Fifty of them. Most are from seasons 1, 2, and 4. Only six are from season 3.
(See also my rankings of all the episodes and the four seasons.)
1. The Snow Ball (Season 2, Episode 9). Happy endings aren’t my usually thing, but there are great exceptions. After a season of misery and estrangement, the kids find happiness on the dance floor, as each of the four boys ends up with the “right girl” — Mike with El, Lucas with Max, Dustin with Nancy-to-the rescue, Will and a nameless “Zombie Boy” fan. To the stalker smash “Every Breath You Take”, as only appropriate, since El has been stalking Mike in the Void for a whole year. I’m hard pressed to think of an epilogue in TV history that pays off the entire season like the Snow Ball does in Stranger Things 2. Of course it’s my favorite scene of the series.
2. Leaving Hawkins (Season 3, Episode 8). No, you’re not misreading this. For all my trashing of season 3, the finale is excellent and its epilogue almost as good as season-2’s (see #1 above). The Duffers managed to produce a Stranger Things equivalent of the Grey Havens. Mike, Lucas, and Dustin are Sam, Merry, and Pippin tearfully watching the departure of “Ring-bearers” Eleven and Will, who have taken the most punishment in the series and are sailing west to start over. The reprisal of “Heroes” (the Peter Gabriel cover) is perfect for this montage after Hopper’s voice-over.
3. Max and Vecna (Season 4, Episode 4). The final sixteen minutes of Dear Billy could be rewatched a million times and never get old. The sequence starts with Max reading her letter by Billy’s grave, and ends with her falling from the sky into Lucas’s arms, while in between she is pulled into a waking nightmare that I keep thinking will kill her even though I know she escapes it. The power of music is portrayed in a way never seen before. I’m not sure what my song would be to save me from Vecna (any of these might work), but the Kate Bush song works cinematically, and the montage that plays as she resists Vecna is brilliant. Those flashbacks are virtually the only times we see Max and Eleven happy this season, underscoring how grim the fourth season is for each of them.
4. Mike and El’s Reunion / Mike Attacks Hopper (Season 2, Episodes 8 & 9). From the end of season 2, where everyone is huddled inside Hopper’s cabin bracing for a demo-dog attack, to El’s surprise rescue, to her reunion with Mike, to Mike’s furious assault on Hopper. All of this enormously pays off El’s season-long absence, and for me it’s the highest emotional point of the series. You feel Mike’s rage at Hopper for keeping her hidden so long. You feel El’s jealousy over Max when she snubs the poor girl (Max has been shat on by everyone except Lucas throughout this season). You want Mike and El to hold each other forever; Finn Wolfhard plays it wonderfully, asking heartbroken why El never called back to him in the Void.
5. The Massacre at Hawkins Lab (Season 4, Episode 7). The final eighteen minutes of this episode involve the most despicable acts of violence in the series, with twists and reveals brilliantly executed. Eleven leaves the closet to find One and finds mangled corpses down every hall. She bursts into the Rainbow Room and sees One killing the last child (Two), and then listens to his sickening views of humanity and the world. She attacks him in rage and almost gets torn apart for it, before blasting him into the shadow realm where he turns into Vecna. This is the culmination of three episodes in which El is put through the Nina ringer, reliving traumas far worse than high school bullying.
6. Good-bye Mike, Hello Will (Season 1, Episode 8). Even if El doesn’t really die, her sacrifice hits hard; she certainly thinks she’s about to die as she blasts the demogorgon and follows its disintegration into the Upside Down. It’s the ending the season deserves, with Mike left crushed, not fully understanding how he came to love this girl in the space of six days. Meanwhile, as his girlfriend vanishes, his lost friend is resuscitated in the Upside Down by Hopper and Joyce, with extremely emotional flashbacks of Sara Hopper dying in the hospital. The double climax pays off everyone’s arc perfectly.
7. Max’s Death / The Apocalypse Begins (Season 4, Episode 9). By far the most upsetting scene of the series, and the most catastrophic. Max’s death initiates the apocalypse (the earthquake does take at least one satisfying victim, ripping Jason in half), and Lucas and El unleash enough tears and anguish to indict the gods. And though Max is resurrected, it isn’t a cheat, since she is broken and blind and returns in a coma. I’d rather be dead than come back like that. As a post-script, the book Lucas reads to Max in the hospital is probably the most brilliant homage of the series to date: The Talisman, by Stephen King and Peter Straub. The novel is about a dark parallel world — a medieval version of the United States — and the passage Lucas reads involves the blind character Speedy. A not so subtle hint about what may be in store for Max if she ever wakes from her coma.
