On Horror, Queerness, Mirrors, and Dracula
Your wish is my command (you may or may not regret this).
Here’s the thing - I love horror, and I love patterns, and I think the best horror is always in some sense symmetrical. It might not be obvious, but what’s the point of staring into an abyss if you can’t see your own face reflected back? The symmetry itself comes in any number of different twists, whether it is familial, communal, erotic, or individual, and most of these apply to Bram Stoker’s Dracula.
The centre of our novel rests on the Harkers. So, starting with Jonathan - his experience in Transylvania is a twisted version of his life back home. Dracula is reserved but eloquent, seemingly caring and occasionally affectionate, he reads train schedules and they spend hours upon hours in conversation; which is a dark mirror to Jonathan’s train schedule-loving, passionate but serious Mina. It may even be said that the Count is re-enacting a caricature of traditional heteronormative domesticity - he maintains the household, waits on his guest himself, and blows him kisses from the stairs. His possessiveness of Jonathan is the only way a vampire like Dracula is capable of understanding the bond Jonathan shares with Mina. The Count states that he, too, feels love; but he is written by a closeted gay man in the late 19th century, so his imitation of married life is both a lie and a tragedy. He is a shorthand for forbidden, wrong, and corrupting desires.
At the same time, Mina herself also has a same-sex connection in the beginning of the story, and her relationship with Lucy mirrors the relationship between Jonathan and Dracula. They cling to each other, in a sense; despite being excited about the prospect of their impending marriages, there is some trepidation associated with this new stage in life. A common part of a dowry used to be a shroud, simply due to the frequency at which Victorian wives died in childbirth soon after the wedding; and even provided a survival, the transition to married life was still a loss of innocence. As such, Lucy’s affection for Mina is the last expression of her girlhood, and she herself is the personification of Mina’s. Lucy is, therefore, the direct antithesis of the Count; her death and subsequent rising change Mina the same way that Dracula does Jonathan, establishing a firm duality between the Harkers and their respective vampires.
The other characters are reflections of each other, as well; the suitors defend while the brides terrify, Van Helsing wants to preserve life while Renfield wishes to consume it - and even further, the old Hungarian lady cares enough about a stranger to give Jonathan a cross for protection, while Lucy’s own mother lets Dracula into the house herself, selfishly ignorant of her daughter’s needs and the doctor’s orders. Another parallel is drawn again between Jonathan and Renfield, who represents directly what he could have been, had he not escaped from Dracula’s grasp; which makes Renfield’s vehement, last-ditch attempt to protect Mina perhaps all the more poignant. In him, she sees the resilience of Jonathan’s humanity; while he gets to see exactly what she could become after her turning - in Dracula himself. These dualities are integral to the story’s thematic structure, and therefore inextricable from each character’s development.
There is really too much to say about each individual dynamic to fit into one rant, but for the current purposes, I can forgo the details. They all converge as it is on Jonathan and Mina, and thus, the central theme of this story is devotion. If Jonathan had truly broken, like Renfield, Mina would have stayed by his side; and if she had fully turned, like Dracula, he would have adored whatever shred of her still remained. In madness and in death, in happiness and sorrow, in sickness and in health - until the echoes start to sound like wedding vows.
@stripedshirtgay
@bluberimufim
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Ik you don't like ambigulous sexuality Mike so I would like to know, do you think canonically Mike will be explicitly gay? I don't even mean like saying the word gay I mean even just explaining that he didn't like El romantically. Bc I'm confident in endgame Byler but I find a lot of gay Mike theories far fetched in the sense that it makes sense but I don't really believe they'd do that in canon and I don't think it's what the Duffers intended (like the Phoebe Cates scene). I think that if they wanted to do explicitly gay Mike then they dragged on the Melvin storyline for way too long for it to make sense to anyone who isn't spending time analyzing Mike's behavior because so much gay mike proof is so subtle unlike general Byler proof which a lot of the GA has picked up on.
I know the show certainly shouldn't cater to the GA, but it should still be understandable to the audience even if they haven't spent hours analyzing, and I think by now they've passed the point where they could convincingly show that Mike never liked El romantically in the first place.
