“The mind attracts to one whatever the mind dwells upon,” reads a page I flip to in a college-ruled notebook pulled from the bins at Goodwill. The moon, waxing gibbous, pulled Sarah and I toward a Halloween party the other night. Appropriately heady, for sure, and with major magic. An altar-top arrayed with small bones. Conversations washed over me, though, to little effect. Appalachian Southern witches. Symbols of an arcane sort. It was the party of my coming out as a wizard. At one point, Sarah turned to me and read me my horoscope from her Witches’ Almanac. Apparently I’m on the verge of making a big decision which will “raise a lot of dust.” The horoscope also promised “nice aesthetics” this month. But as much as I enjoyed the care and attention to detail that went into the night’s revelries, Daphne’s death weighed solidly on my mind. It was hard to muster enough will to speak with others. Speaking of speaking: My students love to speak highly of their parents’ “hard work” launching pizza chains and amassing fortunes on Wall Street. Whenever I hear this shit, I think to myself: One could say the same about vampires. They, too, work hard sucking blood from their victims. But that doesn’t make them admirable. A hardworking vampire is still a vampire — and as such, deserves to get a stake shoved through its heart. And that’s how I feel about rich people. But I’m also no Van Helsing, so to ease my temper, I binge-watch the new season of Stranger Things. Eleven wanders alone in an Upside Down labyrinth. Thresholds between dimensions look like body tissue: uterine walls, placentas. The show relishes and savors the textures, tropes, and technologies of the 1980s. But it’s also fully absorbing in its sympathies and its use of outdated media to elicit a sense of the strange or the uncanny. New Age “psychic” or “telepathic” spaces — astral planes, other dimensions — these were very much a part of that era’s narrative universe. It’s a relief to watch a show that can once again broaden my sense of the potentials of genre. The latter, because sticky with the residue of an era’s affective investments, can reawaken phantom media antennae, exposing subjects to ghost sensations and histories half-submerged.