The Borrowers (1997) VS The Secret World of Arrietty-Which is Better?

The late Mary Norton is considered one of England’s great authors. Her most famous works are a series about 4-inch tall humans who live in people’s houses. Known as “The Borrowers Series” it has become so popular that several adaptations have been made since their release. Arguably the two most famous are 1997’s The Borrowers, a movie that partially “Americanized” the story, and 2010’s The Secret World of Arrietty, a Studio Ghibli film set in Japan. At first glance, it might seem like one of them is superior; after all, the former holds a 73% on Rotten Tomatoes, while the latter is at a 94%. However, is that really the case? That’s what I intend to find out.

As always, major spoilers ahead. You’ve been warned.

Let’s kick this off with…

Story:

 

 

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The overall premise remains somewhat similar: a family of people, no bigger than insects, lives in a house and takes items humans wouldn’t miss. When their escapades arouse suspicion from the owners, the lives of these people, known as “borrowers”, are threatened. Complicating matters is that one human wants to exterminate them, making the threat existential. Ultimately, the borrowers make a hard choice: stay in their current home, or move? It’s tough, but their determination to survive makes them resilient.

In The Borrowers, this threat feels almost like a dark parody. The human family in question, The Lenders, not only have to compete with the borrowers, but also with the bank for ownership of their home. The villain comes in the form of Ocious P. Potter, a greedy developer who wants to tear down the house and transform it into buildings, and he sees the borrowers as an obstacle. His antics play out as a game of cat and mouse, particularly with the borrower children. This conflict takes up most of the runtime, and it’s as compelling as it is silly.

The Secret World of Arrietty goes for a more atmospheric approach. Occurring in the countryside of Japan, it centres around 14 year-old Arrietty, ever adventurous, and a sickly boy named Sho. The two become friends, but not before Sho’s landlady, Haru, becomes suspicious of the mysterious items that are missing. As tension between Haru and the borrowers escalate, it becomes clear to Arrietty’s father, Pod, that their family must move. But not, of course, before Haru springs her final trap.

The priorities of these films are drastically different. The former, being live-action and from Hollywood, focuses on high-tension action, with Arrietty and Peagreen outwitting Potter. For the latter, while there’s an extermination subplot, it’s not the primary focus. The Secret World of Arrietty’s largely about living as an insect-sized human alongside normal-sized people, and how acts we might take for granted feel threatening. The ending’s also bittersweet, as, despite Arrietty’s mother, Homily, being rescued from Haru, the borrowers still move. Essentially, while The Borrowers ends with a loud victory, The Secret World of Arrietty ends with the borrowers fleeing.

I find The Borrowers, personally, doesn’t ground its setting properly. Peter Lender’s television set looks like an old-fashioned CRTV, yet his parents use an electric fridge to get ice. Potter drives a 50s-style limo, but he also has a flip-phone. Even the cast, main and supporting, speak inconsistently, with some having American accents and others British accents. This inconsistency in time and place takes me out of the immersion, essentially. This is something The Secret World of Arrietty avoids by having its story be entirely modern, with the one red flag, a flip-phone, only being so if you’re unfamiliar with Japanese society. (Flip-phones are still popular there.)

I have to give The Borrowers credit: it’s much better-written and executed than it should be. For a late-90s film with lots of slapstick, it holds up. And for something that’s 89-minutes long, it works. It works so well that I can even recommend it without question. I can’t say that about many films from then.

However, I have to give this to The Secret World of Arrietty. It might be standard for Studio Ghibli, not taking risks narrative-wise for what the company’s capable of, but it flows much better. There’s a clearer sense of tonal consistency too, with each plot point building organically. It’s not as loud, or fast-paced, but it flows better. Also, kids deserve slower movies sometimes.

Winner:

 

But a story’s only as good as its characters, which leads to…

Cast:

 

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Both movies have great casts who are well-directed. For The Borrowers, the main and supporting cast have relative newcomers and veterans from both The US and The UK. Somehow, this movie includes a young Tom Felton pre-Harry Potter, Jim Broadbent, John Goodman and Hugh Laurie and it isn’t awkward, especially given their career trajectories. Shout-out to Goodman specifically, who was practically born to play villains. He brings a dark energy to Potter and is menacing and clever. I love how much he revels in chewing the scenery, and he’s enjoying hamming it up. Then again, Goodman’s usually good in anything, so…

The Secret World of Arrietty’s tougher to comment on, since it has a British and an American dub released within a year of each other. The American dub has many great voices, including Will Arnett and Amy Poehler, but I’ll focus on the British version here. I may own the American dub, but since the British one’s on Netflix, and it’s what most English speakers would be familiar with, it makes sense to focus on it. To that end, there’s Saoirse Ronen and a young Tom Holland as Arrietty and Sho. There are other noteworthy voices, like Mark Strong as Pod, but these are the standouts. I especially like Holland as Sho, really matching the frail, passive nature of him through his voice-work.

The more naturalistic acting in The Secret World of Arrietty works in its favour in general. No disrespect to The Borrowers, but its acting is hammy, especially with the borrowers. It makes sense, they have to over-project to be heard, but it doesn’t feel natural. It reminds me of a stage play, except with filmic sets and camera angles. The Secret World of Arrietty, being animated, feels like a better fit with its voice acting, so I’m giving the win to it.

Winner: 

But a cast is only as good as the movie’s overall “feel”, which leads to…

Aesthetic:

 

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This seems like an easy win for The Secret World of Arrietty. Not only does animation allow for a better use of perspective and scope, it also better illustrates scale. When Pod climbs the kitchen table to retrieve a sugar cube, complete with tape on his gloves and boots, it feels like it’s ripped from a heist movie. Conversely, Sho giving the borrowers a surprise gift, the dollhouse his grandfather had built, is terrifying because of how big he is, and the whole scene is animated like a disaster movie. Details like these are what animation excels at, and director Hiromasa Yonebayashi’s a master at making the small and intimate feel magical and tangible.

