#like in s1 and s3 at the end Mike mentions will in his plans with el

[chirpsythismorning]

Thinking about the what if El was never interested in Mike romantically, she just assumed she was discourse on the tag today and how it's very possible what could make El fully realize this, is when in s5 she see's Will's love for Mike in real time, for the first time, and she's just like damn! That is not me!

[robynrocksforbrains]

What do you think about the whole Mike was only so protective of Will in S2 because El was gone thing? Do you think he’s going to ignore Will again in S5 and be super focused on El? I’ve seen recent discourse about this and it’s making me sad.

Anon, full disclosure I haven't seen this discourse recently. But I'm gonna take your word for it and tell you what I think. This is gonna be kinda long because I am incapable of being normal.

I think anyone who thinks that this is the case has a very very poor understanding of Mike. And also a poor understanding of literally the entirety of s2 and s4.

Mike cares about Will, and he cares about El. It's possible for him to care about both of them at the same time. The only reason he has a hard time balancing his relationship with both of them is because he's denying the true nature of his feelings for both of them. With El, he's trying to convince himself that his platonic feelings are romantic. With Will, he's trying to convince himself that his romantic feelings are platonic. It is my belief that he is fully aware of his romantic feelings for Will, and his lack thereof for El. But being aware of something and accepting something are two different things. However, by the end of s4 I think it's clear he's headed in the direction of acceptance.

So, about s2:

Mike is protective of Will because he's protective of Will. Simple as that. His fierce protectiveness of Will is established in s1.

We see it when Hopper is first questioning the boys about the last time they saw Will. Mike is insistent that he wants to be there. He doesn't just wanna help by answering questions, he wants to be out there actively searching.

We see it when he defends Will against the comments Nancy and Ted make about him at the dinner table. "All because Mike's friend got lost in the woods" "oh so this is Will's fault?" // "See what happens?" "What happens when what?"

We see it when he is the one to plan to go out to where Will's bike was found and search the woods.

We see it when he confronts Troy after the assembly and pushes him down

Mike being protective of Will in s2 is just a continuation of an already established trait. We just didn't see it in the same way in s1 because Will wasn't there. In s1 it was almost like Mike was being protective of an idea, but in s2 he's being protective of a real and tangible thing. He's not just protecting the belief and hope that Will is still out there, he's protecting WILL.

And that isn't because El is gone, his protectiveness of Will persisted throughout s1. El was there and he was still protective of Will. So El's absence cannot be a cause of his protectiveness of Will. However, the intensity of it was likely influenced by the events of the previous year, which would include watching El "die". But his behavior regarding Will definitely has more to do with what happened to Will than with what happened to El.

I think that if El was present in s2, he still would've been just as protective of Will. Because that's just who he is.

Now, about s5:

He's not going to ignore Will in favor of El. Anyone who thinks that definitely just blatantly ignored his entire s4 arc.

I mean, Mike and Will's s4 arcs were almost entirely dedicated to fixing the damage that s3 did to their relationship. Mike apologizes to Will for how he acted since he got to Lenora, but there's also a sense that he's apologizing for more than that. He says "this last year". He's not mentioning anything specific, but we know what happened. Will knows what happened. And although it still should be, and likely will be, explicitly addressed, this is a start.

I kinda think that the "cool" "cool" scene is when Mike starts to prove to the audience that he's worth Will's love. Because if s3 didn't happen, I don't think there would be doubts. If s2 Mike was also s3 Mike, I don't think anyone would be saying "Will deserves better". But s3 did happen. I love Mike, but he did mess up. He did treat Will like shit. And that should be acknowledged by the characters and by the plot. So when Mike apologizes for his behavior, and subtly addresses s3, and then Will decides that it's worth it to bring his painting - which is a declaration of love - it's a confirmation that this was a turning point for Mike. This isn't a fluke. Mike wants to be better, and he's trying to be better, and that's going to continue for the rest of the season, and it will carry into s5. This conversation, which marks a real change for Mike, includes the line "I have no idea what's gonna happen next. But whatever it is, I think it'll be easier if we're together. A team. Friends. Best friends." And then Will makes the decision to bring what is a plot device for byler's development specifically. Like it's pretty clear what behavior the plot is rewarding.

