Binging on some ’80s movie splendour

WActor Noah Schnapp stars in Stranger Things, a series in which viewers get a regular and healthy dose of 1980s film grandeur. hen Stranger Things debuted last year, it felt like a concentrated, bingewatchable dose of 1980s film splendour. That’s one reason the Netflix series became such a phenomenon — all those nostalgic nods to Steven Spielberg, John Carpenter and Stephen King.

But it wasn’t all homage. In fact, the creators, the Duffer Brothers, cleverly subverted some of the most typical tropes from movies of that era, which kept audiences guessing.

Ahead of the show’s Season 2 launch Friday, we look back at five of the 1980s movie rules Stranger Things tossed out the window. THE ABSENT-MINDED ABSENTEE PARENTS

Both in real life and onscreen, the ’80s were the era of the latchkey kids — little troublemakers who took full advantage of their working parents’ divided attentions.

Think about the harried Mrs. Walsh trusting the weaselly Mouth to translate with her new helper Rosalita in The Goonies or Ferris Bueller’s clueless parents, whose work schedules (and starry-eyed adoration) blind them to their son’s “sick” day adventures.

In Stranger Things, however, Mom is the only one really paying attention.

Will’s mother, Joyce, played by Winona Ryder, is like a more scatterbrained Sarah Connor.

She has an axe and she’s not afraid to use it — well, OK, maybe a little afraid.

In the end, she’s the one to save the day, rescuing her son from certain death with the help of another grieving parent, police chief Jim Hopper (David Harbour).

The Goonies (1985), Ferris Bueller’s Day Off (1986) THE VIRGIN SURVIVOR “There are certain rules that one must abide by in order to successfully survive a horror movie: For instance, No. 1, you can never have sex.” So says Jamie Kennedy’s movie-obsessed character in Scream.

He’s right: Sex is deadly in Friday the 13th and Nightmare on Elm Street. In Halloween, Jamie Lee Curtis’s goody-goody Laurie earns the “final girl” title.

But Stranger Things (like Scream, incidentally) flouts the rules in the most inyour-face way. The start of the third episode cross-cuts between Barb’s desperate fight for survival against the monster in the Upside Down and Nancy’s first time (set to Foreigner’s Waiting for a Girl Like You, naturally).

The old rules tell us that the buttoned-up Barb (Shannon Purser) will survive and Nancy (Natalia Dyer) is doomed.

But that’s not how things turn out. Pour one out for the consummate third wheel.

Friday the 13th (1980), Nightmare on Elm Street (1984)

A studious dork harbours a secret crush and yearns for a place in the popular crew.

That could describe any number of ’80s teen movies, from Sixteen Candles to Pretty in Pink and Say Anything. At first, that’s Nancy’s story, too. Steve (Joe Keery) is her very own Jake Ryan, and he’s finally noticed her.

But she quickly realizes there are more important things than making out with a hottie and hanging with the cool kids — like saving your best friend from a faceless beast. If that means ditching your new boyfriend to spend time with a slightly stalkerish social pariah, who happens to be the brother of another captive, so be it.

Sixteen Candles (1984), Pretty in Pink (1986) THE SNOBBY JERK OF A BOYFRIEND If John Hughes taught us anything, it’s that the sweet social outcast deserves to be with their much more popular beloved (even if they’d obviously be happier with Duckie, but whatever).

Said love interest is always already taken, of course, which means step one is unveiling the current partner’s many flaws.

The Goonies really perfected the script with Troy — his name alone conveyed his preppy jock awfulness. But you see similarly cartoonish boyfriends in Can’t Buy Me Love and Weird Science.

Steve seems like one of those guys, and if we were playing by 1980s Movie Rules, Nancy would ditch him for Jonathan (Charlie Heaton), the sensitive guy who’s been pining for her. But she doesn’t — and that’s actually OK because Steve isn’t the typical one-note bad-boy.

He ends up proving himself, admitting he made mistakes and ditching his rude in-crowd friends.

He even wears a supremely goofy Christmas sweater, reminding us that, deep down, we’re anyway. all just dorks

Can’t Buy Me Love (1987), Weird Science (1985) THE PLOT-DRIVING

ALIEN The purpose of a mysterious otherworldly creature is usually to send some human character on a journey, such as Elliott in E.T. or Billy in Gremlins.

Rarely do these alien beings have much of an interior life. Eleven (Millie Bobby Brown) appears at first to be nothing more than a tool, a way for Will’s friends to find out what happened to their missing buddy. She also uses her special powers to help their search, plus humiliate a bully or two along the way.

But as the story goes on, Eleven has her own arc and her own dark backstory, which is more compelling and tragic than that of any other character. Just as she refuses to be used as a machine in Hawkins Lab, she also forces us to see her as more than a telekinetic plot driver.

E.T. the ExtraTerrestrial (1982), Gremlins (1984)