A Pikmin Story

In 2017, I purchased a Wii U.

It seems foolish to do that. After all, Nintendo’s newest console, the Switch, was months from release. Why bother with a 5 year-old console, especially when it was about to be obsolete? Well, I’d heard good stuff from friends, and I was getting back into gaming then. I also didn’t know how to budget my spending yet, so why not? The least I could do was get the store clerk to lug the only available Wii U from the back shelf. Considering it’d been sitting there, doing nothing, for months, I guess I felt bad.

It feels weird saying that, as I don’t regret my purchase. I got a lot of milage out of my Wii U by sniffing out and scooping up Wii U games from bargain bins, schlepping them home and inserting them into the disc tray with the usual buzzing noise. Chief among these was Pikmin 3, which I’d happened upon while trading in an unwanted birthday present. One week later, and it was my favourite title on the console. That says a lot.

The Pikmin series follows the adventures of unwitting explorers who get stranded on the Earth-like PNF-404. In the first game, you take the role of Captain Olimar, a Hoctatian who has 30 days to gather his missing ship parts before dying. The sequel follows Olimar again as, together with Louie, he collects treasures to get their company out of debt. The third entry mixes up the formula by having three new explorers scavenge for fruit. In each game, you encounter loveable, plant-like creatures called Pikmin, who help you in your efforts.

If this sounds like an exploration series, it is. But it’s also an RTS, or Real-Time Strategy, series. Considering that RTS games were never something I was good at, that this one’s streamlined enough to be easily-accessible makes it a “baby’s first RTS” franchise. Not that I’m complaining, as it’s lots of fun (mostly)! And judging by its reception, I’m not exactly alone on that sentiment.

What makes the Pikmin games endearing? I think it boils down to their accessibility. You start each in-game “day”, which lasts roughly 20 minutes, by waking the Pikmin from their home, or Onion, and exploring your surroundings. You can build your army by harvesting nearby flowers, attack wildlife and harvest their corpses, or aim for the primary objective and collect the special items. If that doesn’t interest you, you can take in the beauty of your surroundings. Each map has locations that are as colourful as your little soldiers.

Perhaps the most-striking aspect of the Pikmin themselves is how varied they are. They share an ant-like hive-mind that makes them a force to be feared, and their character traits change depending on their colour. Red Pikmin are natural-born fighters that are resistant to fire, while Yellow Pikmin can jump high and are resistant to electricity. And Blue Pikmin can swim and are resistant to water attacks. Later entries would add the treasure-seeking and poisonous White Pikmin, the burly Purple Pikmin with the strength of 10, the rock-breaking Black Pikmin and the diminutive Pink Pikmin, who can fly. All of these add strategy and puzzle-solving, and that you can only have 100 on the playing field forces you to mix-and-match.

The Pikmin are also really cute. This makes their deaths and conquests even more brutal. I’m not kidding when I say that Pikmin and enemies don’t simply die, they shriek in agony as their souls ascend to the heavens. It’s pretty bleak to see play out, made worse by the realization that they died horribly. If it weren’t for that, I’d have more fun with my conquest. But perhaps that’s also grounding?

Speaking of enemies, the games are littered with various types. These range from grub-like enemies, to flying bugs, to even sea predators. And there are bosses and mini-bosses, both of which have unique themes, are terrifying and reveal the biggest rewards upon defeat. I always dread when I first encounter them, my heart beating erratically as I whittle down their health. But when I defeat them? Boy is it satisfying!

If the main game isn’t to your liking, the second and third entries also have multiplayer modes. Pikmin 2’s multiplayer mode specifically is the game’s highlight. Whether it’s collecting cherries or scattered marbles to bring back to your base, there’s never a shortage of competitions to be had. In some ways, it’s even be on-par with the Mario Kart, Mario Party and Smash Bros. franchises for friendship-testing moments. Trust me, I know!

Unfortunately, if the Pikmin franchise has a downside, aside from occasionally-oversensitive controls, it’s the day cycle. Like I said before, each in-game day lasts approximately 20 minutes, and, with the exception of the second game, they aren’t infinite. It’s because of that that I could never appreciate the original game, while Pikmin 3 made up for it by letting you collect rations. Still, I suppose that creates an additional level of strategy…

Is the Pikmin franchise worth it? It depends. If you enjoy torturing enemies, then yes. If you like collecting items, then also yes. But if you like exploring your surroundings, appreciate occasional puzzle-solving and strategizing, or are looking for something exciting, then I’d give it a try. It’s not always the easiest series, and it can sometimes be unforgiving, but as a Nintendo franchise that’s been routinely slept on, I’d say that it’s worth it. In the worst-case scenario, you won’t get into it like I did.

Now then, where’s Pikmin 4? It’s been 9 years, Nintendo!

HBO's Tapped Out

Oh dear…

So I wrote a piece a while back on Batgirl. In it, I mentioned my concerns and overall disdain for WB Discovery’s new CEO. Initially, a part of me wondered if I was being unfairly harsh. In hindsight, I might not have been critical enough. Because the situation’s gotten worse since then.

