#stranger things character analysis

[queen-of-hawkins-why-ler]

I stg people would have an easier time accepting Byler and queer Mike if they didn’t have such a narrow-minded, stereotypical view of how gay people look and act. When they say, “Mike isn’t gay” like that should be obvious, what they really mean is, “Mike CAN’T be gay—he’s too masculine and not flamboyant enough.”

They can’t accept that your average Joe could be queer. Queer men have to look and act hyper-feminine, ESPECIALLY in fiction, otherwise, how are we supposed to know which characters are gay?? They applied the same logic to Will, even, before his sexuality was confirmed. Will is a young boy who acts like a young boy and has young boy interests, so he can’t possibly be gay. He’s too “normal.” That’s why, even now, they have such a difficult time accepting that Will is canonically queer.

But Mike??? No way he could be gay, he’s literally the “knight-in-shining-armor,” traditionally masculine hero character who is supposed to be the anchor of the group. The “main” one of the kids, and the main female character’s love interest. Forget it, he could never be gay. He looks masculine, talks masculine, wears masculine clothes, etc. he CAN’T be gay.

These people still think it’s 2007 and that every queer man on television must wear makeup and be sassy and care about fashion lmao. They literally can’t reconcile with the idea that, no, actually, gay people are just people who happen to be gay, and they come in all shapes, sizes, and personality types. Mike is way too “normal” and your standard, run-of-the-mill hero character to be queer.

Anyways, they are in for a rude awakening come s5 lol.

[craziertogether]

i hate mike wheeler hate.

as a former mike lover turned mike disliker turned mike wheeler defender for life. i have to say it, mike hate is SO forced.

they’re are so many worse characters in the show to hate on but for some reason the GA loves to claim that mike is amongst the worst character’s in the show and their argument is like 3 things.

1) mike is poorly written post season 2. okay so you actually missed the entire point but okay! whether or not mike is queer, which lets be honest, it logically makes the most sense for that to be the case. the duffers did NOT just drop/forget about one of the greatest main characters in netflix history. if we remove mike’s queerness from the equation, the duffers logically forgetting about mike who played the most integral part in the first 2 seasons would be the biggest fumble of the CENTURY. mike was the most loved for his bravery, commitment to the party, and unfortunately being el’s boyfriend. but it’s so clear that mike and will are definitely favored by netflix over dustin and lucas. thus, this decline in mike’s character absolutely MUST mean something huge has to happen for mike’s character. and if we look logically at his blatant queer coding, mike is queer. this is where his story is headed. not down but up as he starts to have self realization. logically this also aligns with will’s story of self acceptance, he knows he loves mike romantically, he doesn’t need any more acceptance of his sexual identity, he needs to either have his love reciprocated or rejected. (likely reciprocated otherwise m*leven is the most lame ending to the show’s ending)

2) mike has been a horrible boyfriend to el/doesn’t deserve her. what gets me about this argument is that it’s actually mostly from actual m*leven shippers who hate mike but like the ship. i’ve already been on a whole ass rant about this here:

but firstly, your perception of love is seriously warped. but also how can you HATE one part of the relationship and still expect them to work out in endgame? this is clearly not a couple worth rooting for as it has a character that you believe mistreats his own girlfriend and lacks depth. and you still think they should stay together for the sake of… what exactly? being together bc they were together from the beginning, hate to say it but your first partner will almost never be your last. i’ve also heard the argument that, they hate him post season 2-3 because he became distant but they know the duffers will magically rewrite depth to their relationship and make them endgame. again hate to say it, but the duffers then suck at writing. why wait 5 whole seasons to give your characters in a relationship actual depth and complexity when you managed to give it to lumax IN ONE? it’s illogical to start doing it now unless you could make mike genuinely a god and somehow manage to not make it feel out of place. (whole rant about this on my page already, but will and mike aside from narratively making sense have so much built up tension and feelings that would literally manage to resolve the errors in m*leven as a couple and the weird behavior of mike for two whole seasons)

3) he’s just so annoying for not being able to choose between el & will. oh my lord. this, THIS is the one that gets me. if you’re able to acknowledge byler and still somehow hate mike. YOU ARE DONE. do you hear me. that is genuinely the worst argument for hating mike by FAR. mike is a 14-15 year old boy canonically in the show. in what universe would it make any sense to manage to force mike to just resolve his entire character arc in 10 seconds. mike’s entire character arc revolves around his queer attraction/feelings, internalized homophobia, & forced conformity. mike’s a survivor, had the most insane case of survivor’s guilt AND internalized homophobia in the show. (robin coming out scene & will admitting his own feelings before mike BEFORE GTA6 is insane work). mike has done quite literally nothing except try to be there for those around him, he’s a brat and has an attitude but if you’re saying you’ve never had one before you’re a liar or you’re a liar bc mike is literally a cutie patootie, he’s got unpacked trauma from years of fighting monsters, society pressuring him to be masculine and straight, his own family making him feel worthless and weird for his relationship with will, watching his love of his life best friend being dragged out of a quarry, chard by federal agents? a girl he tried to save being a annihilated in front of him and she didn’t return for over a year, watched billy die, and so many people i. his town go missing bc they’re not human and are actually just melded pieces of flesh for the mindflayer’s body, shot at by government agents, literally had to bury a dead body, watched his own girlfriend over and over fight for her life and fail to save people and tried to be there for her, saw a completely deformed max fighting for her life, saw YET ANOTHER person come back from the dead (hopper). and you’re telling me you think he should just find time to reject the girl who makes him think he is normal for the person who actually makes him feel that way when everyone and thing around him has been telling him that’s the wrong choice. you think he has time to genuinely just make the choice to drop everything because his heart wants it, he’s not the brave 12 year old he was in season 1, he’s not running after will because this time will is not dead. he’s accepting himself which is scarier to him than will being dead.

in conclusion, STOP THE MIKE WHEELER HATE. he deserves grace equally as much as will does. i love you mike wheeler, if you have 0 fans i am dead.

(p.s. i don’t want to see “mike deserves to suffer the most during s5” content. i.e. making him lose will in real life and/or lose el. i love angst, make him get vecna’d, make him maybe get injured but death/losing will or el or nancy is CRAZY. mike wheeler deserves happiness too.)

[stranger-feathers]

The Byler miscommunication in Season 4, and why I find it so interesting

This is a continuation/inspired by what I said in this post, you can think of it as a preview of this.

Miscommunication plots are usually hated in fiction, and it's easy to understand why. They're often trite and uninteresting, only existing by chance and contrivances to create pointless conflict. We all have seen that scene where a character walks in or out, at the exact wrong moment, and ends up making up a completely outlandish scenario, or completely misinterprets someone's intention while we're left sighing and hoping for the end. It's annoying, everyone hates it, but we all live with it regardless. You may then ask : why do I like the miscommunication conflict used in ST4 so much if I normally hate them ?

At its core, it is a miscommunication conflict, there's no real denying it. Mike and Will are somehow both convinced the other doesn't care anymore, despite the audience knowing that this assumption doesn't make much sense. The interesting part though is why they end up thinking so. Buckle up, and let me tell you a story of why this conflict was actually very well done on the part of the writers.

