“Bang!”
In a dimly lit military laboratory, a loud voice heralds an unseen explosive occurrence, and Millie Bobby Brown collapses, a drop of blood escaping from her nose. Strobe lights pulse overhead as she shields herself among shattered glass and wrecked apparatus, remnants of a fierce altercation. She cries out in distress, prompting the unseen narrator to speak again.
“You hear footsteps approaching from behind the door,” commands Matt Duffer, his voice emanating from an unseen speaker. “Closer. Closer. The door swings open. You see something! Get up. Cut!”
It’s July 2024, and Matt Duffer along with his twin brother, Ross, are on the Atlanta set of the fifth and concluding season of “Stranger Things,” the cultural phenomenon they have crafted that launched Netflix from a fledgling streaming service to a transformative entity in the entertainment field. They’re in the midst of directing the show’s fourth episode, “Sorcerer,” and today’s scene unfolds on Day 131 of the year-long shooting schedule, positioning Brown’s psychokinetic teen character Eleven at a pivotal moment of revelation. (Rest assured, no spoilers await in this piece.)
Matt Duffer—who is more talkative, with his longer unkempt hair sporting a striking white streak—sits alongside his quieter brother Ross, whose short hair and enigmatic smile provide a stark contrast. They watch intently as the crew readies to film the aftermath of Eleven stepping through that enigmatic door, while Brown steps over to review the footage of her most recent take.
“I need to go to the bathroom so badly, but I really want to see it,” she admits. “Did you like the last take? How about the one prior?”
Ross chuckles, shrugging his shoulders. “I’m not sure. There were many good ones!”
“I’ll just concentrate on my performance, like I did when I was 12,” she laments dramatically. “I peaked at 12.” A laugh escapes as she strolls past a reporter, adding, “You can include that in Variety. I peaked at 12, and it’s been downhill since!”
Later in the day, the Duffer brothers settle in a remarkably decorated green room on Stage 16 of the extensive 35-acre production complex. Among a ping pong table and the “Stranger Things” pinball machine, a replica of the show’s iconic Christmas lights alphabet from Season 1 stands as a nostalgic reminder of the duo’s journey since the show debuted in 2016. Initially, they were relative unknowns in their 30s with scant credits to their names. Now, at age 41, they have become bona fide stars themselves, having significantly propelled the careers of numerous cast members (including Brown, David Harbour, Sadie Sink, and Joseph Quinn) while also reviving the pop-culture status of ’80s legends like Winona Ryder, Paul Reiser, and Sean Astin. Additionally, with a lucrative new four-year agreement for film and television with Paramount for their production company, Upside Down Pictures, they are poised to claim the mantle of Hollywood’s emerging royalty.
Ryan Pfluger for Variety
“We are more certain and knowledgeable than we were back then,” Matt states, taking a deep breath. “Yet now there are various additional pressures. It feels as if the Eye of Sauron is upon you; many people are observing, with significant expectations. A lot of money is being poured into this.”
Mirroring shows like “Game of Thrones” and “Lost” at their peaks, “Stranger Things” has captivated viewers by intricately blending a richly diverse ensemble cast with visually stunning—and costly—genre storytelling. Like these former hits, it has crafted a complex mythology centered around a fantastical alternate realm known as the Upside Down, teeming with hostile supernatural beings, paired with a sinister government initiative aimed at weaponizing gifted children. The stakes in “Stranger Things” are nothing short of apocalyptic, all unfolding within the picturesque suburban backdrop of fictional Hawkins, Indiana. The young cast members have dedicated a significant portion of their lives to this role; the fierce bonds shared by their characters have fostered a found family dynamic that audiences have embraced wholeheartedly. The series has consistently placed within the Netflix Top 10 across all 93 countries it measures, with Season 4 being the first English-language series to surpass 1 billion hours streamed on the platform, continuing as the third-most-popular English-language series.
The Duffer brothers now must painstakingly tie up all narrative threads, alongside a sprawling cast of 21 series regulars for Season 5—a daunting challenge, especially considering how many previously successful shows have stumbled in their final moments.
“They have experienced the disappointment of shows they cherished that ultimately failed to meet their fans’ expectations,” observes Shawn Levy, executive producer of “Stranger Things,” who initially advocated for the show (and the Duffers) via his company, 21 Laps, bringing it to Netflix in 2015. “They haven’t wanted to be—or will not be—one of those shows.”
