This article was originally written by Pedro Lauria for the Linguagens magazine of the Regional University of Blumenau. You can access it here.
This article was translated by AI. The original article can be read here.
RESUME
Stranger Things, one of the most watched series on Netflix, stands out from its recreation of the 1980s, full of nostalgic references: movies, music, fashion, flagship series of their streaming platforms. Disney+‘s WandaVision was the most watched series of all streaming platforms during its exhibition. The TV series, which is part of the Marvel universe, goes through the different aesthetic periods of sitcoms from the second half of the 20th century. Both series being the past by emulating aesthetics from previous decades, develop a profound analogic technostalgia and end up influencing a spectatorial behavior of their audiences that refers to pre-streaming period. We will make this analysis taking into account that these audiovisual products are an integral part of digital services that represent the obsolescence of analogic elements and technologies. More than just contradictory, such duality seems to be instrumental at a time when the saturation of the viewer with technological speed and the hegemony of digital is increasingly evident.
this article seeks to explore the dichotomy, developments and mechanisms that make Stranger Things and WandaVision occupy a hybrid place. In this article I will analyze how such series romanticize products and historical events. D
Keywords: Stranger Things; WandaVision; Nostalgia; Technostalgia; Streaming
1 INTRODUCTION
(…) I miss playing games every night, making a triple mountain of waffles at dawn, watching cowboy movies until I fall asleep. But I know you’re getting older. Growing up. Changing. And I think… if I’m honest, that’s what’s scary. I don’t want things to change. So I guess that’s why I came here, to maybe try to prevent that change. To turn back the clock. To make things go back to the way they were. But I know that’s naïve. It’s not how life works. It goes on. It’s always going on, whether you like it or not. And, yes… sometimes it hurts. Sometimes it’s sad. And sometimes… it’s surprising. Happy. So, you know? Keep growing. Don’t let me stop you. (Jim Hopper, Episode 8, Season 3 of Stranger Things)
Police chief Jim Hopper’s posthumous letter to his daughter Eleven in Stranger Things (DUFFER BROTHERS, NETFLIX, 2016-) has a clearly metalinguistic function. In addition to its narrative function of recounting a father’s nostalgia for his daughter’s maturing process, it is also aimed at the viewer who relates to that audiovisual product by consuming its nostalgic images. So while Hopper feels nostalgia for his daughter’s pre-adolescence, we feel it for another reason: for the period in which the series is set.
Similarly, when the sorceress/superheroine Wanda Maximoff walks the streets of suburban Westview mourning the death of her husband, Vision, she can only hide in the past (or rather, in its audiovisual representations). In the plot of WandaVision (JAC SCHAEFFER, DISNEY+, 2021), the main character turns Westview into a great suburban sitcom (figure 1) – set in the 1950s, along the lines of Hello, Sweetie! (I LOVE LUCY, JESSY OPPENHEIMER, CBS, 1951-57), The Adventures of Ozzie and Harriet (THE ADVENTURES OF OZZIE AND HARRIET, OZZIE NELSON, ABC, 1952-1966), Daddy Knows Best (FATHER KNOWS BEST, ED JAMES, CBS, 1954-1963), Leave it To Beaver (JOE CONNELY AND BOB MOSHER, CBS, 1957-58; ABC 1958-63) and My Sons and I (MY THREE SONS, DON FEDDERSON, ABC 1960-65; CBS 1965-72). Over the course of the episodes, Wanda goes through the history of sitcoms and television itself until she reaches the contemporary period, emulating the peculiarities, aesthetics and technologies of each period.
It is worth noting that both Stranger Things and WandaVision are not exceptions within their streaming services, but exponents among a large number of series set in the not-so-distant past. Iris Du (2018, p.28) draws attention to other Netflix productions set in past decades, such as the 1970s in The Get Down (BAZ LUHRMAN AND STEPHEN ADLIS, NETFLIX, 2016-17), the 1980s in Glow (LIZ FLAHIVE, NETFLIX, 2017-19) and the 1990s in Everything Sucks! (BEN JONES AND MICHEL MOHAN, NETFLIX, 2018). Researchers Mayka Castellano and Melina Meimaridis (2017) draw attention to Netflix‘s strategy of “resurrecting” finished TV series, but with groups of nostalgic fans, as was the case with Arrested Development (MITCHELL HURTWITZ, FOX, 2003-2006/NETFLIX, 2013-2017), Fuller House (JEFF FRANKLIN, NEFLIX, 2016-20) and Gilmore Girls: A Year in the Life (AMY SHERMAN-PALLADINO, NETFLIX, 2016).