8. “Home” (Season 2, Episodes 3, 5, & 7). In each of these scenes El seizes onto the idea that she has found her true home. The first comes in the flashback with Hopper (episode 3), when he brings her to his cabin. The second comes at her Aunt Becky’s house (episode 5), where she is invited to live. The third comes in Chicago, at the abandoned warehouse of Kali and her crew (episode 7). That last one especially is poignant, but the “home” theme works powerfully as an arc over all the episodes. At each place — cabin, house, and warehouse — El repeats the word “home”, with an increased desperation to know her place in the world outside Hawkins Lab.
9. “Heroes” (Season 1, Episode 3). The scene that made me an obsessive fan. A corpse is dragged from the quarry and everyone thinks it’s Will’s. Mike’s furious reaction as he accuses El and runs home enraged, to the scoring of Peter Gabriel’s cover for David Bowie’s “Heroes”, is a rare piece of cinematic art. It’s in this scene that two things come sharply into focus: the kids’ acting talents, and the Duffers’ writing-directing skills. From here I binged the rest of the episodes and never looked back.
10. Snow Ball Nightmare (Season 4, Episode 9). In this dark homage to the season-2 Snow Ball dance, Max hides from Vecna inside her happiest memory. There are the blue and white balloons, the glitzy decoratives, and “Every Breath You Take” is playing. But it all quickly unravels as Vecna breaks down her mental barriers. The Police song segues into the eerie-sounding “Dream a Little Dream of Me” (the favorite tune of Vecna’s father), the balloons explode into blood, and everything turns gray and Upside-Downish. Vecna arrives to finish Max off, but then Eleven intervenes — having piggybacked onto Max’s mind — and a battle on the dance floor paves the way to more pain. The Snow Ball nightmare is cut into six scenes adding up to about ten minutes, and it’s brilliantly constructed.
11. Closing the Gate (Season 2, Episode 9). Pulling this off requires more than an expenditure of power. El must look within and face herself, lest she be paralyzed by her inadequacies. The flashbacks of her lab traumas, trials with Kali, and the ghost of Papa are brilliantly used to show the conflict raging inside her: “You have a wound, Eleven, a terrible wound. And it’s festering. It’s rotting. And it will grow. Spread. And eventually, it will kill you.” Kali urged that the wound comes from Dr. Brenner and his abuse, making vigilante justice the path to healing; El sees that the wound comes less from Papa and more from herself, even if by accident. Giving in to homicidal urges is self-destructive — and it’s this epiphany that liberates her from self-paralysis, allowing her to blast the Mind Flayer and close the real wound.
12. El and Hopper’s Heart-to-Heart (Season 2, Episode 9). I use those words deliberately. In episode 1 of season 3, we were supposed to believe that Hopper found the idea of a “heart to heart” wholly alien; that discussing serious issues with his daughter was out of his comfort zone and beyond his comprehension (such that he needed Joyce to coach him every step of the way). This despite the fact that in the last episode we saw him in — this one, episode 9 of season 2 — he was having the purest heart to heart you could imagine. Hopper and El have a lot of great scenes together in season 2, but this one is their best, as they each admit to each other how wrong they’ve been.
13. Will Inside the Wall (Season 1, Episode 4). This scene has given me a few nightmares, at least three or four that I recall, maybe more. Joyce rips down her wallpaper and sees her terrified son shouting to her in a flesh-encased portion of the wall. Her hysterics are convincing; this is the way a mother would act. Stranger Things is at its scariest when it does weird shit like this, and although seasons 2 and 4 are darker and scarier on whole, season 1 managed to land what I consider to be the most frightening scene. It makes us feel as helpless as Joyce. Will is up close but out of reach, alone in Hell, being terrorized out of his mind.
14. Helicopter Sniper/Papa’s Death (Season 4, Episode 8). Eleven’s farewell to Papa doesn’t miss a beat, nailing all the right cords of love and loathing. She loves Brenner yet despises him for his monstrous manipulations, for trying to convince her that she’s a monster, for abusing her mother, and for robbing her of choice in the name of liberation. When he begs for understanding as he dies, she feels a genuine pull toward forgiveness, but is strong enough to refuse absolving him. A heartfelt “good-bye” is all she has to give; it suffices. The prelude to this is the explosive spectacle of her bringing down the helicopter containing the sniper — the most spectacular use of her powers since flipping the van in season 1.