1) Backstory : Mike & Will's relationship before the conflict (S2 and before)

Mike and Will are presented as a special pair from the beginning of the show, I don't think this needs to be demonstrated here (there are countless analysis that have done so better than I ever could). During Season 2, we are shown a Mike who is constantly looking out for Will, and reaching out in ways that others do not. He tries to call the Byers' house to check up on Will when he misses school, and, most importantly, he's the only one who actually goes there to find Will when calling does not work. Put a pin on that, Mike going to see Will when calling fails will come back. This motif of Mike reaching out to Will is so fundamental that it is highlighted as being the very way they became friends. They were both alone and Mike reached out : "And I just walked up to you and… I asked. I asked if you wanted to be my friend."

(he's such a sweetie pie sometimes).

Mike is the leader of the group, and it really shows in this tendency to initiate things. It's easy to realise that, early in the series (and presumably before as well), Mike makes the plans to hang out. The writers use the D&D games to showcase that fact : they happen at his house, and he is the DM. He prepares them for weeks and clearly puts efforts into them, all so his friends can have fun with him. He initiates things and expect others to answer present : that's simply how he prefers to communicate. But what does that have to do with Will ?

Will as a character is reached out to in a lot of his interactions. The plot of Season 1 is heavily focused on reaching out to Will stuck in the Upside Down, be that with Joyce's lights or with El's powers (the talkies and the void both). Here, Joyce and El are allies in communication, and El particularly so where Mike is concerned. Put a pin on those two, they'll also come back (less positively unfortunately). However, Will as a character rarely initiate interactions. Will seems to strugle with opening up if the people around him don't make an active effort to reach out, which is why we so often see Jonathan and Mike actively asking him if he's okay and initiating their scenes. That's why Mike is such a good fit for Will : he knows how to coax him out of his shell and reach out, which Will treasures immensely.

The other side of the coin then is : why does Mike treasure Will ?

Will seems to be one of the rare characters to react positively to Mike being vulnerable, and one of the rare characters Mike opens up to in the first place. After all, most of his overtures of closeness with Nancy are rebuffed, his relationship with his mother is in an awkward middle ground between apparent care and lack of good worded communication, his friendship with Lucas tends toward confrontation in early seasons... Mike apparently struggles with expressing himself and his vulnerable emotions fully. Or well, he would, if it wasn't for Will, or so the show implies.

If we take the crazy together scene as an example of their usual friendship (which is up for debate, but I usually assume it to be the case), Mike feels comfortable enough with Will to calmly express his feelings towards El and her death, and they manage to meet each other in the middle, ending the scene with the mutual declaration that they'll go crazy together. This is a question initiated by Mike : Will is simply the one answering it. However, this exchange still puts Will in a pretty restricted and cherished category for Mike : someone who answers positively to Mike's overtures of closeness and vulnerability.

Interestingly enough, Mike asserts in that scene that El would understand too : after all, she's the one who understood him in Season 1, when Will was unreachable. Sadly, we see that understanding diminish with time, leaving Mike more and more isolated : two examples that come to mind would be the "blank makes you crazy" scene (where El fails to answer Mike correctly) and the complete shutdown of his attempt to empathise about being bullied during their Season 4 fight. (This is mostly a tangent, but it fits the overall theme of this analysis so I'll let it stay here)

Will answering positively to Mike's reaching out is also the one thing Mike chooses to highlight about their dynamic during Will's possesion, proving how deeply appreciated Will's answers are : "And you said yes. You said yes."

As Mike says : "It was the best thing I've ever done". Letting himself be vulnerable with Will, and Will reacting positively, was the best thing ever for 13 year-old Mike.

Do note that I'm French and the French version is specifically "[you saying yes] was the best thing that ever happened to me", which supports my point here even better. That probably colors my perception of this scene, but the underlying idea is still there in English in my opinion.

And Will rewards Mike being vulnerable again by responding extremely positively : he starts tapping in Morse code, an answer to Mike's desperate reaching out.

Now that we've layed out the ground work for how they work at their best, let's see what happens when this dynamic falls apart.

2) The big conflict : Season 3's fallout

It's summer of 1985, and Mike spends most of his time making out with El. He seemingly stopped reaching out to Will, or at the very least, doesn't do it half as much as he used to. Will, feeling left behind, decides to be the one to reach out this time : he plans a D&D game, the same way Mike used to do. This is Will attempting to clumsily replace Mike in their usual dynamic : if Mike doesn't want to initiate things anymore, then Will will try to do it instead. He quite literally replaces Mike's role as the DM (aka the initiator and planner in D&D), but the game still happens at Mike's : this is, after all, Will's way to reach out to Mike specifically. The others are never really accused of leaving Will behind, and rightly so since they seem to have kept up with him much better.

Unfortunately for Will, that plan does not go smoothly at all. Freshly-broken-up-with Mike is not in the headspace to answer positively to Will's reaching out, and they end up fighting, presumably for the first time in a long time (or ever) if Mike's surprise is anything to go by. Mike digs his grave more and more before realising that he truly fucked up, and decides to try to fix things by, you guessed it, reaching out to Will. He bikes to Will's house under the pouring rain, profusely apologises (not that Will actually hears it, but the intent is there), and keeps looking for Will until he finally finds him at Castle Byers. Unfortunately for Mike, this is too little too late : we never get to see Will's answer, nor do we know what Mike did to apologise once he found him. The conflict is slipped under the rug rather than resolved (as Lucas' discussion with Will in the next episode highlights). What Will learns from this interaction is that reaching out to Mike when Mike fails to do so isn't a solution : it simply seems to make things even worse.

Fast forward to the end of the season, and Will uses D&D to get this point across : "I'll just use yours when I come back. I mean, if we still wanna play." Whatever happens next, Will leaves it to Mike to reach out.

Mike reaches out to Will one last timen before he leaves : "What if you want to join another party ?" And Will answers the exact thing Mike wanted to hear : "Not possible." Both of them end up seemingly on the same page : back to their usual dynamic, smiling brightly at each other with an unsaid promise that things won't change. Unfortunately, things do change, and not for the better.

3) Post-conflict : THE miscommunication (Season 4)

It's March of 1986, and Mike is on a plane to California. We know from the first episode that Mike and El sent each other letters, but we have no information on the communication between Will and Mike. Then comes their first meeting on screen and it is more than awkward.

Will is prepared for a big hug, yet Mike is keeping his distance for unknown reasons. It's obvious something happened on Mike's side between their last conversation and this, but what it exactly is is left up to our imagination for now.

The start of an answer is given in their fight at Rink-O-Mania : "[Mike] called maybe a couple of times [...] meanwhile [El] has like a book of letters from [him]". Whatever happened on Mike's side isn't a one time thing, but a continuous issue in communication between them. Mike seemingly doesn't want to reach out to Will anymore, leaving Will hurt and feeling abandoned by one of his favourite persons. (Jonathan's behaviour in California also does not help remedy that fact, since he has never been as distant from Will as he is this season)

However, a few episodes later, we are given a very strange piece of information by Dustin : "Joyce has this telemarketer job, she's always on the phone. Mike won't stop whining about it." Now why would Mike whine about the phone, if he barely even called Will ? It's not like Mike was calling El, we established both at the end of Season 3 and at the start of Season 4 that they communicate by letters (as Will confirms) and talkies. A plausible conclusion for those two pieces of information is then that Mike did reach out to Will more than Will thought, but just couldn't get through. (this is the conclusion I use in this analysis, even if it has not been confirmed to be the case)

But wait, remember that pin about what Mike does when phone calls don't work to reach Will ? He goes directly to his house. A shame that the Byers moved to the other side of the country then, wouldn't you say ? Mike is therefore left to stew in his hurt feelings, convinced that Will doesn't want to answer like he used to. With that, Mike loses one of the rare persons that he can be fully honest to (and as we've established, El's understanding of Mike is also looking worse and worse as time passes).

