#byler fix it

[tyrannosaurustai]

He’s hot both ways

[elyasdoodles]

📝 🖼️

[fruitbythefoot7]

bylerween day 1: horror au

scream (1996) but make it byler pt 2: electric boogaloo!! (this time with 100% more blood!)

@bylerween

[taylorswiftshipsbyler]

yippee little byler sketch

I'm like halfway through coloring it digitally so I'll probably post that at some point

[mikesbasementbeets]

byler in every episode -> 2.08. the mind flayer

[thefirstlioveyou]

How Smalltown Boy Connects with Mike's Relationship with his Parents

I can't get over how they chose Smalltown Boy for the FIRST track on Mike's playlist. I just can't. That's the gayest thing ever. Gayer than his staring I fear. The lyrics perfectly fit him, but not only because he's a closeted homosexual. It's also highlighting his dynamic with his family.

Of course, if we are getting into specifics, Smalltown Boy is a song about a young gay man running away from his homophobic home and town to live in the city to somewhere he can be himself. But generally, it's a song about not belonging and not feeling understood within a place, and the crippling loneliness that comes with it. So you seek a place where you can feel accepted and heard.

Struggling to figure out your place in the world, struggling with your sexuality and relationships, facing severe bullying, wanting to be understood and seen by your family for who you actually are while still struggling to accept who you are to begin with, desiring the escape from the place that brings you all those unmanageable problems -- That's Mike Wheeler.

"Mother will never understand why you had to leave, but the answers you seek will never be found at home. The love that you need will never be found at home"

Obviously, the actual plot of the music video features homophobic parents. I don't believe Karen is, and I see Ted as more brainwashed yet careless. But "the love that you need will never be found at home" reminds me of the Wheeler family's emotional distance and lack of actual attention, and how it's damaging Mike especially. Nancy's already seen right through the bullshit. Mike hasn't.

I don't see them as the worst parents on the planet, but they're haven't been great. They have questionable parenting choices and the show wants us to pick up on that. If you haven't yet asked yourself "where the hell are his parents?" at least ONCE while watching ST, then idk lmao.

Come on. Not knowing your son has been hiding a whole child in your basement for a week?

Never talking to your son about his best friend's death and instead letting him take the responsibility to go to you first?

Not taking concern as to why your son is suddenly misbehaving at school? And instead, you force your child to get rid of 2 boxes worth of toys that hold emotional value to him (while mocking him for having said emotional connection)?

Not even being aware that your child is constantly bullied physically and verbally, and not even questioning visible marks that could indicate that sort of abuse?

Although it's unintentional and we see Karen aware that it's wrong, you're still essentially teaching your child that 1) their feelings or voice do not matter 2) they cannot trust or rely on you 3) their 'childish' interests that make them who they are do not matter and are something they need move on from because they "have to."

And we see this play out.

If his parents can't even accept his innocent interests or show more consideration for them, if it just makes him a future high school dropout or a failure, what makes Mike believe they'd ever accept he's Gay?

Mike NEEDS a support system. He NEEDS parents who care MORE instead of waiting until government is at their doorstep. That type of love has not been consistent whatsoever at the Wheelers. To Mike, that kind of love cannot be found in his home. The answers to his problems cannot be found in his home. In fact, his upbringing is a big reason why he's in this complicated relationship with El to begin with. and he's accepted all that to be fine, despite us seeing how it's turning him into someone unable to manage their emotions who struggles with their relationships communication-wise.

"And as hard as they would try they'd hurt to make you cry. But you never cried to them, just to your soul. No, you never cried to them, just to your soul"

This refers to the severe bullying he faces that Mike confirms he's put up with all his life (just for it to be shut down immediately). His parents aren't aware. If Karen, his own mother, doesn't question a giant scab on his chin but some girl who is barely learning what friends are does, don't you think that says something?

"I'm here for you" doesn't mean anything if you aren't actively trying to actually be there. you have to look harder. look at what's right in front of you.

Sure, his mom hugs him! But I really hope we can all agree physical affection isn't the only thing that a child needs to trust. There is reason behind why we've never actually seen them talk about anything that's actually bothering him. Mike is not yet convinced he can go to his parents about the things we know he's facing, and the things that are implied that he's facing. Instead he handles it alone as a result of just "letting him come when he's ready."

The only adult who wasn't afraid to actually talk to him and not let his emotions bottle up was...

"Pushed around and kicked around, always a lonely boy. You were the one that they'd talk about around town as they put you down."

Part of this could be about his bullying experience in general, but I also believe this was foreshadowing for events in S5. Mike and the rest of hellfire are now targets and deemed part of a satanic cult. The whole town are against them and want them gone. Going from to feeling insecure for your 'childish' interests because of your parents, to becoming accepting of that part again, to now wanting to be killed for it by your town. Ain't that nice? Won't that gonna do wonders for this boy? :)

I actually predict they will take some inspiration next season from the hate crime scene in the music video. Perhaps The Hellfire Club/The Core Four/Mike will be attacked and Mike will be brought home/come home beaten.