In the case of Disney+, this nostalgic appeal is even more explicit, since one of the platform’s great attractions is its collection of animations and productions such as Snow White and the Seven Dwarfs (SNOW WHITE AND THE SEVEN DWARFS, DAVID HAND, 1937), Cinderella (CINDERELLA, CLYDE GERONIMI ET AL., 1950), 101 Dalmatians (ONE HUNDRED AND ONE DALMATIANS, CLYDE GERONIMI ET AL., 1961) and The Lion King (THE LION KING, ROGER ALLERS AND ROB MINKOFF, 1994).
2 THE USE OF NOSTALGIA
Before we go any further, it’s important to give a brief conceptualization of nostalgia, since, as is clear from nostalgia studies, there is a wide range of definitions. For this reason, as Janover (2000, p.115) states, it would even be more appropriate to use the term in the plural form. The word comes from the Greek nostos (homecoming) and algia (suffering) and its origin, as explained by Svletana Boym (2001, p.2), comes from the definition of the Swiss doctor Johannes Hofer in 1688, when it was seen as a disease. An illness that affected soldiers who missed their homeland, in a patriotic display of love for their place of origin. Based on this historical context, the researcher defines nostalgia in contemporary terms as “mourning” for the loss/impossibility of returning to an enchanted world with clear borders and values (Boym, 2001, p.3).
Based on this conceptualization, Boyn presents at least two categories of nostalgia. The first is “restorative nostalgia” (2001), which, according to Boyn, is at the heart of national and religious revivals, as it is linked to a yearning for the reconstruction of a lost land. The second would be reflexive nostalgia (BOYM, 2001), which puts memories of the past into doubt by working with the irrevocability of the past against the contradictions of the present and human finitude. The binomial of reconstructing (or restoring) and remembering (or reflecting) has obvious complementarities, but also fundamental differences. After all, returning to the past, as well as being an axiomatic impossibility, brings with it a reactionary feeling towards the present itself, and its possible secular and technological advances. Reflecting on the past, meanwhile, underlines the substantive nature of understanding that change is an unavoidable part of existence.
These nostalgic perspectives, of course, are subjective and sometimes mixed – it’s not possible to define in a single form how a viewer or audience feels when watching a work set in the past. As Stranger Things’ Jim Hopper himself points out in his monologue, his feelings are sometimes contradictory: “Sometimes it hurts”, “Sometimes it’s sad”, “Sometimes… happy”. Happy”. That’s why, in this work, when we talk about nostalgia, it’s important for the reader to keep this range of interpretations in mind.
In the sequence I will analyze how Netflix and Disney+ use these series based on nostalgic representations and references as a way of addressing the feelings and anxieties of their viewers in relation to the current technological moment – of which the streaming services themselves are a part. To do this, we will look at three different ways in which this appears: in the aesthetics of the series, in the analog technostalgia they present and in the way they stimulate a spectatorial behavior that refers to apointment viewing (when the audience watches at a predetermined time). We’ll dedicate a topic to each of these. Without further ado, let’s get to them.
2.1 A NOSTALGIC AESTHETIC
The clearest way in which these series refer to previous decades is, of course, because of their aesthetics. This, in fact, is one of WandaVision‘s great draws. Its poster (figure 2) makes direct reference to the period in which the series begins: the 1950s – using an illustration that refers to the style of the period. In addition, the poster gives a central role to television, a household appliance that is closely linked to the stories of sitcoms in their different decades.
The homage, of course, doesn’t stop at the poster. As well as making an ode to the history of sitcoms, the series plays with the different technical qualities of images according to the period being portrayed – for example, the use of black and white when the series is set in the 1950s and 1960s. These aesthetic constructions become even more evident when contrasted with the “normal aesthetic” of the series, in the moments when it shows the action in the real world. This is because the series plays with the dichotomy between the “sitcom world” created by Wanda (the character has the power to transform reality), where she goes through her grieving process, and the real world – where the military tries to invade that space at any cost.
Thus, at the moment when a military truck tries to invade the “world of sitcoms” and is violently expelled by the protagonist, it is possible to make a counterpoint with our feeling of wanting to keep that world intact from modernity. Another very effective analogy between what is being portrayed in the series and the viewer’s feelings comes through the main character’s feelings of mourning – since we can draw parallels with our feelings of mourning for the past.