The move is an obstacle to the very premise of their communication, and that's what makes it a great conflict. Will feels like Mike doesn't want to reach out anymore, and Mike feels like Will doesn't want to answer. This isn't a conflict that exists in spite of the characters, but because of them.

Speaking of external obstacles to communication, remember that pin we put on Joyce and El being allies in communication ? Well, it's certainly not the case anymore. Here, Joyce is the obstacle that prevents Will from answering Mike's calls. And El is the obstacle that prevents Mike from reaching out by letters. As he puts it himself, "[El] has a book of letters from [him] because she's [his] girlfriend". And Will, who obviously isn't Mike's girlfriend, doesn't need letters.

And with those informations, we can now reconstruct what happened on Mike's first day in California.

Mike is feeling out of touch with Will ("I feel like I lost you") and is therefore awkward as hell. This makes Will think Mike doesn't want to talk to him anymore ("you're not interested in anything I have to say"), which means Will doesn't answer the way Mike wants ("you were rolling your eyes, you were moping, you were barely talking"), which leads to their fight. That whole day at its core is Mike failling to initiate correctly, which makes Will freak out and answer incorrectly : this is them not being on the same wavelength anymore, and a clear indication that their usual dynamic has been deeply disturbed by the last few months (or year, because as Joyce says, we're all time travelers, but especially if you're gay pining for your best friend).

Another very interesting detail to me is the implication that, while Will clearly still cares about Mike, wanting a big hug at the airport, we hear very little about Will's own attempts at reaching out. Mike points out the same thing when they fight : "Well maybe [Will] should've reached out more. Why am I the bad guy ?". And he isn't wrong per se. Will could/should have reached out more. But given their previous conflict in Season 3, and their history of communication before that, Will didn't feel comfortable reaching out. He tried last summer, and it ended up blowing up in his face : once bitten, twice shy. He's waiting for Mike to make the first move, even if that means not communicating at all. Will won't let himself ask more of Mike than Mike is willing to give him, or so he tries to convince himself as a deeply ashamed gay teen in the 80s (he does still get pissy about being the third wheel, which is understandable). It's a very juicy and dramatic series of events, but it still manages to feel very organic to me, and deeply in character. Will is more than understandable, despite being somewhat in the wrong and unknowingly self-sabotaging. Another interesting part is that Will himself does seem to come to the conclusion that he wasn't being entirely reasonable. When Mike comes to apologise, Will attempts an apology as well (quickly shut down by Mike though), because Mike's words made him recontectualise the situation.

In that same apology, they manage to make the first step towards fixing their relationship. Now that the situation allows it, they go back to the exact dynamic that worked out so well for them before : Mike initiates and seeks Will out with an overture of friendship, and Will answers gratefully (even grabbing his painting, the very proof of his love and understanding of Mike).

Later down the line, Will covertly apologises for not reaching out more : "if [I] was mean to you, or if [I] seemed like [I] was pushing you away, it's probably because [I'm] scared of losing you". Since this comes from his speech about the painting, Will's name isn't on those words, but it's still progress for Will to admit and word it aloud, even if it's only to himself.

Besides, feelings don't always need to be said (as they put it themselves "I didn't say it." "You didn't have to"). The painting itself is proof enough for Mike that Will thought about him despite the distance. Mike really needed to know that, more than he needed an apology. Will finds the right answer to reasure Mike in the van scene, and they truly fix their friendship there (for now at least, since Mike has yet to realise Will broke their other rule of communication : "friends don't lie").

This plot is very dear to my heart because both of them have fucked up and hurt each other (and themselves) without meaning to. They acted out of carefully built familiarity with the other's behaviour (but also informed by their unresolved fight) even when the situation itself didn't allow their usual communication to work. That's why it blows up in their face, leading to the Rink-O-Mania fight. But this deep familiarity is also why they're so quick to build their relationship back up, seemingly stronger than ever. This is miscommunication done right folks, take notes.

[aria-bun]

So me and my friend had a debate and it made me realize how you can see which characters are favored by the creators by how much of their backstory (how the grew up, what happened before s1, their family lives) we know of them.

For this, im going to be using characters that got introduced in S1, as they have had the most time to be added onto (almost a decade), plus Max as a shoe-in.

This list would be: The Byers(+el), the Wheelers, The Hendersons, the Sinclairs, the Mayfields, and the Harringtons.

The Byers:

Joyce married Lonnie and had Jonathan and Will before separating (I don't remember explicitly why, probably because he was a piece of shit). Jonathan and Will live with Joyce with no visitation from Lonnie, and are very close. Joyce isn't the most stable parent, so Jonathan helps around, kind of co-parenting Will. El grew up in the lab, and we see all the stuff that happens when shes younger, which makes sense since she is the main face of the show, so she's kind of exempt from this list.

The Wheelers:

On the outside, they're seen as the perfect suburban family, but in reality, Karen and Ted are in a loveless marriage, especially proven in s3 when Karen is having a weird relationship with Billy. The Wheeler siblings have a normal sibling dynamic of shouting and a love-hate relationship, with (this mainly applying to Nancy) the pressure of having to hold up the "perfect family" image.

The Mayfields:

Max's mom married Billy's dad when Max was young (I dont know if they mentioned what happened to her dad or if i just forgot), after Billy's mom had died. They lived in California until they were introduced in s2. Billy's dad is physically and verbally abusive, which has influenced Billy's actions towards Max. After Billy's death, we know that Billy's dad left, and that Max's mom isn't in a good mental state, leaving Max to take care of herself while also coping with her brother's death.

Now lets compare that to what we know about the Hendersons, the Sinclairs, and the Harringtons:

The Hendersons:

Dustin's dad isn't in the picture (we dont know why), and his mom likes cats.

The Sinclairs:

Lucas has both of his parents, who are in a loving relationship, and he has his sister Erica, who he has a generic sibling relationship with.

The Harringtons:

Rich background, Steve's parents are never around, but it's never expressed as to what his relationship with them is like. (Ik he wasn't meant to be a main character and he was supposed to die in s1, but its been a decade, they could have added onto it at any time)

We can also see this in how their trauma affects them

El and Will both have similar "im the freak" mindsets, which gives them the struggle of being able to make new friends and expand their circle. They also have a lot of trauma from the upside down, and El unknowingly blocked memories of what happened with 001 due to how traumatic they were.

Mike was bullied his whole life, which does reflect in his character, making him quick to react to situations rather than analysing them before responding. His trauma doesn't come from his family, but from other people he has been around. With both him and Nancy, it is shown that they both struggle with telling people that they care about "I love you" (Nancy with Steve, Mike with El), probably from seeing how "love" affected their parents.

Max's mental health had a steep decline after loosing Billy, and it is explicitly shown and a large part of her character in s4, so that one needs little explanation due to how blatantly obvious it is.

Now, Dustin, Lucas, and Steve have all been dealing with the Upside Down just as long as the others have been (besides Max), and little trauma is shown from it.

Dustin and Lucas were both bullied like Will and Mike were, yet it doesn't seem to actually affect their character like it has for Mike and Will. Both also have their share of events happening with the Upside Down.

