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‘Stranger Things’ is back. Does everything old still feel new?

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‘Stranger Things’ is back. Does everything old still feel new?

The first batch of episodes in Stranger Things‘ final season are out on Wednesday. Above: Gaten Matarazzo as Dustin Henderson, Finn Wolfhard as Mike Wheeler, Caleb McLaughlin as Lucas Sinclair, and Noah Schnapp as Will Byers.

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The first four episodes of Stranger Things Season 5 are out on Netflix now. This piece discusses details from the show; if you’d rather avoid those, come back after you’ve watched.

There is a certain kind of magic to a show like Stranger Things, which somehow manages to re-engage fans with every new season — despite a sense it is often telling the same story, over and over again.

After more than three years away, Netflix has turned its final season into its holiday gift to the world, releasing four episodes on Wednesday, three on Christmas Day and the series finale on New Year’s Eve. Still, whether this truly feels like a holiday present may depend on how eager viewers are to dive into yet another adventure hanging the world’s fate on a bunch of teenagers from small town Indiana.

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Creators Matt and Ross Duffer — known collectively as the Duffer Brothers — have their work cut out this time around as showrunners and regular writers and directors.

But the real question is whether the Duffer Brothers can come up with a finale that truly feels like a satisfying conclusion, after nine years of gory jump scares, inexplicable plot twists, extra-dimensional bad guys and pink-laced, ’80s nostalgia that helped redefine the streaming age.

Life under quarantine

This season begins, as always, with an intrepid band of young people working together to sidestep adult venality and cluelessness to save the world from a monstrous, super-powered entity. Courtesy of Netflix’s decision to release the first five minutes from the first new episode weeks ago, fans know this season begins with a horrific flashback. A young Will Byers — played by a younger actor camouflaged with digital technology to look like a de-aged Noah Schnapp — is captured in 1983 by murderous extra-dimensional psychic bad guy Vecna and connected by a pulsing umbilical to his hive mind.

Talk about foreshadowing. When the story picks up again four years later, Will’s hometown of Hawkins, Ind. is under quarantine, sealed off by the military. And Will has a mysterious connection with Vecna and his monstrous minions.

Last season saw the horrific alternate dimension the Upside Down intrude into the real world. Now the military is regularly testing residents in Hawkins and guarding a portal between the worlds, which pulses and throbs like a gooey outtake from an Alien movie. Inexplicably, the military has required the town’s denizens to stay put, going to school and work like they don’t live at the epicenter of a psychic and extradimensional phenomenon that nearly engulfed the world.

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Most of our heroes are trying to fly under the radar — spearheaded by can-do group leader Nancy Wheeler (Natalia Dyer). Eccentric motormouth Robin Buckley (Maya Hawke) and heroically coiffed Steve Harrington (Joe Keery) now run the local radio station, while Gaten Matarazzo’s angry nerd Dustin Henderson joins friends Mike Wheeler (Finn Wolfhard), Lucas Sinclair (Caleb McLaughlin) and a more mature Will in navigating a high school where their fellow students resent their presence.

Millie Bobby Brown’s character, the psychic-powered orphan Eleven/Jane Hopper, is in hiding around Hawkins, hunted by authorities who believe she caused the problems with the Upside Down and might be key to understanding it. She’s in training to refine her powers with Winona Ryder’s Joyce Byers — Will’s mom — and father figure Jim Hopper, played by David Harbour.

And Sadie Sink’s character Max, the show’s flame-haired tomboy, remains in a coma after surviving an attack by Vecna last season aimed at helping him open a portal from the Upside Down to the real world.

David Harbour as Jim Hopper and Millie Bobby Brown as Eleven.

David Harbour as Jim Hopper and Millie Bobby Brown as Eleven.

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Making old plotlines feel new again        

There is a lot about this new batch of episodes that reminded me of previous storylines, as this kooky new-school Scooby Gang repeatedly pulls off elaborate plans to get past the military, sneak inside the Upside Down and search for Vecna.

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Once again, there’s a ruthless doctor empowered by the military to probe the Upside Down — this time, played by Terminator alum Linda Hamilton. Our young heroes keep devising elaborate-yet-successful plans to outwit the military and access the alternate universe where Vecna is hiding. We have generous sprinkles of ’80s pop culture, from a surprising reference to pop star Tiffany to the sly use of Diana Ross’ 1980 dance hit Upside Down.

There are also winking nods to movies, with scenes that recall moments from Aliens, Good Morning, Vietnam and even Home Alone. Deft as these touches are, however, they are also moves we have seen before in this show.