In the case of Stranger Things, this nostalgia for the past is dedicated to a specific period: the 1980s. And the references are not restricted to the setting, but just as in WandaVision, to all pop culture of the period: whether making nods to the classics of the 1980s, such as E.T. – The Extraterrestrial (STEVEN SPIELBERG, 1982), Gremlins (JOE DANTE, 1984) and Ghostbusters (IVAN REITMAN, 1984), the soundtrack (with The Clash and David Bowie); historical situations (such as New Coke and the re-election of Ronald Reagan); and even in its cast, with Winona Ryder from Beetlejuice (TIM BURTON, 1988) and Heathers (MICHAEL LEHMAN, 1988), and Sean Astin from The Goonies (CHRIS COLUMBUS, 1985). As Iris Du rightly summarizes, “the nostalgia for the series is so prominent and obvious that it reaches the level of self-consciousness” (2018, p.29).
This “self-conscious” character that Iris Du comments on, and which can easily be applied to WandaVision, works almost like a pact between the producers and their audience: there will be countless narrative excuses to include as many references to pop culture from that era as possible. A very striking example of this “narrative excuse” to refer to the past occurs in one of the most iconic moments of season 3 of Stranger Things. In it, Dustin and his girlfriend Suzie “save the world” by managing to communicate using amateur radio equipment. However, not before a memorable duet of the song The Neverending Story by the band Limahl, theme song of The Neverending Story (WOLFGANG PETERSEN, 1984). The narrative need for the song, of course, is planted in such a way as to make it possible to pay homage to the period.
As you might expect, the aesthetic references of Stranger Things are not limited to the content of the series, but also appear in its promotional material. Its promotional posters, for example, make direct reference to the visual work of Drew Struzan, famous for posters for 1980s classics such as Star Wars: The Empire Strikes Back (IRVIN KERSHNER, 1980) and Indiana Jones and the Temple of Doom (STEVEN SPIELBERG, 1984) (figure 3). Another example is the series logo itself, which uses the font ITC Benguiat. This is a font often used in fiction books from the 1980s (DU, 2018, P.30) – mainly by the author Stephen King (figure 4). In addition, the presentation of each episode as if it were a book chapter reinforces the feeling that we are following a product that stylistically brings certain references to analog media.
I’d like to point out that the nostalgia present in Stranger Things and WandaVision at no point seeks to construct a historical record of the period, but rather works as a simulacrum of a less digital time, which can either anesthetize or exacerbate this “technological shock”. A return to a golden age that can only exist within the diegetic world of the series and whose sense of nostalgia can only be assuaged by consuming its images. In other words, the very platform that emerges as an intrinsic part of this “technological shock” is the one that offers images from the pre-digital decades as a way of mitigating it. This is the same discomfort that Iris Du (2018) presents in her thesis, asking herself:
What if these narratives of romantic nostalgia and the aesthetics they carry are a way of slowing down digital experiences that have become too unnerving? What if familiar visual gestures borrowed (from that analog moment) were a means inciting pleasurable viewing experiences, as opposed to the growing vulnerabilities, anxieties and even boredom around digital technology? (DU, 2018, P.5)
Continuing our analysis, in the next topic I will show this dichotomy between analog and digital technology cited by Iris Du.
2.2 ANALOGIC TECHNOSTALGIA
As discussed in the previous topic, another feeling deeply worked on by these streamings series is precisely nostalgia for the analog technology. The concept of analog technostalgia refers to the affection, reminiscence or longing for outdated technologies (CAMPOPIANO, 2014) such as vinyl, VHS and cassette tapes. This is perhaps where the contradictions between the nostalgia provoked by these series and the platforms where they are inserted become most evident. After all, streaming services are the direct result of a process of media digitization. In the case of Netflix, this becomes even more emblematic, as the company started out renting physical media and was one of the companies that was best able to take advantage of the change in model.
It’s important to point out, right from the start, that this nostalgia for analog has a great deal to do with aesthetics. Perhaps the most direct example of this is , the collector’s version of the DVD/Blu-Ray box of Stranger Things, which emulates a worn-out VHS box (figure 5). A somewhat direct material application of the commodification of nostalgia (GRAINGE, 2000). Also noteworthy is the “Hawkins Video” label on the box, referring to a fictional video store in the series – which is ironic, to say the least, if we consider the origin of the streaming services that produce Stranger Things.