Steve did go through a character arc, but we don't see how trauma has affected him, especially since he seems to be the shows punching bag. He got tortured by russians, almost got shot by his ex, has gotten into fight after fight for these kids, and got dragged to the bottom of the lake by his ankles and proceeded to get strangled and attacked by bats.

And none of them seemed to be affected by any of it.

Thank you for coming to my TED talk.

If there are any other ST characters you want an analysis on, send an ask!

[stranger-feathers]

Music theory my beloved ! I love nerding over it so I'll yap a bit in support of your point.

I've snooped a little to find the correct english terms, but I've done all of my music theory classes in French so it could still be wrong.

The concept of stopping on the fifth is most often to write what we call a half cadence. This is usually used to give a sense of a question mark, something that has yet to be resolved : it builds suspense and tension. You know that feeling when the first part of a song chorus has to be followed by the second part, or it sounds unfinished and weird ? Most of the time, it's because the first part ends on a half cadence, and your ear wants to hear what is called the perfect cadence instead.

The perfect cadence is the progression from the fifth to the first. It's similar to a period in musical phrasing. It feels stable and finished because you have gone back to the defining chord of your tonality. To not give the audience that perfect cadence after the half cadence is a tool to leave them feeling like a question was asked, and the expected answer wasn't given. It is very often used to make a piece feel interrupted and leaving your listener uneased, like something's missing : a perfect fit for scenes that are interrupted by a third party, like the "on the bus" and the "letter to willy" scenes.

But as you mention, it also works very well in the "eight fifteen" case, where the composer doesn't give the resolution, not because they were interrupted, but because Will didn't say the right thing to resolve the scene correctly. An answer was given, but it's not the one that would have led to the climax and a satisfying ending for the song : very fitting for Mike's attempt at communication being misunderstood.

sus music editing in s4 byler scenes (a saga)

since tiktok might die in the US soon, i wanted to convert some of my old tiktoks into tumblr posts so they can live on forever! i've been wanting to do this for a while but never got around to it. i'm starting with this one because ive been posting about music coding a lot lately. i recommend watching the video attachment (at the end of the post) after reading the whole post, just so you'll have context when watching.

ALRIGHT!

will and mike are interrupted in the majority of their solo scenes. the scene in jonathan's room, the scene in will's room, the scene on the car, & the scene in the cabin. i noticed a long time ago that the songs used in the first 3 scenes listed build up for the first half and then kind of explode for the second half. there's a point where the song changes/released after the buildup.

the songs are:

eight fifteen (jonathan's room)

on the bus (will's room)

letter to willy (talk on the car)

BUT, in will's room & the car scene, mike and will are interrupted almost right before the song is supposed to climax. i lined the songs up and listened and i'm right. interestingly, in the scene in will's room, on the bus is edited. in the scene, the song starts like normal at the start of the song. but they cut the middle out so it would skip right to the part RIGHT before the climax of on the bus. THEY DID THAT. so at the very end of the scene just before they get interrupted, the song is teetering on the edge of the big explosive part of the song, but it doesn't happen because they're interrupted and the song ends. in the car scene letter to willy is also edited. maybe im wrong, but there's a note i hear in the car scene that i cannot find anywhere in the song. so it seems like they're purposefully using songs that are building to something but cut off right before the pay off of the buildup. i wouldn't be capitalizing on this so much if 90% of the scenes this happens in werent mike and will staring into each other's souls and then having their gazes torn from each other, but they are. so take that as you will.

now we need to talk about eight fifteen. this is fucking wild.

eight fifteen is all build up for the first half. then there's a moment where it teeters on the edge for a second, and then BOOM! release & loud pretty synths. i lined it up, and the 'teetering' part of the song is in the scene in jonathan's room, but like the others, it's edited. but this one is WAY more crazy.

the song starts from the beginning when will sits on the bed next to mike. it builds while mike talks about his problems with el and not saying the thing she wants. then will says "look, mike, you're gonna see her again, and whatever it is you didn't say, you can say it to her then, okay?" the teetering part starts when will says

"look" and goes all the way until he says "then"

when he says "then", that is the moment when the buildup is supposed to release. but in this scene, it doesn't happen. instead, when he finishes talking, specifically when he says "then" the note kind of trails off. it sounds weird. it's unsatisfying. there was no payoff to all that buildup. i've seen plenty of other tv shows where this is used to emphasize the face that there was no payoff. something in the scene was anticlimactic. something that they wanted to happen or were expecting to happen didnt. the characters are disappointed or left hanging.

and when that note trials off, mike says

"yeah...yeah" and looks down, looking upset and conflicted and disappointed

he wanted will to say something else. will saying "you can say it to her then, okay?" disappointed mike. that's not what he wanted to hear. i think mike wanted will to reassure him and tell him he doesn't have to say something he doesn't mean or doesn't want to say, and that when they see el again mike can explain himself. mike desperately wants to be told he doesn't have to pretend to be in love with el if that's not how he really feels. he wants to be told that el won't be angry if he's honest with her about his true feelings for her, which are platonic. (hence why he later nods after will says 'what if they don't like the truth?')

but will doesn't understand that. will thinks they are in love, he thinks they're perfect. so in his mind, it's fine because mike can just say it when he sees el again. but he thinks that because he thinks mike actually means it, when in reality he doesn't. and by doing that, will only further pushed mike into giving his false confession. now mike thinks even more that he just has to spit it out and tell el what she wants to hear even if it's not how he really feels. this just breaks my heart because mike is so hated on but he's a GOOD BOY💔💔 he's just a 14 year old kid who's afraid of failing the people he cares about but also hates lying about his feelings and just wants to feel free from the expectations others have for him. he just wants someone, specifically will, to tell him it's okay, and that he doesn't owe anyone anything, especially not his own feelings. and it hurts extra bad because if will knew the truth about mike not loving el he would shower him in support because of course mike shouldn't have to lie just because it's what el wants to hear.

and just in case anyone tries to say otherwise, YES mike lied in the monologue. it doesn't need to be proven, it's simply canon.

like there's no denying this. believing it's just a mistake by the writers before believing mike lied is CRAZY heteronormative copium. like come on💀

anyways, the things mike says and does in the scene in jonathan's support this theory. he threw away el's note. "a fight you cant come back from" "maybe if i just said that thing then things would be different" his phrasing sticks out so much. "said that thing" and not "told her" or "told her how i feel". to mike it's just saying words he doesn't want to say. and "a fight you cant come back from" its almost like he's hinting to will that he and el need to break up and he's hoping will will catch on and support him. he trusts will and values his opinion and wants his support. usually he and will very easily communicate non verbally and are naturally in tune with what the other is thinking and feeling, but this time will doesn't catch on (because of his own heteronormativity and assumption that mike and el are in love), and mike is disappointed. he brings this up over and over, like he isn't satisfied with will's answer, and is a little more honest every time. the only thing that seemingly satisfied mike was hearing will's feelings. why did it even get that far?? why would what will said in jonathan's room not suffice if he is actually in love with el??? it just doesn't make sense.

(unless it actually makes perfect sense)

i'm very confident in this since this lies less with the continuity within stranger things itself and more with basic film/video/sound editing. i even got some comments from editors/musicians who agreed with me!

"It's a tactic I've actually used before in editing. It keeps the audience engrossed, and really makes it FEEL interrupted for the audience."