"I think maybe I was worrying too much about El... And I don't know maybe I feel like I lost you or something" is worth mentioning here because not only is this Mike explicitly stating that his s3 behavior was a deviation from the norm for him, but also the plot rewards this confession. It rewards Mike's vulnerability (although tentative) in this moment. Mike's vulnerability is returned tenfold in the van scene. And since we know Mike's vulnerability was rewarded, it only makes sense for the same to be true for Will's. The painting is the catalyst, Will's vulnerability (although veiled) has to be rewarded by the plot.

And then again, in their last scene together, Mike reaffirms that they're a team. Yeah, you can say that when he says "we will" he's referring to everyone involved. But he says this while firmly grasping Will's shoulder. He wants Will to know he's here, and he's not going anywhere. Yes, it's about everyone, but underneath that there's a sort of desperation for Will to believe him. He's determined to live up to what he said in Dear Billy. He wants them to be a team. So when he says "we" he means everyone involved, but there's an unspoken "you and me".

AND THEN AGAIN, in the final shot, they're together. But more than that, Mike makes a CHOICE to stay by Will's side. He's there because he wants to be with Will. Nothing is stopping him from walking to stand by El's side. But he doesn't do that. He stays with Will because he told Will they were a team and he meant it. I could go on and on about what this means from a storytelling perspective. About how there is obvious thought put into using this to tell the audience what to expect. But from a character perspective, thinking of Mike as a real human with his own thoughts and motivations, it's clear what he's thinking in this moment. They're facing something terrifying, and he knows exactly where he wants to be while he faces it, and that's by Will's side. This scene is undoubtedly foreshadowing for s5, and it's very reasonable to conclude that it means his priority will be Will.

TL;DR Mike was protective of Will in s2 because that's just what is natural for him. And his priority in s5 is going to be Will, because that's what s4 very deliberately set up.

[dinosaursatemymom]

I just saw your post about Nancy kinda not having relevance to the plot, and I never saw it that way, but it's kinda true.

She never grows as a character, and her plots are not really that important when it comes to the overall storyline. (At least in s1-3, in s4 her getting the info out of Wayne Munson helped the group move forward, but Robin is the one who found the rest and figured out the music theory).

Anyway, like you said in s1, Barb didn't have to die in order for her to be involved? She could have helped Jonathan because Will is Mike's friend, however the writers made her such a bitch about Wills disappearance they had to kill her best friend in order for her to care. And even then Jonathan could have figured out that there was a monster based on the photos he took he could have go straight to his mom who already told him about it. He didn't necessarily need Nancy.

In s2, her plot was so stupid, and it did nothing in the end. It was an interesting concept, dealing with grief, but omg. First of all the lab doesn't play around they would have found the recorder and second seeing the fucking gate should have put the entire thing down. She endangered the whole town of Hawkins in the name of revenge. Both, her and Jonathan didn't know El was alive getting the lab shut down was stupid because they were the only people who seemingly knew how to deal with the vines. It would have been much more interesting if Jonathan and Nancy were captured and there were consequences (like Steve, who was scared of getting murdered if they broke the NDAs). Getting revenge on Barb did nothing for her character as well, and the show never explores it further, or they rehash it. Shutting the lab down did more harm than good because it meant for s3 that the Russians could just do whatever thanks to Nancy. (I hate that storyline so much in general, but if you think about it, it only happened because the lab shut down)

S3 again, Nancy's rat story could have been cut out because the party figured it out themselves they didn't need her. El was the one doing all the work here (getting into Billy's mind and fighting the Mindflayer since Nancy can't aim for shit)

In s4 like I mentioned, Nancy was useful for once by getting them to Victor Creel, but Robin really was the one getting it together.