To begin to understand this aesthetic nostalgia for VHS and other outdated technologies, it’s important to remember how the transition from the 1980s to the 1990s was marked by the passage from a mostly analog world to the digital world. In the case of Stranger Things, this feeling of analog technostalgia is corroborated by the series’ creators, brothers Matt and Ross Duffer. In an interview with Rolling Stones[1] , they highlight their memories of the “analog culture” of the period. According to them:
“We were still pre-Internet and pre-cell phone for most of our youth. We were part of the last generation to experience hanging out with friends in the woods or riding the train tracks. (…) We were also movie nerds and had all the 80s classics on VHS that we would continue to watch over and over again. That was our reference point for what the seventies and early eighties were like.” (Duffer Brothers for RollingStone.com)
I highlight the passage in which they say that “they were the last generation to experience going out with their friends in the woods” to refer to nostalgia as a potential process of identity formation . In the case of analog technostalgia, it seems quite clear that it is a reaction to the rapid speed of technology, an intrinsic condition of modernity. In the words of Svetlana Boym (2001, XIV) “The counterpoint to our fascination with cyberspace is (…) the epidemic of nostalgia (…) as a defense mechanism against the accelerated rhythms of life”. To watch Stranger Things, after all, is to return to a world without cell phones, the internet or computers – technologies that have fundamentally changed the way we relate to others. In Hawkins (the town where the series is set), all relationships are made through wall phones, walkie-talks and amateur radio. Entertainment is linked to tube TVs, VHS camcorders and cassette tapes. Sociability is made up of physical encounters – be it bike rides, games sessions in the basement or in the city’s public swimming pool.
Wetmore, in her analysis of Stranger Things (2018), says that these representations of the “analog world” have a dual function: to arouse nostalgia in older generations, but also to build an exotic world for young contemporary audiences. According to the researcher (2018, p.9), such series demonstrate that the “past is a foreign country” in which “when trouble strikes, no one can pull out a cell phone to solve it”. An environment that, in all likelihood, a large part of the new generation would be relieved not to have experienced. Lacey Smith (2018) even highlights the work of these series in using technologies from previous decades as a simplistic version of contemporary technologies, in order to create a greater connection with younger audiences. An iconic example is the near omnipresence of the Walkie Talk in films and series set in the 1980s, serving as a “proto-cell phone”.
Another important way in which this analog technostalgia manifests itself is through its constant use in the narrative as obstacles for the characters through their malfunctions. I cite as an example the case of the radio in the 2nd episode of WandaVision and the 3rd season of Stranger Things – which suffer from interference and a worsening of transmission quality, bringing problems/questions to their characters. It would be logical to imagine that, when faced with the reproduction of the failures of such devices, the viewer would feel relieved to be living in another technological logic. However, this is not such a direct correlation.
In her thesis, Iris Du (2018) draws attention to the constant malfunctioning of analog objects during important moments in Stranger Things. This happens in the most diverse ways: through the static on the television, the muted telephones, the jamming of mechanisms and the ruining of photographic film. As the researcher defines it, “errors and breaks in analog media and objects (…) catalyze the action of the series” (DU, 2018, P.35). She points out how this always happens in ways that digital objects would never do – an analysis that goes in the same direction as a “romanticization of ruins”. In other words, we know how much those analog errors affected and frustrated us at the time we experienced them, but in a way – we miss them.
Schrey (2014) discusses what causes this re-evaluation of the malfunctioning of analog media – so that they are now appreciated in a romantic way. He works with the idea of Jonathan Sterne’s (2006) metaphysics of remembrance, which suggests that the process of analog remembrance refers to a capture of life – and that in its countless processes, there is also a certain walk towards death (thus appealing to an analogy with the ephemeral nature of human life itself). This feeling can be understood anecdotally by anyone who has ever tried to make successive copies of a VHS, for example. The loss of quality with each “copy of the copy” refers precisely to this very human sensation of ageing. Within this idea, there would then be a feeling of natural identification between humans and analog technology. Meanwhile, the process of “transforming digital into binary code” would turn the media into a mere simulation, lacking a “human essence”.
Iris Du brings also suggests a metaphysical reading of this dichotomy by pointing out how the intrinsic problems and decay of analog technology represent this human experience of death and aging in opposition to the “always duplicable” digital (2018, p.42). From this perspective, even the “clean” quality of the digital image seems to evoke a certain strangeness or dishonesty (DU, 2018, P.15) – after all, the “perfection” of the digital image doesn’t seem to match humanity itself. It’s not for nothing that we often see the reproduction or emulation of analog defects – such as the graininess of tube TV, wires in film or the hiss of vinyl – in both WandaVision and Stranger Things. They end up bringing, in an artificial way, precisely that “imperfection” that digital doesn’t carry with it.