15. “The Wave Was Seven Feet” (Season 3, Episode 8). Oh, season 3, how shitty thou art. Your plot is a carbon copy of season 2’s: the Mind Flayer has taken over a human host (Billy this time instead of Will); there is a Gate that makes this possible (at the Mall instead of the Lab); the Gate thus needs to be closed, to sever the connection to the Upside Down. El can’t close the Gate this time though, because she has lost her powers. And yet the Duffers were able to make lemonade out of these lemons in the way El defeats the Mind Flayer: by empowering its victim. She describes a memory she had shared while inside Billy’s mind, and manages to reach Billy, who sacrifices himself. It’s an extremely moving scene.
16. D&D Campaign: The Demogorgon (Season 1, Episode 1). The next two are really a tie, but I’m giving pride of place to the season-1 game. It’s the first scene of the series and does more with less. The boys’ campaign is a perfect summation of my nerdy childhood and shows why the game was so fun in the early ’80s. Mike is established as the group leader (and so of course the dungeon master), Lucas the pragmatic skeptic, Dustin the hilarious, and Will the sensitive kid. It also establishes the series trope of using D&D creature names for the real shadow threats about to devastate Hawkins. It’s almost as though these D&D games are summoning evil from the Upside Down.
17. D&D Campaign: The Cult of Vecna (Season 4, Episode 1). Be assured that the season-3 game is nowhere on this list. Will’s dungeon-master costume was ridiculous, his DM skills were atrocious, and Mike and Lucas were a pair of jerks. The season-4 game makes D&D shine again. Eddie is the supreme DM, his Hellfire pals rock, and Mike and Dustin are in top form. The power of this scene is magnified by the basketball intercut. Lucas’s final shot and Erica’s last die roll have me holding my breath every time I watch it. “That’s why we play,” says Eddie, when only two player characters are left standing, and how bloody right he is.
18. Telekinetic Tantrum (Season 2, Episode 4). El and Hopper are so pissed at each other you can feel the fire. She returns from stalking Mike at the school — having flouted Hopper’s rules that keep her confined in his cabin — and he goes through the roof, screaming in her face and taking away her Eggo and TV privileges. She retaliates by throwing a mega-tantrum, hurling books and shattering windows. She’ll have to clean up her mess the next day, but it’s pretty sweet to see a frustrated kid let loose like this. Some of the rawest acting talent is on display between Millie and David Harbour in the tantrum scene, and I’m not surprised it’s a favorite of Ross Duffer.
19. Possession Trauma (Season 2, Episode 4). Possession is the king of horror tropes, but also the riskiest because it’s hard to do right. Noah nailed it with subtleties that even Linda Blair didn’t pull off in The Exorcist — alternating between being shaken and terrified, to making resolute demands (that his mother run him a freezing bath, because his possessor “likes it cold”), to stalking about the house confused — and it’s the first of those that he delivers at the start of Will the Wise. Season 2 then becomes an assault-on-all-fronts, as the Mind Flayer plans to wreak devastation through this kid, and slowly eats away his mind.
20. Tracking-Shot: Home Invasion (Season 4, Episode 4). The Dear Billy episode is known for Max and Vecna (see #3 on this list), but this scene did just as much to make me a nervous wreck. It’s prefaced by a touching moment between Mike and Will, as Mike admits he’s been a jerk and Will so obviously wants to fuck him on the bed right there, to Mike’s utter obliviousness. Then the government goons crash the house and start shooting. A shootout like this is surprising enough in Stranger Things, but it’s done in a single tracking shot that looks viscerally real. The last time I was this impressed by a tracking shot in a TV series was True Detective‘s “Who Goes There?”
21. “I Can Save Them” (Season 2, Episode 7). Contrary to popular opinion, The Lost Sister is one of the best episodes of season 2 (my third favorite, after The Gate and Will the Wise). The fact that Kali isn’t the strongest character is irrelevant; she’s all that she needs to be. The episode isn’t about her (despite the title), it’s about Eleven, and how she comes to terms with herself — her murderous impulses, the question of where she belongs — to which Kali serves as a mentor to follow or reject. Without Kali, Eleven wouldn’t have had an arc to speak of in season 2. Her decision to return to Hawkins and her real friends is one of her best moments.