Warner Bros. was sold by AT&T with debt in the 10s of billions. David Zaslav, the CEO of the merged company, made it his mission to reverse that by eliminating any excessive financial expenses. That’s not a bad decision on paper, but it’s the execution that matters. And so far, that’s been less-than-pleasant.

We already know about Batgirl being written off before its release, but that’s not all. Zaslav’s also written off other projects, cancelled more and left several to shop around for other services for release. He’s also removed high-profile shows from HBO Max without warning, and even decided to not renew others. In mere weeks, HBO Max’s archives have begun looking increasingly barren, angering almost everyone. And to top it off, this decision has caused WB’s stock value to drop by almost $6 billion.

I understand the need to pinch pennies when finances are tight. I do it constantly, after all! But I’m not in charge of a corporate giant with a backlog that spans over a century. I’m also not being paid exorbitantly despite cutting down on spending. Zaslav isn’t some grunt making minimum wage on a daily basis, constantly making tough decisions so he can afford groceries, but an ultra-wealthy man swinging the axe at film history. His actions are negligent.

I wish I were joking. Zaslav’s seen pushback from his own employees, with different branches of WB Discovery openly, and sometimes bluntly, criticizing him. Many long-time creators are expressing frustration over not getting advanced notice. Going back to Batgirl for a second, one of the directors expressed frustration over not being able to access footage he’d worked on because it was deleted. Or was he blocked from access? It’s unclear.

There’ve been several responses from the fan community. Perhaps the most-frequent is resorting to piracy to preserve lost content. I can’t say I’m on-board, I’ve had issues with piracy in the past, but it’s a sympathetic concern. Because one of the issues I mentioned in an older piece on digital media is the lack of permanent ownership, and how you’re always subject to the will of the streamer. The situation with WB Discovery is evidence of that.

It's especially worrying because this erases film history. Warner Bros. has, like I said, decades content. Much of this content’s also critically-acclaimed and award-winning, and some is in The AFI. If Zaslav’s current trajectory’s indication, how much of that will disappear forever? And how much of the digital content won’t be accessible for future generations? It’s concerning as a film fan, and it should be equally so to everyone who enjoys entertainment in some form.

This is another instance of overreach of corporate power. Say what you will about Disney and their acquisition of 20th Century Fox, at least they’re somewhat utilizing the purchase. Conversely, say what you will about Netflix-I can go on forever-but they’re not erasing content in large numbers as a response to their recent loss in subscribers. Zaslav’s doing no one favours by axing shows and movies left-right-and-centre, though. And given that it’s not even resolving the studio’s debts, I’m unsure what his endgame is.

Which leads me to those DC fans who are defending these cuts because of Zack Snyder. Firstly, Zaslav doesn’t care about Snyder. And secondly, what makes you think he won’t come after The Snyderverse? Yes, The Flash is still getting a movie, despite the debacle involving Ezra Miller, but so what? You don’t think that if Zaslav cared about The Snyderverse he’d be announcing far more projects for it?

No one likes listening to upsetting truths about the film industry. Lord knows how depressing it is to write about, and I do that regularly! But it’s unavoidable when it comes to my passion for film, as not everything’s Sunshine and lollipops. I’d love for everything to be Sunshine and lollipops, it’d be a lot tastier, but business and money are often messy and irritating. This is yet another example.

So when people in the industry are openly voicing concerns about Zaslav, expressing fears that they could be next, it’s worth listening to them. That’s far more important than if your favourite movie’s going to make a comeback. We can’t all be that fortunate, remember? Besides, Zaslav’s model is akin to reality TV. He gave us shows like Honey Boo-Boo and 19 Kids and Counting while at TLC. This isn’t to disparage fans of either show, of which I know a few, but it’s worth pointing out.

Ultimately, this is an example of how bad management can make a bad situation worse. Yes, the Warner Bros. + Discovery merger had lots of debt saddled with it. And yes, it was inevitable that changes would need to be made, and not all of them popular. But cutting content left-right-and-centre isn’t the answer. Nor is not letting your employees know in advance so they have time to prepare. It’s a tragic situation that’s only going to get worse, which saddens me.

Nintendo Did WHAT?!

Like most people my age, I grew up with Nintendo. I was first exposed to an NES at the tender age of 3, and I’ve never looked back. Sure, I played other consoles too, a neighbour owned a Sega Genesis, but it was mostly Nintendo. I even stayed with them in the 2000’s, when it was no longer “cool”! Essentially, Nintendo is my jam. So it hurts whenever they do something bad.

Honestly, Nintendo’s done plenty that I can’t stand by. Their DRM nonsense is criminal, as is refusing to preserve older games. They’re also needlessly-strict on parental controls and region locking, and their internet support is lacking. They’re also lazy with rereleases, stocking them for a limited time with next-to no upgrades. But now there’s inappropriate behaviour to contend with too, something that, sadly, isn’t surprising considering past revelations.

In a piece from Kotaku, many female testers for Nintendo products, most of them anonymous, had described harassment and inappropriate advances from male colleagues. One of them even dubbed the environment “frat boy”, with privileges for male testers that weren’t available for their female counterparts. I’d discuss examples, but I don’t have the heart to recount them. You can read about them here, however...