In order to complement these interpretations, I would raise another factor that seems to operate in this nostalgia for technological failures in Stranger Things and WandaVision: temporal distancing. In other words, the ruins of analog technology remain in our memories, with the necessary emotional distance to no longer bother us. We would hardly have any kind of positive feeling about current object problems – such as the lack of coverage area on cell phones, Internet outages, the need for constant software updates, bugs, etc. This includes, of course, errors linked to the streaming of the digital platforms themselves, such as abrupt loss of image quality or interruptions and freezing of the transmission. It is precisely our experience of watching streaming that we will focus on in our next topic.
2.3 SPECTATORIAL BEHAVIOR
Finally, I think it’s essential to think about this hybrid place of Stranger Things and WandaVision also from the perspective of the behavior of their audiences in consuming these series. After all, if we’ve seen how nostalgic feelings are aroused in their viewers from what appears on screen, it’s interesting to analyze whether this has any reverberations in the way they watch these series. And we can see that yes, there is a special regime of spectatorship for these series that harks back to older ways of watching serialized productions. And this is mainly due to the pop phenomenon conditions of these series, as we’ll go into in more detail below.
First of all, it’s worth explaining that the way WandaVision and Stranger Things were launched on their streaming platforms was diametrically different. The former, like some other streaming series such as The Mandalorian (JON FAVREAU, DISNEY+, 2020-) and The Falcon and the Winter Soldier (KARI SKOGLAND, DISNEY+, 2021-), was released in weekly episodes. This format is a counterpoint to the way in which Netflix itself popularized the release of streaming series – making all the episodes of the season available at once.
The weekly releases turned the experience of watching WandaVision into a collective phenomenon, where its audiences (some of them Marvel Universe fans) gathered in collective forums and on social networks to discuss theories about how the series would unfold after each episode. This behavior was strengthened by the plot of the series itself, which built up a mysterious scenario that was explained little by little, episode by episode. Thus, the series generated a constant buzz between its episodes, which led many critics[2][3] to point out the similarities between the behavior of its audience and that of viewers of classic mystery series (from a pre-streaming period): Twin Peaks (DAVID LYNC, ABC, 1990-91, SHOWTIME, 2017) and Lost (J.J. ABRAMS ET AL., ABC, 2004-10).
The comparison with the series from the 2000s is even more representative because Lost was marked as one of the first “Internet 2.0” TV series, as it became one of the first audiovisual products to become a cultural phenomenon on social networks while it was being aired. Over the years, the series was marked by networks of fans who met to discuss theories about its mysteries (WILLIAMS, 2015). Thus, the nostalgic reaction of WandaVision fans is understandable, not only to the period portrayed in the series, but to the very possibility of recreating the experience that audiences had with the 2000s series. It is worth remembering that this is not unprecedented in recent television history, since this behavior is very similar to what happened with Game of Thrones (DAVID BENIOFF, D.B. WEISS, HBO, 2011-19). However, the fantasy series was shown on closed television, following a typical weekly release schedule.
Stranger Things, on the other hand, doesn’t use this system of weekly episode releases. As with other Netflix hits, the season of the series is released all at once. And, in the case of such a culturally relevant series, this strategy also ends up affecting the way its audience watches it: with each season’s release, it’s common to see viewers moving to watch it as soon as possible. There are many reasons for this: from anxiety, to the feeling of knowing what’s going on in the series before others do, to preventing spoilers (revealing plot information that could spoil the experience).
In this way, it is possible to relate this predilection for watching episodes as soon as they are released as an emulation of appointment viewing[4] from the analog era (CASTLEMAN AND PODRAZILK, 2010) – something commonplace at a time when the only way to consume content was to tune into the channel at a certain time. Although seemingly counterintuitive in contemporary times, appointment viewing allows viewers to comment synchronously on the events of the series with other fans on the networks, highlighting this social experience. Fans know that “taking a while” to watch the series can mean missing out on the excitement and discussion about it. This way of consuming Stranger Things, in turn, goes deeply against one of the biggest banners of streaming platforms: watching the series at any time.
