Anyway! While I’m on the subject of big-budget franchises with David Harbour and extremely affected Russian accents in them (she says, several days after making the first such post), I have a number of (mostly uncomplimentary) thoughts about how the Russians in Stranger Things season 3 are constructed and written and framed, but they all pretty much boil down to “Steve knocking out the Russian guard in a fistfight is classic propaganda”.
The villains of s1 and s2 can best be described as, well, sometimes the bad guys are smart too. The Lab and the Mind Flayer are competent. They are threatening. When they work in secret, they’re very difficult to detect. Their motivations appear to be largely internally consistent, and to exist independently of Our Heroes (well, up until s3, anyway). Their actions have logic behind them and are intended to help achieve their goals. They pose a genuine challenge to and even frequently outwit or outfight Our Heroes - except when it really counts.
By comparison, the Russians in s3 are cardboard props for Our Heroes to knock down. Not a single one of them has a distinct personality beyond ‘funny accent villain’ (except maybe the Terminator expy, who is a Terminator expy). They act as plot devices, not characters; their actions don’t always seem to have a consistent internal logic behind them, and don’t always even benefit them or move them toward what poorly-defined goals they might have. Rather, they’re reduced to whatever the writers think will, in the moment, make them look Big and Bad and Scary (or Cute and Funny and Likeable, in Alexei’s case), oppose (or, again re: Alexei, assist) Our Heroes’ goals, and/or move the plot forward.
That’s plain old bad writing. By itself, it’s unremarkable. Lots of writers make these mistakes when they construct antagonists.
But also: the Russians - who, again, are not written or presented as full, individual people with goals, motivations, and coherent internal realities - are framed as simultaneously a terrifying, irresistible, insidious threat to everything the viewer is assumed to hold dear, and weak, incompetent, bumbling buffoons. And that’s where we tip over into propaganda.
I’m sure this has been talked about at length by people more knowledgeable than me. But this, to the best of my understanding, is one of the primary ways propaganda works. It presents an enemy, defines them as an other - not a person, like you and me, not really - and establishes them as a clear and present threat. It has to make them dangerous. It has to make them scary. It has to make its audience feel personally threatened and endangered by the very existence of this other, so that its audience wants to see that other defeated, subdued, gone. They could be in your unassuming Midwestern town! They could be hiding under your crowning symbol of capitalist success! And you would never know until it was too late, and they’d already unleashed unimaginable horror on the world and way of life you treasure, destroying it forever!
But also, propaganda can’t give the enemy too much credit. Too much fear plays into your enemy’s hands, leaves your own people afraid to move against them. And, if the enemy looks competent enough to pull off the kinds of atrocities pinned to them, then they might start looking smart. Like people who might have good ideas. Like people who might be able to win.
So the enemy also has to be shown to be weak. Pathetic. A laughingstock. Easily outwitted and defeated by, for example, four bored kids - because the least of us is still smarter, stronger, better than the best of them.
So you might show that enemy as cunning and devious enough to build a secret base and laboratory under a shopping mall in the heart of enemy territory without anyone noticing - but too stupid or lazy to outfit it with any kind of security system. Powerful and unstoppable enough to hunt down and murder a man with impunity in the middle of a crowd - and it’s notable that the only person the Terminator expy actually manages to kill is one of his own - but weak and useless enough to lose a fistfight to a teenager who has, every other time he’s fought another vanilla human, had his ass absolutely handed to him. Terrifying and insidious - but ultimately powerless and pathetic.
Anyway, that’s why I’m worried about s4 trying to take Our Heroes to Russia.
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