And there’s a series of attacks by Demogorgons — super strong, super-teethy humanoid creatures from the Upside Down controlled by Vecna — who motivate our heroes by targeting children in Hawkins for kidnapping. This seems a deliberate callback to the way Will’s abduction jumpstarted everything in the show’s first season.

Stranger Things often juxtaposes action sequences and physical danger with protagonists separating and reuniting emotionally. So the new episodes feature Eleven pushing back against Hopper’s efforts to keep her out of the fray and safe from capture by the military, while Steve struggles with feelings for ex-girlfriend Nancy, Robin bumbles a relationship with her girlfriend and Will is continually on the verge of declaring something about his romantic feelings. Again, little of this will seem new to longtime fans.

Last season, I noted the show’s tendency to resolve emotional conflicts with “confessional monologues” — where one character turns to another and neatly, emotionally explains exactly the problem in their relationship. This time around, those monologues have become arguments, with characters revealing themselves in irritating fights aimed at fracturing the team, even as they resolve to work together.

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Winona Ryder as Joyce Byers.

Winona Ryder as Joyce Byers.

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Still, the Duffers are so skilled at keeping the plot hurtling along — fueled by smart, suspenseful cuts between situations, sprinkled with lots of breathless exposition and meticulous planning — that many may not notice how much these new dangers feel like old storylines.

When it gets tough to suspend disbelief 

Absurd as it may be to grouse about improbable storytelling in a series featuring psychic-powered villains from an alternate universe, it remains true that more fanciful moments play better when they are surrounded by stuff that feels grounded and authentic. So moments where Stranger Things loses that plot can be oddly annoying.

In one climactic moment, for instance, soldiers spend a lot of time shooting at Demogorgons after it is obvious bullets don’t stop them. Though one character wounded a Demogorgon with a broken wine bottle and another hurt it with a shotgun. Sigh.)

In a different scene, a Demogorgon is tearing up a screaming child’s bedroom while her mother is taking a bath, blaring an ABBA hit and zoning out. But, unless you’ve got headphones stapled to your head, it seems it would be tough to miss that kind of ruckus a few feet away.

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It’s also tough to believe a military force that has spent millions occupying the town couldn’t figure out which local kids were close to Eleven and might understand a bit about this supernatural force which has impacted the world.

All of this produces a feeling that the Duffer Brothers have come up with a newly beguiling, action-packed way to lead viewers down a very familiar road. Critics have only seen the four episodes debuting Wednesday, so perhaps there are more surprising storytelling turns in episodes to come.

But, depending on how much you enjoy the journey, what they’ve pulled off so far could be achievement enough.

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A Kiss and a Proposal — All on Their First Date

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A Kiss and a Proposal — All on Their First Date

Dr. John Henry Cook III hadn’t meant to appear bare-chested on Sylvia Rosemarie Auton’s iPhone when he called her for a chat last July. It was 7:45 a.m., and Cook, who was home alone with his dog in Leesburg, Va., was having trouble facing the day.

“I was lying in the bed my wife had died in,” he said. “I was feeling busted by sorrow, and I just wanted to talk to Sylvia.” An accidental push of the FaceTime button sent more than his voice through the ether.

Auton, who was visiting her daughter at the time in Phoenix, Md., was taken aback.

“He said, ‘Good morning, Love,’” she recalled. “I was stunned.” She was equally stunned a day later when, hours after their first kiss, he proposed.

Auton, 85, and Cook, 90, first met in May 2011, when Auton and her late husband, Forrest Hanvey, became patients at Cook’s concierge medical practice in Leesburg. Hanvey, who died in 2024, had known Cook since the 1950s, when both were midshipmen at the U.S. Naval Academy. A friendly relationship between the former classmates soon extended to their wives, Auton and Agnes diZerega Cook, whom friends knew as Di.

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Both couples would routinely see each other at U.S.N.A. alumni events, and after Cook retired from medicine in 2017, they met up occasionally for group lunches with Navy friends.

“I got to know Di, who was a wonderful watercolor artist and wonderful person,” Auton said. When Di died in April 2025 of cardiac arrest, the friendship between the two surviving spouses deepened.

Auton is an author and educator. Before she moved to Fairfax, Va., in 1969 with her first husband, a nuclear physicist named David Auton, she lived in Chicago, where she grew up. Her bachelor’s degree in mathematics and master’s in mathematics education are from the University of Chicago. Her doctorate in mathematics education and statistics is from the University of Maryland.

Auton and David, who died of a cerebral hemorrhage in 2003, raised a daughter, Alyson Russo, now an anesthesiologist at the Johns Hopkins Hospital and the mother of Auton’s two grandsons, ages 6 and 2. The Autons also had a son, Timothy Lee, who died in 2014.

