The Heartbreaking/Hopeful Punch of Nostalgia: Final Part
Stranger Things, Season 3, episode 8, otherwise known as the shell for one of the most magical, nostalgic-to-some, annoying-to-others, no-one-saw-it-coming scenes of recent history.
Here is the outline (italics represent what we’ve covered so far, bold is what is covered in this post):
A strong woman
What scene are we talking about?
The reaction to it (seen through the response to the context, which will be continued after we discuss the context)
The context of it
The type of woman Suzie is
Dustin’s predicament
The outsiders
The reaction to it (having seen the context)
Heartbreaking hope (the salvation of nostalgia, Suzie/Dustin as heroes)
“eternity in the heart”
death not a part of life
what Suzie/Dustin save us from
insufficiency of existentialism
long for eternal things
Who is the same “yesterday, today, and forever”?
Heartbreaking seriousness (the salvation from nostalgia, Hopper/Joyce as heroes)
The insufficiency of these heroes
(I will use the same explanatory paragraphs for these pictures and then work on these last two outline points.)
These two moments are the contrast I’m trying to get at. And I think it would be best to see them in the video once more if you haven’t for a while. Not so that you will get the nostalgia back in order to enjoy this post more, but so that you can see what these pictures even are. What does a girl throwing out her arm in triumph have to do with two people who look totally defeated in some sort of a compound? Nothing, unless there is a song playing during both of these scenes that unites them in the strangest way.
The reality of the situation requires both of these shots. Both of these circumstances are at play. Hopper and Joyce are in the compound, standing in front of a locked safe, and they need the code. Dustin called Suzie to get that code and this song is part of the bargain.
Both couples have a role to play in this scenario, and it would not be fair to leave either out in terms of the importance of their role.
Let’s start with the basic reasons why both couples are heroes. Suzie/Dustin get the code. Hopper/Joyce use the code to get the keys, which leads to them destroying the Mindflayer. On that level, it is very easy to see why both couples are heroes here.
But that is not why I’ve been writing about them. I’ve been writing about them because they are heroes in much more substantial ways, ways that go beyond the Stranger Things franchise.
Heartbreaking Seriousness: The Salvation from Nostalgia
We covered the heartbreaking hope of Dustin/Suzie, and her arm outstretched toward an undefined hope for future things that do not end with “death is a part of life.” The hope they pointed at does not have a shelf-life, nor does it have any substance unless there is something sufficient to sustain an eternal hope. So we have to decide, either it was totally meaningless (in which case we all ought to be ashamed to desire a meaningful future), or there is something actually there that makes hoping for an eternal (and meaningful) future, not only a viable option, but essentially natural to us all.
So why would Hopper/Joyce be heroes by saving us from that? Why not just let that song roll on repeat forever, with Dustin and Suzie singing to one another over the radio waves forever? It is the reality of the fact that as they sing there is a Mindflayer chasing the car which will eventually run out of gas, and the reality of the fact that Hopper, Joyce, and Murray are not really Russians and don’t really belong in that compound. It is the reality that things will be much worse very soon for not only all involved, but for potentially all, period.
The reality is, we need to be saved from danger in order to enjoy whatever eternity there is worth hoping in. And what Hopper/Joyce save us from is thinking otherwise, that is, thinking we can enjoy that future, or that song, or come to it without dealing with that strangest thing, death.
This is where those who say, “C’mon, get the code!!! WHY ARE THEY SINGING!!!???” are correct. They may not know why the code is worth getting, since it provides no meaningful future in their worldview (if they are existentialists, or “here-and-now-only-ists”), but at least they know without that, the show is over.
And this is where I’d like to remind you of the picture above of Hopper/Joyce, listening to the song Dustin/Suzie are singing. Those two pictures are, for the most part, simultaneous. Could there be a greater contrast? There is another picture I will add to help remind you.
Here you can see the lyrics to the song, as Joyce hangs her head in despair and Hopper stares off down the tunnel, not to look for the Russians, but in utter disbelief that those words are being sung over the radio rather than numbers to Planck’s Constant.
I just watched a video of a guy who tries to dissect this situation similarly to the way I am, but he sort of boils it down to the adult perspective verses the child perspective. I think there is some truth to that, but if you pay attention, you will see that not all the children in the scene are on board with Dustin/Suzie’s song, and that many adults who watched this scene (as I said, who would be in their late 30′s-mid 40′s) were sympathizing with Dustin/Suzie for the sake of nostalgia. In other words, the adult/child perspective gap is not a sufficient explanation. The fact is, even Dustin, who was as serious as ever got lost in the moment. And Hopper (spoilers), for someone convinced he’s about to die, has the mind to look up and smile at Joyce, saying, “It’s ok, it’s worth it. Do it!” But why was it worth it, Hopper? At that moment, he’s more in line with Dustin/Suzie than he is with Joyce, who sees only his immanent death, which causes her to hesitate. He sees something more, that there is value in life, even if it takes death to secure it.
And this is related to why they are heroes. Hopper/Joyce are the slap in the face to Dustin/Suzie when they might have forgotten about the danger they were in. Dustin is chuckling at the end of the song. But when Suzie gives the code, what you see in Hopper is someone who knows life is fragile, and that they are in great danger, and maybe he knows he’s not likely to make it out alive already. But if he doesn’t punch in the code right away, no one makes it out alive. And this is why it is such a heartbreaking scene to me. The song ends, the hope filled look at the future has had its moment, but Hopper only cares about one thing, and as soon as he has that code, he turns around and punches it in. There is no hope without that, and he knows it. That perspective is essential too.