Overall, her plans always kinda fail or endanger people (s2, s4), and her using a gun also does nothing because the monsters are immune to it. Fire is the thing that works and I hate how Stobin were cut short in s4 for essentially doing the part just so Nancy gets her shot (metaphorically and literally) even tho it does fucking nothing. Give her a flamethrower like Murray.

Anyway, idk people always shit on Steve being considered a main character, but he had literally more important moments than Nancy.

Without him in s1, Jancy would be dead. Nancy's gun did not work, and Jonathan couldn't use the bat in the right way. If Steve didn't come back, the Demogorgon would have killed them. Dustin meeting Steve in s2 is such an important moment because without him there, Billy could have gotten to Lucas and Max, even tho he lost the fight. He was also important in the tunnles because he helped them getting out there fast. Even tho he was concussed, he did everything to ensure they were save. Lucas would have been seriously hurt. S3 Steve drove his car into Billy's (after Nancy couldn't stop it with her useless gun), saved Jancy and the party there. In s4, he was the one who found the gate because of his experiences as a life guard, he also was the one along with Robin who did the most damage to Vecna. Steve literally has more moments that are important to the plot because without him there, other characters would be hurt or killed. He's important to the plot because of his athletic skills and survival instincts. He was also one or one of the few (if not the only one idk I only watched s4 vol once bc I hated it sm) characters that protested Nancy's insane plan because he has common sense lol. I wish the show would use his leader abilities (being the captain of the basketball team and a lifeguard) more instead of dumbing him down for the sake of it. He should be actively involved in planning bc he knows how to play as a team, and idk the party is book smart, but they have no regard for any danger they need someone like him more.

Yessss

The only thing I have to disagree with is that Nancy was helpful in s4, literally anyone else could've been told about Victor Creel, they didn't even need Wayne munson for that tbf, Eddie could've been living on his own(he's old enough) or just not a character at all tbh. Steve or Robin could've been talking to a customer at the video store who lived in the trailer Park and got a glimpse of Chrissy's body and Robin and Steve could've gone to the library while the Dustin and Max went to the counselor.

I definitely agree about Steve, he is honestly being underutilized, he clearly has team building, athletic, and problem solving skills but he's constantly being reduced to dumb hot himbo and it's really frustrating.

I didn't love the s2 storyline but I didn't hate it, but wow you're right, she really just made everything worse and endangered everyone for her own selfish reasons. I understand she was working through trauma but so was Steve and he didn't decide to put people lives in danger.

Her entire s3 plot just pissed me off so much, what was the reason? Feminism? Because honestly it just made her look like a classist dick to jon.

Nancy really doesn't do shit but nearly always ends up getting credit for things other people have done, both from the writers and the fandom.

[anthrophile1-blog]

So, this is my first original theory.

I say original because I’ve never seen someone else make this observation, and I spend an unhealthy amount of time crawling tumblr for new Byler content. But it’s completely possible that someone else has had this thought before. If so, feel free to link other blog posts in the comments. But I think I’m onto something here, and it’s all about Will Byers’ Neck Tingles™️.

One thing I’ve noticed in S3 & S4 is that almost every time Will gets his neck tingles, it occurs in conjunction to him reacting to an emotionally charged encounter with Mike. We’re made to think he gets this feeling when the mind flayer is doing something, but if that were the case his neck should be tingling every second of season 3, because in that season the Mind Flayer has a very physical presence in Hawkins and is working tirelessly to execute his plan. So why does Will only sense his activity at seemingly random times and not constantly? And if they’re *not* random, can we find a pattern? I think we can, and it actually has nothing to do with the Mind Flayer. It has everything to do with Mike.

I posit this question for your consideration: Could Will’s feelings for Mike be a doorway into his mind for the Mind Flayer / One to call out to him? Could he be reminding Will of his presence every time Will feels lonely or hurt or ashamed because of his feelings for Mike? Almost like an invitation for Will to join him, an offer to fill the void Mike is leaving in Will’s heart?