Auton taught in Chicago classrooms before she was promoted to her first position in educational leadership in the late 1970s. In 2005, she retired as director of staff development for Fairfax County Public Schools.

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Auton now teaches personal finance classes at the Osher Lifelong Learning Institute, part of George Mason University. She also advises women on beginner stock market and investment strategies.

Her advice extends to navigating romance and relationships, too. “The Last Embrace: Caregiving for a Beloved Spouse,” a self-published 2025 book, was written after she spent a protracted period caring for Hanvey, who died after a fall at home in Fairfax Station. “The Wondrous Embrace: Finding Love in the Sunset Years,” also self-published in 2025, is meant to inspire hope among older people who may be souring on the chances of finding love.

Auton met Hanvey when she was well into her 60s and he was 70 in January 2005. They married the same year, in September. “One thing I do not want is for anyone to feel discouraged,” when it comes to love or otherwise, she said.

Before Cook earned his medical degree from Yale, he was a Polaris submarine commander in the U.S. Navy. During the Cold War, he served in nuclear submarines. He married Di in 1957, the day after he graduated from the Naval Academy.

Military service had been a Cook family legacy. His father was a Marine first lieutenant; he was born at Marine Corps Base Quantico in Virginia. With Di, he had a daughter, Elizabeth, and two sons, John and Harrison. His five grandchildren range in age from 24 to 30.

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When Hanvey was declining in 2024, Auton wasn’t always certain she understood his needs. In those moments, she would ask Hanvey if he wanted to talk with someone else. “Invariably, it would be, ‘I want to talk with Jack,’” she said. Cook picked up the phone every time.

On May 17, 2025, Cook held a memorial for Di at St. James’ Episcopal Church in Leesburg, where they had married almost 70 years earlier. Soon after she died, Auton sent the family a condolence card and tucked a printout of the 1934 poem “Immortality,” by Clare Harner, inside. “I thought it might comfort Jack,” she said.

At the memorial, he told her how much he liked it. But Auton knew his grief was of a depth poetry could do little to assuage. “I saw the pain he was in,” she said.

Less than two weeks later, she was surprised when he texted her a handwritten poem. “He had taken the original poem I sent him and created a poem as if Di were reading it to him,” she said. “I was so taken with that I sent a poem back to him as though Forrest were writing to me.” Both poems touched on how they shouldn’t feel alone, how their spouses’ spirits wouldn’t leave them.

Auton was planning a June 2025 celebration of life for Hanvey at the time. “Jack had done such a wonderful job with Di’s, I asked him if he would come over and look at my ideas,” she said. Over lunch, the effects of his loss were as apparent as they had been at the memorial for Di.

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“He was still zombielike with grief,” she said. Compassion and a sense of hopefulness about helping him through his pain led to a shift toward tender new feelings.

On June 29, as Cook was leaving the celebration of life for Hanvey, he bent down to hug her and whispered “I love you” in her ear. “What was astonishing is that, without a moment of hesitation, I responded ‘I love you, too,’” she said.

The next morning, he sent her a text message: “Bravo Zulu,” a Navy term for “well done.” She asked herself if his declaration of love at the service meant little more than appreciation for the celebration honoring his friend.

They didn’t speak again until July 11, when Auton was preparing to get in the shower at her daughter’s house and Cook was shirtless and in bed. Auton checked that only her face was visible when she answered the early morning call. They hung up with a plan to meet for lunch the next day, at Auton’s house in Fairfax Station.

“At 1 o’clock, there he was, holding a mini orchid plant” as a gift, she said. “He stepped into the foyer, stepped into my arms and gave me a long, deep kiss.” Two hours later, on a deck overlooking a lake on the property, he proposed.

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At the memorial for Hanvey, Cook’s feelings for Auton had taken him by surprise. “When you’ve been in a long-term, loving marriage, you always have your feelers out” for your spouse, he said. When the spouse dies, “those feelers that had been intertwined wither away.” For Cook, maintaining hope that they would one day regenerate and intertwine with someone else had been a challenge.

But “the moment I kissed her, it’s almost like I put the key in the lock,” he said. “My life started again.”

On May 9, Cook and Auton married at St. James’ Episcopal Church. Rev. Chad Martin officiated a traditional Christian ceremony for 90 guests.

Auton wore a dusty rose ankle-length dress from her closet — the same dress she had worn to marry Hanvey. “It brought back loving memories,” she said. Cook wore a dark gray suit with a multicolored tie and his trademark red socks. Both had entered the church from a side door, then sat in chairs arranged in front of the altar, standing only to say their vows.