However, The Borrowers still looks and feels really ambitious. The late-90s were a time of rapid innovations in film-making, with CGI and digital compositing replacing practical effects, and it shows with how dated many “groundbreaking” films look now. This movie, however, avoids that, as its “money shots” are largely about perspective. This is why something like caulking grates, or speeding in a roller skate, feels impressive even now, as you see it both from the viewpoint of an ant and a regular-sized human. There are also some great and dramatic set-pieces, like when Peagreen’s trapped and almost drowns in a milk processing plant.

Another element The Borrowers does exceptionally is the feeling of constant danger. This is probably my personal bias, having grown up with Hollywood movies, but every second the borrowers are on screen I’m anxious. Whether it’s Arrietty getting trapped in a freezer while sneaking ice cream, or Peagreen nearly drowning, the borrowers never catch a break. It makes their victories feel that much more earned. It also leads to more suspense.

The Secret World of Arrietty can’t match up to this. I love the movie, but it’s not quite as tense because it’s more about atmosphere. It also doesn’t take any risks that Studio Ghibli movies haven’t before or since, which is a shame because it looks beautiful constantly. (Seriously, pause the movie whenever you want, take a picture and hang it on your wall. That’s how painterly it is.)

I mean no disrespect to The Secret World of Arrietty, or its director, but I have to give this to The Borrowers.

Winner:

 

However, visual aesthetics are only as good as the score accompanying them, so…

Sound:

 

  

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This is something both movies do well. I’d be hard-pressed to say “this movie sounds better than that movie” and not have to quantify my thoughts. It’s especially hard here because The Borrowers is a comedy. It’s not trying to be high art, and judging it that way would be disrespectful. So I’ll leave that alone, even though the earthier vibe of The Secret World of Arrietty strikes me more personally.

What I can judge is the movies’ scores. To that end, The Borrowers, while fun and pleasant, never reaches true memorability. It’s unfortunate because Hans Zimmer had a producing credit, with Harry Gregson-Williams composing everything. The Secret World of Arrietty, however, has French harpist Cécile Corbel doing the compositions and the original songs. Corbel was a huge fan of Studio Ghibli, and this movie came out during their peak popularity, and you can tell. She actually adds to the film’s nature-inspired atmosphere. Also, she translated her songs to English for the dub.

There’s no contest here.

Winner:

 

And now, bringing it home, here’s…

Entertainment factor:

 

 

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I’ll give both movies this much: they’re fun watches. The Borrowers excels at being a light romp, complete with high energy and fast pacing. Conversely, The Secret World of Arrietty draws you into its world, which makes sense since Studio Ghibli’s all about immersion. (Even their worst movies achieve this.) Both films are excellent at showcasing what it means to be bug-sized in a regular human’s world, which is why Mary Norton’s original books are so well-loved. However, while The Borrowers is fun, it definitely screams “90s movie”. Especially with how mean-spirited its credits are, as Potter’s gaslit for believing “little people exist” by the police.

The Secret World of Arrietty, conversely, isn’t as cynical or period-centric. Yes, Haru gets her comeuppance when she realizes Sho helped Homily escape, and yes, the end credits are bittersweet. But even during its depressing moments, like when Sho claims that Arrietty’s “species” might be going extinct, there’s a feeling of optimism permeating the story. Studio Ghibli movies tug at the heartstrings even when they’re cheerful, but this one doesn’t let emotion get in the way of vibes. It’s a genuinely powerful movie about bravery in the face of adversity, and that’s something worth teaching children.

The Secret World of Arrietty wins.

Overall winner: 

And that about does it for this piece. I hope you enjoyed it, and, as always, I’ll see you next time!

Overanalyzing the Drapes

This’ll sound incredibly “old man yells at cloud”, but I believe the internet, particularly social media, has degraded media literacy. I feel bad saying that, but with the byte-sized way media’s consumed, and the algorithm prioritizing clicks, if something doesn’t connect to everything, people complain. I don’t like that. Not only is it hollow, it mistakes the forest for the trees. Especially since not everything has to have underlying intent.

I’m reminded of the whole “the drapes were blue” debate. Basically, ascribing underlying meaning to the drapes, especially when the author didn’t intend it, is pretentious. Alternatively, there might be underlying meaning, but it’s vague and a far cry from what the viewer interprets. Regardless, overthinking the drapes’ colour ruins the grander picture. This is the type of media literacy that exists online, seeping its way into fandoms like a curse.

I’ll use an example: despite enjoying the finale to Stranger Things, fans were unhappy and felt like it was a fake-out. They believed a true ending would retcon what happened. This became known as “Conformity Gate”, complete with “details” that lined up with this theory. Never mind that the Duffers never intended for another episode, and that filming and releasing one in less than a week was near-impossible. So when the date came, and the episode never happened, what’d fans do? They moved the goalpost to the upcoming documentary, turning it into a modern day Wes Craven’s New Nightmare.

I must ask if people are overthinking this. You don’t have to like an ending, but working in an overcomplicated way to rationalize everything is pathetic. At some point, you need to let it go. Because it’s not healthy. That’s what “the drapes were blue” debate is about.

Having established head-canons can be fun in moderation. I believe Robin Buckley from Stranger Things is neurodivergent, and I could make a strong case for that. I also think Season 3 of The Mandalorian has parallels to the Jewish experience historically, which is something I’ve written about. But these are head-canons. And by trying to forcefully actualize them, I’d be doing both shows, as well as their fandoms, a disservice.