The recurring pattern here, interestingly enough, was a convenient lack of corroboration by male workers. Kotaku, on multiple occasions, stated that they contacted the individuals at the forefront of these controversies, only to be met with silence. This even included NOA head Doug Bowser, a man outspoken about equity, yet unresponsive over concrete examples for improvement. That’s concerning, but not surprising. Because this behaviour isn’t new in corporate culture.

I’m honestly torn: on one hand, this is a problem. Sexual harassment’s rampant in many industries, with complaints regularly falling on deaf ears. This is doubly-so with freelance industries, like animation and game design. Having Nintendo, who are known outwardly for a family-friendly image, under the knife here is really disturbing, especially when they called out Activision-Blizzard for a similar issue. It’s hypocritical.

On the other hand, I’m not sure people appreciate how damaging this is. For one, people aren’t video game characters. And two, this isn’t an excuse to justify bad behaviour because “Nintendo”. It wasn’t right with Disney, it wasn’t right with Marvel, and it especially wasn’t right with Activision-Blizzard. If it wasn’t right with any of those companies, then for sure it isn’t right with Nintendo. That’s worth remembering.

It's especially worth remembering because people often treat these scandals like spectator sports: “My company’s not as toxic as yours! You’re getting what you deserve! Ditch the mediocre products they make, okay?” Not only is this childish, it undermines the real stakes involved. It also undervalues the victims, serving to foster toxic behaviour on a macrocosmic level. It needs to stop.

So what to do? Well, bringing this to light is an excellent first step. Like sunlight on a nasty plague, showing the face of awful helps bring awareness. But we need to go further than that if change is to happen. I think, and I know this gets thrown around a lot with no real weight, real attempts at institutional change need to happen. It’s the only way to stop these incidents from constantly recurring.

Additionally, people need to be more sensitive to workplace issues on a grander scale. Yes, Me Too is real. And yes, it’s done some good at shedding light on this problem. But there’s a long way to go before we can actually achieve true justice here. And it starts with not treating corporate harassment like a spectator sport.

I’d like to end with two points. The first is that I’m not advocating for a boycott of Nintendo products. That’s ridiculous, and it’s a disservice to the blood, sweat and tears these women have poured into the company’s games, consoles and accessories. I also don’t think that they’d want a boycott. Life’s too short to not enjoy these video games.

The second is that this should serve as yet another reminder that harassment culture is real. It doesn’t matter the source, it’s there in some capacity. And as long as everything continues the way it is now, chances are it’ll keep happening. That’s bad. And it’s never going to change that way.

So yes, this is frustrating as a Nintendo fan. Also, Mr. Bowser, if you’re reading this, and I don’t know if you are, please take this to heart. You say you want to fix the problem, and I see that you’re launching an investigation, but that’s only the beginning. You need to listen to future complaints and crack down on them immediately. And you need to start giving women their fair dues. But most-importantly, you need to make sure this doesn’t happen again. I’m not sure how, I don’t work in HR, but it has to happen. I’ll leave it up to you and your team of experts to figure this out…

An Intimate Situation

(Note: The following deals with heavy subject matter. Read at your own risk.)

Every-so-often, a Hollywood celebrity with little-to-no baggage says or does something that disappoints everyone. The most-recent is Sean Bean. Bean initially gained a reputation as a character actor who died in his films. This became so common that he eventually stated that he was no longer choosing such roles a few years ago. This not only killed a long-running internet joke, but it also made his job as an actor challenging. Because he started receiving fewer roles as a result.

And now he’s back in the spotlight, and not for a good reason. In an interview for The Sunday Times, Bean called attention to the TV spin-off of Snowpiercer and said the following about intimacy coordinators:

“Often the best work you do, where you're trying to push the boundaries, and the very nature of it is experimental, gets censored when TV companies or the advertisers say it's so much…[i]t's a nice scene, quite surreal, dream-like and abstract.”

An “intimacy coordinator” is a consultant dealing with sex scenes and romance in entertainment. Their job is to make sure the scene’s authentic and respectful. If that sounds weird, remember that: a. there are coordinators for all kinds of positions. And b. sex is really difficult to do well in film, and it’s been bungled frequently. But I’ve covered that before, so…

Anyway, even if he clarified that he wasn’t against intimacy coordinators, the damage was already done. He went viral, and several actresses, naturally, criticized him. Truthfully, I don’t blame them? Bean might’ve not meant malice, but that didn’t make him less out of line. And in an era of Me Too, it’s incredibly tone-deaf.

Hollywood has an iffy track-record with sex. I’m aware there are constraints during production, but many “romantic” moments in TV and film don’t pass the sniff test today. Nor would they pass the sniff test in the real world. There’s a reason the sex scene almost died out, only to resurge in recent years with the guidance of intimacy coordinators. Never mind that standards have also changed...