Moving forward let’s define what Will’s neck tingles actually are: extra sensory perception - meaning the ability to sense something through means other than sight, sound, taste, touch, or smell; think a “sixth sense.” This sense is presumably caused by the connection the Mind Flayer / One made with him when he possessed him, exposure to the upside down when he was kidnapped by the demogorgon, or a combination of both. Alternatively Will may have already had this “true sight” prior to the events of S1, and he was targeted for kidnapping and possessing because he had the power. Either way, by the time we get to S3, Will has the extra sensory ability to feel the Mind Flayer’s / One’s presence. But what triggers this feeling in the show is unclear.

The first time we see Will get this feeling he’s having his movie date with Mike. Now, it seems obvious that he felt the Mind Flayer / One’s (hereafter, just One) presence in this case because the gate re-opened at that precise moment. The key is activated, the power goes out across town, One’s connection to Hawkins is reestablished, and Will’s neck tingles. So it’s easy to assume that Mike had nothing to do with that feeling in this scene. Nevertheless, moments later they’re both bright red in the face blushing after Mike notices something off with Will and checks in and they end up locking eyes a bit longer than necessary (not to mention the mutual lip-looking). The scene is already highly suggestive of romance: they’re basically on a double date with lumax, they’re sitting together apart from the other couple, they both just stuck their hands in the same candy bag at the same time, etc.

(Another thing, what triggers Mike’s concern for Will here? Mike doesn’t see the look of fear growing on Will’s face. He doesn’t see Will touching the goose flesh on his neck. Will doesn’t say anything or really make a sound. Will does nothing that should get Mike’s attention except… start breathing differently? Like, Mike heard Will’s breathing change and got concerned? Oh my God that boy has it bad. That’s got nothing to do with my theory, I just think it’s sweet.)

Getting back on track, the gate opens and Will feels it, exactly at the moment he’s having a romantic evening with the boy he loves. I think we’re misdirected by the cut to the gate opening and the power outage to distract us from the romantic nature of their evening. And while it may have just been a coincidence that the gate opens while they’re having this romantic evening, many of the following neck tingles moments also coincide with important moments between Will and Mike, developing something of a pattern.

The next time we see it happen is when the gang is walking up the hill to assemble cerebro. We see that a bunch of possessed rats are scurrying by in the field near them. We’re led to believe this close proximity to One’s activity is what gives Will this neck-tingly feeling. But he is elsewhere in the season in close proximity with flayed beings and doesn’t get the neck tingles. What does happen right before he feels it, and before we see the rats, is that Mike ditches him to be with El and we see how sad this makes Will. Again, could sadness over losing Mike to El be the thing that lets One into Will’s mind?

The next moment occurs while Will is destroying castle Byers immediately after his friend-breakup with Mike. Now, if his tingles are about proximity, there is no explaining why he has this episode at this moment. It also appears to be the most intense feeling of One’s presence yet, as when Mike and Lucas find him his there is a determined look on his face and his eyes look nearly crazed. He is now certain that the Mind Flayer is back. But, why now? If my theory is right, this was the most emotionally intense moment he’s ever had with Mike, leading to a full blown emotional breakdown - sobbing, hyperventilating, outbursts of destructive behavior. So the most intense Mike-moment so far happens just before his most intense feeling of One’s presence. Coincidence?

The next time Will feel it is during the sauna test and, before we begin, I just need to ask…How tf does Mike know the exact layout of the men’s locker room and gym? Is Mike a secret athlete who pumps iron and sweats in the sauna on weekends? Doubtful. Obviously all of the kids would have come to this pool on summer days growing up, but it seems like only Mike has done any exploring in the gym. I wonder what would motivate that little guy to explore the layout of the mens gym and locker room 🤔