“At our age, stability is an issue,” Auton said. “I wobble well, but I didn’t want to wobble up a long aisle.”

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After a kiss to mark the start of their married life and a careful recess to the church parish for a buffet lunch, they reflected on the resilience of the heart.

“Even if the days ahead are few, both of us would like others to have hope for the future,” Auton said. Since he and Auton fell in love, Cook said, “life has been delightful.”

“Beauty and music surround us all,” he added. “If you listen for it, you’ll hear it. If you don’t, you’ll miss it.”


When May 9, 2026

Where St. James’ Episcopal Church, Leesburg, Va.

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Church Finest The reception in the church parish was catered by Tuscarora Mill, a local restaurant whose owner Cook has known for years. On the menu were prime rib and roast chicken. The lively spring décor, including bright florals, pink napkins and white tablecloths, had been set up by the church sexton and came as a surprise to Auton. “People came up to us to say they had never seen the church look so lovely,” she said.

A Past Worth Preserving Cook will move into Auton’s home in Fairfax Station. He recently sold the 16-acre Leesburg farm he and Di lived on for over 40 years, known as Historic Rock Spring, to the City of Leesburg, to be used as a park. “It was important to Di that the land be preserved,” he said.

Accidental Vintage Auton’s wedding dress was at least 21 years old, she estimated, and Cook’s suit was more than 30. “We were not in today’s fashions by any means,” she said, unapologetically.

Gratitude The day after the wedding, Auton and Cook sent thank-you emails and texts to each of their guests. “At 85 and 90, we wake up each day with a sense of profound thanks-giving: for you, for our health and for the joy of hoping to continue to be of value in this world,” they wrote. They signed their first correspondence as husband and wife with, “Many thanks from two wrinkly, creaky, wobbly but very grateful people.”

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Jonathan Anderson’s first Dior Cruise show in L.A. was a movie

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Jonathan Anderson’s first Dior Cruise show in L.A. was a movie

L.A. is proof that sometimes all you need is a car, a streetlamp and that orange light to make something really special happen. Jonathan Anderson presented his first Dior Cruise show in L.A. under the fluttering shadows cast by Peter Zumthor’s new Brutalist building at LACMA, and the whole thing felt like the equivalent of sending a text after hours of getting ready, buzzing with anticipation: “I’m OMW.”

At the base of the David Geffen Galleries, anchored by classic American cars in colors like bubblegum and butter, where models sat inside sucking lollipops and talking close, was “an illusion of L.A., in L.A.,” so say the show notes. The scene mirrored the energy of a film set, all drama and specific lighting and smoke billowing from mysterious corners, honoring the house’s relationship with cinema. The show notes also came in the form of a film script — titled “Wilshire Boulevard” — opening with the “No Dior, No Dietrich!” of it all and followed by Anderson’s thoughts on escapism and dreaming. Today’s Hollywood stars — Taylor Russell, Greta Lee, Anya Taylor-Joy, Alison Oliver, Jisoo, Maude Apatow, Jeff Goldblum, Sabrina Carpenter, to name a few — were in attendance.

The looks that walked down the runway also called upon the dream, soundtracked by a score that included blues icon John Lee Hooker and beloved French band Air. A new iteration of the Dior Saddle bag was car-inspired, sharing DNA with John Galliano’s 2001 Dior Cadillac bags, featuring car paint surfaces and motor key charms. There were the bespoke Philip Treacy hats that revisited a technique the milliner has honed for years, with feathers forming typography in words like “Buzz” and “Flow,” worn with some of the men’s looks. There was Anderson’s take on the bar jacket that Christian Dior made for Marlene Dietrich to wear in Alfred Hitchcock’s “Stage Fright,” white with a geometric black collar. A grey flannel coat was inspired by film noir, featuring a stripe detail that took inspiration from Venetian blinds. A red velvet dress with a rosette was Anderson’s way of playing with Christian Dior’s practice of putting a red dress partway through a show “simply to wake people up.”

Image May 2026 Dior Cruise Runway
Image May 2026 Dior Cruise Runway
Image May 2026 Dior Cruise Runway

As polished-glam and old-Hollywood as the references were, there were moments that also felt sleazy and fun in the way that Hollywood in 2007 did, when getting photographed pouring out of a car on the way into the club was a rite of passage and full of its own twisted promise. Denim was intentionally pilled and embroidered with fine silver chains in the rips, replacing frayed strands of cotton (“the everyday becomes couture,” the show notes say). Leather pants were worn with oversized rhinestone-rimmed sunglasses. A fuzzy coat in almost a wood grain-like pattern was worn slipshod over a shoulder with a black dress. Shirts were made in collaboration with L.A. artist Ed Ruscha, worn by models with messy long hair and hands in their pockets, sporting the kind of attitudinal walk that the skater boy-actor-model working at your local coffee shop has perfected. “When I think of L.A., I think of Ruscha’s work, which has a fascinating sense of the mundane and how it relates to the city’s grandeur,” Anderson wrote in the notes.