Let’s assume Bean wasn’t arguing in bad-faith. Let’s try that. He was off-colour, but not for a bad reason. Why’s this still an issue? For a few reasons:

Firstly, Sean Bean’s been acting for decades. He’s a character actor, after all. He’s done plenty of shady stuff in films, including-but not limited to-threatening someone under the influence of a corrupted ring and kissing a woman against her will. I know actors aren’t necessarily the characters they play, but you’d think he’d “know”, at least superficially, what’s inappropriate. Especially given some of Hollywood’s biggest shames, like the “casting couch”.

This leads me to my next point: film’s dark side. Hollywood has numerous scandals over misconduct, and I’m sure he knows some stories. Some he might even be under NDAs over, we don’t know! Bean’s been around long enough that he should be more sensitive.

Moving on, Bean’s also in a position of privilege. He’s white and male, and those are already unfair markers. I’m mentioning this specifically because expectations aren’t as high for white males in Hollywood. Look at how Ava DuVernay was treated over A Wrinkle In Time, especially compared to Selma. Meanwhile, Michael Bay had five attempts at Transformers movies before moving on, despite all of them being poorly-received. The double-standard exists.

It's noteworthy because, like it or not, Bean’s highly-unlikely to deal with being sexually assaulted/raped. It doesn’t mean it’s impossible, see Brendan Fraser, but it’s a factor. Because of this, Bean has a responsibility to be more careful. Especially given the stories women in Hollywood have shared. Blasting intimacy coordinators is an abuse of that responsibility.

Finally, Bean’s comments don’t exist in a vacuum anymore. I’d argue that they never did, but especially now. If he says something, people listen. And if what he says is inappropriate, people will remember. It might seem “unfair”, but that’s how the internet operates. I’ve seen it firsthand.

Even if Sean Bean meant no malice, his words were still hurtful. He’s also not free of consequence, warranted or not. It especially doesn’t preclude people from responding, as we’ve already seen. Because all of the above is true. This might not be enough to “de-platform” him, nor should it, but Bean should take the backlash to heart.

This should be a learning experience for everyone. We’ve all said or done stuff that was “inappropriate” or “disrespectful”. I know I’m guilty of that myself, and it’s dishonest to cover it up. But messing up or misspeaking, especially about something like sex, doesn’t mean we can’t learn from or fix our mistakes. Because we should.

I think this is a reminder that intimacy coordinating deserves respect. It’s a job, and jobs are often gruelling. This is especially true when working with other people, as humans are messy and imperfect. Also, if the job involves advising sexual behaviour, which is difficult, then perhaps listening’s in order. Especially when you’re not directly impacted.

HBO's Maxed Out

These past few years were trying for Warner Bros. First there was the pandemic, which made them bleed money. Then there was the AT&T merger, which was so badly-mismanaged that they were sold to Discovery. And now there’s the mentality of keeping costs low to maximize profits. While the new CEO, David Zaslav, wants to reinvigorate interest in theatres, which wasn’t a priority under AT&T, this has led to several high-profile releases being shelved. Case in point: Batgirl.

Now, this isn’t the only DC project to be shelved. However, it’s definitely the most disappointing and frustrating. For one, it was being directed by the show-runners for Ms. Marvel, Bilall Fallah and Adil El Arbi. Two, In the Heights actress Leslie Grace starred as Batgirl, with Brendan Fraser as the antagonist. And three, it was shelved while one of the directors was out of the country getting married. Factor in that it was ready for release, and that’s $70-$90 million wasted.

Zaslav has stated that this wasn’t personal. To quote him directly:

“We’re not going to launch a movie until it’s ready…We’re not going to launch a movie to make a quarter and we’re not going to put a movie out unless we believe in it.”

Put a pin in that.

I’m not financially savvy, but neither is the internet. That didn’t stop people from stating that “the movie didn’t test well, hence it was scrapped”, or that “no one cared about Batgirl to begin with”. Despite both claims requiring citations, I like Batgirl. She’s my favourite part of Batman: The Animated Series and The Batman, and she’s had several great stories as her wheelchair-bound persona, Oracle. (Even if I’m not a fan of how she ended up that way.) Batgirl’s much more compelling a character than Batman, so seeing her debut movie get canned is upsetting and depressing. Doubly-so because Michael Keaton was returning as Bruce Wayne.

I’m a little weirded out by this movie, in particular, being axed. Not only is the timing sudden, but it’s generated a lot of negative publicity. Many Hollywood figures of note, including James Gunn and Kevin Smith, have called it out, with Batgirl’s actress Leslie Grace thanking her fans for being so supportive. And personally, shelving a finished movie is a bad look. Why not release it? What does WB have to lose?

Returning to Zaslav’s remark, let’s pretend the movie was “bad”. Was it any worse than Batman V Superman: Dawn of Justice? Was it any worse than Suicide Squad? Was it even any worse than Man of Steel? Those movies all received theatrical releases, so…

Okay, that was a different time. That doesn’t mean Batgirl shouldn’t have been released, however. It’s not like Warner Bros. hasn’t released bad films during times of financial disarray. They, for example, gave us SCOOB! during the early days of the pandemic, with a now-axed sequel being green-lit. Studios release trash all the time, so why not this too? What makes a film with a Latina lead and directed by two Muslim men different than-I answered my own question...