22. El’s Reunion With Hopper (Season 4, Episode 9). This was bound to be a tear-jerker, but with Millie driving the scene, it’s an ultra tear-jerker. I love how they comment on each others loss of hair.
23. Flipping the Van (Season 1, Episode 7). The pre-credits sequence of The Bathtub episode could stand on its own as a short film. As Mike and El almost share a first kiss in the bathroom, Dustin barges in, and all hell breaks loose. The government goons descend, and the kids take to their bikes, flying down roads and around corners, side paths that cut between homes, rendez-vousing with Lucas, until they’re sandwiched between oncoming vans. The van-flip is spectacular, as are the reconciliation scenes — between Lucas and El, and Lucas and Mike — in the junkyard. Did all that really happen in a pre-credits sequence? Yep.
24. Emo Mike & Nancy (Season 2, Episode 1). These two scenes play wonderfully back to back: Mike getting scolded at the dinner table for acting out in school, and Nancy having dinner with Barb’s parents, who tragically believe their daughter is still alive. Mike retreats to his basement where he still keeps El’s fort; Nancy retreats to the bathroom where she breaks down over Barb. Through the Wheeler siblings we feel the cost of the season-1 losses, and I was glad the Duffers had the nerve to take those losses seriously throughout season 2. In the hands of other show writers, Nancy would have moved on already, and El would have reunited with Mike early in the season instead of at the end.
25. Hopper in the Demo-Pit (Season 4, Episode 7). The best demogorgon outing is the season-1 classroom scene (see # 6) — with the boys shouting over each other and Lucas vainly firing his slingshot until El steps in — but the Russian Demo-Pit shows how fast these beasts are. Truth told, the boys in season 1 were confronted by a very slow one; Lucas wouldn’t have gotten off two rocks, let alone four, against the one in the demo-pit. Hopper has quite a time of it, as the creature tears his fellow inmates apart.
26. Joyce’s Ouija Wall (Season 1, Episode 3). If there’s a scene in Stranger Things that shouts classic, this is probably it. Joyce’s Ouija Wall has become such an iconic image that restaurants and fun houses have replicated it. The scene, in conjunction with “Heroes” (#10 above) — both from the Holly Jolly episode — is what turned me into a hard-core fan. It represents Joyce’s breakthrough with Will, as she communicates with him through the Christmas-tree lights, and he tells her to run from the house as the demogorgon bursts through.
27. Stalking Mike (Season 2, Episode 2). Much of the drama in season 2 is carried on El’s presumed death, with Mike in denial. He has no idea how right he is, that El hears him calling her all the time and wants to let him know she’s okay. The scene that shows her stalking him in the Void is especially well shot, flicking back and forth between Mike alone and El only inches away from him in the black background. Their mutual pain is felt acutely in this scene.
28. Inside Billy’s Mind (Season 3, Episode 6). One of the few scenes that justifies season 3’s existence. It runs eleven minutes, from the point of El washing up on the California beach, to being assaulted by chaotic images of Billy’s past, to finally returning to herself in Hopper’s cabin — only to find out that it’s a nightmare cabin, with her friends gone and Billy waiting there to torment her. It’s one of the freakiest scenes in the series that makes you feel the terror of being mentally trapped and unable to wake up.
29. Reunion with Papa (Season 4, Episode 5). Not a happy one for El, but shocking and powerful. I was expecting Brenner to return in season 4 for flashbacks, but wasn’t thinking he was still alive. It was a strong move to bring him back and mentor El once again. Their dysfunctional relationship, and El’s Stockholm dependency, was so well presented in season 1 that it demanded a follow-up, and season 4 takes it to the next level. That Owens is working with Brenner (with mixed feelings) is a big bonus.
30. A Bromance is Born (Season 2, Episode 6). Almost any scene between Steve and Dustin is list-worthy, and I could name several. But the train-track scene is where the bromance was born and it has attained a near mythological status. It’s hard to believe Dustin once had a crush on Max. Maybe he still would if not for Steve.
