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Shawn Levy Returns for More “Stranger Things”: Hints at Possible Third Season
Since the announcement that the second season of Netflix’s “Stranger Things” had officially kicked off, people have been dying to know what to expect from the return of the show. Already, there has been a confirmed cast photo and the announcement of three new faces to the series. Now, it can be confirmed that producer/director Shawn Levy is returning to get behind the camera for at least two episodes, per Collider.
Levy explains that the crew want to follow the same formula as the first season, so the Duffer Brothers are directing the first two episodes while Levy will get in for the third and fourth ones. “Yes, we are a little superstitious so just like last year, they’re doing 1 and 2, I’m going in and doing 3 and 4. So the first four are gonna kick off exactly the same as last time… I am going to start prepping right around Thanksgiving and I’ll be filming my episodes through December and January,” he explains.
As for when we’re going to see the show return, Levy urges patience. “You can do a little bit of math, we’re not magicians so there’s no way it launches in Spring since I just admitted we started filming today, and we’re doing nine.” That “nine” he’s referring to at the end is how many episodes there will be in the second season, which is one more than the first.
While he won’t comment on specific plot points, Levy does talk a bit about Will and how his time in the Upside-Down affected him, saying, “Will Byers was in that Upside Down for a while. So Season 2 is about this determined desire to return to normalcy in Hawkins, in the Byers family, in that group of friends, and it’s the struggle to reclaim normalcy and maybe the impossibility of it.”
Finally, Levy explains that he and the Duffer Brother’s are not going to find themselves in a spot where they are making things up as they go along. If a third season gets announced, they plan on being well-prepared. “We are not gonna be caught off guard and we don’t wanna be making stuff up like the day before we have to write it and make it,” Levy says. “So we are definitely optimistic and we have started thinking ahead.“
Let’s start with the good news. Lockbox looks far better than its misleading marketing materials suggest, a supernatural horror movie so darkly lit and color graded that you’ll have to squint your way through jump scares. It’s also anchored by reliable genre performers. That’s also about where the good news ends with this rote adaptation of Knifepoint Horror Podcast story “Winthrop.”
The empathetic Carla Gugino gives her all as Ellen, a saint of a woman with boundless patience who takes on life’s hard luck with a kind smile. After giving up her career as a fashion designer to become caretaker for a dying mother, she’s then forced to reinvent herself once more when her caretaker role ends. That catches us up to the events of Lockbox, where Ellen is asked to take in a cousin she hasn’t seen in quite some time who’s dealing with severe PTSD.
Just as Ellen finally establishes a real connection with Winthrop (Lou Taylor Pucci), it’s interrupted by the arrival of peculiar neighbor Vahna (Katharine Isabelle), who spells clear trouble. When Vahna shows up dead, it sets in motion a supernatural battle of possession.
Image Credit: Aura entertainment
Director Daniel Stamm (The Last Exorcism, Prey for the Devil) and screenwriter Justin Yoffe approach Lockbox in the broadest of brushstrokes, dooming it from the start with clunky storytelling and woefully underdeveloped themes of heady topics like PTSD. Winthrop is a character that comes loaded with emotional baggage and trauma that’s piled on throughout his tragic life, but much like its title, his interiority and history are treated like a tightly guarded secret meant to prolong the supernatural mystery.
The problem here, though, is that Lockbox is too sparse to sustain mystery at all, and it instead robs Winthrop of characterization. It winds up trapping the talented Pucci without anywhere to go, toggling between wounded animal and mentally disoriented.
From there, Lockbox bounds through plot developments without any sense of stakes or purpose, peppered by a smattering of haphazard paint-by-numbers jump scares. The only unwavering constant is Ellen’s resolute faith, and Stamm seems to leave it entirely to Gugino to guide confused audiences through this inconsequential story right up until its supernatural climax.
Image Credit: Aura entertainment
To give more credit, Lockbox at least injects an unconventional exorcism here; just don’t expect much in the way of explanation. When the film finally reveals the meaning behind its title, it dangles a fascinating carrot it has zero interest in delivering. More than a severe lack of fleshing out its characters beyond plot drivers or devices, this faith-based flick also seems terrified to offer any worldbuilding whatsoever.
Yoffe’s script stretches the short story beyond its means instead of fleshing it out, and Stamm fills out the gaps with cheap CGI scares and overwrought performances; Isabelle’s Vahna is beyond cartoonish in her villainy. It’s also pretty nonsensical, treating only Ellen’s faith with the utmost sincerity and largely squandering its typically reliable talent. So much so that the final imagery, pure sunkissed saccharine sentimentality, leaves you with the feeling that this horror movie might be better suited as an entry in Chicken Soup for the Soul.
Lockbox releases in select theaters on July 3, 2026.
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