"Woah that's crazy! And it literally stops on the fifth so it's totally legitimately unstable/ unresolved."

stopping on the fifth refers to a technique used in music composition to make a chord progression sound completed. i actually know a bit about this because i took music theory in college, but if anyone knows more than me feel free to share! a completed progression is like a circle. you must begin and end with the same chord. you start with one chord and move down a fifth to the next chord, and do that until you end up back at the original chord. that way it sounds nice and satisfying and completed. in 'on the bus', which the commenter was referring to, this process is cut short, which would serve no purpose other than making the music sound and feel incomplete or interrupted or unsatisfying.

if i just butchered that whole explanation please let me know, but im pretty sure that's accurate.

here is the video with two of the scenes i talked about, using 'Eight Fifteen' and 'On The Bus'

and just as a reminder, on the bus has only played twice in the entire show. first in the lumax talk on top of the bus in season 2, and second in the byler talk in will's room in s4. 🙂

anyways i hope this was comprehensible😅 i remember my tiktok followers being very confused so feel free to re read and re watch as many times as necessary or reply with any questions! and anyone who has more input on editing/music pls share with the class if you'd like!!

anyways byler endgame, thanks for reading

[lune-moon-nuit]

"...cause I love her and I CAN'T LOSE her AGAIN"

“I'm just trying to demonstrate how careless Max is with Eleven's powers. In fact, how careless all of you are. You're treating her like some kind of machine when she's not a machine, and I don't want her to die looking for the flayed when they've obviously vanished off the face of the Earth. So can we please just come up with a new plan because I love her and I can't lose her again.”

Mike’s most quoted line in Season 3 — “Because I love her and I can’t lose her again” — is often cited as definitive proof of his love for Eleven. But this statement, when viewed in full context, is a trauma response rather than a heartfelt romantic confession.

What’s hilarious is that the reason why he said that is literally in the sentence itself: the trauma. It’s ironic that this scene is being used as the ultimate proof, when in reality, it perfectly illustrates Mike’s core issue. The trauma of having watched her sacrifice herself to protect him, after he’d spent the entire first season urging her to use her powers (he literally said it in season 1 that she was a weapon). What pushed him to say this was the accumulation of all the unresolved trauma he experienced throughout Seasons 1 and 2—and that doesn’t exactly strengthen your argument, because…

The trauma begins in Season 1. Mike forms a fast, intense bond with Eleven while Will is missing. He projects his grief, fear, and protective instincts onto her.

Expanding upon the notion that trauma lies at the heart of Mike and Eleven's relationship, it's significant to note that the moment Mike kisses Eleven in Season 1 occurs on the very same day he effectively attempted suicide by leaping into the quarry—an act from which she rescued him. From that point forward, he perceives himself as entirely indebted to her. Not only had he already idealized her as his only hope of finding Will, but she now embodied the literal reason he was still alive. Layered atop this is the influence of those around him—Lucas, Dustin, and even Nancy—who had begun to suggest he harbored romantic feelings toward her. Combined with his own confused emotions, the pedestal upon which he placed her from the very beginning due to the almost mythic timing of her arrival in his life, it constructs what appears to be a perfect narrative. And as a Dungeon Master and an aspiring storyteller, Mike is especially susceptible to such emotionally charged, almost archetypal storylines. Within this context, it becomes entirely plausible that he would interpret his overwhelming emotions—rooted in trauma, gratitude, and projection—as romantic love. That this kiss occurred on the very day of a near-death experience he never references again (and may never have shared with anyone besides those present) underscores the depth of repression and denial involved. Fundamentally, their relationship is born out of mutual trauma and survivor’s guilt. It is a structure of codependency rather than genuine romantic affection. Personally, I believe that had Mike not jumped into the quarry, and had Eleven not saved him, he would not have kissed her that night.

From the moment Eleven disappears at the end of Season 1 after using her powers to save him and their friends, Mike internalizes guilt and blame. He had encouraged her to keep using her powers, to push herself, and to fight — and she seemingly died because of it. He urges her to use her powers repeatedly, culminating in her presumed death. For nearly a year, Mike believes she died because he pushed her too far, he grieved her, believing it was his fault. This established a psychological pattern of guilt and a compulsive need to protect her, not because of romantic love, but as a trauma response.

If he truly loved her romantically, he would’ve reacted with joy and emotional fulfillment at the end of Season 3, when El told him she heard what he said and that she loves him too. He would’ve kissed her back, smiled, said something, even if he was surprised. The truth of that scene is, ironically, a perfect summary of how Mike—his point of view and his emotions—is misunderstood by the other characters and also by the audience. Because he is incapable of truly communicating or expressing his emotions.

That scene is literally Mike breaking down in a full-blown panic, triggered by his unresolved trauma: the fear of loss and abandonment caused by Will’s disappearance in Season 1, El’s absence and presumed death in Season 2, the helplessness of watching Will be possessed and nearly die, the massacre at the lab (gosh let’s be honest, Michael Wheeler urgently needs therapy, I did a post cut in two part : here and here who develop more and where I was already mentioning how this scene says a lot about Mike mental health), and finally, his survivor’s guilt for having encouraged El to use her powers to the point where she “died” right before his powerless eyes. This scenario is a mirror of Season 1's climax, and Mike’s panic reveals a deep-rooted fear of repeating past events.

For a whole year, he believed he was the reason El was dead. And the very argument that triggered that line was literally about whether or not El should keep pushing herself and her powers to the limit to stop Billy—when she had already nearly died doing exactly that. So yes, when Mike says, "Because I love her and I CAN’T LOSE HER AGAIN," it's true. Because, breaking news: Mike does love El. He deeply cares about her. He feels the need to protect her. He carries immense guilt over what happened to her, which only amplifies his desperate need to protect her now and avoid repeating the same mistake that, in his eyes, led to her "death"—a death that felt absolutely real to him.

When faced with the possibility of losing El again in Season 3, Mike's fear resurfaces—not because he is madly in love, but because he cannot emotionally survive another loss for which he feels responsible (he is just 14 here remember). The panic in his voice, the overwhelming urgency of “I can’t lose her again,” reveals that it is not romantic love driving him—it is fear, shame, and unresolved grief. This is compounded by his lack of romantic follow-through when she returns. There is no joy, no emotional intimacy, no physical warmth. Instead, there is distance, awkwardness, and emotional shutdown.

But the real truth in that line isn’t even the “because I love her” part—because nothing in that moment confirms he's saying it romantically (especially since he can’t even say it to her face, can’t write it to her, and still can’t say it even after she confirmed that she loves him and heard him say it). So yes, he loves her, just like he loves Lucas, just like he loves Nancy, just like he loves Dustin.

What truly matters in that sentence is: “and I CAN’T lose her AGAIN.” And those are the words he emphasizes. Not “because I love her”—that part is rushed, buried in the flood of words he’s pouring out mid-panic. But he clearly articulates and stresses “and I CAN’T lose her AGAIN.”

Everything is shown here—not told—through his words, his body language, his tone, the context. His trauma is triggered. He’s terrified. He’s trying to prevent history from repeating itself, because the current situation feels too much like the Season 1 finale from his perspective.

So no, it wasn’t romantic love that drove him to say that. It was unresolved, ignored trauma being violently reactivated. The only difference lies in how people interpret that line—be it other characters or the audience—through the lens of heteronormativity, completely ignoring the full context and everything that follows in Mike’s behavior and attitude toward El.

It could’ve been cute, and could’ve worked in your favor—if the show had ended with that episode. But unfortunately, the Season 3 finale and the entirety of Season 4 only go on to confirm that yes, he loves her and he can’t lose her again, but he doesn’t love her romantically, and he is deeply traumatized and in need of healing from his abandonment and loss issues—or else Vecna’s going to have an easy time with him.

