The popular Netflix series Stranger Things (2016–) partly derives its terror from its construction of a parallel universe termed the ‘Upside Down’. This alternate dimension is a site of chaos, destruction, and invasion, a space constructed in opposition to the civilization and familiarity of the small North American town inhabited by the series’ teenaged protagonists. A similar concept appears in the second season of the American series Channel Zero (2016–2018) in which an uncanny alternate universe is accessed via the ‘No-End House’; in this subverted world, people and things look the same as they do in the ‘real world’, but behave, horrifically, very differently. We borrow the term ‘Upside Down’ because the Otherness it evokes mimics the construction of Australasia as the ‘Antipodes’, a space not only geographically opposite to the northern hemisphere but, in the lingering relics of colonial discourse, culturally and philosophically opposite too. In Australia and New Zealand, such an orientalist or carnivalesque construction supposes, everything is ‘upside down’, topsy-turvy, out of place. As the travel writer Jan Morris famously wrote of the Land Down Under, ‘the water goes down the plug-hole the other way in Australia, and it really is possible to imagine, if you are a fancifully minded visitor from the other hemisphere, that this metropolis is clinging upside-down to the bottom of the earth’ (470).