Thus, it is deeply revealing that Netflix itself ends up stimulating such action on the part of fans by promoting binge-watching[5] . Iris Du points out how through mechanisms such as “auto-play” (if the viewer doesn’t pause, the episodes are played uninterrupted) and the release of all the episodes of the season at once, binge watching destroys the separation between television and cinema (2018, p.24). Thus, watching Stranger Things on its release becomes a social event, just like watching a movie at the premiere or seeing the last chapter of a soap opera. In marketing terms, this creates a buzz on the networks that ends up monopolizing discussions about pop culture in the days following the launch. This phenomenon, of course, makes some viewers, who might prefer to watch the series in a more restrained way, tempted to binge watch so as not to lose the momentum of the discussion, as well as encouraging people who don’t know the series to watch it.
So, in the midst of ever-recurring discussions about “the death of cinema and TV”, in which streaming platforms are pointed out as one of the culprits[6] (due to the practicality and autonomy given to the user), it is at least striking that the platforms encourage practices so similar to these two devices. In a supposed modernity marked by the fact that “you can watch in your own time”, we see, on some scale, the idea that “you need to watch exactly at that moment” – referring to a pre-streaming spectatorial behavior.
3 CONSIDERATIONS
In this article, we’ve been able to discuss some of the elements by which Stranger Things and WandaVision are able to refer to the public’s nostalgic eagerness to consume them. Elements that range from the aesthetic proposal to the representations of analog technology and even the way these series are watched. Thus, it is not superficial to say that these issues point to a complexification of the discussion of the “obsolescence of analog technologies” in favor of a “primacy of the digital”. It is quite clear that this transition involves many more hybridities and imbrications than the fatalistic discourse of the “death of analog” can contemplate. The “analog experience” and/or nostalgia become commodities widely desired by the public, while its saturation with the digital grows.
In this way, the reasons why Disney+ and Netflix want this type of content in their catalogs are understandable. It’s worth noting that, especially in the case of the latter, these intentions are present from the moment their series are conceived. After all, Stranger Things was chosen to be produced using browsing data from its own users[7] who were interested in consuming productions set in the 1980s and with a nostalgic atmosphere typical of works such as E.T. – The Extraterrestrial and Gremlins.
The quest for these companies to produce series and films set in more analogical times certainly attenuates and, in a way, anesthetizes the viewer from the increasingly rapid flows of technology – by allowing them to transport themselves for a few moments to a “simpler time”. It is clear to us, as a counter-effect, that a futuristic, technology-focused series like Black Mirror (CHARLIE BROOKER, CHANNEL 4, 2011-14, NETFLIX, 2016-) can generate a saturation of the viewer with their own reality. Not coincidentally, the catchphrase “this is very Black Mirror“[8] has come to be used to make cynical, ironic and/or pessimistic comments about contemporary events.
Finally, I believe it is still too early in the discussion about the future of streaming to say whether the metaphysical propositions about the relationship between humanity and analog technology by Iris Du (2018) and Jonathan Sterne (2006) apply. Perhaps, as they say, human beings will never get completely used to the digital experience – and will continue to emulate some aspects of analog technostalgia regardless of our technological moment. However, I would point out that we are in a stage of technological transition, just as we were in 1950 (with the advent of TV) and 1980 (with the entry of digital) – not for nothing periods referenced respectively in WandaVision and Stranger Things. Perhaps, when streaming technology is hegemonically consolidated, we’ll see more nostalgic works from the pre-streaming digital period in the 1990s and 2000s. Although it is not our aim to speculate on the uncertainties of the future, if there is one thing that nostalgia studies allow us to say, it is that today will always be a simpler past of a more complex tomorrow.
[1] https://www.rollingstone.com/tv/tv-features/stranger-things-how-two-brothers-created-summers-biggest-tv-hit-105527/ Accessed on: 02/03/2021
[2] comicsbeat.com/wandavision-and-the-legacy-of-lost/ Accessed on: 03/03/2021
[3] https://nerdist.com/article/wandavision-twin-peaks-similarities/Acesso on: 03/03/2021
[4]A term used to designate the behavior of having a specific time to consume audiovisual material – as happens with television programming.
[5] The behavior of watching several or all the episodes of a season at once, like a big movie.
[6] Article “Netflix: Is streaming killing the cinema industry?” at: https://www.bbc.com/news/av/business-47336214 Accessed on: 20/03/2020
[7] https://www.meioemensagem.com.br/home/midia/2016/08/02/stranger-things-e-o-uso-de-algoritmos-pela-netflix.html Accessed on: 17/04/2021
[8] https://www.museudememes.com.br/sermons/isso-e-muito-black-mirror/ Accessed on: 17/04/2021
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