Before anyone says anything, don’t pretend bigotry wasn’t a factor. I’ve seen how Ms. Marvel was received. I was there when Brie Larson was trashed for blasting gender inequality. I remember how Black Panther and Obi-Wan Kenobi were criticized for having black characters in leading roles. The internet may claim otherwise, but we’re far from true equity.

This goes for the higher-ups too. Because what is it about Batgirl specifically that made it worthy of shelving? Is it because it was “different”? Someone tell that to Joker. Is it because it “wasn’t proven yet”? How do you explain Flashpoint? Is it because it’s “not recognizable”? What about a Batman character could possibly be unrecognizable?

I wouldn’t even be so confused if the aforementioned Flashpoint wasn’t in production for almost 10 years. Nor if its star, Ezra Miller, weren’t a homophobe’s wet dream, given everything the actor’s been accused of. If that’s still happening, then why isn’t Batgirl? Especially if it’s ready for release?

Unlike Miller, Grace isn’t a handful with multiple controversies. She’s well-loved by those who’ve worked with her, and she’s talented. She also really wanted to play Batgirl, and her thank you included stills of her in-costume. Why deprive someone of that passion and enthusiasm? Could there be an underlying motive?

Maybe I’m being overly-presumptuous. Hollywood axes projects for many reasons, not all of them being motivated by bigotry. Zaslav’s also in the tricky position of having a financially destitute studio to steer in the right direction, and not everything will make the final cut. But even so, I think Zaslav made the wrong decision. Batgirl was a passion project with actual people who wanted it released, so the timing is suspicious and unfortunate. I only hope that Zaslav recognizes that now.

But if it’s too late to change anything, perhaps the movie can be released on YouTube for free? I’ve seen weirder, and it’s already been written off, so why not? What’d be the downside?

A Stranger List

Stranger Things Season 4 has come and gone. Despite not being quite as fresh as when it started in 2016, it has a lot of content, both literally and figuratively. It also has many great moments. And being my dastardly self, I’m going to rank them. So here they are!

Two disclaimers: firstly, it was difficult picking 15 entries. Ideally, I’d have done 30, but that’d be exhausting. And secondly, there’ll be plenty of spoilers. If you haven’t seen this season yet…please do. Its 9 episodes are all movie-length, but they’re worth your time.

Anyway, let’s begin!

15. Hopper VS the Demogorgon:

The Russia subplot with Joyce, Murray and Hopper was no one’s favourite part of this season. It felt like padding and “damage control” for how the previous season had ruined Hopper. Still, I liked it for what it was: a chance to show the far-reaching implications of The Upside Down. It also has one of Hopper’s best moments. I’m not referring to Episode 9’s climax, but rather an earlier battle in Episode 7. Why? Because it’s suspenseful and scary simultaneously.

The premise is simple: The Soviet guards have pitted prisoners against a hungry Demogorgon. Everyone except Hopper is scared, as he’s faced these creatures before. He’s even come prepared with a stick wrapped in paper and doused with alcohol, which he plans on lighting to scare the Demogorgon. Unfortunately, the stick won’t light. And while the other prisoners, save one, are clobbered by the Demogorgon, we’re left with a lingering question: is Hopper toast like everyone else?

Despite fighting Demogorgons being cliché at this point, this confrontation feels intense by keeping the stakes intimate and personal. Knowing how to defeat an enemy, but not being able to, is a common source of good tension, after all. Add in everyone being picked off, and you have the perfect recipe for fear. Still, a Demogorgon battle isn’t all that exciting anymore. Sorry.

14. Eddie’s introduction:

Joseph Quinn as Eddie Munson is the surprise ace in the hole we didn’t know we needed. It’s not hard to see why: right from his first line in Episode 1, he’s clearly mastered the art of ham and cheese. He’s so good that he could’ve compiled the bottom-half of this list alone! But I had to say “no” a few times to some of his greatest moments. (For example, I didn’t include the concert in the finale. Sorry again!)

Eddie’s first big moment is, of course, his introduction. Later episodes would soften him up, but he’s initially an impulsive beast with a showy personality. He’s even, dare I say, a little creepy? Seriously, he makes jumping onto the cafeteria table, dancing around and pretending to be a demon look intimidating! I’m not kidding when I say that I was waiting for him to start a fight with the jocks.

But that didn’t happen. And while Eddie would later become a cute teddy bear, this is easily my favourite character introduction in the entire series. It’s funny and off-putting, yet mostly really charming. And Quinn sells every second of it. The best part? It’s not even his most-memorable moment.

13. “Try before you deny!”:

Right from his introduction, it was clear that Argyle, like Eddie, would be a highlight. A chill stoner who doubles as a pizza master? And he talks like a Californian surfer? Whether it’s complimenting Joyce’s risotto, his reaction to the shootout at the Byers’ residence, or simply getting high with Eden, the show couldn’t go wrong with Argyle. It was inevitable that he’d make this list somewhere, but for what? Well, his conversation with Mike and Eleven before the fight with Vecna is a good place to start. Especially since it involves food, specifically whether or not pineapple belongs on pizza.