The Duffers are keenly aware that the conclusion of “Stranger Things” holds greater weight than any other creative choice made over the past decade. They are unwaveringly committed to delivering a culmination in the final eight episodes that offers both resolution and the sense of natural progression. As Ross articulates it, when future viewers binge through the entire series, “it should feel like we didn’t neglect any storyline—it needs to connect seamlessly.”
“We’ve addressed every last detail we wanted to explore with the Demogorgons, Mind Flayers, Vecna, the Upside Down, Hawkins, and these characters,” emphasizes Matt. “This narrative is complete. It’s over.” (When pressed about their expenditures along the way, the Duffers shy away from specifics; Netflix’s chief creative officer, Bela Bajaria, states only, “We aim to invest as much as needed to fulfill the vision on the page, and this season is no exception. A report from Puck estimates the budget between $50 million to $60 million per episode.)
Ryan Pfluger for Variety
For Netflix, “Stranger Things” signifies the moment when the platform learned how to embody the corporate identity known today. This show birthed its now-thriving consumer products division and facilitated partnerships with brands like Nike and Coca-Cola, to Lego and Williams Sonoma for promotional efforts. The show’s first merchandising partner, Funko, has astonishingly sold 14 million Pop figures, including 1 million Demogorgon figures. Beyond merchandise, the story has also expanded into live formations; the prequel play “Stranger Things: The First Shadow” has been gracing stages in the West End (since December 2023) and Broadway (since April) and has already claimed two Olivier awards and three Tony awards.
It’s no surprise that Netflix anticipates the show will be a holiday highlight: the first four episodes debut over Thanksgiving, followed by the next three at Christmas, leading to the series finale on New Year’s Eve.
“After finishing a season, there’s always the comfort of knowing we’ll return to these characters again,” remarks Ross. “That’s going to be the toughest transition—realizing come January 1st that we won’t have that anymore!”
These last few months are undeniably bittersweet for the Duffers. The recent deal with Paramount aligns perfectly with Netflix ramping up its promotional campaign for their show, adding an extra layer of emotional intensity during this period. Despite maintaining ties to the platform they’ve called home, which includes exploring a potential “Stranger Things” spinoff, they acknowledge the impending shift. Once their current agreement concludes in April, they will be let loose from the “creation restrictions we have at Netflix,” as Matt describes it, stepping into a broader world that won’t be dictated by streaming metrics or defined solely by their singular achievement.
“Stranger Things” emerged within the frenzied onset of Peak TV, at a time allowing two novices unencumbered creative space combined with immense resources to narrate their tale. “It feels like a rare moment in time, like capturing lightning in a bottle,” says Matt. “Which gives us pause, making us wonder, ‘Can we replicate that?’”
Back on set, Matt and Ross stand with their team, strategizing the upcoming highly confidential sequence. A sudden input from Brown has notably flipped their meticulously crafted plans, just like the Upside Down.
“Ross and I will discuss how to edit it together,” Matt announces, as Ross, nervously chewing a pen cap, stands beside him. Moments later, they head back to the monitors to engage in that conversation, closely examining footage on Ross’s phone, their heads barely an inch apart, speaking in hushed tones just above a whisper.
This scene represents the closest moment they exhibit any discord in public.
“There was a minor disagreement there,” Matt notes later, his gaze momentarily darting to his brother.
Ross chuckles, “We prefer not to have disagreements in front of crowds.”
“People assume Ross and I see eye to eye on everything,” Matt adds. “That’s simply false. We’re just adept at concealing it.”
Atsushi Nishijima/Netflix
Since their childhood in Durham, North Carolina, as passionate film enthusiasts accompanying their father to movies at every chance, the Duffers exist in what Levy lovingly labels as a “twinhood bubble.” Sitting together in their postproduction suite in Los Angeles over a year later, Matt appears startled when queried about their time apart. “When it comes to work, never, except when we’re stationed at our individual computers—so what’s that, five feet?” he laughs, contorting uncomfortably in his chair. “There have been instances when Ross wasn’t present, and it caused a great deal of anxiety for me. One time, he was absent for a shot, and I ended up doing an obscene number of takes—like, 20 times—just because I couldn’t shake the notion that he might be dissatisfied with the outcome.”