31. The Diner Scene (“The Return of the Superhero”) (Season 4, Episode 3). Paul Reiser is a great actor, Sam Owens a great character, and the diner scene a great homage to Reiser’s role in the 1982 film. His speech marks a turning point in season 4, as Eleven is offered a window of opportunity: to trade in the misery of school bullying for the monstrous torments of getting her powers back. The scene is shot as an epic montage with soaring music. We see (or hear) Vecna closing in on Max, as Owens explains to El the last resort he’s had in place in case a threat like Vecna emerged — and assures her that she’s probably not the bad person she thinks she is.
32. “She Tried to Get Naked!” (Season 1, Episode 2). Unlike the slapstick comedy of season 3, the humor in the early seasons is natural and organic and genuinely funny. This scene being an excellent case in point. It’s exactly the way 12-year old boys would react to a girl about to take her clothes off. Mike is sweet as he takes care of this strange girl and gives her fresh clothes and a towel and teaches her about the need for privacy.
33. Steve and the Demo-Bats (Season 4, Episode 7). The next three are Steve’s demo-fights from seasons 1, 2, and 4. This one gets priority for taking place in the Upside Down. The demo-bats are terrifying against the red and purple hues of the landscape. Steve doesn’t get to use the spiked bat this time — instead he pulls an Ozzy move and tears apart a bat with his teeth.
34. Steve and the Demo-Dogs (Season 2, Episode 6). A brutally intense scene in which Steve gets flanked by a second demo-dog as he faces the one ahead, and barely manages to bat them away. He beats a hasty retreat into the bus with Dustin, Lucas, and Max — who begin screaming their heads off when one of the beasts appears above them, looking down the ladder hole. I almost shit my pants when I first watched this.
35. Steve and the Demogorgon (Season 1, Episode 8). Steve’s turning point, when he decides that his assholeries require atonement. He has had a genuine change of heart (finding that he doesn’t like being an asshole), making his character arc one of the series’ best. He goes back into the Byers’ house to help Nancy and Jonathan, and the strobe light works to great effect against the backdrop of the Christmas-tree lights, making his fight with the demogorgon mega-intense.
36. Sauna Battle (Season 3, Episode 4). The next two are Eleven’s battles with the Mind Flayer in season 3, the first against Billy and the second against the Flayed. It was nice that El got to kick some ass before losing her powers in the finale, and equally nice that we never lose sight of her vulnerability. Billy nearly strangles her before she manages to throw him through a brick wall. Interesting post-script to this scene: when El collapses into Mike’s arms crying, that wasn’t acting on Millie’s part; shooting this scene put her through the ringer.
37. Cabin Battle (Season 3, Episode 7). The last ass-kicking that El dishes out on the Mind Flayer before losing her powers, and brilliantly choreographed. Hopper’s cabin is devastated as the Flayed Beast punches holes through it to seize her. It’s a miracle she’s not torn in half by the tug-of-war between her friends and the Flayed, and also miraculous that no one in the cabin is killed by Nancy’s shotgun blasts. Mike ripping the flayed piece off El’s leg is excruciating to watch, and her splitting the monster apart gratifying.
38. Mike Jumps (Season 1, Episode 6). Bullying is major theme in Stranger Things (except in season 3), and Mike’s bullies are the worst, making him jump off a cliff for humiliating them in front of the entire school. El’s surprise rescue is sublime, and the flashback of her opening the Gate is heart rending, as she sincerely believes that she’s the monster, despite Mike’s assurances.
39. El Smashes Angela’s Face (Season 4, Episode 2). When it comes to her own bullies El is less effective. Without her powers and sense of self-worth she’s defenseless, and in this sense I felt far more sorry for her than for Mike in season 1 (who for the most part took Troy in stride). It was hugely satisfying to see her smash Angela in the face with a roller-skate — even more than seeing her break Troy’s arm with telekinetic powers. (I place Mike’s cliff rescue above the roller-skate incident because of the iconic moment when El, Mike, and Dustin share a group hug.) Once again her flashbacks reinforce her view of herself as a monster, only this time Mike isn’t the best shoulder to cry on.
40. El Rips Mike a New One (Season 4, Episode 3). You can hardly blame her. Mike isn’t the most supportive or discerning boyfriend even when the pain is plain. He can’t say (or write) that he loves her, and digs himself in deeper by protesting that he thinks she’s the most incredible person in the world and a superhero — which she obviously isn’t anymore, but it’s the wrong thing to say in any case. This is how their season-3 fight/breakup should have been handled; with the seriousness it deserved.
