#AND THE WAY THAT THE MLVN AND BYLER PARALLEL WERE IN THE SAME EPISODE????

[fruitbythefoot7]

hi this is your friendly reminder that all of the endgame ships (jancy, lumax, byler, jopper) have a very clear parallel between all of them that mlvn very clearly does not have. 

in s1, nancy gets stuck in the ud, calls out for jonathan, and is pulled out and into jonathan’s arms. 

in s2, will is stuck in one of his ud episodes, calls out for mike, and is pulled out and into mike’s arms. 

in s2, hopper is stuck in the ud tunnels, and inevitably gets saved by joyce (who had been calling out his name) 

in s4, max is in a trance, calls out for lucas first, and gets pulled out by lucas’s knowledge of what her favorite song is and falls into his arms. 

and in s1…el is stuck in the ud, calls out for mike, and gets out completely on her own. 

so. what does that say about them? 

[starbylers]

Here’s 7 of my favourite Byler proofs just from season 4. Pretty sure we all know these but just a refresher if anyone is feeling doubtful <3

Camera focusing on men wrestling when in Mike’s POV

There is no other explanation for this shot: Mike was watching the boys. Hinting at his sexuality is the only reasoning here that has actual narrative purpose.

Symbolism in the final scene

The dying Mlvn flowers vs the blooming flowers edited between Mike and Will.

El walking away from the love triangle framing, alone. Mike and Will centred as a pair between the other endgame couples. This is not an accident, the way everyone is positioned in twos is incredibly staged and deliberate.

Mike’s bedroom walls

The shirtless male dragon on a literal rainbow poster (this one is so obvious I have to laugh). Other characters have pictures of the gender they’re shown to be attracted to on their walls, why is it any different for Mike? And of course the one way sign. Set design is a professional career, these things were not thrown in at random. A character’s room is supposed to give us insight into who they are and their story.

The narrative. The most basic but strong evidence that exists.

El lying to Mike for months. Mike avoiding touching Will and pretending not to look at him in the airport, after finding out he likes a girl. Mike and El fighting and Mike using gaslighting language and shifting blame. El leaving Mike behind with ‘from El’. Their relationship is on the rocks. Will and Mike having multiple interrupted heart to hearts. Borderline flirting and definite gazing into each other’s eyes in the Dear Billy talk. Mike feeling insecure and inferior in his relationship. Will’s secret love confession making Mike feel happy and better about himself. That same confession encouraging Mike to give the monologue. The monologue being completely impersonal and containing at least one 100% confirmed lie (love at first sight). El fails to achieve her goal (save Max) despite Mike’s words. El having no response to Mike’s long-awaited ‘I love you’ when it’s been days.

Suzie’s house foreshadowing episode 9

Mike & Suzie’s dad both hit by the arrow (to show he represents Mike)

‘It looked genuine’ do I need to say more?

Also this foreshadowing is backed up by one of Suzie’s sibling’s lines ‘too much salt’ (aka reference to the salt bath).

The Suzie’s house sequence has absolutely no purpose to the plot. It exists for parallel purposes.

Fruit on pizza metaphor interrupting Mike’s alleged ‘I love you’ attempt

Mike: ‘That’s blasphemous! Putting fruit on pizza?’

Argyle: ‘Try before you deny.’ El: ‘It’s good!’

I think this metaphor is pretty self-explanatory. (Trying the ‘fruit’ = exploring his sexuality, Mike thinks it’s wrong, specifically using the word ‘blasphemous’ (which in simple terms is defined as ‘to disrespect God or religion’, and we know Mike grew up in a homophobic small town in the 80s). There are more detailed explanations of this elsewhere on Tumblr, this is just a mini summary).

Also, Argyle calling Mike Romeo (reference to a doomed relationship).

Again, this scene had absolutely no purpose plotwise or character-wise (at least explicitly). It was pure symbolism.

‘Straight doesn’t make sense’ map joke

Mike: ‘Straight, straight, straight…right on the money, as I said.’

Jonathan: ‘It just doesn’t make sense.’

Yet again, no plot or character purpose for this dialogue, or at least not for wording it this way. This was clearly a joke alluding to Mike’s sexuality (and him possibly being in denial), similar to the telemarketing joke in s3 (‘El? Sorry, not interested’).