Crafting “Stranger Things” only strengthens their existing mind-meld. “Ross paces intensely for hours, while Matt sits immobile, emanating a vibe of discontent as their thoughts race…” describes writer Paul Dichter, who started as a writer’s assistant in Season 1. “And once an idea sparks…”
“They light up,” interjects fellow writer Kate Trefry, who also wrote for “The First Shadow.” “You might feel they’re zoning out for the longest time, but they’re simply inhabiting a different dimension.”
The Duffers’ bubble of twinhood was firmly in place when M. Night Shyamalan collaborated with them as writers during the initial season of his mid-2010s Fox series, “Wayward Pines.” “It was unfair, given that there were two of them,” Shyamalan remarks. “They worked at twice the speed. They simultaneously shared a document, collaborating back-to-back on different segments. Obviously, that’s a rarity.”
Shyamalan enlisted them for their screenplay for “Hidden,” their directorial debut completed in 2012, which Warner Bros. subsequently stuffed into a VOD platform in 2015. Convinced their filmmaking journey had reached an end, the twins absorbed lessons from “Wayward Pines” to acquire sufficient confidence to pitch “Stranger Things.”
Levy remains enthusiastic recalling his first encounter with the show’s pilot script. “It broke numerous conventions,” he says. “It’s a narrative centered on kids, seemingly crafted for grown-ups. It oscillates between sweet coming-of-age elements and darker horror genre themes. It transgressed boundaries with remarkable confidence.” Yet, throughout his initial readings of the brothers’ writing, from his first meeting with them in March 2015 to producing the first season that fall, he perceived a notable contrast between the assertiveness of their written words and their reticent demeanor in real life.
“My initial impression was of them fidgeting with their hair and chewing gum nervously,” he shares. “They inhaled deeply and bluntly expressed that they weren’t adept at discussing feelings: ‘Our feelings reside in our writing.’”
They infused much of their essence into the inaugural season, drawing inspiration from cinematic influences such as quintessential Steven Spielberg childhood adventure and the terror of Stephen King, reflecting their early teenage experiences as outsider geeks with a core group of loyal friends. “We were engrossed in Magic: The Gathering, video games, and cinematic pursuits, having adventures outdoors,” Ross recalls. “Much of the show—especially during those initial years—was us channeling that experience.”
Curtis Baker/Netflix
Crucially, they selected their young ensemble carefully, seeking actors who resonated with the same distinctive spirit of misfits: Noah Schnapp for the gentle, small-framed Will Byers, whose disappearance sets the series in motion; Finn Wolfhard, angular and awkward, encapsulating the group’s leader Mike Wheeler; Caleb McLaughlin, steady and cool as the nerdy Lucas Sinclair; and Gaten Matarazzo, a vivacious character with a heart of gold as Dustin Henderson. Predominantly, they inflected Matarazzo’s cleidocranial dysplasia into his character development.
“I was open about discussing my condition,” Matarazzo, now 23, affirms. “But they specifically asked. They told me they cast the kids in this series due to their individual differences, not in spite of them. Their priority was my comfort, which left a lasting impression on me—one I still cherish.”
Maya Hawke joined the ensemble in Season 3 as the outspoken teen Robin. She has noticed how both the character’s evolution stems from the Duffers’ writing, alongside her own personality traits. “Robin isn’t me—yet I feel she represents how Matt and Ross perceive me,” she states. “I often wonder, ‘Why does she keep mentioning that she has a tendency to say the wrong thing?’ to which their response is, ‘Because you do that!’ And I’m like, ‘No, I’m absolutely poised and refined all the time.’ And they reply, ‘Uh-huh.’”
As the series progressed, this familial collaboration broadened to envelop the cast and crew, now exceeding 2,800 individuals for Season 5. “We share a unique connection with each other,” notes Wolfhard. “I talk to no one else in the same manner as I do with them.”
“Even amidst personal challenges, I never feel judged or uneasy around them, which is incredibly reassuring,” adds Schnapp. “Once you arrive on set, they welcome you with warmth and guide you back into what you need to focus on.”
“Everything hinges on them” comments McLaughlin. “The actors, producers, PAs, ADs—everyone looks to ‘Matt, Ross, do this, do that!’ I’ve never seen them falter. They’ve displayed remarkable composure for so long and serve as exceptional role models—both personally and creatively—by showcasing patience in their work.”
As uncertainty loomed and their livelihoods were at stake, the early seasons of “Stranger Things” demanded intense dedication; “seven days a week,” recounts Ross. “We took almost no time off and minimal time for ourselves. Breaks between seasons barely existed.”
