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She refuses to talk for awhile and doesn’t have any idea how to act around other kids. Brenner and his Hazmat-suited goons are trying to capture. Picking up after last episode’s cliffhanger, “The Weirdo on Maple Street” also reveals more about the mysterious runaway girl whom Dr. It’s a mother’s instinct, the supernatural equivalent to dashing into a burning building. When Joyce flees, the house lights up again with the same distress signals - and, in this moment of peril, she decides to go back inside. It feels like a menace and Will’s attempt to communicate with his mother. When she gets it, the house comes alive with disturbances: the lights flicker, the boombox in Will’s room starts playing the Clash, the wall distends like the television in David Cronenberg’s Videodrome. (We know from last episode’s flashback that Joyce took Will to see Poltergeist, so it must feel like déjà vu for both of them.) After being contacted by a strange voice she recognized as her son’s the night before - an incident that fried her phone - Joyce buys a new phone and sits perched in a recliner with the receiver in her lap, waiting for another call. In perhaps the most powerful sequence in “The Weirdo on Maple Street,” Stranger Things brings yet another ‘80s touchstone into the mix, suggesting that Will has become a ghost in the machine like Carol Anne in Poltergeist. She doesn’t have the “cool-girl” distance of Heathers and Beetlejuice anymore. Though she’s shown flashes of the person she was before Will disappeared, particularly in her shorthand with Hopper, Joyce has spend these first two episodes in a constant state of bleary-eyed determination, as Ryder plays this difficult role with raw, authentic emotion. Instead, the role is giving us Ryder as we’ve never quite seen her before, casting an actress known for cool, dark, urbane wit as a chain-smoking, working-class single mother from the Midwest who’s fighting like hell to find her son. As Joyce, Ryder doesn’t draw on her past for a moment - and this on a show that does almost nothing but reference the past. The Duffer brothers are aware of the Ryder iconography, but so far, Stranger Things has been smart about tweaking it. (I’m reminded of a favorite Onion story: Nation Falls In Love With Girl From Record Store.) As Reality Bites made it almost insultingly clear six years later, she was the avatar of alterna-teen cool. If you grew up on early-to-mid-’80s popular entertainment, but your taste started to shift more toward, say, the Clash’s “Should I Stay or Should I Go” and Modern English’s “I Melt With You” (to use episode-appropriate examples), there was something resonant about Ryder’s image. Heathers didn’t come out until 1988, four years after the show is set, but Ryder’s performance hit Gen-Xers like your humble recapper hard.
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Casting Winona Ryder in Stranger Things seems like an appropriately ‘80s thing to do for a series so immersed in the era.