Pop Culture’s Global Odyssey: Unpacking Stranger Things’ 1980s Allure and American Cultural Imperialism

Stranger Things is a Netflix original series widely acclaimed for its ability to transport audiences to the 1980s by interweaving supernatural storytelling with geopolitical intrigue. It pays tribute to 80s American popular culture and explores the anxieties surrounding Cold War politics. By intertwining these themes, Stranger Things offers a nuanced exploration of a historical context through a Western lens, invoking globalisation and the subsequent question of cultural imperialism.

Stranger Things owes a significant part of its appeal to its exploration of the concept of globalisation. This refers to the intricate web of interconnectedness among different cultures, societies and economies across the globe (O’Shaughnessy 2012). The show weaves this theme into its narrative, showcasing how the characters’ lives in a seemingly small American town are profoundly impacted by events and forces beyond their borders. Globalisation is reflected in the very fabric of the show’s plot. The supernatural occurrences and mysteries that unfold in Hawkins, Indiana are linked to a vast and secretive government laboratory, implying that actions on a global scale have repercussions even in seemingly remote places. Moreover, the portrayal of the Upside Down – a parallel dimension – underscores the idea that the boundaries between different worlds, physical or otherwise, are not as rigid as they may appear.

The show’s characters are also caught up in the tide of globalisation. Eleven, a central character with psychokinetic abilities is a result of secret experiments conducted by a multinational corporation. Her existence is a testament to the extent to which global players can influence local dynamics, even shaping the lives of individuals without their knowledge or consent. Further, Stranger Things references ‘Invasion of the Body Snatchers’ and John Carpenter’s ‘The Thing’. Both are American-produced films that act as metaphors for communist infiltration and corruption (Ni Flainn 2022). Their influence reinforces the idea of cultural homogeneity, as decades-old assumptions about the USSR and communism are revived in a piece of contemporary popular culture. This highlights how American values and ideas can be spread globally through popular culture and shape audiences. 

However, amidst the show’s celebration of the interconnectedness facilitated by globalisation, it subtly raises concerns about its darker aspects. The focus on American culture underscores the potential for dominant cultures to overshadow and marginalise other expressions. The portrayal of a homogenised and idealised version of American culture in the third season, particularly through its geopolitical themes, reminds us that globalisation can sometimes result in the imposition of certain cultural narratives, potentially erasing diverse perspectives in the process. The show’s nostalgic elements are legible to a global audience because American popular culture has been widely propagated through various channels such as movies, music, news and television. In this way, American popular culture acts as a dominant culture. 

Nielsen’s table (Nielsen 2023) shows that the top 15 streaming programmes in 2022 were all American, with the exception of Bluey, an Australian children’s television series (but even then, Disney owns the distribution rights). This economic imbalance leads to a concentration of media power in the hands of a few dominant media players (Alghannam 2021). This leads to the overshadowing and suppression of local and diverse cultural narratives. 

In essence, Stranger Things beautifully encapsulates both the promises and pitfalls of globalisation. It paints a picture of a world where actions reverberate globally and where the boundaries between cultures blur, while also cautioning us about the risks of cultural hegemony and the loss of diversity that can accompany such interconnectedness. The show’s narrative serves as a mirror to our own world, inviting us to ponder the ways in which globalisation shapes our lives and to reflect on how we can navigate its complexities to ensure a more inclusive and diverse global landscape.

Alghannam, A 2021, ‘Netflix and Its Cultural and Economic Hegemony’, Khaleejesque, Blog post, 20 June, Viewed 24 July 2023, <https://khaleejesque.me/2021/06/20/netflix-and-its-cultural-and-economic-hegemony-2/>.

Nielsen 2023, ‘Streaming Content Ratings 2022’, Nielsen National TV Panel, viewed 24 July 2023, <https://www.nielsen.com/insights/2023/streaming-unwrapped-2022-was-the-year-of-original-content/>.

Ni Fhlainn, S 2022, ‘A Rift between Worlds: The Retro-1980s and the Neoliberal Upside Down in Stranger Things’, Gothic Studies, vol.24, no. 2, pp. 201-218.
Available at: https://doi.org/10.3366/gothic.2022.0134

O’Shaughnessy, M 2012, ‘Globalisation’ in J Stadler (ed.), Media and Society, 4th edn, Oxford University Press, Victoria, Australia, pp. 458-471.

Street, J 2013, Politics and Popular Culture, 1st edn, Polity Press, United Kingdom.
Available at: https://www.perlego.com/book/1535528/politics-and-popular-culture-pdf