Additionally, this can be detrimental. I’m reminded when the moderator for the Wiki of one of the Silent Hill games was obsessed with it being about circumcision and the occult, editing any posts to align with this. Ignoring how the Silent Hill games rely on ambiguous allusions, I doubt a Japan-centric property would be about circumcision. There aren’t enough Jews there to have that sway! Checkmate!

This circles back to the drapes. Sure, speculative conversations can be fun. But they’re speculative. They’re not authoritative, nor should they be. By forcing them to be authoritative, you miss the intent. It’s not unlike fans being pissed at Old Man Luke for “betraying what Luke stood for”, to the point of sending death threats and weaponizing Mark Hamill’s words. Sometimes, you have to settle for what you’re dealt, however painful it may be.

While we’re talking Star Wars, sometimes the author also overthinks and projects a head-canon. This is true of Season 2 of Andor, specifically The Ghorman Massacre. There was a rumour floating that the show-runner, Tony Gilroy, had equated said massacre to Gaza, completely missing how the moment didn’t neatly fit with it. It couldn’t, and forcing it wouldn’t change that. Sometimes, you have to cut your losses and admit when you don’t know something.

I’m not against speculation. The fact that fans have theories to back head-canons can be fun…so long as they’re quantitative, qualitative and don’t dampen the enjoyment. You’re allowed to think Zuko from Avatar: The Last Airbender is Autistic, or that Perfuma from She-Ra and the Princesses of Power is trans. Power to you! But that shouldn’t result in overthinking the reasoning for the drapes being blue.

I know artists, both consciously and subconsciously, weave their personal lives and lived experiences into their art. That’s what the human experience is about, and I’m guilty of it too. But lived experiences don’t automatically make everything in media profound. Sometimes, for better or worse, the drapes are blue because the author didn’t want them pink. You don’t need elaborate explanations for everything!

Unfortunately, social media has made this conversation nearly-impossible. If something doesn’t line up with or immediately conform to preconceived notions, it’s a failure. And it’s either retconned by fans, or ignored by them. That also comes a lack of critical thought for something that requires it, like Annihilation or Wolf’s Rain. Because why think analytically when the surface details capture the imagination more?

Ultimately, people need to step back and breathe before seeing what isn’t there. Does that mean you can’t analyze anything? No. It simply means understanding why you’re analyzing something in the first place. Because, like I said, sometimes there’s no profound reason for the drapes being blue. Sometimes, like it or not, they’re simply blue.

Another Stranger List

I loved Stranger Things 5. It’s strange saying that, but this season’s divisive amongst fans. While nowhere near the previous season’s quality, with messier writing, it hits enough high points to be an overall success. And what better way to pay tribute than a list? Let’s do that.

By the way, there’ll be spoilers. Also, remember that this is subjective.

15. Eleven reunites with Kali/Eight:

Kali’s always been one of the show’s weakest links. I’ve never hated her, but even I admit that her episode in Season 2 was a low point. So when Episode 4 of Season 5 revealed she was alive, I was intrigued and confused. Intrigued because I’d always hoped the Duffers would bring her back, and confused because why now?

Perhaps what made this work is that it was teased for all of Volume 1: the military has a secret plan with The Upside Down? How are they going to pull it off? How will they get past Vecna? The show initially has us think they’d captured Vecna, but after Hopper (unsuccessfully) makes a suicide run, it’s revealed that Kali’s been the Ace in the hole. After three seasons with no pay-off, Eleven and Kali have reunited. It’s sweet to watch.

It also minimizes how Hopper was planning to kill himself, to Eleven’s dismay. This is someone thought dead in Season 3, only to be captured by The Soviets and shipped to Siberia. Once Joyce and Murray found him, he went back and risked his life to fight a Demogorgon. This was the third time, therefore, that the show teased Hopper’s death and not pulled the trigger. Thank goodness he had a valid reason for his suicide attempt, or I wouldn’t have included this. I say that knowing it had a satisfying payoff.

14. Robin’s opening exposition:

I wasn’t sure about this one at first. Not only is it a radio broadcast, but there’s nothing special about it. Even the gags Steve throws in don’t add much other than cut the tension. But then I thought about it. And after some consideration, I figured it was worth mentioning. How else could a show have a recap of the previous season’s ending? This was the answer.

There’s little to talk about on a deeper level. It’s basically Robin catching everyone up to speed. However, from the way Robin sets everything up, to having it set to “Rockin’ Robin”, to even Steve’s gag timing, there isn’t anything I’d prefer. Especially since it’d been three years since the previous season, and some of us were rusty. I don’t see this working otherwise.

Robin ends her monologue by alluding to her romantic partner, who’s revealed to be Vickie driving to work. Stranger Things made good on Robin being with Vickie, something hinted at in the previous season. It’s a subtle moment, but it’s still effective. It’s also sweet. Robin deserves some romance after the nightmare she’s endured, even if being a lesbian was risky.

13. Tom, Dick and Harry:

Leave it Robin Buckley to reference The Great Escape during a tense moment. While trying to figure out how to rescue Vecna’s targets, Robin formulates a plan through one of her favourite movies. She speaks of the three tunnels in that movie, named “Tom, Dick and Harry”. Settling on Dick, the tunnel in the washroom, the group hatches a scheme involving Derek Turnbow and a ruse no one inside the barracks would figure out. Or, at least, they hope no one inside the barracks would figure out…

It’s no surprise this plan backfires, as the bathroom starts flooding thanks to a valve breaking. However, it’s solid in theory, and it leads to some really great innuendos. Considering the table read, that Lucas and Robin’s actors could perform their lines with sincerity is a testament to their talent. That, and it allows the audience to laugh instead. I know I did.