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A resort collection is all about the destination, and in L.A. a destination can be the most quotidian, normal-ass place. For example, even the rarest piece in your closet is first experienced by your car, or your backyard, or the courtyard of a county museum. L.A. people get that the mundane is the destination because our version of mundane is anything but.

Image May 2026 Dior Cruise Runway
Image May 2026 Dior Cruise Runway
Image May 2026 Dior Cruise Runway

Cut to the afters at the Chateau Marmont. It was a blur of champagne, full sized In-N-Out cheeseburgers, chic ushers wearing Dior uniforms with snug grey sweaters and slacks that pooled perfectly at the leg. Oh, and also, a collective fear that someone would slip and fall into the gleaming turquoise pool (but isn’t that the intrusive thought that hangs over every Chateau party?). Faces like Teyana Taylor, Mikey Madison, Paul W. Downs, Role Model and Dominic Fike, all in Dior, were soaking in the ambiance.

As the night waned and we piled into big black SUVs with an emblematic “CD” on the windows that were there to take us home, one couldn’t help but call to mind a Hollywood trope, where in L.A., the journey was the destination all along.

Image May 2026 Dior Cruise Runway
Dior creative director Jonathan Anderson.

Dior creative director Jonathan Anderson.

Taylor Russell and Mikey Madison.

Taylor Russell and Mikey Madison.

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Malcolm McRae and Anya Taylor-Joy.

Malcolm McRae and Anya Taylor-Joy.

Tracee Ellis Ross.
Greta Lee and her parents.

Greta Lee and her parents.

Paul W. Downs.
Maude Apatow.
Macaulay Culkin.
Ziwe.
Chloe Malle.
Ed Ruscha.
Jeff Goldblum.
Steven Yeun and Humberto Leon.

Steven Yeun and Humberto Leon.

Miley Cyrus.
Natasha Newman-Thomas.
Dominic Fike.
Teyana Taylor.
Image May 2026 Dior Cruise Runway
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The Family Branding of Sean Duffy’s Road Trip Reality Show

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The Family Branding of Sean Duffy’s Road Trip Reality Show

That spot did not go over well with many fliers, who voiced their disagreement on social media (it’s unclear that getting gussied up would solve the upset caused by delayed flights, increasingly tiny seats and other flying indignities). But it was merely a warm-up for the longer show, which has its debut next month on YouTube. This one features Duffy in a whole variety of dad outfits straight from the “Father Knows Best” closet of the American mind, with his family as supporting characters, down to their matching PJs.

There he is in the Oval Office, introducing his kids (and the show’s concept) to President Trump as white-collar dad in a Trumpian outfit of blue suit, white shirt and red-and-blue tie. There he is in snowy Montana, leading his gang on snowmobiles in coordinated snowsuits. In Philadelphia, he’s in a polo shirt and jeans, introducing his children to a role-playing Benjamin Franklin. He hangs out in a plaid shirt with Kid Rock, a scene that also features Duffy’s wife, Rachel Campos-Duffy, a Fox anchor, in an American flag sweater and matching American flag cowboy boots. (The two met on the reality show “Road Rules: All Stars.”) He wears a lot of shackets. And that’s just in the show’s four-minute promo.

In other words, this does not seem to be in the mode of the storied road trips of American pop-culture mythology, be they the grungy road trip of Peter Fonda and Jack Nicholson in “Easy Rider” or the existential one of Chloé Zhao’s Oscar winner “Nomadland.” It does not even seem to be modeled on the gaffe-filled comic road trip of the Griswold clan in “National Lampoon’s Vacation.”

It’s more like “Road Trip: The Suburban Nostalgia Version.” (See the cars, which include throwback station wagons redolent of “Leave It to Beaver” and a big, black Toyota SUV with Duffy, of course, in the driver’s seat.) It was conceived, presumably, to evoke the values — “wholesome,” “patriotic,” “joyful” — enumerated by Duffy in his post on X and meant to define the show and, by association, himself.

As such, it effectively brands him as the Everydad of the administration, complete with ur-weekend wardrobe. And when it finally airs next month, it may turn out to be less about actual reality (reality TV rarely is) than about heavily messaged reality. In other words: marketing for history.

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