‘It was pretty depressing when Stranger Things ended’: Finn Wolfhard on growing up on TV – and his new life in music

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The actor spent almost a decade fighting monsters – and making friends – on the hit Netflix show. Then, last year, it all came to an end. How’s he adjusting? Finn Wolfhard is remembering his first experience of celebrity. It was 2016 and he was 13. The first season of Stranger Things had aired that summer, and he returned to his high school in Vancouver as if nothing had changed. But things had changed. “People didn’t know how to treat me, especially the teachers. Kids that didn’t even look at me before were paying attention to me or wanting to hang out.” He remembers a girl in the year above who really wanted a photo with him. “And I was like: ‘Oh, I can’t really take photos at school.’ And she wasn’t listening to me and pulled me into, like, a side hug. I remember thinking: ‘Shit, man. I have no control over this. This seems crazy.’ So, it was definitely weird at first, and something I still haven’t totally grasped.” How strange it must be to have spent such a large part of your life...
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The Shrouds review – David Cronenberg gets wrapped up in grief

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Cannes film festival
Elaborate necrophiliac meditation on loss and longing stars Vincent Cassel as an oncologist who has founded a restaurant with a hi-tech cemetery attached

David Cronenberg’s new film is a contorted sphinx without a secret, an eroticised necrophiliac meditation on grief, longing and loss that returns this director to his now very familiar Ballardian fetishes. It’s intriguing and exhausting: a quasi-murder mystery and doppelganger sex drama combined with a sci-fi conspiracy thriller which comes very close to participating in that very xenophobia it purports to satirise. And among its exasperating plot convolutions, there is a centrally important oncologist who was having a possible affair with the hero’s dead wife and who had also been her first sexual partner as a teenager – but who never appears on camera.

Yet for all this, the film has its own creepy, enveloping mausoleum atmosphere of disquiet, helped by the jarring electronic score by Howard Shore. We are in Toronto of the present or near future in which a wealthy and stylish widower and entrepreneur called Karsh (Vincent Cassel) has founded a restaurant with a cemetery attached: a state of the art burial place where people can bury their loved ones with a new “shroud” whose thousands of tiny cameras can record and transmit real time, 8K pictures of the body’s decay, which you can watch on your smartphone.

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