It’s also genuinely well-executed and suspenseful. There’s not much going on, Derek leads a meditation session and signals for the individual kids to leave, but it weaves ridiculousness with logic. It also, as I said, fails spectacularly, like the movie it’s referencing. Plus, Mike saying “Mr. Whatsit?” while stopping a leaking pipe? That’s the cherry on top.

12. Mr. Whatsit’s reveal:

If you’ll recall in my ranking of Stranger Things 4, Vecna being Henry Creel and One simultaneously was a genuine highlight. Mr. Whatsit being revealed as Henry/Vecna, while not as powerful, was still well-executed. Especially since it’s shown from two perspectives: Mike and Nancy, and Will and Robin. That both groups come to the same realization, albeit in different ways, makes this reveal creepy and unnerving. It’s also a fun way to bring Vecna back, especially considering his defeat prior. If you can’t do grandiose, go personal.

What makes this unsettling is that, while predictable, there’s nothing anyone can do it in the moment. Karen can only communicate by writing down what she knows, and Holly being freshly kidnapped is stressing her out. Will knows he can tap into Vecna’s thoughts, but he can’t determine where he’s keeping Holly. So while both groups piece this together quickly, their helplessness makes it dramatic and tense. This is also great writing.

I want to remind everyone that being predictable isn’t necessarily bad. Not every surprise in storytelling is good, and sometimes simple reveals are effective. Besides, we knew Vecna was going to return at some point. Why else would he have left no trace after being blasted out of his hideout by Steve, Robin and Nancy? Think about it.

11. Dustin honours Eddie:

The epilogue, which evokes Lord of the Rings, has been criticized for feeling overly-sentimental. I disagree, though I get where the complaints are coming from. This show has amassed a massive roster of characters, and they all needed their arcs concluded. The epilogue might be long, but it works. Between Hopper proposing to Joyce and the older kids having a moment before going their own ways, there’s plenty worth talking about. One moment even pays off Dustin’s arc while honouring Eddie.

It was inevitable that Dustin would honour Eddie. However, the way he does it was perfect. Eddie hated school, and he impacted on Dustin. Conversely, Dustin, who was clearly mourning his death, felt he had to provide closure for an innocent man. By accepting his diploma like this, Dustin made sure Eddie’s sacrifice meant something.

Also, it’s really funny. Not only is it cathartic for Dustin, it earns him cheers from not only his friends, but also the rest of the graduating class. As someone who’s never liked graduation ceremonies, it’s also an amusing twist on the clichéd valedictorian speech. Let’s face it, they’re boring. Necessary, but boring. By giving Eddie Munson the last laugh, Dustin made the valedictorian speech interesting. Also, Dustin’s such a dweeb!

10. Nancy and Jonathan break up:

People routinely criticize Volume 2 of Season 5. Perhaps the biggest critique is “having nothing going on”. This ignores how some of the season’s best moments happen here, such that I’m including a few on this list. What better way to kick it off than one of the best? Let’s discuss Nancy Jonathan’s breakup. Because it’s beautiful and sad.

After Nancy accidentally creates a sinkhole she and Jonathan wake up in, the two realize they may drown in goo. Initially, they call for help. When that doesn’t work, they accept their fate. They then begin listing confessions they’d been keeping secret, culminating in Jonathan whipping out an engagement ring, announcing their breakup and tossing it aside. It’s sad, but it shows a great deal of maturity that they realize they weren’t meant to be together.

They do end up surviving in the end, thanks to Steve and Dustin rescuing them. But it’s an effective, amicable breakup. Nancy and Jonathan could’ve ended up like Nancy’s parents, trapped in a dead-end marriage held together by their children. They could’ve also ended up like Jonathan’s parents, divorced and bitter. Considering how their relationship was built on trauma, it couldn’t have lasted anyway. That’s why they decided to end it.

9. “I can’t lose you too!”:

While we’re on the subject of reconciliation, Dustin and Steve have a beautiful moment that people overlook. Having been at odds since Eddie’s death, the two of them engaged in a physical fight earlier on. So when Steve grabs a rickety ladder to rescue Nancy and Jonathan, despite the ground being unstable, Dustin cracks and says he can’t let Steve die too. His moment of vulnerability saves Steve’s life, as the ladder plan doesn’t end up working. Cue the relief over Steve making it out alive.

I know Stranger Things has a reputation of not killing off its main cast, such that it’s become a running joke. However, Steve dying here would’ve felt cheap. Not only is his death avoidable, it would’ve lent to additional trauma for Dustin. Besides, it allows Dustin to finally appreciate how much Steve means to him. That’s sweet.

Think about how lame it’d be if Steve fell to his death. I know the cast of this show is massive, but Steve Harrington, the guy whose breakup with Nancy led him on a path of positive growth, dying here would’ve pissed people off. This is someone who also helped Robin become comfortable with her sexuality, leading to her relationship with Vickie. Steve might be a softie, but he’s a loveable softie who deserves better. Is a cheap death what people want? I don’t.

8. “Eat your damn pie.”:

The best decision Season 3 made, aside from introducing Robin, was upgrading Erica Sinclair to main character status. She now not only got to be sassy, she got to be sassy while having depth. This made her funnier, as she had actual material to work with. This is apparent in her best moment in Season 5, where she helps drug the Turnbow family. I promise this is better than it sounds...

What makes this moment great is that not only does Erica show off her sass, she also shows off her menace. From the moment she walks in the Turnbow residence to “reconcile” with Tina, making amends with a pie, it’s clear this is going to be funny. And it is. Especially when the Turnbows pass out from the tranquilizer serum in the pie, which Erica pretends to eat while arguing with Tina. Unfortunately, that creates a problem, as Tina’s refusing to eat the pie. And she freaks out, insisting that Erica call 9-1-1.