If Mike were truly in love with Eleven, one would expect expressions of that love to come naturally, especially in moments of emotional vulnerability. Yet, at the end of Season 3, when Eleven tells him she heard what he said and that she loves him too, Mike gives no response. He looks stunned, confused, almost empty. He does not affirm her words, kiss her back, or show any sign of romantic fulfillment. Mike’s behavior in these scenes doesn’t resemble a boy in love. It resembles a boy in distress, one who is playing a role he feels obligated to fulfill, but who cannot emotionally connect with that role.

This pattern continues in Season 4. He avoids writing “Love, Mike” (and write every time "From Mike" instead) in letters, despite knowing it’s what Eleven needs to hear. When confronted, he dodges and manipulates: “I say it”. But we, the audience (and El too), know that he doesn’t. His behavior is not that of a loving boyfriend, but of someone trapped in a role he doesn’t know how to escape from. His “I love you” speech in Volume 2 is prompted not by genuine passion, but by external pressure, specifically by Will’s emotionally charged metaphorical painting (that channels Will’s own feelings for him) and pep talk and his finally staged encouragement ("don't stop, remember, you are the heart ! You're the heart"). The words are performative, desperate, idealized—not grounded in emotional truth. He praises a version of Eleven that no really exists, emphasizing her strength and powers, not her vulnerability, her personality, or her heart. This suggests he is in love with the idea of her—an idea shaped by admiration, yes, but especially guilt and obligation, not affection (further alienating her and reinforcing that his attachment is conditional and performative).

So yes, if the only two times your boyfriend tells you he loves you are:

– once, when you're not physically present, and he says it in a panicked trauma response, then refuses to take ownership of those words afterwards,

– and the second time is only after you told him that never hearing it from him is hurting you, and you need to hear it—and instead of reassuring you, he gaslights you into thinking he says it when he clearly doesn’t, dodges the subject by idealizing you as a superhero…

…and this “I love you” only comes when you’re on the brink of death, and only because his best friend handed him a painting with a disguised declaration of love in it?

Then I’m sorry, but that’s not romance. That’s codependency, guilt, trauma, emotional repression, and societal expectations. Not romantic love.

The relationship between Mike and El has long been framed through a heteronormative lens, one that presumes emotional closeness between a boy and a girl must equate to romantic attraction. The show’s framing and marketing often push this narrative, but Mike’s behavior consistently subverts it. His discomfort with physical affection, his emotional volatility, and his failure to express romantic feelings — even when prompted — all suggest that this narrative is externally imposed, not internally felt.

The audience’s insistence on seeing “Because I love her and I can't lose her again” as a definitive romantic confession overlooks the complexity of Mike’s trauma, his guilt, and his emotional repression. It ignores the fact that he never says it to Eleven directly until forced to, and even then, it is with inauthentic language and shaky motivation. The tragedy is that Mike’s real love story — one rooted in slow-burn intimacy, shared vulnerability, and mutual understanding — is with Will. But because it doesn’t fit the traditional mold, it goes unacknowledged by both the characters and the audience.

Mike Wheeler is not a romantic lead blindly in love with Eleven. He is a traumatized boy burdened by guilt, struggling with self-identity, repressing his true feelings, and unconsciously projecting protectiveness as love. His actions toward Eleven are rooted in trauma, not desire, while his connection with Will reveals the kind of emotional intimacy that speaks to a deeper, romantic truth. Until Mike confronts his trauma and his sexuality, he will continue to play a role that does not align with who he truly is — a boy in love, not with the girl who saved him, but with the boy who always understood him.

Mike is not a character who lacks love—on the contrary, he feels deeply. But his emotional repression, unresolved trauma, and fear of loss lead him to confuse guilt with devotion, and obligation with romance. His relationship with Eleven is a product of circumstance and narrative expectation—but it lacks the emotional reciprocity, intimacy, and authenticity of true romantic love. Meanwhile, his emotional world orbits around Will, whose presence brings out the rawest, most vulnerable, and most honest version of Mike.

In truth, Mike doesn’t need a girlfriend—he needs healing. He needs to confront his guilt, allow himself to feel, and to stop hiding behind a version of love that doesn’t belong to him. Only then will he be able to understand what love really is—and who it’s truly for.

[mind-travel-er]

The ring on Eddie’s right hand is often recognized as a “mood ring”. BUT there's a debate that it might be a specific stone. An obsidian snowflake. In close ups, you can actually see the ring better, with black and speckles of white.

A mood ring would be pretty cool. I'm all for it. But guess what?

Upon further research, an obsidian snowflake just so happens to be of importance in DnD. Here’s the description: “When exposed to dragon's breath, the stone absorbed an unpredictable portion of the damage and disintegrated. It is formed when the scorching-hot lava inside a volcano spurts out and cools down. Its birth signifies that in every chaos, peace is inevitable.” Coincidence? Or is it exactly describing Eddie's character arc? In the most chaotic of all places, the Upside Down, Eddie finally found peace when he "didn't run away this time, right?". Joseph Quin described Eddie as guilt ridden over what happened to Chrissy. Eddie could have found some serenity after all, by avenging her in his own way, and buying time for his friends to fight Vecna. It also builds Eddie's character in such an awesome way. He probably stumbled upon that ring in a shop and recognized the obsidian. Just the kind that would protect him from a dragon's breath. A strong metaphor for people waisting their breath on him, calling him a freak and other colorfull nicknames. Eddie is the kind of guy that pays 👏🏻 attention 👏🏻 to the smallest things, wearing daily a DnD reference that most people won't notice. That melts my heart, because it shows our boy is detail oriented.

AND, in lithotherapy, the obsidian snowflake is the stone of rebirth and emotional growth; also why called “the flowering obsidian”.

[queen-of-hawkins-why-ler]

I really hope that Vickie gets her own story and character development in s5. I feel like the writers kind of set her up for failure by only introducing her in s4 and only showing her to us from Robin's perspective. I feel like they could've pretty easily introduced her in the end of s3 after we found out that Robin is a lesbian, and she could've even been the girl that Robin had been crushing on in class. That way, Vickie could've taken more of like an Argyle or Eddie type of role in s4 and we would've had time to get to know her and like her so that the stakes would be higher and we'd want to see her and Robin together more in s5.

Don't get me wrong, I love Robin and I'm excited to see her get a gf, and I'm sure I'll love Rovickie as a ship once we get to know more about Vickie, but for the time being I still prefer Ronance as a ship and I'm much more invested in seeing Mike and Will get together, just because there's been so much more buildup. I wish they'd set up Rovickie since s3 so that they'd actually be able to compete with the Byler hype.

[stranger-feathers]

Will being honest with Mike is a fundamental character trait, and the implicit trust between them is as well. That's why it's one of the few things the writers decided to establish about Will in the first episode ("it was a seven"), because it's meant to colour our whole perception of their dynamic. Will is good at hiding and doesn't mind lying, but he doesn't like doing it to Mike, even for his own benefit.

It's such a choice to then have Will lying to Mike and hiding behind El be his lowest point. And to then use that as fuel for Mike's confession, on the first time El loses ? To have that be the wrong choice, to have that not work despite Will ripping his own heart out for it ?

It's heartbreaking, but it works so well with the overall themes of the show : you have to be true to yourself and you have to be honest, because you can't and shouldn't hide forever. Will was a huge representation of these in S3, but he has lost both during S4. It's a truly tragic evolution, which hits just right for me.