In the actual music video, the boy's parents find out he's gay from that and they do not accept it.

However, in the show, I think it'll be focused on him being in Hellfire (since DND is a metaphor for gay love between Mike and Will). I imagine it'll be like, "Michael, why are you still associating with them? You know what would happen!" They'd get mad at him for essentially "walking right into it himself." This sets off conflict in the Wheeler Family this season. Mike finally snaps at them, telling them it was bound to happen anyway. He mentions the bullying he's already delt with his whole life. He sees his parents' sudden care in his life as BS and how it had to take the entire town to hate him for them to finally see him.

Another scene they could parallel within this one scene (or in another) could be Jack McPhee's coming out scene from Dawson's Creek, a show the Duffers loved growing up. We often see parallels to that show when it comes to the show's drama, primarily with the El-Mike-Will Love triangle to the Joey-Dawson-Jen Triangle. Mike is also heavily paralleled to Jack McPhee.

In the coming out scene, Jack tells his emotionally neglectful father (who is definitely worse than Ted) - "I was different. And as hard as you've tried to stamp it out and ignore it, I have tried harder than you to be quiet and to forget it and to not bother my family with my problem."

If this doesn't sum up what's going on then idk what does.

It's not that his parents hate him for what they know about him, but they also aren't supportive either. They ignore him. They ignore everything outside of their own little bubble. They close themselves from the truth of what's going on in the town. They close themselves from their kids. They push them to hide and stay quiet, but that's just not who Mike and Nancy are.

We also know we're into some Wheeler drama this season considering all the leaks with Karen/Holly(?)/Henry and the interview with Joe Chrest (Ted's Actor). So scenes like this aren't far off the table.

Mike is a character that is struggling overall with his place in the world and identity. He is struggling with his self worth, his sexual orientation, his relationships, accepting the interests that make him who he is. He is conforming to societal pressures (much similar to his parents) because he doesn't know where else to go. He is confused. He struggles with self-worth and severe insecurity. He does not feel needed unless he is actively doing someone of service to the point of sacrificing his life, much like a superhero, hence his fixation of them. Superheroes are people who are wanted, who are heard and seen - Something Mike feels he isn't.

He's growing up in a small and conservative town, internalizing the homophobia he witnesses, internalizing what he HAS to be and has to feel - He has to want girls (and yeah, believe it or not, homophobia still impacts queer people regardless who it's directed to. there's reason why we see mike's reaction over anyone else's). But he just can't, yet he still tries because otherwise that'd be falling off a "normal path." He has to get rid of his toys and grow up to keep on a "normal path." He has to conform because he fears what would happen if you don't. That's something he's unfamiliar with.

Mike needs to be finally seen by his family. His overall major struggle with conformity stems from there. It's what he needs emotionally, but it also makes sense narratively. It has to be from them. His whole arc along with them is to break free from their conformity, and it starts with the facing their truths as a family.

Mike won't end up making the choice the boy has to in the music video. In the end, he will have his family's support and acceptance. He will be able to be true to who he is. He will accept himself. He won't need to runway in fear. I do still believe he will leave Hawkins (with Will). It just won't be on a bad note!!

[paladibun]

I saw this post  by @thingsarenotgoinhwell and was possessed into adapting it in comic form.

[cluelessbees]

Yknow what ? I think Byler getting Murray’d would be more heartfelt than anything else.

Because like-

Murray doesn’t just call out Jopper and Jancy because it’s obvious. He points it out because he knows they’re being stupid. In their cases, it’s really just them not communicating their feelings to one another and trying to pretend they don’t exist.

But with Byler it’s like…it’s different.

Because it’s not just that is it? We’re not just watching two people pine over one another whilst being oblivious to the fact they other likes them back. We’re not just looking at two people who can’t communicate well. There’s more to it.

Because they’re two boys who have been best friends since childhood. They grew up at the peak of the AIDS epidemic. They live in a small town and they’re expected to act a certain way. It’s different for them.

I don’t think Murray is gonna waltz in acting all holier than thou and essentially out both Mike and Will to one another. He’s a smart man as we’ve seen. He’s attentive. He doesn’t just call jancy and jopper out to prove a point he knows what they both need to hear so they can get over their miscommunication hurdle.

I think he’s going to go up to them. Either both or just Mike or Will or whatever, and he’s going to talk to them about it. Because that’s what they need. They need someone to talk to them about it. And I don’t think he would start with just directly talking about it. I think he (and this is me headcanonning Murray as queer) would open up first. Like about his own experiences- to show them that he gets it, and he knows what it’s like. And then he would casually bring up the whole byler thing.

Hmmm something along the lines of...

Okay– picture a conflict Mike Wheeler sitting by himself – either on the couch or on the floor or whatever. And, he’s stuck in his head. A lot had happened. He broke up with El and he’s struggling to grasp what he’s feeling about his best friend. And there's this…weird tension between them that– he just– he can't put his finger on. But they’re off. They aren’t clicking like they used to and Mike can’t seem to fix things. 