Penske Media via Getty Images
“Beyond their talent and intelligence, they exhibit unparalleled work ethic,” credits Harbour, who portrays Jim Hopper, Eleven’s guardian and Hawkins’ former police chief. “I’ve never seen two individuals work as hard as they do—often to the point where I want to advise them, ‘Others are available to assist you.’”
Aside from pandemic-related delays and industry strikes, the Duffers admit their intense immersion resulted from their own choices. They were resolute about directing as much of the show as possible—a rarity for showrunners within the genre. (By the end of the series, they will have directed 24 out of 42 episodes.) Their influences include filmmakers such as Michael Mann, Peter Weir, and David Fincher, “who tend to concentrate very intensively,” remarks Matt.
However, they’ve come to understand that their story didn’t have to unfold in this manner. “Part of me laments not having the opportunity to tell a broader variety of tales over the span of 10 years,” he reflects. “Sometimes I wonder about that—since it consumed our entire 30s. I wish we had wrapped things earlier, yet it is what it is.”
He shares a quick glance with Ross, who interjects, “At the time we began, it was quite early for Netflix, and how many further opportunities will we find to narrate stories on such a grand scale? Whenever I contemplate the regrets that Matt mentioned, I feel grateful for our chance during this unique moment in the industry.”
“Staying this long was our decision,” Matt continues. “We could have diverged into films, yet we chose not to—and I’m pleased with that choice. We’ve told this story completely, and fortunately, we weren’t too old when we began, so we’re okay. I mean, Ridley Scott only began filmmaking in his 40s.”
Shortly after Skydance Media’s agreement to acquire Paramount Global concluded on August 7, the Duffers received a proposal from Cindy Holland, head of direct-to-consumer content at Paramount, who previously oversaw “Stranger Things” during her tenure at Netflix. “Everything unfolded rather swiftly,” recounts Ross regarding Paramount’s unexpected offer. He isn’t exaggerating: Within a week, Variety revealed that Paramount and the Duffers were in discussions to transition Upside Down Pictures from Netflix to Paramount. They officially signed the agreement on August 19.
The Duffers emphasize they weren’t seeking to leave, but in contemplating their future throughout the final season’s production, they realized what they truly desired wasn’t just crafting another series—it was to create their first feature film.
“Even though I have an excellent projector at home, I still take my 4-year-old daughter to the theater,” shares Matt. “We treat her to a massive Icee and giant popcorn. It’s an experience we’ve longed to pursue.
“We’ll be turning 42 soon,” he continues. “I remarked, ‘If we’re going to make a theatrical film, now is the moment!’”
When queried about their apprehensions regarding any recent headline-making strategies from Paramount Skydance CEO David Ellison that suggest an ideological shift, they pause, exchanging knowing looks before responding. “We are accustomed to having creative liberty to explore our interests and narrative desires,” Ross states cautiously. “Paramount is fully supportive of that.” He looks over to Matt.
“In the end, it all revolves around relationships,” adds Matt. In addition to Holland, Matt Thunell, who previously served as head of Paramount TV, was instrumental on “Stranger Things” before departing Netflix in 2022. The Duffers have maintained contact with Thunell “from the outset of the show,” Ross notes, as well as keeping in touch with Cindy over the years, acknowledging her exceptional contributions.
“Whatever’s discussed in the press remains there,” Matt interjects. “I focus on the connections I’ve fostered—the trust I place in Cindy and Matt completely.”
Clay Enos/Netflix
They shy away from discussing the intricate details of their negotiations with Paramount or Netflix’s counteroffer. “I’d prefer not to dive into specifics,” Matt states. “But I will mention that the primary allure for us was simply being able to pursue something for theatrical release, which isn’t an avenue Netflix typically explores.”
Bajaria—who replaced Holland following her termination in 2020—echoes this sentiment, stating, “I recognized that the definitive theatrical release was critical for them if they intended to venture into film.”
The success of the “KPop Demon Hunters” sing-along theatrical event in August, along with the forthcoming IMAX release of Greta Gerwig’s adaptation of “Chronicles of Narnia,” sparked a flicker of hope for the Duffers concerning the possibility of showcasing the “Stranger Things” finale in theaters. “Audiences miss out on experiencing the immense time and effort dedicated to sound and visuals; they witness it at a diminished quality,” Matt explains. “Beyond that, it’s about sharing that experience concurrently with admirers.”
