#watchmengate

The Duffers will parallel this speech (and the entire sequence before this, when her memories are unlocked, tbh) from Watchmen with Henry Creel (as Dr. Manhattan) and Will Byers (as Silk Spectre) in Season 5.

Arrival is on the Stranger Things 4 Inspiration Board.

In Arrival, the aliens can see all of time at once just like Dr. Manhattan in Watchmen.

Amy Adams' character uses that skill to access future events to influence her present.

Will and his Marty McFly-esque outfit gets more and more suspicious.

His perception of time is based on the philosophy of space and time "Eternalism".

Eternalism is an approach to the ontological nature of time, which takes the view that all existence in time is equally real, as opposed to presentism or the growing block universe theory of time, in which at least the future is not the same as any other time. Some forms of eternalism give time a similar ontology to that of space, as a dimension, with different times being as real as different places, and future events are "already there" in the same sense other places are already there, and that there is no objective flow of time.

It is sometimes referred to as the "block time" or "block universe" theory due to its description of space-time as an unchanging four-dimensional "block", as opposed to the view of the world as a three-dimensional space modulated by the passage of time.

For starters, "Pruit Igoe and Prophecies" from Zack Snyder's Watchmen are two different conpositions that were put together for the Dr. Manhattan's origin scene.

The original songs are called "Prophecies" and "Pruit Igoe" composed by Philip Glass for a film called "Koyaanisqatsi" that was released back in 1982.

This is what I found in the film's article on Wikipedia:

The film consists primarily of slow motion and time-lapse footage of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. Reggio explained the lack of dialogue by stating "it's not for lack of love of the language that these films have no words. It's because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live." In the Hopi language, the word koyaanisqatsi means "life out of balance".

The film is the first in the Qatsi film trilogy: it is succeeded by Powaqqatsi (1988) and Naqoyqatsi (2002). The trilogy depicts different aspects of the relationship between humans, nature and technology. Koyaanisqatsi is the best known of the trilogy and is considered a cult film. However, because of copyright issues, the film was out of print for most of the 1990s. In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, aesthetically, or historically significant".

And this is the sypnosis of the film:

The film begins with the Great Gallery pictograph in Horseshoe Canyon, Canyonlands National Park, depicting several tall figures standing near a taller, crowned one. The next scene depicts the Saturn V rocket during its Apollo 11 launch. It then fades to a desolate desert landscape, before progressing to various natural phenomena.

The film then incorporates humanity in the environment, with shots of choppy water, cultivated flowers, the artificial Lake Powell, a large mining truck causing billows of dust, power lines, mining operations, oil fields, the Navajo Generating Station, the Glen Canyon Dam, and atomic bomb detonations in a desert. A shot sees sunbathers on a beach, with the San Onofre Nuclear Generating Station in the background, before moving on to an aircraft, cars, and military vehicles. Time-lapses of cloud shadows move across skyscrapers, and various housing projects are in disrepair. Destruction of large buildings were depicted, including the demolition of the Pruitt-Igoe housing project in St. Louis. A time-lapse of a crowd queueing is followed by shots of people walking along streets in slow motion.

The next sequence features a sunset reflected in the glass of a skyscraper, before depicting people interacting with modern technology. It sees visceral depictions of traffic, followed by people hurrying to work, and the operation of machines packaging food. Many labors are aided with the use of technology. The sequence begins to come full circle as the manufacture of cars in an assembly-line factory is shown. Daylight highway traffic are shown, followed by the movement of cars, shopping carts, televisions in an assembly line, and elevators. Time-lapses of various television shows being channel surfed are shown. In slow motion, several people react to being candidly filmed; the camera stays on them until the moment they look directly at it. Cars then move speedier.

Shots of microchips and satellite photography of cities are shown, comparing the lay of each of them. Night shots of buildings are shown, as well as of people from all walks of life, from beggars to debutantes. A rocket is seen lifting off to sudden explosion; the camera follows the flaming engine and a white smoky trail as the debris falls. The film concludes with another image of the Great Gallery pictograph, this time with smaller figures. It ends with the definition of the titular Hopi noun ("crazy life; life in turmoil; life out of balance; life disintegrating; a state of life that calls for another way of living") as well as the translation lyrics that was sung in "Prophecies", one of the musical tracks in the film.

And when we look at the meaning of the film in the same article, we read this:

Reggio stated that the Qatsi films are intended to simply create an experience and that "it is up [to] the viewer to take for himself/herself what it is that [the film] means." He also said that "these films have never been about the effect of technology, of industry on people. It's been that everyone: politics, education, things of the financial structure, the nation state structure, language, the culture, religion, all of that exists within the host of technology. So it's not the effect of, it's that everything exists within [technology]. It's not that we use technology, we live technology. Technology has become as ubiquitous as the air we breathe ..."

According to Hopi Dictionary: Hopìikwa Lavàytutuveni, the Hopi word koyaanisqatsi (Hopi pronunciation: [kojɑːnisˈqɑtsi]) is defined as "life of moral corruption and turmoil" or "life out of balance". The prefix koyaanis- means "corrupted" or "chaotic", and the word qatsi means "life" or "existence", literally translating koyaanisqatsi as "chaotic life". The film also defines the word as "crazy life", "life out of balance", "life in turmoil", "life disintegrating", and "a state of life that calls for another way of living".

In the score by Philip Glass, the word "koyaanisqatsi" is chanted at the beginning and end of the film in an "otherworldly" dark, sepulchral basso profondo by singer Albert de Ruiter over a solemn, four-bar organ-passacaglia bassline. Three Hopi prophecies sung by a choral ensemble during the latter part of the "Prophecies" movement are translated just prior to the end credits:

"If we dig precious things from the land, we will invite disaster."

"Near the day of Purification, there will be cobwebs spun back and forth in the sky."

"A container of ashes might one day be thrown from the sky, which could burn the land and boil the oceans."

During the end titles, the film gives Jacques Ellul, Ivan Illich, David Monongye, Guy Debord, and Leopold Kohr credit for inspiration. Moreover, amongst the consultants to the director are listed names including Jeffrey Lew, T. A. Price, Belle Carpenter, Cybelle Carpenter, Langdon Winner, and Barbara Pecarich.

In my opinion, it's very on brand for Zack Snyder to use two songs from a cult film known from its visuals, the use of slow motion and with the intention to create an experience for the viewer. I don't know if the Duffers are familiar with koyaanisqatsi or its influence, but it's very intriguing that they decided to use the same ost Zack Snyder used for a film that Christopher Nolan thought was "before its time", a film that it's an adaptation to one of the most influential comic books ever created and a film that reflects the 80's nostalgia that the Duffers have infused to Stranger Things.

Henry Creel parallels Dr. Manhattan.

Me: stfu dr manhattan copycat