Would You Take the Money and Leave? Below’s Buyout Dilemma Deserves Its Own Debate

By Rachel Sikkema
Published October 13, 2026

Three people in a small boat watch a wooden house tilt into the water beneath an overcast sky.
Calvin’s childhood home sinks beneath the water in Below, giving the fear of displacement a devastating image. Image: Netflix.

I would seriously consider taking the money and leaving Snook’s Arm. A struggling fishing town becomes a harder place to defend once the water starts threatening your family. Below earns its debate by making that choice understandable, then revealing how deliberately the residents’ desperation has been used against them.

The Crockers’ scheme makes their offer rotten. The desire to accept it remains painfully reasonable.

That distinction gives the buyout story its bite. Calvin Penney can be right to resist while his neighbours have perfectly decent reasons to pack. Josh Hartnett’s fisherman has a home worth fighting for. Everybody around him deserves the chance to decide what that fight will cost them.

Taking the Money Has an Obvious Appeal

There is a comfortable way to watch a threatened community onscreen. You admire the stubborn locals and resent anyone willing to sell. Loyalty looks wonderful from a sofa several thousand miles away.

Living with the consequences requires a different calculation.

Snook’s Arm is already struggling before the creature makes daily life terrifying. A buyout offers something concrete in a place where the future has become increasingly difficult to picture. Money could mean a fresh start. It could also mean finally having a choice about where to work.

That prospect deserves a little respect.

I get impatient with stories that treat wanting financial security as a failure of imagination. Sometimes people have spent years imagining how things might improve. They are tired. Another speech about the importance of home may land rather differently when home keeps making survival harder.

Below gives Calvin the emotional weight of a man defending something precious. Watching him, though, I keep thinking about the resident who would quietly prefer a cheque and a moving date.

That person belongs in the argument too.

A House Price Barely Begins the Conversation

The strongest case for staying starts with everything a buyout struggles to measure.

People accumulate practical advantages in a place. They know who will help when something breaks. Their skills have local value. An ordinary conversation can begin halfway through because the person opposite them remembers the preceding twenty years.

Moving asks them to rebuild that familiarity while paying for the privilege.

For a fisherman such as Calvin, relocation also raises an uncomfortable question about who he gets to be elsewhere. Experience that makes him useful at home may carry less weight in a new place. Starting again sounds adventurous until you imagine having to explain your entire working life to someone behind a desk.

This is where his resistance becomes persuasive to me. He understands the town through use. His attachment has daily routines inside it.

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Still, affection alone cannot settle the price. A fair conversation would need to account for the cost of establishing a life elsewhere. Residents should be able to ask what the offer actually buys them after the move.

A lump sum can look generous while the future it must cover remains conveniently vague.

The Crockers Are Buying the Residents’ Lack of Information

Charlie Heaton wears a green hoodie and fishing overalls, peering around a white boat cabin with the sea behind him.
Charlie Heaton as Wade Penney peers around a boat’s cabin in Netflix’s Below. Image: Netflix.

The revelation about the minerals beneath the area changes the proposed deal. The Crockers know there is substantial value under the land. The people being encouraged to vacate it have been making their decisions without that knowledge.

Suddenly the town’s supposed lack of a future looks very useful to somebody.

That is the detail I find nastier than a simple greedy-developer plot. The offer depends on residents accepting a diminished account of what they own. Their home is presented as a place to give up while its hidden potential supplies the buyer’s motivation.

You can hear the sales pitch forming. Be practical. Think of your future. Take this opportunity while it exists.

Every phrase might sound considerate in another mouth.

The scheme also exploits the creature crisis to accelerate departure. Fear makes the promise of a clean exit more attractive. The Crockers benefit from circumstances that leave people with less time and less confidence to question the arrangement.

My answer to the headline changes at that point. I might still want to leave. I would want a much better understanding of what I was being paid to surrender.

Calvin Has Earned His Suspicion

Calvin’s childhood displacement gives his refusal an extra charge. He has already experienced adults deciding that his family must leave their home. The memory of that removal is tied to the loss of his father.

Another resettlement proposal arrives carrying all of that history.

His suspicion therefore has roots deeper than pride. Experience has taught him that an orderly plan can end in devastation for the people expected to cooperate.

I like that Below allows this history to matter. Stories often use an older character’s attachment to place as an obstacle somebody younger must patiently overcome. Calvin has reasons to distrust the promise that everyone will be better off somewhere else.

He also has reasons to struggle with anyone who sees leaving as freedom.

Mary and Jay have already built distance into their adult lives. Wade stayed and remains caught in familiar patterns. The family itself demonstrates how differently one place can serve the people raised there.

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Calvin’s experience deserves a hearing. His children’s experience deserves equal room.

A Vote Can Make Neighbours Carry Each Other’s Resentment

The buyout becomes especially uncomfortable because the choice involves a whole community.

One household may be ready to go. Another may feel that departure would destroy the life they have spent decades building. Put those people in a room together and a financial decision starts acquiring moral labels.

The person voting to leave becomes disloyal. The person resisting becomes selfish. Everyone has a reason to feel that somebody else is holding their future hostage.

That is fertile territory for the Crockers. Residents arguing over who loves the town enough have less attention available for the people setting the terms.

This is the debate I wish the series could linger over for an entire episode. Give me the neighbour who has quietly wanted out for years. Let someone admit that they are frightened of starting again. Allow a person to love Snook’s Arm and still resent how small their options have become.

There would be plenty of tension without a tentacle in sight.

Staying Should Remain a Choice

Josh Hartnett grips both railings at the bow of a boat, looking over his shoulder as dark water surrounds him.
Josh Hartnett’s Calvin Penney braces against a boat’s railings in promotional artwork for Below. Image: Netflix.

The ending gives the residents a reprieve, though the possibility of another vote remains. Knowing more about their town’s value changes their position. It also leaves the deeper question alive.

Some people may still want to go.

I would hate to see their preference treated as ingratitude after Calvin’s efforts. Saving a community should preserve the possibility of a life there. It should also allow residents to consider another life without being accused of abandoning everybody.

My own answer is conditional in a fairly blunt way. I would consider a fair offer made with the relevant information available. I would be furious to discover that my fear had helped someone purchase my home cheaply.

Below makes the Crockers easy to condemn. The neighbours tempted by their money deserve more patience.

Calvin wins me over when he fights for people to have a future in Snook’s Arm. I would still want a seat beside the person asking how much leaving might give them. They should get to finish the question.


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