When Variety proposed the concept of a theatrical release for the finale to Bajaria, however, she promptly dismissed it. “Many, many, many viewers have experienced ‘Stranger Things’ on Netflix,” she responds. “It hasn’t diminished in terms of conversation or community or fan engagement. Releasing it on Netflix grants the audience precisely what they desire.”
On the subject of the Paramount arrangement? “I had a forthright discussion with them, right?” she asserts. “I made it clear we’d always be fans and allies. We take immense pride in what we’ve constructed together.”
Should Bajaria not appear devastated by the possibility of losing her company’s premier homegrown talents, it could be attributed to the fact that the Duffers will persist in their collaborative ventures with Netflix. Two fresh projects from Upside Down Pictures are set to debut on the streamer in early 2026: “The Boroughs,” which follows residents of a retirement community confronting supernatural foes, and “Something Very Bad Is Going to Happen,” depicting a horror-filled week leading to a wedding—all of which, if met with success, would extend into ongoing series they proportionately oversee. Furthermore, an animated spinoff titled “Stranger Things: Tales From ’85,” while still awaiting a release date, is placed in the winter after the events of the second season. This timeline is favorable, Matt notes, “since the kids can remain perpetually young.”
Beyond this, discussions around a spinoff persist. Matt reaffirms their reluctance to “further extend what may spiral into an overly convoluted mythology” after Season 5. Nevertheless, Ross states that another “Stranger Things” piece would “operate within a marginally different realm,” yet maintains “there’ll be connecting elements.” Indeed, they have envisioned such a world—however, no, they are keeping it under wraps from even their closest collaborators at this juncture.
“They’ve been incredibly protective of discussions surrounding the spinoff, and I comprehend that Matt-Ross bubble must remain sacred,” Levy remarks. “I’m eager to extend the storytelling lifespan of ‘Stranger Things”—I won’t dare call it a “universe,” as that would be absurd.” He pauses. “How about the ‘STU’? Too soon? You know I’m counting on you to share that idea!”
Even during the prolonged waiting period, “Netflix has exhibited remarkable patience,” Matt reflects. “I sense that patience waning as we approach the show’s conclusion. However, they’re being understanding.” (After inquiring what the Duffers had communicated to Variety regarding the spinoff, Bajaria remarks that no timetable has been established. “I’d continually welcome more ‘Stranger Things” content,” she adds with a laugh. “When they feel ready, we’ll be prepared.”)
Atsushi Nishijima/Netflix
Regardless of how the spinoff materializes, the Duffers will no longer bear the all-encompassing responsibilities of being its showrunners. They plan to remain “deeply creatively engaged,” according to Ross, while they “hopefully write and direct something original during the interim, guiding it along.”
Speculating on what that “something new” might be remains a different challenge altogether. Given that Paramount holds several attractive franchises, such as “Star Trek” and “Transformers,” the Duffers do not seem intrigued by those routes. “It’s widely understood that there isn’t enough original content available right now. Everything is so focused on existing intellectual properties,” Ross concludes.
Yet they profess to be entirely unaware of what they may wish to tackle next. The week spent negotiating the Paramount deal felt both “s surreal” (according to Ross) and “immensely stressful” (as articulated by Matt). However, those dizzying moments have dissipated as they dive back into the demanding work on “Stranger Things.”
“I’ve ceased contemplating the future entirely because we’re so immersed in ‘Stranger Things,’” Matt states. “The entire focus is on ensuring we successfully land this journey. So, at present, no thoughts extend elsewhere.”
“And we’ve devoted a decade to this,” adds Ross. “Therefore, we’re striving to put forth all our energy into concluding this series effectively. No thoughts wander anywhere else presently.”
“At all,” Matt chimes in, momentarily pausing before declaring: “Let’s hope Paramount doesn’t catch wind of that!”
By Season 2’s conclusion in “Stranger Things,” the Duffers had reached a point of exhaustion. Following the incredible success of its debut season, Netflix urged the second installment to premiere before Halloween 2017—a deadline they met. Along with crafting the show, they sought to devise “a mythology that could be sustained over multiple seasons,” Ross recalls. Feeling fatigued, Matt remembers stating to journalists that the series would be “four seasons and done.” However, as they developed Season 3—a fun homage to “Jaws” centered around the July 4 holiday, which didn’t further the overarching plot—they realized, according to Matt, “We needed five seasons.”