Mooooooving on. This one is interesting, because no major Mike-and-Will moment happens in this episode; rather, the whole episode is one giant Mike-and-Will moment. For one, the two are in near constant physical proximity, even after having just gone through an unresolved fight. Like, they’re glued to each other. If this is how they fight, god help us when they’re a couple and having a good day together. For two, both Will and Mike undergo some important character building moments through the episode. Mike attempts to apologize to El but is rebuffed and discovers that El spied on him, causing a serious rift in trust for Mike. Will is on the other end of an apology, this time from Lucas, but he rebuffs Lucas saying that he didn’t care anymore and that there were more important matters at hand. I suspect the former statement is a lie even if the latter statement is true. Will is running from his heartache by jumping into action. And jumping into action just so happens to put him back in the mix with Mike in a way that is comfortable and familiar. Hence how close they stick to each other despite still technically “fighting.” For Mike’s side of that equation, he clearly feels horrible for how he treated Will, and is compensating for that by being even more attentive to him than usual. Notice how close they’re standing to each other, specifically when they’re conducting the sauna test itself.

And so we get to the neck tingle moment. We as the audience already know Billy is possessed, and the kids have more or less figured it out. So we don’t need Will’s neck to tell us what we already know. Nevertheless, it happens, and it is Mike and Mike alone who notices Will getting the feeling. Mike alone who understands what Will is trying to communicate and warns max to get away from the door just in the nick of time. (And it’s Mike who can’t tear his eyes off of Will even while trying to warn max). The neck tingle here is the catalyst into an intimate moment between the two of them, further solidifying for each other and for the audience just how close their bond is, how in tune they actually are with each other, and how that bond is critical for the survival of the group.

Also, consider how homoerotic this whole episode is. Two gay (if I’m right) teen boys in the throes of puberty in a men’s locker room, surrounded by half naked men, laying plans to capture a man in the sauna, all culminating in established teen heartthrob Billy Hartgrove nearly naked, trapped in the sauna… the whole goddamn thing is just so queer. So Will has another episode of neck tingles during what is arguably the most homoerotic sequence in the show? Lol

Next, the party is at the hospital with Nancy and Jonathan as they seek to check on Mrs. Driscoll. Now, multiple flayed beings are in this hospital at this moment, but Will doesn’t sense them until they die and merge into one. This is further evidence that proximity doesn’t seem to be the trigger for Will’s extra sensory perception. The first thing that tips off Will that something paranormal is afoot before anyone else notices isn’t his neck. It’s the lights. They start to flicker and Will notices first, and then everyone else. The neck tingle only come when the creature in the hospital is fully formed, but by then everyone already knows nancy and Jonathan are in danger. But what do we see right before the neck tingles, and right before the lights start to flicker? Will sitting at the end of the row of chairs, third wheeling hard and not feeling good about it.

While again we are led to believe that the monster’s formation is the sole reason Will gets his neck tingles, once again the tingles “coincidentally” happen right after Will has been clearly upset by Mike and his relationship with El. Mike has just initialed the “make-up” phase of his totally straight relationship with El, and literally shooed Will away to have that moment (even though Mike does a full hate-to-see-you-go-but-love-to-watch-you-leave body scan of Will as he’s walking away). And then we see Will sitting miserably as the ultimate third wheel - all of his other friends (including his best friend/love of his life) are coupled up and he’s by himself. Fuckin rough, kid.

The next tingle event happens at Hopper’s cabin. Interestingly enough, despite the Monster initiating its final phase, assimilating all of its sleeper cells in the community, and charging full speed to the cabin, Will doesn’t feel anything. Not until Nancy, Mike, and Lucas piece it together: the mindflayer knows where they are. Even as they’re piecing it together, slowly, it’s only when Mike has his “ah-hah…oh-no” moment that Will feels his presence coming. Up until this point, the neck tingles have been a plot device to alert our characters (and us) to imminent danger. But here the characters (and we) figure it out before Will feels anything. It serves no real narrative purpose (unless it’s to say he has the worlds most useless superpower) except to link this ability to his relationship with Mike. Will sees Mike having his realization, and *then* he feels the monster’s imminent presence.