In arguably the funniest moment, Erica whips out a needle with leftover tranquilizer, removes the cap, utters a one-liner and proceeds to stab Tina with it. Tina’s scream, eerily reminiscent of a Sam Raimi movie, would make anyone piss their pants with laughter. Yes, it’s horrific, and it makes Erica look evil. But who cares? I don’t!

7. “Goodbye Mike.”:

In the season’s saddest moment, there’s this. It was apparent that Eleven wasn’t going to survive to the end, but it was still a shock. She’d been through so much, having been robbed of a proper childhood because of her powers. That she couldn’t catch a break in her last moments is a serious gut-punch. I feel bad for Mike, as this is the second time he’s been torn away from Eleven. Both times, it was against his will.

There’s a lot about this that makes me emotional. Eleven lets Mike into her mind one last time before ejecting him, sharing her true feelings. Mike doesn’t understand why Eleven’s sacrificing herself, further adding to the heartbreak. “Purple Rain” plays in the background, alluding to Eleven’s favourite colour and how Mike found her all those years ago. And Hopper witnesses losing his adopted daughter, adding to the death of his biological daughter.

But what drives this home is how it parallels Season 1: Eleven makes the decision to sacrifice herself. Mike tries stopping her. Eleven shoves him aside for his own protection. All this while Mike watches in horror. If that’s not a fitting end, I don’t know what is.

6. Joyce beheads Vecna:

Joyce is a great character. She not only proactive from the start, she’s an unsung heroine. She’s also proven herself capable physically when necessary, even flying with Murray to Siberia to rescue Hopper. And all this, to paraphrase Will, while only being 5’3”. Moms, right?

Joyce, fittingly, also gets the final blow against Vecna. After Eleven and Will leave him impaled and with a missing arm, Vecna’s bleeding out. With one of the show’s best one-liners, Joyce grabs her axe and starts hacking away at his head, until it comes off. All the while, we see flashes of trauma the other characters have experienced at his hands. It’s gory, and excessive.

And yet, it’s also satisfying? Vecna getting beheaded by Joyce is one of the most cathartic moments this season, let-alone this show. It might be extreme, especially since Vecna was vulnerable, but do I blame Joyce? Not really. She deserves that closure.

5. Will the Sorcerer:

Poor Will. Initially abducted by Vecna, he’s been subjected to The Mind Flayer’s relentless torment. He’s witnessed people die, he’s been used as a spy and he’s been marginalized because he “came back from the dead”. And now he’s now being exploited by Vecna once again, this time to help him extract children. In any other situation, he’d have justification for going postal.

Despite this, Will has one of the season’s biggest clap out loud moments. After Vecna wipes out the military and captures his children, he sends Demogorgons to kill Will’s friends. They’re pretty close, and everything looks bleak. Could this be it? Is everything for naught? Not quite.

In a surprise turn, Will siphons some of Vecna’s power to wipe out the Demogorgons. And not only wipe them out, but violently. He holds them up with telekinesis, snaps their bones and leaves them to bleed. He then wipes the blood from his nose. It’s a great pay-off to his entire character arc, and it’s applause-worthy. Bravo!

4. Will’s coming out scene:

Speaking of Will, I should address the elephant in the room. Will being gay isn’t a surprise to anyone who’s paid attention, but now it’s officially confirmed. And in front of Will’s friends and family. Considering that coming out was a huge risk in the 80s, to admit something so personal is really brave. Doubly-so since it could’ve backfired.

I know much of the internet takes issue with this, but I don’t care. This was a raw, honest moment. It helps that Will’s real-life actor’s gay, so there’s a personal element here. But outside of that, for everyone to be accepting makes the reveal special. Because coming out isn’t easy. Robin, who came out to Steve in Season 3, understood that best, hence why she cries.

One of the more even-tempered critiques is that Will’s reveal should’ve drawn pushback from the other characters. I disagree. That would’ve made sense in an earlier season, but not here. Considering the danger and trauma the cast has endured, them not accepting Will would be a cop-out. It also wouldn’t be satisfying. Besides, what good would that do, other than appease some awful people?

3. Karen VS the Demogorgon:

If Season 4 of Stranger Things reminded us that you don’t mess with Nancy Wheeler, Season 5 reminded us that you don’t mess with Karen Wheeler. She’s always been a back-up player, but Episode 2 showed that Karen in a nightgown and half-drunk can do major damage. Nowhere is this more-apparent than when she takes on a Demogorgon with a broken wine bottle. It’s a great moment that shows what Karen’s capable of, and while it doesn’t pan out, she puts up a real fight. The Demogorgon even has to play dirty to gain the upper-hand.

There’s a lot here that makes it memorable: Karen being wet, drunk and ready to skin the Demogorgon? Check. The Demogorgon not realizing what it’s up against? Check. Karen delivering heavy blows in slow-motion? Check, check, check!

I should also give credit to Ted Wheeler. Yes, his presence has mostly been window dressing. Yes, he barely does anything. And yes, he gets taken out by the Demogorgon easily. But he tries, even landing a blow with his golf club. If all else, his fight shows that he cares!

2. Karen in the hospital:

On the subject of Karen Wheeler, she gets her heroic moment in Episode 6. After Vecna sends Demodogs to capture Max, the show pays homage to Jurassic Park’s “raptors in the kitchen” scene. It’s nerve-wracking because Lucas is in a bind: does he keep the radio on and wake up Max, even if it means signalling where he, Max, Vicky and Robin are hiding? Or does he turn the radio off, but lose Max again? It’s a genuinely tense situation, and it ends up not mattering because the laundry room has mirrors on the ceiling.