“Once we delved into the fourth season,” Ross adds, “it was all about fully structuring the endgame.” As the chess pieces moved, the series’ characters scattered—Joyce Byers (played by Ryder), for instance, rescuing Hopper from a Soviet imprisonment—resulting in the running times for the nine episodes in the COVID-affected season to extend significantly (the Season 4 finale clocking in at two hours and 22 minutes). Within Hawkins, the intricate mythology of “Stranger Things” coalesced around a single menacing figure: Vecna (a.k.a. One, a.k.a. Henry Creel, portrayed by Jamie Campbell Bower), unveiled as the principal antagonist of the series.
The Duffers had always anticipated a character who would stand as the counterpart to Brown’s Eleven—the initial subject of the governmental experiments on psychically gifted children—and who that individual would be (the precise answer eluded them for some time) would remain a key plot twist arising at a pivotal moment, as Matt describes. Simultaneously, they aspired to craft “a sentient horror villain akin to Freddy Krueger or Pinhead,” recognized as the most terrifying horror villains of their youth. They credit Trefry for skillfully merging both concepts into a singular entity—One. “It was like a light bulb turned on,” they recount.
Courtesy of Netflix
As Season 5 begins, the characters, once strewn across locations, find themselves together in Hawkins, living under military-enforced restrictions. The narrative resumes 18 months following the Season 4 finale when Vecna opened the gateway to the Upside Down, breaking down the barriers between dimensions. Their collective presence has recalibrated episode durations, with most lasting around an hour, while Episode 4 stretches to 83 minutes, and the finale is anticipated to run approximately two hours, states Matt.
Upon entering the writers’ room, they recognized addressing the core queries surrounding what the Upside Down represents was paramount.” Ross asserts. “Each season posed the question: ‘Should we delve deeper into it?’ And each time, we leaned toward keeping it enigmatic. Eventually, we reached a consensus: ‘We must delve into it now!’”
Beyond that, as they charted the course for the concluding season, “everything was game for discussion when we initially started,” reveals Dichter. “We listed every character’s name on a whiteboard—all plot possibilities were on the table. They could emerge victorious or meet their demise. They could unite or be torn apart…”
“Or remain separated,” Trefry interjects. As the narrative progressed toward its dramatic climax, the writers acknowledged the necessity to deliver “grand visual spectacles,” while ensuring it didn’t devolve into a mere CGI extravaganza devoid of emotional resonance or coherent motivations.
“How do we maintain a connection to the core of what the show represents?” Trefry recalls their ongoing inquiries. “It’s never derived from cynicism. It’s never obnoxiously self-aware. It reflects the quest toward preserving innocence amid the chaos and horror of growing up.”
In developing the finale script, she recaps, “We revisited it repeatedly—a rigorous process that involved countless revisions. They’d commence writing, then return. We’d dismantle it to start anew, repeating this cycle over and over.”
The Duffer brothers analyzed series conclusions they deemed successful, including the finales of “Six Feet Under,” “Friday Night Lights,” and even “The Sopranos”—whose unexpected fade-to-black remains contentious yet is now generally revered. “The most effective conclusions remained true to their essence,” Ross contends. “Those seeking cleverness often went awry.”
Their task was aided by having a clear endpoint in sight, as Matt explains. “We’ve had a rough idea of the closing scene for years. It wasn’t something we strained to conjure. Elements were negotiated for weeks, but the foundational concept for the conclusion has remained intact for an extended period.”
He takes a moment to adjust his baseball cap adorned with a Warhol-like sequence of Stephen King’s likeness. “Regardless, we feel quite content with the conclusion we orchestrated,” he remarks with a sigh. “It’s nerve-wracking to put it out there. I can only anticipate the array of opinions it will generate!”
On that same day in July 2024, while filming Eleven’s major discovery in Episode 4, a significant coalition of stunt performers, crew members, and actors are positioned on the Hawkins backlot, rehearsing an adventurous sequence that Ross later terms a “logistically insane shoot of our lives.” After passing a handful of performers on stilts, a surprisingly subdued Schnapp steps aside for a moment to reflect on closing a chapter he commenced with his audition at the tender age of 10. At least, he thinks, it will conclude—eventually.
“It still hasn’t fully sank in,” he admits. “Reading Episode 8 is going to be emotional for sure.” Does he have any inkling of the finale’s story? “I’ve picked up whispers around here and there, but no details,” Schnapp replies. “They want to gather us all to read it collectively for the first time in one room.”