Two more observations about this episode: First, Will did not sense the piece of the monster inside of El the whole time between when she gets “bit” at the cabin, and when she feels it squirming inside of her at the mall. He didn’t feel it’s presence inside of her in the grocery store, even though the very blood El left on the floor was teeming with mind flayer particles. (Also, bruh. Why were Will and Mike basically in each other’s laps in that “new coke” scene? Like, there was plenty of space on the edge of that {fruit section} cooler. They didn’t have to be on top of each other. Keep in mind they’re still this close *after* a fight they have yet to resolve).

Second, Mike is the one who rips off the piece of the creature attached to El’s leg, causing obvious physical trauma to her in the process, also possibly causing that piece to be ripped off and left inside of her. A more careful approach of removal might have spared her the loss of her powers and prevented One’s absorption of her ability to open portals. Or maybe it would have just hurt her less. Who knows. Either way, nice going Mike.

The battle of Starcourt. Finally, his last tingle of the season happens right before the monsters crashes through the mall ceiling, but immediately after Mike goes to check on El. Earlier in the episode, the og party shares a group hug as they’re now all reunited. Will places his hand on the small of Mike’s back. Mike doesn’t seem to mind. They were already standing very close together. I think this moment, for Will, feels like the repair of a breach. For a moment, they’re the old party again. And Mike is the heart of that party for Will, the thing which keeps them together, but also the thing that’s been letting them fall apart lately. Interesting that once Mike walks away from the party and toward El, Will feels the tingle. Mike is very preoccupied with El during most of the battle. Understandably. He knows the monster is there for her, not for Will (for once). But when the dust settles and El is holding Max to comfort her after Billy’s death, you’d think Mike would be trying to comfort El, who is also clearly distraught. But instead, once the danger is neutralized, we see Mike looking not at El, but up at the balcony where Will is, presumably making sure he’s okay.

We see Will’s neck tingle one more time in the S4 finale, with Will now back in range of One’s psychic influence. Will tells Mike that he’s been able to feel One since getting back to Hawkins earlier that day, but we don’t see him get the tingles. Now, nothing happens to Will in S4 that isn’t directly related to Mike. They obviously share some deeply painful moments and some beautiful, healing moments. At the start the rift between them is bigger than we’ve ever seen it, and both boys seem to think it’s the other one who is pulling away. In reality they’re both pulling away because they’re afraid of their feelings for each other. They don’t want to get to close because they might get hurt. But well before the end we see them once again standing shoulder to shoulder every chance they get, being vulnerable with each other and leaning on each other emotionally. Despite El being objectively in more danger than Will is, Mike’s attention seems to be mostly on Will. Even after reunited with El, Mike chooses to stand nearer to Will, more often than not. We’re well on our way to getting S2 Byler back. So, after such an intense season-long emotional roller coaster with Mike, Will starts to feel One again, and apparently feels him most intensely when the spores begin pouring out of the upside down into Hawkins. Again, we’re led to believe there is a one-to-one correlation here. The rift starts belching out spores, Will feels the tingle. But what’s going on right in front of Will when he gets the tingles? We only see the back of his head so we can’t confirm what he was looking at, but we can see Jonathan and the direction of his gaze: Mike, hugging Hopper. I’m certain this is what Will was starting at the moment he gets the final tingle of the show so far. The shot even transitions from Mike’s face, looking very contented resting on Hopper’s shoulder, to the back of Will’s head, connecting those two moments in the audience’s mind.

Now, Mike sees Hopper as a father figure by merit of his relationship with El, and due to the fact that Hopper has many times been Mike’s (and Will’s) literal defender from mortal danger. He has been under the belief that Hopper has been dead for 9 months. Of course Mike is going to hug him after finding out he’s alive. But it’s interesting that this season is bookended with Mike hugging people - Dustin at the end of episode 1, after they win their DnD campaign, and now Hopper at the end of episode 9. Between these first and last hugs are two hugs with El (the first of which Mike actively breaks in order to… protect the flowers he picked for her?), one with his mother, and one almost-hug with Will. Mike hugs Hopper for roughly that 15-20 seconds. That’s a long time to hug someone. Don’t believe me? Go try it.

