[S4E5] Part V
Ruby can be mad and frustrated with Stan all she wants, but what he's doing now is to placate Gene, and Ruby is part of the reason he's in this spot, to begin with. And not to say Stan is a pushover, but he's much more likely to put his head down and do what he has to do as opposed to Ruby, who's going to, well, not.
[S4E5] Part V
There were several interviews, not one, and they happened at Hampton Court, before she was removed to Syon. The first happened on the 6th November, and Queen Katherine just flat out denied everything. Cranmer was part of a deputation at that point, with Suffolk, Norfolk, and Bishop Gardiner and it all happened in front of her attendants. Cranmer accurately thought the Queen (who was so focused on formal correctness, unlike her Tudors depiction) would never confess in front of everyone, so he visited again, several times over the next day or so. (q)
Gardiner is, obviously, playing the part of the interrogator that Cranmer was (although you get the impression Cranmer would have been a bit gentler about everything), and Katherine takes a bit of his historical role too, because most of her dialogue (which comes across as a little too coherent and mannered considering the state she is in) comes from her confessions, which Cranmer certainly helped her to write.
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In the first episode of a two-part story, Dan (John Larroquette) insists upon disobeying his doctor's orders by returning to work immediately after minor ulcer surgery. Predictably ending up back in the hospital, Dan is still determined to prove that he's far from incapacitated, this time by making whoopee with sexy Sheila (Leslie Bevis) in his hospital bed. This, coupled with some angry words from Harry (Harry Anderson) , causes Dan to lapse into a coma--and to very nearly become a candidate for the morgue!
The season was met with positive reviews, with critics praising the performances of the cast (particularly those of Brown, Sink, McLaughlin, Bower, and Quinn), the visuals, action sequences, realistic themes, emotional weight, and the darker, more mature tone, though some criticized it for being overstuffed due to the lengthier episode runtimes. The first volume of the season received 13 nominations for the 74th Primetime Emmy Awards, including Primetime Emmy Award for Outstanding Drama Series, winning five. .mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 uldisplay:none
In an interview on the Netflix podcast Present Company with Krista Smith, Ross Duffer discussed season four's much more mature tone, which he indicated will be at least partially achieved by "[leaning] into" the horror genre:
The character of Eddie Munson is based on Damien Echols, one of the West Memphis Three who was wrongly convicted in 1994 of the deaths of three boys due to his appearance, which residents tied to being part of a satanic cult. The writers drew from Paradise Lost, a documentary covering Echols, for Eddie's story.
Kate Bush's "Running Up That Hill" is featured multiple times during the season, including as part of the key scene in episode 4 with Max escaping from Vecna. The Duffers had envisioned a powerful emotional song for Max and had tasked music supervisor Nora Felder to determine which song would be used. Felder came upon "Running Up That Hill", which the Duffers agreed was a great fit for both the music itself and the theme of dealing with God. Winona Ryder also mentioned in an interview that she had been dropping hints to include the singer since the first season, arriving on sets in her Kate Bush T-shirts. Felder knew that Bush had been cautious on music licensing before, but after contacting her, Felder learned Bush was a fan of the show, and after reviewing the script pages where the song would be used, Bush agreed to clear licensing rights to the song for the show. The song saw a resurgence of popularity with an increase of over 8,700% on streaming charts, reaching the second-most heard song on Spotify playlists in the United States and the fourth-most song for worldwide charts. Metallica's "Master of Puppets" was prominently featured in the season finale when Eddie played its guitar riffs and solo as music to lure and distract demobats in the Upside Down. The song also got a significant boost peaking at number one on streaming platforms, and made listings on music charts in both the U.S. and UK for the first time since the song's original release in 1986.
Shortly after the season's release, viewers reported that Will's friends did not acknowledge his birthday in an episode of the season that took place on that day. The Duffers said in an interview that they could rectify the matter by changing its month, which they called "George Lucas-ing the situation", in reference to the canon changes that George Lucas had made to the original Star Wars trilogy to match what the prequel trilogy had added. Some viewers took this to imply that scenes from earlier seasons were also being edited, including one scene where Jonathan takes discreet pictures of a pool party that Steve, Nancy, and Barbara are holding. The writers stated that "no scenes from previous seasons have ever been cut or re-edited", including this scene.
TVLine gave Sadie Sink an honorable mention on June 4, 2022 for her performance in the episode "Chapter Four: Dear Billy", writing: "Sink not only nailed the tasks [of Max trying to put on a brave face for her friends despite being anxious and afraid] while still maintaining the edge that her character had received upon enrollment in the school of hard knocks, she also played Max's bittersweet monologue to her late stepbrother with a mixture of sincerity and regret that all but defined the word 'heartbreaking'." Millie Bobby Brown was also an honorable mention on July 2, 2022 for her performance in the penultimate episode "Chapter Eight: Papa". The site wrote: "Brown unleashed a pain and fury that was every bit as impressive as her character's powers. Later, when 'Jane' was offered a chance to rewrite history, in a manner of speaking, Brown beautifully, wordlessly played the emotions that were roiling inside of her alter ego. The scene was complex, deep and tricky to navigate, especially without any dialogue on her part. Yet Brown led us through it as surely as a lantern through a dark night." 041b061a72