Here we see the salvation from nostalgia. The stark reality that we won’t live forever in the world as it is now, and as we are now. All it takes is a measly Russian compound, a monster from another dimension, and a forgetful mind (Murray’s issue) to threaten certain death for them and maybe everyone else. But we know it is no less true when you take out the Russian compound, the monster and Murray. We know it is true on the streets we walk and the roads we drive. Everywhere we go we know it could be our last trip there, or if we were really giving it thought, that we might not even make it there.
What Dusin/Suzie do is save the world by reminding us that there is an eternity worth longing for, or that life is not just about right now. What Hopper/Joyce do is save the world by reminding us of immanent death. The code didn’t save Hopper. And Joyce barely made it out alive and eventually will die (by now, if she were not a fictional character, she would be in her 80′s). They reminded us that what it will take to ever reach that future is to see the threat to it, and face it. To “get that code” is not all that matters, but it matters.
The insufficiency of these heroes is seen in that neither of these hero pairs works on its own. Dustin/Suzie lacked the urgency (even Dustin forgot what was going on, chuckling after the song was over) and desperation that would move them see the threat to that future. They show us the reality of a substantial meaningful hope (one we need not be ashamed of). But they do not show us the urgency of facing the threat to it. Hopper/Joyce listened in despair as two people hoped for that future, when all they could see is the threat and the need for the code. But the code did not save everyone’s life. If Hopper truly survived the explosion, he’d still likely have died of lung cancer before 2019, or some other random thing that makes the life expectancy of men top out at 78.
The point is, neither of these couples completes the picture; they just paint a good portrait of one part of (for the sake of this discussion) a two part landscape. These two parts: 1) eternity in the heart of man, and 2) the penalty of death.
Penalty?
Consider this verse from the Bible: “Looking to Jesus, the founder and perfecter of our faith, who for the joy that was set before him endured the cross, despising the shame, and is seated at the right hand of the throne of God.” (Hebrews 12:2)
Here is one with perfect perspective. The joy set before him was the reward of his labor, that is the glory of future joy for himself and all his redeemed, whom he died to redeem. What lies ahead? Something worth glorying in and hoping in, something substantial. What was the cost? Death on the cross. What was the threat? His own perfect wrath against sin. This is the penalty. “For the wages of sin is death.” (Romans 6:23)
Death is the penalty for sin, death forever, a sort of living-death. A death that lives forever, under the weight of justice for sinning against a holy God. But Jesus’ death sufficiently paid that penalty for all who come to him. He suffered, the just for the unjust. He “got the code” all on his own, then “took the explosion” all to himself, and yet, he did it “for the joy that was set before him.” Shortly before he died he said, “Father, glorify your Son, that the Son may glorify you.” (John 17).
Here are a couple of final passages from the book of Revelation chapter 21 (that scary book that tells us the immanent danger we are in (i.e.the compound, the monster, the forgotten code, the reluctance of Suzie to give it - type of situation we are in), and something of an eternal hope.)) What is in parentheses is added by me:
“Behold, I am making all things new (in the future, and forever)…To the thirsty I will give from the spring of the water of life (eternal life, meaningful, substantial, actual life) without payment (for he already paid the cost on the cross).
Just prior to this he says, “Behold (that is, wow, you never saw this coming), the dwelling place of God is with man. He will dwell with them, and they will be his people, and God himself will be with them as their God. He will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning, nor crying, nor pain anymore, for the former things have passed away.”
This is to say, there is an eternity worth hoping in, substantial and founded upon the finished work of Christ.
But there is another side, the side that many ignore who accuse Christians of inventing heaven as a way to make us feel better about dying. Oh no, dear person. For the Christian, death is more deadly and serious than for anyone else. For just after he says what he says about heaven, he says: “But as for the cowardly (those who are too afraid to face the reality they are in, and face their need for a savior), the unbelieving (those who suspect God of lying to them about what he says), the detestable, as for murderers (which Jesus said we are when we are even angry with one another), the sexually immoral, sorcerers, idolaters, and all liars, their portion will be in the lake that burns with fire and sulfur, which is the second death.”
This is to say, there is a threat to that eternal hope: death, and the second death, which Christ suffered in order to save all who come to him.
So I say that scene points to great truths, truths that no one intended to be there, and yet are unavoidable, like the air the actors breathe. I do not say this scene points to Christ. I say it points to two things about us. We long to live forever because we were made to. And we cannot (on our own) avoid the penalty of death (and eternal death) because God is just. Those truths may not be seen in this scene by every Christian, but every Christian, or Christian-to-be will see it somewhere. And many who know nothing of Christ see Dustin/Suzie singing of future hope and smile (their most genuine smile) without knowing why. Others urge Hopper/Joyce on, “Hurry, hurry, get the key!” without knowing what for.
I’m suggesting to you, however few of you ever read this, that there is a reason why we do these things. We know two great things: God made us to live forever, and we are in danger from his wrath. The Christian knows two more great things: we really are sinners, and Christ came into the world to save (only) sinners.
Death is the strangest thing. One day it will be no more for some, and for others, it will be all there is. Christ is the hinge upon which these two turn. He said, “It is finished” upon the cross just before he died. Let us find out what that means.
