I’ve always found this debate tiring. Pineapple on pizza’s a personal choice and is different for everyone. But what makes this moment memorable is how Mike and Eleven react differently here: Mike, the more socially-experienced one, thinks it’s blasphemous, so he won’t even try it. Eleven, on the other hand, has no frame of reference, so she digs in without second-guessing herself. And she enjoys it. All the while, Argyle’s taunting Mike for not giving it a chance.

There’s little going on otherwise, but it earns a spot for how normal it feels. Season 4 has been nonstop tension, even during its quieter moments, and the finale will be even more so. But for this one moment, the characters act like actual teenagers. It helps that Eleven’s never had a “normal” moment like this before, so it’s a welcomed change. It’s…nice.

12. Patrick’s death:

Of Vecna’s four victims, Patrick’s death is the quickest. Chrissy was the inciting incident and Fred was depressing, while Max, being a central character, had two confrontations with Vecna. But Patrick? We had early foreshadowing with his nosebleed, but other than that? It happened, had little fanfare, and was done like that. And that’s why it’s so freaky.

Patrick’s death also coincides with the main cast discovering the Creel mansion, as it initially crosscuts between Jason and Patrick trying to swim to Eddie in his rowboat and the kids holding their flashlights in the epicentre of everything, right before jumping between Patrick dying in the lake and the kids’ flashlights exploding. In a way, each light bursting is another step in Patrick’s mutilation. That it’s done and over with so quickly is pretty terrifying. We don’t even see what’s going on inside Patrick’s mind as he’s dying.

Despite this, it’s a major moment in Jason’s character arc. Up until then, Jason was a Gaston-like character with limits. Yes, Chrissy’s death impacted him, and he definitely blamed Eddie for it, but he hadn’t witnessed anything firsthand. Patrick’s death, however, was the point of no return. It’s here that he accepts Eddie’s “Satanic powers” as being real, and it’s here that his turn to villainy’s complete. So while Patrick’s death is the least-glamourized, it’s still a pivotal moment. And it’s enough to earn it a spot.

11. Two is tortured:

Eleven seems to have it bad with bullying. Initially she has Angela, a classmate who, despite idolizing Hellen Keller, is an ableist jerk. But when Eleven relives her past trauma in order to regain her powers, we see that even as a child she was bullied by her fellow psychics. In particular, some of the older kids, Two particularly, ganged up on her following her victory in a battle of the minds. Which leads to Dr. Brenner confronting Two over his behaviour and “setting an example”.

To be clear, you never deserve to be tortured by an authority figure. And you especially don’t deserve it in front of other kids. But while this scene is really messed up, such that even Henry’s disturbed, it’s definitely satisfying, albeit in a twisted way, to see Two punished. It’s not like Two didn’t know what he was doing, and his cowardly attempts at justifying his behaviour only further warrant glee. I’m conflicted on my feelings, essentially.

But that’s not why I included it. No, it shows how twisted Brenner really is. This is a man who tortured and manipulated children for the sake of science. He also wasn’t afraid to invoke fear. Even in Season 4, as he’s helping Eleven, he’s still subtly manipulating her. So him torturing Two, all while never raising his voice or losing his cool, is scary.

10. Eleven hits Angela:

Speaking of bullying, Eleven deals with Angela in the most-primal way. Like I said before, Angela’s an ableist hypocrite. She may idolize Hellen Keller, but she lacks compassion for the vulnerable. This is seen when she mocks Eleven over her presentation, as well as when she wrecks her mural in the school courtyard. But this reaches a boil when she and some friends taunt Eleven at the roller rink in front of Mike, ultimately spilling some soda on her dress.

To say this is a mistake on Angela’s part is an understatement. Not only does Eleven give her one last chance at reconciliation, but when that fails Eleven grabs a roller skate and whacks Angela in the face, splitting her forehead open. As Angela screams in agony, we learn the lesson that bullies keep forgetting: never underestimate your victims. Especially when they retaliate. It’s a tense reversal of fates.

And yet, it’s also satisfying, maybe? I’m not condoning what Eleven did here. Giving someone a Grade 2 concussion is a form of assault. But as someone who once stormed out of a school assembly because a peer was mocking me, I can sympathize with Eleven’s frustrations. Because bullying’s bullying, and Angela, the self-professed fan of Hellen Keller, should’ve known better.

9. Petey McHugh:

One of the reasons Stranger Things 4 works in spite of itself is because it splits up its cast into small groups frequently and spends time on their development. Such is the case with Robin and Nancy when they infiltrate an insane asylum to learn more about Victor Creel. Initially, their cover story of being PhD students doesn’t pass the sniff test, and they’re nearly forced to leave. But while Nancy’s playing it safe, Robin, who has an impulsive tendency to not stop talking, decides to interject. What follows is easily the best monologue that Maya Hawke’s delivered on the show to-date.