Fortunately, one of the dryers turns on and starts buzzing. This draws the Demodogs toward it, and we see an Oxygen tank bouncing around. After several clicks, it explodes and blows them to pieces. Some smoke emanates, and we see someone grunting and limping. It’s Karen. Cue the applause.

I started clapping when this happened. Karen might be stuck in a dead-end marriage, but she’s as capable as anyone else. It’s not only a great moment, especially since it’s unexpected, but it shows that Nancy, Mike and Holly get their fighting spirit from her. Kudos for making this a genuine highlight, Duffers! Can someone give Karen a spin-off show?

1. The kids reflect:

Remember how I mentioned Dustin’s speech as one of the epilogue’s major highlights? This is the other one. It’s also where the show ends, and, like the other highlights in the finale, it’s bittersweet. Maybe not as sad as Eleven saying goodbye to Mike, but it got me choked up. It’s basically the show ending like it started: with Dungeons and Dragons.

There’s a lot that makes this effective. Like how Max is finally involved in the campaign. Or how Mike, Will, Lucas and Dustin are together again in Mike’s basement. Or how the conclusion of the campaign involves Mike alluding to an alternate scenario for Eleven. Or even how Mike passes the torch to Holly and her friends, signifying a new era. It’s sappy, but it drives home the messages about hope and the power of belief.

I won’t speculate whether or not Eleven survived. That’s not the goal here, and I wouldn’t do it justice. However, I think it speaks to the strength of hope. Hope might be cope, but it’s quite powerful. When you choose to believe in something better, as unrealistic as it might seem, that speaks volumes. Especially when we could use hope in dark times. But I digress.

That about does it. Feel free to share your favourite moments, and I’ll see you next time!

Bigger, Bolder, Better?

I’ve been holding off discussing the finale of Stranger Things for a few days. Not only because I’ve needed to process it, but also the discussion surrounding it has been irritating. Not only have people been projecting their insecurities, but it feels like many people online lack film literacy skills. Perhaps that’s being harsh, but here are some major complaints that rubbed me the wrong way. There’ll be spoilers:

“It’s not scary anymore!”

Define “not scary”. What constitutes as “horror” varies from person to person. I find dreams about not finishing university scary. I get them frequently, and they make me uneasy because part of me still feels like I rushed through my 6 years and didn’t put in the proper effort. I don’t wake up in cold sweats, but that doesn’t mean that being in a school with an unfinished assignment doesn’t put me on edge.

Horror’s hard to pull off. It’s one of the hardest genres, as you have to tap into common fears while grounding your characters and worlds dramatically. That’s a mastery of two genres, and even seasoned pros struggle with balancing the two aspects. It’s true that many classic horror stories were made cheaply, but they also became big from a combination of accidental success and working with insane challenges. If you want proof, look at Jaws.

When people claim that Stranger Things isn’t scary now, I think they’re lamenting how it ran for close to 10 years, and how much of its core audience aged and moved on. As someone who was 26 years old when it started, a lot has happened to me personally since then: I became an uncle, my younger brother got married, my Zaidy died and I went in-and-out of jobs. The only constants were that I’m a courier, and that I live with my parents. Oh, and this blog.

9 years is a long time for a show. Considering Stranger Things became an accidental, overnight success, it was inevitable that expectations would be high. So I get how people would feel like it’d stop “being scary” eventually. But I disagree, as fear is subjective. And since my issue with the first season involves being unable to see the big baddie half the time, thanks to piss-poor lighting and budget limitations, later seasons might actually be scarier. Because I can see what everyone’s up against now.

“The cast has gotten too big!”

This is a common complaint that people throw out. I get it: the show started with a small cast, and later seasons added to that. Factor in Season 2 beginning the trend of introducing a new character that’s killed in the finale, it feels like the Duffers were adding too many people. It was Game of Thrones all over, except with an original project. So yes, there’s potential for bloat.

Nevertheless, I think adding more characters has been an asset. Contrary to popular opinion, Stranger Things wasn’t meant to be a one-off. The Duffers made it clear that they were planning several seasons, and it was inevitable that recurring side-characters would get upgraded over time. That Erica, first introduced in Season 2 as Lucas’s bratty younger sister, became part of the main cast in Season 3 was beneficial to her development, as she’s less-irritating now. This is also true for Holly, who up until Season 5 was simply Mike and Nancy’s little sister.

As for the not killing off characters, I’m not sympathetic here. Not only is Stranger Things not Game of Thrones, but it should never be Game of Thrones. That show had plenty of deaths, but it was also shamelessly violent and edgy. Plus, it went off-the-rails in its final season, as it ran out of books to adapt. By having Stranger Things keep its roster intact over 5 seasons, the writers got to explore different pair-ups and dynamics. It’s not like Steve and Nancy was the same as Steve and Dustin.

Besides, senseless deaths don’t always mean good storytelling. Having seen many classic 80s films, I assure you not all of them, even horror films, were needlessly gory. Much of the drama came from elevating grief, family trauma and personal insecurities boiling over through tension and stress, something this show has captured successfully. None of this could’ve happened without the cast being recurring.

“The show has gotten too big!”

I can see this complaint, and I’d be lying if I said I disagreed. When you consider later seasons, especially compared to earlier ones, it’s easy to see this. Especially since in-between Seasons 3 and 4 there was a pandemic, and in-between Seasons 4 and 5 there were two strikes. The passage of time marches on without Stranger Things getting bigger with each season. That said, I don’t agree with this complaint. Why?