41. Eddie’s Death (Season 4, Episode 9). Eddie is the secret hero of season 4. Not just because he finally steps up and faces down the Upside-Down with metal jams, but for his cafeteria wisdom in his very first scene — his unabashed pronouncements like “forced conformity is what’s really killing kids” (see #47 below). Dustin’s reaction to Eddie’s death is the culmination of a bromance over season 4 which for my money is just as compelling as his bromance with Steve over seasons 2 through 4.
42. Bob’s Death (Season 2, Episode 8). On my first watch of season 2, the death of Bob Newbie took me completely off guard. Yes, the Duffers had killed off Barb in season 1, but that was as early as episode 3. Bob made it to the penultimate episode, was a lovable character and partner to Joyce, and I couldn’t see him getting the axe. When he outran the demo-dogs, I breathed again, knowing I was foolish for worrying… and then the doors crashed down. It’s a wonder Joyce didn’t go to Pennhurst after watching Bob torn apart and eaten.
43. Barb’s Death (Season 1, Episode 3). This is the scene I return to when I think of the “horrors” of season 3 that weren’t at all scary. Season 3 was body-horror (gross-out horror), and as far as that goes it’s okay. I like David Cronenberg films as much as the Duffers. But body horror isn’t menacing like the deeper and more feral horrors of seasons 1, 2, and 4. Barb’s death remains one of the most terrifying scenes in the series, relying on what you can hear and sense but not see (the demogorgon), and an utterly terrified Barb who fights vainly for her life.
44. Conversational Affection (Season 4, Episode 9). As the bathtub is prepared for El, she and Mike enjoy some lighter moments, including an argument over pineapple pizza, which Mike rightly calls blasphemous. Will and Jonathan have a more serious talk, and as usual in season 4, Will is heartbreaking to watch as he can’t discuss what’s tearing him up inside. Though Jonathan seems to get it now.
45. “Crazy Together” (Season 2, Episode 2). This moment shows Mike and Will taking comfort in each others damage. It’s almost as if Mike thinks Will is the only one worthy of his affections, on the logic that if he suffering so much (from the loss of El) then so should others suffer. It’s why he finds Lucas and Dustin so goddamn insufferable (as they persist in having a good time, and with a girl from California to boot), and ditches Halloween night to take Will back home with him. So they can be crazy together alone.
46. Eddie’s Cafeteria Rant (Season 4, Episode 1). The moment Eddie walks that cafeteria table is the moment season 4 makes clear that Stranger Things is back in top form. You know you’re going to love this guy, you know you’ll love the Hellfire Club, and you know those damn basketball jocks will eventually join the Satanic Panic that Eddie is making fun of. The way he rips into Mike and Dustin when they tell him Lucas has gone to the dark side (i.e. joined the basketball team) is hilarious.
47. Burning Inside Out (Season 2, Episode 6). As an Exorcist fan I got considerable mileage out of season 2, and the opening scene The Spy is inspired by Regan McNeill’s hideous PEG procedure. Will Byers is having it even worse than Regan, convulsing under the doctors who ask him where it hurts, to which he can only scream “everywhere”. Noah’s acting is so convincing that the actors thought he was really in agony during the shoot.
48. Eleven’s Self-Surgery (Season 3, Episode 8). The season 3 finale is bookmarked by three mighty El moments. The last occurs in the epilogue when she reads Hopper’s letter (see #2), the middle is her transcendent moment with Billy (see #9), and the other is the very first scene, in which she rips the flayed piece out of her leg. It’s possibly the most visceral scene in the series. Millie screams so fucking loud I can imagine those mall windows really broke on set from sonic devastation.
49. Can’t Say the Words (Season 4, Episode 8). This has to be the most heartbreaking scene of the series. Will assures Mike that El needs him, loves him, and can’t live without him, but of course he’s talking about himself, not El. The look on Jonathan’s face in the driver’s seat, as it begins to dawn on him what’s really up with his brother, is some fine subtle acting. The genius of Will’s arc is that his sexual orientation is never spelled out. It doesn’t need to be, and the drama is stronger for it.
50. Mike Makes His Move (Season 1, Episode 8). Can’t forget this one. Mike and El’s first kiss. He got the best girlfriend on the planet.
The Busybody 