I know we've all analyzed and waxed tragic-gay about the Byler Rain FightTM to death, but I've never heard anyone acknowledge how devastating it is that Will is still honest to Mike even after his (internalized) homophobic "it's not my fault you don't like girls!" comment.

Like I saw this post about how Will's honesty sets him apart from the other kids in Season 3, but it still absolutely floors me how, in the face of Mike's anger and hurtful words, Will doesn't deny being gay, even though it would be completely understandable for him to automatically protest or get defensive (like a certain cringefail boykisser we know...). Because even then, while experiencing the shock and complete betrayal of Mike's words, Will couldn't lie to Mike. Like that's so sad, actually just end me rn ;-;

Instead, it's his pure, overwhelming love for Mike and his desire to see Mike happy that ultimately pushes him to lie to Mike for the first time, not his betrayal.

This is why I don't buy that Mike knew he was lying during the van confession scene. Mike has always trusted Will implicitly, even more so in that moment because his assumption that Will had been concealing things from him since moving to California (and if he's hiding things from him then who knows what else he's been doing, surely he must be lying to Mike now too!) was dispelled by the painting reveal. If anything, this act of love only affirms that trust even more.

I'm so ready for the "What painting?" moment in S5. I need it magically teleported to my screen right now please!

[starlight299]

Eddie is like a Disney princess when it comes to animals. Why? Because I said so. Also the autism, I don’t know it just works like that.

In kindergarten he tried to make friends by showing people a cool spider he found. He ended up just scaring the crap out of three separate kids because apparently other kids don’t like spiders? It’s their problem not his. He also named every spider that made a web on his ceiling growing up.

In third grade, when he actually had a friend, the two of them were playing by a stream in the woods and his friend found a frog and was trying to pick it up but it kept hopping away from him. When he finally caught it he tried to show Eddie but opened his hands too much and it hoped back to the ground. Eddie just crouched down and scooped it back up on the first try. He opened his hands just enough to see the little guy as his friend complained. Then, deciding it was about time for the frog to be freed he lifted his top hand, but the frog just continued to sit there. His friend was a little annoyed and offended. Eddie crouched down and lowered his hand to the ground and the frog finally hopped away to continue its life.

When Eddie moved in with Wayne his first order of business is to befriend all the raccoons around the trailer park. He fed them regularly and after a while one of them trusted him enough to let him pet it. (Rabies be damned) He named all three of them, Rosie, Fredrick, and Bobby. Bobby was the one that always let Eddie pet him.

Eddie also fed the local crows and they delivered him trinkets every once in a while. He has a box of them under his bed. He could never give up any of them, he’d cry. Jeff tried to tell him it was just garbage and Eddie kicked him out and refused to speak to him for a week until Jeff apologized. The crows went thought too much trouble to give it to him for him to disrespect them like that.

The first time Eddie went over to Gareth’s house Gareth insisted that his cat didn’t like new people and would probably hide the whole time Eddie was over. The cat walked over and sniffed him after half an hour, Eddie pet him and Gareth almost cried.

When Eddie found a dead mouse in his yard he gave it a funeral, with a speech and everything, he made Waybe sit outside with him while he buried the mouse in their yard and wrote ‘Harold’ on a rock with a sharpie. He still lays dandelions by the grave every spring.

[lunabug2004]

Honestly my one biggest fear about s5 isn't Byler not being canon (even tho it's a close #2), it's all of Mike's "issues" being centered around his internalized homophobia.

Do I believe it's real? Yes, absolutely. Do I believe it contributes to how he acts/thinks? Yes, absolutely. Do I believe it's great representation? No doubt about it!

However, I do not believe it is the one and only cause for the things we see him do and the actions he chooses to take.

His character is much deeper than just int. homophobia. He has massive amounts of PTSD, survivor's guilt, abandonment issues, depression, family issues, probably anxiety, and I'm most likely missing even more things.

I'm just terrified that they're going to blame all of his actions on this one single part of his character, even though he is much more than that.

[stranger-feathers]

This is a man who (probably without fully realising) limits his own choices because he's determined to expand his little brother's.

I really like this part because it also reminds me of another reason why some people fail to get Jonathan, in addition to the difficulty of empathising with a character who's very different from them.

There's a very specific episode in the show that exemplifies this character trait, but a lot of people miss the implication of the scenes because they're not back to back. In episode 1 of season 2, Joyce says that Jonathan is supposed to choose what they watch for movie night. However, when we do actually see Jonathan before movie night, he's not choosing the movie he wants : he's letting Will choose one instead. It's such a precious piece of characterisation for the entire family, and opens up a lot of discussion about the chicken and egg situation of how Jonathan and Joyce ended up co-parenting Will : how much of it is due to Joyce genuinely needing his help; and how much of it is due to Jonathan's own initiative, even when it's unnecessary ? It's honestly one of my favourite characterisation choices in the show, even if it's a small detail in the grand scheme of things. (there's also something very interesting to be said about the fact that Will doesn't even end up choosing the movie, and how that relates to his own feelings towards being the "baby" of the family but that's another discussion)

Unfortunately, the main issue with getting this characterisation across comes from presentation : a lot of people simply don't remember the first scene when they get to the second, and just like that this subtle writing choice gets completely ignored by the general public. There's something very lowkey about how some characters are characterised, and that's one of my favourite part of the show, but it also makes me sad when it clearly prevents some people from understanding and empathising with them.

Jonathan is one of the characters that suffers from this the most in my opinion, which is a shame considering his character concept is already less palatable and relatable for most; especially compared to Steve who's both easier to conceptualise as a character and presented more straight forwardly to the audience.

It really fucking sucks as someone who likes both Steve AND Jonathan, but sometimes the fandom lowkey makes me hate Steve - whether it's by demonizing Jonathan/attributing his best tributes solely to Steve, or by wildly mischaracterizing him.

Yes!

Steve has his own, entirely valid, good qualities, many of which he actually shares with Jonathan: being brave, protective and loyal.

He's also practically intelligent and observant (realising the recording was coming from inside the mall), and he's done what a lot of young lads do. He was a bit of an arsehole in high school, and now he's grown up and grown out of that behaviour.

What that means is that he's a fairly ordinary kid. That's the whole point-he's the normal small-town boy who ends up doing battle with interdimensional monsters.

Jonathan, by contrast, gets so much hate because he's not ordinary. He is primed for the Upside Down. He's not ready for what happens to Will...but he's been expecting things to go wrong his whole life because they always have. When the GA calls him weird, or ugly, or boring, what they really mean is 'I can't relate to what he's been through so I don't have any sympathy for him'.

He's intelligent, sharp, witty, spiky, strong and compassionate. He has a moral centre because his father never did. He's a dad before he's a high-school grad; a mother's helper before he gets to be a child. This is the young man who organised his little brother's funeral, and still made sure his mother ate. This is the young man who had his spine cracked wide with a surgical stool, and tried to save his girlfriend through the pain.

This is a man who (probably without fully realising) limits his own choices because he's determined to expand his little brother's.

The constant erasure of Jonathan's complexities-his constant relegation to the background by large swathes of the fandom-hurts, because that's exactly what happens to kids like him. To kids like me.

Jonathan is different by design. The whole Byers family (sans Lonnie) is different by design. They are the ones best equipped to deal with all of this because they know the darkness that lies beneath normal life. It's not a shock or a surprise to them. The whole concept of the show is about a family that's been beaten down by people who don't care to understand, responding to the Upside Down in a way only they can.