So he sat alone, trying to understand or comprehend whatever he’s feeling whilst everyone else is god knows where in the house. Will was in the kitchen though. Mike knew that much. And then suddenly, he felt a weight on the couch seat next to him or the space on the floor beside him was no longer there and he heard the words of Murray Bauman pull him out of his thoughts with the weirdest fucking ice-breaker he has ever heard.

“Y’know…I was like you when I was younger.” 

“Really?” Mike asked – mostly out of disbelief as he scanned Murray. No way. Not a chance. 

“Oh yeah…” Murray smiled, nodding to himself as he continued. “I know it's hard to believe it, but I was this…brash, stubborn, reactive teen who loved going against authority. I was very...headstrong in my beliefs.” 

He paused and Mike turned to him. Murray had his head down, looking at his lap silently, and Mike didn’t know what to do but watch or…more– listen to the silence. 

“And…I was also in my head a lot.” Murray looked up, turning to Mike once before looking forward again. “I was angry at things – at people and at myself because…no matter how much I pretended like I loved being a freak…a part of me hated that I wasn’t normal…”

Mike felt cold. His heartbeat raced as he turned away from Murray – facing forward and staring at his lap as he continued to listen.

“Yeah?”

“Oh yeah…I was-- going through a lot of stuff internally that I tried pretending didn’t exist.” He paused again – taking a deep breath. “I was…in love with someone who I didn’t want to be in love with.”

“...You were?” 

“Yeah…” Murray laughed to himself. “Yeah…it was– well he was…my best friend.”

Mike held his breath.

“I fell for him. And I was mad at myself for falling for him. Because even though I knew it wasn’t wrong…I just kept thinking about how I wasn’t supposed to like him. Because that’s not normal– Well ‘normal.’” Murray airquoted, rolling his eyes. Mike’s eyes were glued onto him at this point. 

“So…I grew angrier. And I took it out on myself. On him. Even though he didn’t deserve it. Even though I loved him– I just..I let my fear get the better of me and I pushed him away until I lost him…And I hated myself for doing that.” He breathed, another pause, before finally turning to Mike. “It took me a long time to realise that there was nothing wrong about loving someone.”

Murray tilted his head towards the direction of the kitchen as he raised his eyebrows – and it clicked to Mike.

“I..” Mike’s throat felt dry. “You know?”

“I had a hunch.”

“Is it obvious? Does he–”

“No, he doesn’t know. Your secret's safe with me, kid.”

“Okay– good.” Mike paced his breathing. “I just…I– I can’t lose him because of this. If he knew– if– if he knew he would–”

“He’s your best friend right?” Murray cut him off.

“What? Yes but–”

“Then. he could never hate you, Mike. Not about this.”

“How do you know that?”

“Call it…another one of my hunches.” Mike knitted his brows together.

“Look – kid, I’m not going to force you to tell him or anything. It's your choice at the end of the day. And I can’t say much, but it doesn’t take a genius to know how much that boy cares about you. And you care about him, correct?”

Mike nodded. 

“And you trust him?”

Mike nodded again. “With my life.”

“So…all I can say is…if you trust him? Then...trust him with this.” Murray began to stand up. “Take it from me. Holding it in only hurts the both of you.”

And then Murray leaves

Anyways yeah thoughts––

[gayofthefae]

The tragedy of season 4 Mike Wheeler's arc and the difference between being trapped in a loveless relationship you just feel something is vaguely missing in and being trapped in a loveless relationship you know is loveless but you've locked yourself into.

His arc isn't to taking action. That was a hopeful myth he gave himself as he figured out what he really wanted. His arc was just to learning he was settling. At least when he didn't know, that was the reason he couldn't do anything about it; there was still a fantasy that someday he could fix it.

But now he knows he's queer and he knows he can't get over it but he also knows he can't be it either.

The queer experience of being closeted and not even wishing you were straight, but wishing you still thought you were, not because you don't want your queerness but because...what can you do with it? What difference does it make?

[chirpsythismorning]

Me when I’m reading a fic that’s a little too OOC for my taste, but the writing is superb and the angst is top notch…

[ectonurites]

Byler Week Day 3: Birthdaygate/Byler gates

i am choosing to believe that Vecna made everyone forget Will's birthday for Plot Reasons (do I know what plot reasons? absolutely not) and that will eventually be resolved, so imagine this is in the aftermath of that 👍

but anyways: HAPPY BIRTHDAY WILL ❤️❤️❤️

[byler-alarmist]

Stranger Things is one big 80's movie fix-it fic.

It's Stand By Me, if they were brave enough to admit that Chris and Gordie were.in love

It's Pretty In Pink, if Andie and Duckie ended up together like they were supposed to

It's The Breakfast Club, if the teenagers were allowed to be very, very gay

Edit: even better, per the suggestion of @punkwillbyers, it's if Duckie was gay and Andie turned out to be queer, too

[romainlettusdinnerparty]

happy birthday to The bangs of all time

[ellie-the-plant]

i will only be thinking about him today

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[coldninjaruins-blog]

Will finds the annoying and dramatic side of Mike amusing, I won't take any criticism.