Robin rambles on about a kid at summer camp named Petey McHugh, who was traumatized by the stories of Victor Creel. Petey couldn’t even sleep because of these stories, while she was fascinated by them. And between the sexism that female PhD students face in academia, as well as how Petey would’ve been granted an audience with Victor without question, Robin guilts the warden into letting them see Victor for 10 minutes. The warden, surprisingly, gives them 30 minutes. The best part of it all? Robin’s entire story was improvised.

I have to hand it to this moment. I’ve liked Robin since her introduction in the previous season, but I’ve always felt like her rambling wasn’t utilized well until now. It’s here that she turned her biggest flaw into her greatest asset, coercing someone with more power than her to relent. It’s moments like these that, as I said, justify the season’s lengthier episodes. Not bad for winging it, right?

8. Victor Creel’s backstory:

Speaking of which, Victor Creel’s both disturbing and awesome. Ignoring how The Duffer Brothers got the actor for Freddy Krueger for the part, which is cool on its own, the image of a scruffy old man with damaged eyes and an unkempt beard is classic horror. What’s even better is his backstory, revealing that he was framed for the murder by Vecna. Or, at least, by who he believes is Vecna. We’d later learn what really happened, but it’s clear that Victor’s innocent. Fancy that.

Victor’s story’s heartbreaking. He and his family were gifted a mansion that was almost too good to be true. And it was, as everything started turning into a living nightmare. It all culminated at the dinner table one evening, when Victor’s wife was lifted into the air, brutally mutilated and killed. Victor then relived his war trauma, returning to his son and daughter-supposedly-dead. He was arrested for murdering them, then thrown into an asylum. The only way out of reliving his guilt was piercing his eyes with razors.

Despite later being given more context, it shows how easy it is to frame someone when the supernatural’s involved. It also reveals a key detail about Vecna: his “weakness”, so to speak, is music. Specifically, pop music. This not only proves vital to Max, who’s stuck in a trance, it also provides a small glimmer of hope. Because trust me, the show needs it!

7. Eleven destroys the helicopter:

One of the double-edged swords of this season was Eleven’s powers. She’d lost them after an encounter with The Mind Spider in Season 3, putting her in neutral territory. Fortunately, while regaining her powers was a bummer, it was also one of the season’s best subplots. It also made regaining her powers that much more satisfying, like a stroke victim learning how to walk again. Most-importantly, it culminates in the best action sequence in Episode 8, where she takes down a military helicopter. Because what’s more awesome than that?

Beginning when the military infiltrates NINA, it reaches a fever peak when Dr. Brenner’s shot while escorting Eleven outside. She has a tracking collar on, is exhausted and looks to be done for. And she would’ve been, had the gang not shown up in a van at that moment. But the quick distraction proves useful, as no sooner does the helicopter turn back to Brenner when Eleven’s on her feet and toying with it. She then, in an applause-worthy moment, lets it drop and explode, killing everyone inside it.

It's a powerful moment on its own, but it’s given additional weight by Brenner releasing Eleven’s collar. He clearly has regrets in his dying breaths, but rather than Eleven forgiving him, she lets him go and says goodbye. Because she’s moved on, and she’s ready to be her own individual. It’s a great moment that shows a unique way for victims to leave their abusers, even if it’s also personal. But it works.

6. Eleven VS Henry/One:

Backtracking a bit, Episode 7 was when everything started making sense. In particular, this was when the various storylines started converging. It also, essentially, has four plot-twists. Considering how difficult it is to do even one plot-twist, that’s impressive. But it works, even adding to Victor Creel’s backstory.

After revealing himself, One tells Eleven to wait until he returns. Eleven ends up following him, witnessing a trail of dead bodies. She ends up in The Rainbow Room, where she sees One finishing off Two. Realizing there’s no way around it, One reveals that he’s Henry Creel, and that he was responsible for framing his father. The two then get into a fight that Eleven wins, banishing him to The Upside Down and creating the monster that is Vecna.

This is excellent on its own, but especially for two reasons. One, it shows how Victor had failed his family by not realizing he’d raised a sociopath. And two, it contradicts the opening in Episode 1 where it was shown that Eleven had killed everyone. That second point’s especially striking because that never sat right with me. I knew Eleven was capable of killing people, but she was never an outright murderer. This only further cemented that.

5. Vecna taunts Nancy:

If Stranger Things has taught me anything, it’s that you never mess with Nancy. You especially don’t threaten those close to her, as she’ll shoot you with a sawed-off shotgun in revenge. Still, Vecna learned that lesson the hard way. And it began with Episodes 7 and 8, when Vecna revealed himself, his motives and why he chose her for them. If it weren’t for Vecna being creepy, I’d almost feel bad for him.

After getting caught in Vecna’s trance, Nancy’s gets a front-row seat to his backstory. As her friends try helping her, leading to one of Eddie’s greatest lines, Vecna shows her glimpses of the future. These include four chimes, signifying his four victims, the crumbling of Hawkins and the numerous impending deaths. The only response Nancy can give is her repeated screams of “NO!”. It’s hard not to see why, as since she still carries guilt over Barb’s death. But she survives, instead being left with a “message” for Eleven.

