Stranger Things has a problem, and it’s not just the upside down—it’s the bloated runtimes that are sucking the joy out of what was once a thrilling ride. But here’s where it gets controversial: Is the show’s slow pace and overstretched storytelling a symptom of a larger issue plaguing the streaming era? Let’s dive in.
Remember when Stranger Things first dropped in 2016? It was the summer of nostalgia, with its ’80s vibe, breakout young stars, and Winona Ryder’s magnetic presence. I, like many, binged the entire first season in one sitting, only to realize the wait for more would become a defining—and frustrating—part of the Stranger Things experience. Fast forward to now, and the show has aired a mere 34 episodes in nearly a decade. Compare that to contemporaries like The Good Place or Westworld, which have long since wrapped up their runs. Stranger Things, however, keeps stretching, and not always in a good way. The three-and-a-half-year gap between seasons four and five feels less like anticipation and more like exhaustion. And this is the part most people miss: the show’s pacing issues aren’t just annoying—they’re emblematic of a streaming landscape that prioritizes quantity over quality.
Back in 2016, Netflix was still figuring out its binge-model strategy, riding high on hits like House of Cards and Orange Is the New Black. Meanwhile, platforms like Hulu and Prime Video were finding their footing, and Disney+, Apple TV, and Peacock didn’t even exist yet. Stranger Things was a pioneer, but now it feels trapped in its own formula. Even this final season, divided into three parts, struggles to maintain momentum. Why not release episodes weekly to keep the buzz alive? Netflix’s all-at-once approach feels outdated, leaving viewers with half a season that’s more setup than payoff.
Take episodes three and four, “The Crawl” and “The Vanishing of Holly Wheeler.” Vecna, the show’s primary villain, is notably absent until the last minute, appearing in his human form, Henry Creel, rather than his terrifying demogorgon guise. His evil plans are still in motion, of course, but the delay feels like a missed opportunity to ramp up the tension. The Duffer Brothers stick to their tried-and-true formula: the gang discovers a problem, splits into teams, and works toward a common goal. It’s classic Stranger Things, but also predictable. Lighthearted banter, pop culture references, and relationship drama (looking at you, Jonathan and Steve) fill the gaps, but at what cost? Nancy’s growth into a badass leader is overshadowed by a tired love triangle, and Jonathan’s character remains underutilized. Is it just me, or is this a waste of precious screen time?
Speaking of time, the 37th “crawl”—a mission to the Upside Down—goes awry when Dustin is sidelined by bullies, and Hopper finds himself stranded in the woods. Meanwhile, Will’s newfound ability to see through Vecna’s eyes adds a chilling layer to the story. His connection to Holly, Nancy’s younger sister, is both heartwarming and ominous. Vecna targets Holly, a lonely and vulnerable child, much like Will in season one. She calls him Mr. Whatsit, a nod to A Wrinkle in Time, and the foreshadowing is thick. But here’s the kicker: despite Will’s warnings, no one prepares Holly for the danger. Instead, Mike gives her a D&D figurine, dubbing her Heroic Holly. It’s a sweet moment, but also a glaring example of the show’s reluctance to raise the stakes.
The attack on the Wheeler house is a highlight, with Karen—yes, Karen—grabbing a wine bottle to fight off a demogorgon. It’s absurd, but also strangely empowering. Yet, the moment is short-lived, as the creature slashes her throat and kidnaps Holly. Nancy and Eleven’s rescue mission leads them to a mysterious wall in the Upside Down, hinting at Vecna’s lair. Meanwhile, the gang realizes Mr. Whatsit might hold the key to stopping him. But the scene where the Wheeler siblings disguise themselves to visit their mother feels unnecessarily convoluted. Couldn’t this have been trimmed to tighten the pacing?
As the season progresses, it’s clear Stranger Things is sticking to its formula—for better or worse. The gang knows what they’re up against, but will they break free from the cycle of predictability? And here’s a thought-provoking question for you: Is Stranger Things a victim of its own success, or has it simply overstayed its welcome? Let’s discuss in the comments.
Stray observations:
- Kate Bush’s “Running Up That Hill” still gives me chills, especially when Lucas plays it for Max in the hospital. Is this foreshadowing her return?
- Ted Wheeler’s “Heavens to Betsy” is my new go-to phrase for any crisis.
- Karen and Ted’s survival feels like a missed opportunity to raise the stakes. Will the show ever take a risk and kill off a main character?
- Eleven’s confusion over Karen’s wine bottle weapon is pure gold: “Karen must have hurt [the demogorgon]. With her wine.”
- Linda Hamilton’s debut as Dr. Kay is a welcome addition. If you’re craving more of her, check out Resident Alien.
- El and Mike’s plans for the future feel like foreshadowing, but what about Will’s unrequited love? Will Robin step in as a mentor for his coming-out journey?
- Joyce and Hopper’s romance is cute, but their limited screen time in “The Crawl” leaves me wanting more.
- Dustin and Steve’s rift is heartbreaking. Can they patch things up and revisit Scoops Ahoy? I’m rooting for them.
