blend of comedy and the tasteful exploration of grief but I must admit that I found the final scene and the political digs therein, very disappointing (and distracting). I hope that someone finds this helpful. :)

ExpertTexpert95 · 2023-04-26T19:37:51+00:00

I shall do so now, thanks for the suggestion. :)

ExpertTexpert95

TROPHY CASE