Jonathan doesn't get to have the redemption arc Steve does, because (aside from the photo debacle) he doesn't need one. He doesn't need to grow up, because he's already had to. His outlook on life is more mature, more cynical, more responsible, because it's had to be. From the first episode, Joyce is already in the habit of focusing on Will because Jonathan 'can take care of himself', so his needs don't show on her radar. Not only does that mean she doesn't see them: it also means that Jonathan doesn't have a good handle on his own needs either.

When you learn to make yourself small to keep everyone else afloat, you lose the ability to tell when you're sinking.

And a big chunk of the GA seems to see this and go 'Oh, he's sinking, what a loser!' because it's become normal for him to sink. They see his character as the oddball tragic foil to Steve's everyman charm, when they were supposed to see it the other way around. Jonathan was supposed to be one of the central characters for once, and to take that away from him because he is the way he is...misses the point entirely. You're supposed to sympathise with Jonathan. You're supposed to watch the show and think deeply about the harm we do when we exclude people. You're supposed to learn from him.

Yes, Jonathan does struggle to be sociable, and charismatic, and open! He does struggle to express himself! That's the whole point: he is a child who's been through more in 16 years (as of S1) than most people in small-town America have in a lifetime. He is the way he is because he trudges through Hell and keeps going.

Because he'll be damned if anyone he loves ends up there with him.

[vanishbyers]

dog metaphors are all about devotion, devotion to a person, a concept, a place etc, to be a dog is to be devoted.

there are three types of dogs

dog 1: pet dogs; loyal and devout, they follow after the object of their devotion desperately even when it is not reciprocated or out of their reach. they are usually (but not always), somewhat innocent (think puppy love). they are below or believe themselves to be below the devoted in terms of power/worth/status etc, at the end of the day they are just someone's dog. they feel they are owned by who or what they are devoted to, whether enforced by them or by their "owner" differs. some are naturally selfless and obsessive, others bullied into submission, some are mix of both.

dog 2: guard dogs; aggressive and loyal, protector and/or provider in some way, (think knight and king dynamic) use anger and violence as an expression of love and devotion, either prone to harming who/what they are devoted to or are dedicated to the protection of it in all forms. this varies depending on the morality of the characters. low morality guard dogs are possessive and challenge their devotion using violence and threat to gain control. others are valiant and heroic, usually with a strong moral code that will not be broken. they are often bad at communication and addressing their own emotions, choosing to speak through their actions rather than using words.

dog 3: wild or wolf-like dogs, at their core they are a large animals that are unaware of their strength and size, their displays of love and affection, although genuine and passionate, can end up harming or negatively impacting the objects of their devotion, (think dogs showing affection through biting not realising the sharpness of their teeth), usually impulsive, controlled by emotions and erratic, they are volatile and often illogical. to love and be loved by them is dangerous. violence is a natural or taught characteristic of theirs that is inherent and inescapable. these characters often don’t intend to cause harm and when they do it’s usually from an un-calculated place of impulsive destruction or an emotional outburst.

[pinksmonkey]

The Truth About Hosegate and Lover's Lake

(An analysis by scrunchietown)

I found this like a year or two ago on here, but when I was making my Ultimate Byler Evidence/Analysis List, I was unable to find it again and realized it had been deleted. Luckily I took screenshots and had reposted them on Reddit so I could link to it in my list because I think it's really good. Anyway, now that I've reposted my evidence list on Tumblr, I figured I should post this too. I'm not sure why the original post was removed, so I apologize to scrunchietown if they removed it intentionally for some reason, but I think it's a really important thing to talk about so I want to share it here.

So anyway, here it is. :P

Because of the 10 image max, I will have to post this in multiple parts.

Here's Part 2.

[sade-alicious]

lighting in stranger things is so intentional and always has been. because in this scene hopper is clearly positioned in the ray of light

so all the other scenes where will is literally bathed in light as mike’s looking at him, or the blue and yellow lighting at rink-o-mania, its all on purpose

[gayofthefae]

There's a scene of Mike and Will uniting in loving El

There's a scene of Lucas and El uniting in loving Max

There's even a scene of Will and El hugging Dustin together

And Mike and Will hugging Lucas together

There's plenty. This is the SEASON for these trios. Even without hugs, the Lucas, Max, Dustin trio has been majorly back too! It's the SEASON for three people loving each other, especially with a focus on two united in loving one, in a way it never has before.

My point is that if Mike and El had been written to unite in their love for Will or invite him in in any way like that, it would have fixed so much that implies Byler.

One very simple way they could have done that is instead of El stepping out of the frame with Mike to be alone in a shot hugging Will, Will could have stepped into the shot with them. Just a very simple visual symbolism, can still even be just a one on one hug.

But instead, the continued to isolate any two pairs. Because they are not done emphasizing that the three of them in their current state are not something that can coexist. Mike and Will can be together. And Mike and El can be together. But Will and El can be together. But because Mike cannot be with Will in front of El, they cannot be all together. A group hug is off the table. A group is off the table...right now.

Because of the natures of their relationships.

But it would have been so easy. That was his entire conflict of 4x02. For people who still weren't sure he was gay by this point, that was his only conflict: feeling excluded by the both of them. A silent apology at any point after their reunion of just inviting him in in some way would have been huge. The equivalent of that subtlety of Mike telling Will not to donate his D&D book. A simple callback, but framing Will's main issue with it as being excluded and resolving that issue.

Will can still be gay. He can still have feelings for Mike. But if he is going to in the end be fine despite currently not being over Mike, they would need to make that statement that his main issue was their exclusion of him and now that that's resolved, he is okay!

That he is gay and in love with Mike. But that isn't the issue that needs resolving. The issue is that he wants all three of them to be able to be together. And the other stuff is just for the purposes of queer representation, his true happy ending is having his best friend and sister in a room together.

But they didn't do that. In fact, they did the opposite. They showed Mike and El still separated from him, implying that the reason Will and El cannot coexist in Mike's life is still present and was not any of the reasons he previously listed and fixed, then showing Will still sad.

The painting could have been him letting go. It wasn't. His closure could have been all three of them having a moment together like they didn't get in 4x02. It wasn't. They made certain to emphasize that Mike & El and Mike & Will are still very separate and that, despite being on good terms with Mike again, despite being on good terms with El again, despite making a commitment to never pursue his feelings, he does not have closure, he does not have peace.

So that's not what it was. They really knocked them out one by one. They said "he needs to be happy. You suggested put his friendship with Mike back? Nope. Reunite with El? Uh uh. Let go of his pursuit of Mike? Eh, didn't work."

And then they gave the interesting implication with that lack of trio:

"All three of them together? Sorry, that can't exist without the natures of their relationships changing".

In not doing it even when everything else was fixed, they cemented that the problem was not that Mike and Will had been apart, it was not that he was scared El would leave him, it was not that he thought he was unneeded, it wasn't even that he hadn't said "I love you" yet because they still aren't all together in the epilogue, it was the only remaining fact. They stripped away every possible option to ensure you could see with no excuses the only unchanged variable left:

Mike and El are still together. And Mike and Will are not.

Until that changes, their happy trio like Will wants cannot exist. So people can believe all they want that the thing he truly wanted in 4x02 was all three of them together and that's all he truly wants in the end, but they made sure that even that itself required Mike and Will to be together too.