This is easily the scariest moment in the entire season. Yes, Vecna’s prior kills were creepy, but we either didn’t have enough information about Vecna, or didn’t have enough of an attachment to his victims. But this is Nancy. She’s been there since Episode 1 of Season 1. Potentially losing her, therefore, is upsetting. It ends up being a fake-out, but for that brief period you believe that this is the end. In some ways, her life being spared is more frightening!

4. Max “dies”/Hawkins crumbles:

Max is The MVP of Season 4. It’s weird saying that, as she began as a side-character in Season 2, but she’s grown into a fan-favourite. Of Vecna’s victims she’s the most-proactive, surviving her first encounter and coming prepared the second time. So that she still “dies”, even if it’s not permanent, in the finale is pretty tragic. It doesn’t help that Lucas and Eleven both cry over it, with their actors easily doing some of their finest work so far.

Of course, we’re barely able to take it in when Vecna’s chimes start ringing, beginning the destruction of Hawkins. Many people die in this convergence with The Upside Down-Jason goes out in a really gruesome way-while many others are scared. Perhaps the worst part is when Holly and Karen are huddling closely as everything shatters around them. Conventional wisdom states that effective horror’s when characters you like are in danger, and this is true here. It doesn’t even matter that they’re side-characters.

This tonal whiplash earns this moment a place on this list all on its own. It goes from heartbreaking to terrifying on a dime, leaving you drained. It’s also a sign that despite Vecna’s “defeat”, he still won. Like Thanos in The Avengers: Infinity War, he did exactly what he’d planned. We’d quickly get a sense of what that was later, however...

3. “Dear Billy…”/“I’m still here!”:

Rewinding a little bit, we get another example of why Max is The MVP. Up until now, Max, while clearly marked by Vecna, has been taking as many proactive steps as possible: she’s been seeking guidance, she’s been figuring out why she’s targeted, and she’s hand-written lengthy goodbye letters to friends and family. She’s even gone to visit her brother’s grave to apologize. It might seem strange to do that, as Billy was abusive, but even abusive relationships are complicated. (See Eleven’s relationship with Dr. Brenner.)

Vecna then uses this moment to prey on Max. He initially takes on the form of Billy, guilting her while she’s at her most vulnerable. As her friends shout her name, Max looks to be a goner. But then Kate Bush’s “Running Up That Hill” starts playing, and the show, in its best use of a clip montage, gives us hope as Max’s happy memories flood back. It provides a window of opportunity to escape Vecna’s grasp, which she takes.

The line from Max, “I’m still here!”, turns into a triumph against all odds. Whether it’s a struggle with depression, a recovery from a suicide attempt, or even making it through a near-death experience, anyone can relate to that. We’ve all been Max at some point, even if we won’t to admit it. It also shows that Vecna can be defeated, giving us hope. Perhaps it’s short-lived, but it’s hope nonetheless.

2. “Chrissy wake up!”:

I’m sure everyone knows this moment because of that song on YouTube. While it’s funny and catchy, stopping there does it a disservice. It was initially quite disturbing, introducing Vecna while killing off a character we’d only known a short while, yet had grown attached to. Because Chrissy didn’t deserve this. Neither did Eddy, even if he doubled as a drug dealer.

Chrissy, having been struggling with nightmares, heads to Eddie’s trailer for some…meth? Cocaine? Weed? It’s not important, but she’s caught in Vecna’s grasp and freaks Eddie out. We see what’s going on in her head, but Eddie believes she’s having an episode. So he tries screaming at her to wake up, only to flee in terror after she’s maimed and dies.

Aside from being traumatic, this is an “I can’t believe they included this!” moment that the season would become notorious for. It also sucks because Chrissy and Eddie had great chemistry in their previous scene, such that The Duffer Brothers, apparently, regretted killing Chrissy off. Still, anything this memorable and scary deserves a #2 spot. It also makes you wonder what’d top it. Cue the memes!

1. “Mom, it’s snowing!”:

Many of you are probably wondering why this is at #1. While not the most shocking moment in Season 4, this is Stranger Things’s version of the Thanos snap from The Avengers: Infinity War. It was built up to, it’s depressing and it shows that, despite their efforts, the heroes of Hawkins still lost. It’s also the best use of the series’ main theme, such that I might even prefer it? Maybe.

After the emotional reunions in Hawkins, Will’s neck starts tingling. Long-time fans know that’s never a good sign, but here it’s made worse by the sky raining ash. As everyone across the town takes note, the orchestrations ramp up. I especially like the violin solo as Dustin slowly limps outside. It ends with a zoom-out of Hawkins engulfed by fire and smoke, signalling an impending battle with The Mind Flayer that I assume will happen in the next season.

What makes this moment jump straight to the top of this list, however, is that it’s mostly wordless. The only three that are uttered are from Holly, who’s completely oblivious to everything. For everyone else, this is a “Here we go again!” moment. It’s the perfect capper, ending with a fade to black right as the music becomes intense. I love it.

*****

There you have it: my 15 favourite moments in Season 4 of Stranger Things. Feel free to share yours, and I’ll see you next time!