Parental Guidance in Stranger Things
There’s a LOT that could be said about Netflix’s Stranger Things: the characters, style, themes, etc. Soon enough there’ll probably be a review of individual seasons on this website. But one of the things that makes the show so excellent is the roles of key characters. I don’t know about you, but when I’m watching a show and a character is either completely useless, unempathetic, or weak, it disinterests me. If it’s only one character I can live with, if it's overwhelming…then I take issue. There are many ways the show (in its first two seasons– 3 is another story for another time) does characters well. But two of the most indispensable characters in the series aren't the loveable adolescents, but the adults.
Letting kids be kids: One of the things that makes the show so good is that the writers understand the characters’ roles. And while each one plays a part, they can only act within their capabilities. The party (of Dustin, Mike, Lucas and Will) are essential to the plot because of their relationship to Eleven, Will, and their ability to think outside the bounds of natural reality due to their fantasy games.
However, all of the child characters, even Eleven (who fights demi gorgons) are limited in means, experience and capability to deal with certain situations. All the characters are poorly equipped to deal with the evil government officials and the supernatural otherworldly monsters, but the children are the least equipped. That’s realistic and the way it should be: the child characters are ultimately dependent on either the protection or guidance of the adults like Joyce and Hopper.
Universal Mom: Joyce Byers is definitely one of the most important characters in the first season and arguably the show. While a concerned mother might be inadequate to deal with supernatural powers and the government, Joyce does her darndest to keep up:
It’s Joyce’s drive and commitment to finding her son in season one that moves the plot and turns other characters onto the idea there may be a conspiracy.
While the children want to find their friend, it’s Joyce’s commitment to the search that leads Hopper to assist.
Joyce’s compassion as a mother makes her essential to the most powerful character in the show: Eleven. Joyce doesn't even know Eleven. But when she sees what she assumes is an emotionally traumatized or damaged child she instantly takes on the parental role trying to shield and care for her. This is essential because even though Eleven is powerful, she is still a child who’s never had the proper paternal love and care she needs.
Part of good writing is for a creator to obey the rules of logic: If A is true then so are the consequences of it. If Eleven is a child who’s never had a parent she won’t understand social graces, she won’t have standards for how she’s to be treated (since she’s been abused and manipulated her whole life). And, as shown when we arrive at the 3rd season–she won’t know how to navigate a relationship or set boundaries without the help of an adult. This leads us to the other indispensable adult in the show, Jim Hopper.
The Enlisted Father: Jim Hopper, like the other key characters in the show, isn't perfect but plays an essential role in the plot and to the other protagonists. While an alcoholic sheriff isn't the best person to deal with our antagonists, he’s competent and committed down to the wire:
Hopper keeps searching for Will (in season one) even when the rest of the town thinks Joyce is insane. Joyce isn't his wife and Will’s not his child; but, because of the loss of his own daughter, he cares enough to be pursuing the mystery even at his own peril.
Hopper is the primary character (even more so than Joyce) moving the plot in both season 1&2 with relevant actions. The party are the heart of the show, but being children they’re incapable of really acting on their theories or pursuing solutions. Hopper has to take the dangerous actions for the children (like investigating the corrupt government facility) and put himself on the line.
Hopper assumes a role of responsibility over Eleven and arguably has the best relationship with her. Mike becomes her boyfriend, but the romantic affections can be selfishly motivated (as we see in season 3 when Mike wants Eleven all to himself without considering her feelings). Hopper is the support Eleven needs and there’s no selfishness or personal gain motivating him. He protects, provides and teaches her, serving as the father figure she’s never had.
What makes these characters so good? DON’T MAKE THEM AWFUL PEOPLE
So I’ll breeze past the Don’t make your characters garbage human beings detail as quickly as I can. But still, it has to be mentioned. What do I mean by this? Example:
It’s okay to give your character flaws or errors in judgment/have them make mistakes. You absolutely should do this or they won’t feel real.
It’s NOT okay to make the unrepentant people with NO desire or aspiration to be better/redeeming qualities.
Check out some concrete examples using this show:
It’s okay that Joyce has a scumbag ex-husband showing that maybe she used poor judgment or didn't have high standards in men. Though she might not have respected herself much by choosing Lonnie (her ex-husband) when she was young, she deeply loves her children.
It would NOT be okay if Joyce still tolerated her terrible ex-husband and didn't care how badly he treated her children. If Will went missing and she was too busy to notice or search for him none of us would empathize with her.
You might think these things go without saying but oh…they don’t. I’ve seen some shows where I was left hating the primary characters in five minutes due to their actions. Make us empathize with your characters in some small way. If we don’t, we might just stop watching/reading whatever the story is.
DON’T IGNORE REALITY:
This is another thing that should go without saying, but it's a mistake lots of creators make. We all want some level of unrealism in our fiction. If everything played out exactly as it did in normal everyday life, no one would watch television or read books. We want to see our leading ladies encounter handsome strangers, we want characters to choose good even when evil is seemingly far more rewarding, we want the person we bump into for five minutes in the hallway to become our best friend. And, we also want to see bad people meet justice in poetically ironic ways. But one thing we still desire in our entertainment, is a sense of realism in the way human beings (whatever their role or personality) behave.
Basically, recall what I said before about having A be true, then all consequences of the fact must go in hand.
Example:
If your character has a troubled childhood and past trauma, they’ll have commitment issues.
If your character has been extremely sheltered and never met anyone outside their circle they won’t be prepared to deal with harsh hardened people.
In short:
DON’T give your characters unrealistic abilities they wouldn't have.
DON’T allow your characters knowledge or abilities they wouldn’t possess.
DO let the experiences and talents unique to them shine.
DO show us how those unique talents play a role in your specific story.
In Stranger Things the characters have unique talents that make them helpful in the story. Joyce’s role as the compassionate mother makes her indispensable. If she were an uncaring parent, Will might have stayed missing. However, she isn’t a superhumanly skilled combatant and she doesn't even know how to properly administer CPR without Hopper’s help. Hopper is a committed small town cop but his resources are limited as is his ability to deal with the unnatural threats like demi gorgons. If I sign on to see a small town single mother combatting monsters and searching for her child, what makes me invested in the story is the creator obeying the rules and context of the world. In other words, I have to watch this person with limited means (similar to how my own would be combatting paranormal kidnapping) persist and eventually succeed in finding their lost loved one. Have the children act like children, the teenagers act like they do (which is another article all together because some of the teens in this show are decidedly less useful then others cough* Nancy), and let the grown ups do their jobs.
Examine your favorite characters in shows, good or bad. Think about why you're rooting for them or why you aren't. And then see how you can apply it to your own work.
-Jubilee