Because Seasons 4 and 5 had more story to tell. Season 4 in particular ventured outside Hawkins and focused on California and Soviet Russia. Because the world is bigger than a small town in Indiana, it was inevitable. Season 5 may not have been as big in narrative scope, but it felt it in emotional scope. That alone justified longer episodes.

Outside of that, a show getting “too big” isn’t really its fault. Considering Stranger Things’s biggest crime was becoming popular, it was bound to happen. After all, it has a fanbase! A passionate, loud fanbase! Why not embrace that? I would!

I watched a video on Season 4 recently that mentioned Stephen King and his rule about cutting 10% of your story. It’s ironic, since his stories are often way too long-winded, but the point rings true as a writer myself. However, is it possible that this show did that? It’s easy to complain, but harder to write. And as we’ve seen with Chris Stuckmann and Shelby Oaks, it’s especially easy to complain about horror if you’ve never dabbled in it. Something to think about.

“Season 5 dropped the ball!”

My last issue involves the actual finale. I think people were projecting their own expectations here, and that’s unfair. Especially with the gross backlash surrounding Will coming out moment, a revelation that wasn’t shocking to anyone paying attention to Will’s character trajectory. Considering how difficult it was to be gay in the 80s, Will took a risk by coming out to his friends and family. That they were accepting speaks not only to their growth, but also to how attached they are to Will.

Outside of that, little moments being harshly-criticized seem completely disconnected from reality. Nancy and Jonathan breaking up is an amicable separation that happens when people love each other, but know their relationship is unhealthy. Dustin and Steve reconciling their friendship, while corny, was equally powerful. And yes, some of Volume 2 of Season 5 was slow, no doubt. But that doesn’t make it not interesting or impactful. Not everything has to be in-your-face action, especially with character growth.

As for the big battle feeling “like a Marvel movie”, I’m unsure what people expected. This wasn’t only built up to, but dragging it out would’ve ruined it. So it wasn’t. Even the fight with Vecna followed the rule set by The Incredibles: if you don’t need to extend your action scene to make your point, don’t. Like how most of that movie’s action set-pieces were a few minutes long, yet were effective, so too was the fight with Vecna. Especially since Vecna, for all his creepiness, was a pathetic man-baby.

Outside that, I don’t know what else to say. People have been making this season out as another Game of Thrones or Dexter, and think that cheapens the character writing and plot beats. Is it as good as Season 4? No. But it’s also not the disaster detractors have been making it to be. And it’ll age well because of what it did right, which is be satisfying.

So yes, that’s my take. Expect another ranking list soon, assuming nothing goes wrong here.

Will's WHAT Now?!

I’ve been enjoying Stranger Things 5. Yes, it continues the tradition started by the previous season of overlong episodes. Yes, some of the intimate moments are drawn out. But the stuff that works? It works! This might have some of the best character moments of all the seasons. And nowhere is that apparent in a scene that has fans upset, for some reason.

By the way, spoiler warning.

In Episode 7, Will reveals to his mom, Joyce, that Vecna preyed on him while having him spy on Max. Initially, Will’s vague, only sharing his general fears and anxieties. However, he quickly decides to drop the act and become honest. He asks his mom to gather everyone, then spills truths about his interests. He concludes by confirming what most have have known for years: he has no romantic interest in girls. It’s genuinely emotional and cathartic, and everyone’s surprisingly accepting.

Unfortunately, people watching the show didn’t feel the same. As of me writing this, this is the lowest-rated episode in the show on IMDB, lower than Episode 7 of Season 2. Far be it for me to tell people their opinions are wrong, as art is subjective, but I have to wonder if Will coming out as gay struck a nerve. Because if it did, I wonder if the internet’s okay.

I’m not saying this to shut out people’s feelings. I used to think that queerness was overexposed too, so I’d be hypocritical. However, that was a decade ago. I’ve grown and matured since my mid-20s, with newfound appreciation since for concepts and ideas that sounded foreign to me. This is one of them.

Will isn’t even the first queer character in the show. Robin came out to Steve in Season 3, and we haven’t thought less of her. If anything, her being a lesbian, while not initially in the script, was a positive change, allowing Steve and Robin to grow beyond romance. Will being gay, therefore, isn’t so radical. That needs stressing.

It’s worth noting that Will coming out in a show that occurs in the 80s was a huge risk. We take it for granted, but there was social stigma in the 80s that made being gay difficult. It didn’t help that AIDS was seen as “the gay virus” that “punished immoral sex” by those in power. Coming out was dangerous, and Will’s decision could’ve blown up in his face. That it didn’t is a testament to this show’s writing.

Besides, why is this shocking? Will’s been teased as gay since 2016, with Mike unintentionally spelling it out in Season 3. This isn’t news. If anything, it’s an overdue revelation. Considering Will’s actor, Noah Schnapp, is gay, even crediting Will for helping him feel comfortable with that, that’s doubly-cathartic. Don’t we want that?

I’m curious if those who are upset, aside from being homophobic, have had to share something this difficult before. Coming out is hard. We don’t think it is, but people often risk isolation from family and friends, especially in traditionally-minded circles. And with several global governments regressing on this issue, thanks to their leadership, the fight for acceptance isn’t over. Therefore, it’s important that entertainment, which helps normalize acceptance, has people coming out still.

It also bothers me how people don’t want sincerity in entertainment because “it ruins the immersion”. I like The MCU, even defending its recent output, but its tongue-in-cheek style of writing, which Stranger Things has to an extent, doesn’t translate to every franchise. Even within The MCU, there are moments of genuine sincerity, which is why the franchise has endured. Basically, sincerity isn’t bad in storytelling. Especially when it leads to powerful moments.

