In the past, movies and TV series had divisions that were mirrored and portrayed through different planets, distant galaxies, the upper world and the underground world, the underwater world, and so on. Screenwriters easily portrayed the communication between the worlds, creating adaptive spacesuits, or characters that did not need to adapt at all. But, as already mentioned in the text, things in America have gone too far for current screenwriters to be able to show the division in such an easy and simple way. Parallel universes and their characteristic ability to decompose guests from another dimension into the smallest particles is perhaps the only way to describe the division. However, the creative mind cannot reconcile itself with all that and is forced to find a way to show the possibility of communication and structural survival in and with the other universe.
The ingenious script from Stranger Things leads us to think of the following: If the script succeeds in a creative way to offer a solution to a problem of a metaphysical nature, and, at the same time, there is a huge intentional or unintentional similarity with psychoanalytic theory and the work of some of the greatest minds in that sphere, then the question arises as to whether the solution to the division is within that framework. Lacan says: “The fantasy sets the frame of reality.” (Fink, 2007, p. 222.) Is it possible for creators to be the only ones who successfully reflect the reality, the problem, the symptom, and even the solution to the problem?
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