On September 8, 2024, the Duffers, along with the rest of the “Stranger Things” cast and select crew members present from the very beginning, gathered in the green room on Stage 16 to read the series finale, “The Rightside Up.” Due to the protracted writing process, the Duffers had to circulate draft pages to essential department heads to ensure sets and costumes were prepared in time for filming. (“Pages we hadn’t shared with Netflix,” Matt admits. “I’m uncertain if they were even aware of that.”) Yet, apart from the Duffers, Levy, writers, and a few executives, that warm Sunday in Atlanta marked the first occurrence of anyone in that room encountering the finalized script.
As they assembled, the actors initiated a chorus, chanting, “Speech! Speech! Speech!” Despite their belief that “we deliver terribly lacking speeches,” Matt rose to deliver an earnest message.
“Everything we cherished saying about the show, our experiences in making it, each of you as actors, and the characters—we endeavored to encapsulate within the script itself,” Matt recalls announcing. “I can’t express it better than that. We articulate far more effectively through writing. Let’s just proceed to the reading of the script.”
Midway through, the tears began to flow. “It felt as though they were chronicling the conclusion of our real lives—it transcended the screenplay,” Schnapp shares. “I’ll forever link my life to numerous pivotal scenes they depicted.”
Harbour struggles to adequately convey the depth of feelings stemming from that reading. “It’s akin to discussing my family members,” he professes. “The events that transpire in that script complete so many ongoing narratives initiated since season one. From kids starting in a basement to reaching the series end, character growth reflected through the passage of time is incredibly moving.”
Following the reading, Dichter recalls approaching Ross with a sudden realization regarding the conclusion of his “Stranger Things” experience. “I’ll be finished after 10 years, and it feels surreal,” he expressed. “And he replied, ‘Uh-huh.’ He hadn’t seemed emotional. I inquired, ‘You don’t feel done yet, right?’ to which he replied, ‘No, I still have months of shooting and a year of post-production left.’”
In their office, just over a year later and only days away from locking their final cut, Matt and Ross insist they have yet to truly experience that emotion. With an abundance of tasks ahead—sound mixes, color grading, visual effects, and the deluge of promotional activities—there simply isn’t an opportunity to dwell on that.
Yet, as they articulate their perspectives on the impending finale, it’s evident that they’re presently undergoing some feelings of their own. Remarkably, the production orchestrated the shooting schedule so that every principal actor’s concluding moment on the show coincided with their last day on set—something the Duffers have been vividly recalling repeatedly in the editing suite.
“Particularly those last 35 to 40 minutes of this episode represent our processing of the series’ conclusion and our farewells to these actors,” Ross notes. “We have just put the finishing edits on those scenes, and…” his voice quaking slightly, he continues, “it was overwhelming to edit it. The emotions expressed weren’t an act in those moments.”
And genuinely, they weren’t. “Everyone felt the fatigue from a year of shooting,” reflects Joe Keery, who brings the character of Steve Harrington to life. “While anticipation for the end fueled excitement for us all, once we approach the finish line, a sense of retrospection arises: ‘Oh man, could I please have just one more chance?’”
“On Winona’s last day, I was there” recalls Schnapp. “I thought, ‘This is a farewell in a work context; we’ll reconnect soon enough.’ But there I was, in her trailer, pleading, ‘No! You can’t leave!’ I held onto her, weeping uncontrollably. I truly didn’t anticipate the impact hitting me so profoundly.”
“That experience reshaped me as an actor for life,” says Hawke. “I view myself now not only as a different actor but a stronger one because of the opportunity to deliver my scene on such a high-stakes emotional day—merged with a high-stakes scene. It was a remarkable gift, albeit a 12-hour cycle of crying from me!”
Managing the actors through this sea of emotion proved challenging for the directors. “Endlessly filming take after take was hard to navigate,” Ross said, sifting through his hair. “You’re very conscious they’re processing this deeply. Occasionally, they became overly emotional for moments when they were actually supposed to be composed. We had to remind them, ‘You’re not meant to feel this yet!’”
As Ross shares, Matt observes and nods along, restraining himself from interrupting. When he finally speaks, he shares, “I doubt I’ll ever invest a decade into something where one develops this profound sense of family with participants. It’s exceptionally challenging. Each day signifies a farewell. Whereas each actor only has to say goodbye once, Ross and I must endure it four separate times. Each instance, I attempt to maintain composure. And I succumbed every time.”