I know I sound like I'm repeating a lot of Byler anti talking points so sorry if I sound like a Byler anti, I promise I'm not. I just really don't understand how they would do gay Mike and would like to hear what you think.
this is from a week ago and i've talked about it again since but i was so flattered that you a) knew i don't like ambiguous sexuality mike and b) wanted to ask this to me. <3 and don't preemptively apologize omg i love you
i honestly feel like the main thing is an unhappy mlvn breakup. think this. in spirit. i am sorry to every platonic elmike enjoyer i think they could've had a relatively fun onscreen dynamic post-breakup had the s3 breakup been final i really do but this is a post-season 4 world. failed monologue and all that. only one season left. i need it to be clear somehow someway that this relationship hurt el and that their relationship was bad from the get-go. no idea how realistic this is btw but i feel like they can't afford to have them break up off-screen or to have it be vague à la season 2 stncy because it's their quote unquote main couple lol.
i feel like making it apparent that the relationship was bad for both of them would be ideal. and specifically el not being all mature all oh it's okay because i don't love you either would be good i think. we would've had that had the monologue not happened but we're past that now. i don't think they'll be on bad terms by the end of the show they're not gonna hate each other or anything but i don't see them being instant best friends after breaking up AT ALL
and yeah i agree that a lot of gay mike proof is only proof in the sense that it's in there and some of it is inconsequential. but that could also be said of some byler proof lol, like no one in the ga is thinking oh look blue met yellow in the west they're color-coded!!
i don't think they dragged mlvn on for too long and i can't for the life of me word it in a way that makes sense so i'm gonna link this post (inluding the tags from my mutual who reblogged it) :) i hate mlvn, hate with a capital h but i think them staying together this long (it's only been like a year and three months in the show which is kind of crazy) makes sense for them for multiple in-universe reasons (mike being the one who introduced the concept of romance to el, el only getting back together with mike after hopper died, i can think of about a thousand reasons for mike), but for us as viewers, yeah idk, obviously ending the season 4 with them being broken up for good would've made it easier for the ga to accept the possibility of byler being endgame and of mike being gay but it would've also been very obvious so i can see why they didn't do it. they still need people to tune in and also we needed to feel like we lost at the end of season 4 and that includes me and the other...27k tumblr bylers at the time
when you look at the facts i don't think gay mike would seem far-fetched to the average non-homophobic viewer: mike takes in a girl. kisses her after being told by everyone that he must like her, after telling her that his sister would be her sister and that and after 8 episodes of her being repeatedly mistaken for a boy and for will specifically. doesn't see her for a year, spends a season glued to will's side, kisses her again at the snow ball. pushes will away in season 3, inadvertently calls him out for being gay and for not growing up. starts having problems with his gf as soon as said gf starts to look like a girl and learns that she can have preferences of her own. lies to gf and gets broken up with, is very obnoxious about it all season. indirectly tells will he actually doesn't want to grow up and wants to keep playing with him at the end of the season. goes back to playing dnd as soon as s4 begins, which goes to show that he actually didn't mean what he said about wanting to grow up last season (either that or he's a hypocrite and hates will specifically. lol). acts weird with will again. focuses on his gf WHO LITERALLY LOOKS LIKE WILL IN A DRESS for the day. gets lied to by his gf and is then left behind by her, isn't as obnoxious about it but also keeps talking about his relationship without ever mentioning why they fought so he never has to explain why exactly he couldn't say That thing. to his boy best friend who he keeps having emotional talks with. doesn't say the thing until he gets told that he's the heart and all that by said boy best friend and still struggles to tell gf that he loves her. end of the world
i really think most of them are just not thinking about it. i remember asking my friend how likely byler being endgame was to her in august and she was like i...had never considered the possibility of el and mike not ending up together. then i talked her ear off for 60 minutes and she was like okayy i can see it maybe And she was sad for mike. so!
i think no matter how it goes we're gonna get an interview confirming it because they had to do it FOR WILL because people couldn't possibly imagine that the character who'd been called gay for the first time in the first twenty minutes of the show could actually be written to be gay
but maybe he'll tell us he's gay himself lol who knows
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