I get why this is jarring in a horror franchise, but good horror is about drama. Horror’s only as effective as its characters, as they could be in danger at any moment. The more attached you are, the scarier it is when someone’s in trouble. And since many horror stories have queer coding or subtext, a main cast member being gay shouldn’t feel out of place in Stranger Things. Especially when this isn’t the first time.

There are little details that make this scene really powerful. Like how Will acknowledges how similar he is to everyone by listing off his likes. Or how Robin’s moved the most, having indirectly coached him in an earlier episode. Or how everyone’s so accepting, even hugging him. This is excellent character writing and storytelling, so why is it an issue?

That this particular episode’s getting slammed is baffling. I wasn’t against Episode 7 of Season 2, but I get its divisiveness. Episode 7 of Season 5, however, I don’t get the hate for. At all. If anything, the backlash is petty.

If Will coming out bothers you, especially when it’s been hinted at for years, then I think that says more about you. You’re entitled to not like the pacing, or to think the show has “lost its way” (whatever that means). But acting like a character confirmation hurts the show, especially when it’s not a revelation, is offensive. Gay people deserve better. It sucks that that needs reiterating in 2025.

I’m not claiming that this season doesn’t have its issues. Despite my biggest counter-critique of detractors being that Stranger Things’s major flaw is becoming too popular, it’s not perfect. I can argue how the horror aspect still works, or that the writing’s still strong after 9 years, but that’s all subjective. Being homophobic, however, is much harder to accept. Because it’s mean-spirited, and it’s time we moved on.

On Tylor Chase...

I don’t normally write pieces like this. Not only do I not celebrate Christmas, I’ve made my feelings known about the holiday in the past. However, I’m making an exception. I’m making it because it touches on something I think more people should be made aware of. Here goes:

It was recently revealed that former child actor Tylor Chase, who was a recurring character in Ned’s Declassified School Survival Guide, has been begging on the streets. He’s homeless, scruffy-looking, unclean and not well mentally. After a video of him went viral, several former child actors decided to help. Among them was Daniel Curtis Lee, who played Cookie in the same show. Lee got him a hotel room, food and embraced him with a hug. It’s heartbreaking, no doubt.

It’s also a truism of many former child actors. Hollywood isn’t kind to rising stars, and especially so to child actors. It’s gotten better in recent years, but there’s still a long way to go. It’s a shame, as children deserve respect, especially as their prefrontal cortexes are still developing. So that they routinely suffer from mental health issues later in life is a damning statement about the film industry.

While Chase’s situation seems to have a happy ending right now, many stars haven’t been as fortunate. Jackie Coogan aside, the late-Judy Garland suffered from abuse well into adulthood, dying from an overdose in her 40s. Edward Furlong spiralled out of control and became unemployable. And then there’s Drew Barrymore, who had to leave her abusive mother before she could actually heal. Chase is one of many who’ve struggled with transitioning to adulthood.

I don’t want to judge Chase’s situation. His parents have already said their piece, and I’m no expert. However, as someone who’s had PTSD-related trauma of his own, Chase, even if he’s “bad with finances”, deserves some level of decency. And from what I’ve seen online, there are many people who don’t appreciate the struggles of homelessness. Because they’re real, and they’re not fun.

Most people don’t choose to be homeless. Homelessness results from many factors, including evictions, substance abuse, family drama and disabilities. As someone who struggles with money and independent living, I’d probably be in a similar situation as Chase if I didn’t have a great safety net. I’m incredibly blessed to have that. Especially since life hasn’t always been kind.

I wish more people, particularly those in power, understood this, but they routinely bury and criminalize the problem. Whether it’s government supports not covering the full cost of living, employers discriminating against the disadvantaged or institutions being rude to panhandlers, it feels like the system’s stacked against struggling individuals. It’s heartbreaking. It’s heartbreaking because it shouldn’t have to be like this, and it’s heartbreaking because there are ways to minimize these situations.

One of the suggested ways to help people like Chase is raising tax rates on the 1%. I’m not an expert in economics, but it often feels like the wealthy only help the disadvantaged if it benefits them personally. By getting the wealthy to pay more, their taxes can subsidize affordable housing, meal plans and mental health services, all of which help prevent homelessness. And yes, there are no 100% foolproof options. But attempting to fix this problem is better than ignoring it.

Either way, Tylor Chase needs help, not condemnation. He’s had a rough go, and judging him isn’t helpful. I also think filming him for clout doesn’t help, but that’s a different issue. Because at least he’s getting support from his peers. He needs it, even if there’s a “reason” he’s homeless.

Nevertheless, we should be more compassionate to the needy, especially during the holidays. Christmas, despite my grievances, is about giving and making connections. Sure, the over-commercialization, as well as the debates about “The War on Christmas”, can be really exhausting, but the sentiment remains. Basically, don’t shut your heart out to the Tylor Chases in this world. They’re still human beings.

And to those who’d claim it’s Chase’s fault that he’s in this situation? Give it a rest. Life is tough, and not everyone’s fortunate enough to be well-off. If you judge someone homeless, and all without getting to understand their situation, then I think you’re a cold-hearted sociopath. That, or you’ve never experienced genuine hardship before.

There’s a reason I give money to people on the streets. Not only do I feel like I’m scraping by financially, hence having the right headspace, but I also don’t need the extra change. Besides, what would I use it on? Junk food? I have cards for that. And yeah, maybe I’m “encouraging” this behaviour. I honestly don’t care.

I’m hoping that Chase’s situation alerts more people to the homeless crisis. Does it suck that it took a former celebrity to open the conversation up? Yes. But if it gets people talking about Hollywood’s treatment of child stars, the indifference we have to homelessness and the ways that we can help those who are less-fortunate, then guess what? It’s worth it. Isn’t that what we want?

Happy Holidays, and may Tylor Chase receive some closure.