So, Will sees this and must be thinking “what the hell?” right? After Mike flatly refuses to hug Will at the airport Will probably went on a whole ass emotional odyssey trying to figure out why Mike was behaving so strangely toward him. Last time they saw each other they hugged (and a very intimate, not-so-platonic-looking hug at that) and now that half a year has gone by without seeing each other, Mike doesn’t hug him? Maybe Mike has changed. Maybe he doesn’t feel comfortable with hugs anymore. Maybe it’s another thing he’s “outgrown.” That’s fairly typical of teenage boys, right? But here Will sees just how comfortable Mike actually is with physical affection… just not with him. I can only imagine seeing that must have felt like reliving the moment in the airport all over again - what’s wrong with me? Why won’t he hug me? Etc. and then - boom, neck tingles. Jonathan sees all of this too - he gave Mike dagger eyes after rejecting Will’s hug at the airport, and here we see him again looking at Mike with a rather disapproving expression. He is also wondering wtf is wrong with Mike. Obviously, Byler shippers know the answer. He’s afraid to hug Will at the beginning of S4 because he’s resisting his feelings for him. But Will doesn’t know that. Jonathan may be on his way to figuring it out, but still resents Mike for sending so many confusing signals to Will. Anyway all of this leads to the final shot of the season where Mike chooses to stand next to Will rather than follow El into the field, and we see the end game couples paired up behind her on the hill.

So, what is the point of all this? Correlation does not prove causation. And I’m not arguing that Will gets his neck tingles *because* of Mike. Clearly the tingles demonstrate a connection between Will and One. But I do think it’s interesting that it only ever happens when Mike is around, and almost always after an emotionally charged moment with him. This could mean two things. First, that One senses when Will is having feelings regarding Mike and chooses those moments to reach out and make contact; and/or the show runners want us to subconsciously connect Will’s extra sensory perception with his relationship with Mike. Why would they want us connecting Will’s relationship with Mike to his extra sensory connection to One? Perhaps because it will ultimately be Mike’s love that breaks One’s connection with Will.

Well, that’s it. That’s my theory. Sorry for the weird spacing. I copied and pasted this from my notes on my phone. If you made it through this long rambling post, thank you and I’m sorry lol.

[starry-eyed-steve]

I wish S4 explored Nancy and her tendency to isolate. It feels weird to keep yourself apart from the only other people who know about the Upside Down, yet we know that she never hangs out with the others (excluding Jonathan) outside of world ending scenarios. I wish we saw that reflected in her interactions with the group; have her fumble interactions with the kids and have no idea how to approach Robin and Steve. Have her know how to plan but not where she stands with anyone anymore.

I don't think it is weird for Nancy not to hang out with the majority of the people who know about the Upside Down.

If you look at the group, we have 3 people her age. One is her ex she had a very messy breakup with, next we have her ex's bff who seemingly comes as a package deal with Steve and then we have her current boyfriend who also has negative emotions towards her ex. If I were Nancy I would also only hang out with my boyfriend.

And then we have Mike and his friends, which are younger than her and she doesn't share the same interests with them. I doubt she sees her younger brother and the party as mature enough to hang out or discuss problems with. Which is fine btw, I have a younger brother and never in a million years would I want to hang out with his friends. It's no secret that the Wheeler siblings aren't close and I'm fine with that tbh it seems like a realistic depiction of a sibling relationship, or at least I can relate to it so it seems realistic to me personally.

So there are no other people that she could hang out with. After s1, she had both Steve and Jonathan because there was no weird history between them, but after her breakup with Steve, she only had Jonathan. Both Nancy and Steve are barely friends, like they weren't friends before they dated, and after the relationship, both were hurt by the other person, which made staying in contact difficult. And idk if Nancy would love to hang out with Robin if she would bring Steve back into her life, when she showed no interest to be friends with him before s4. Nancy never went out of her way to get to know Robin because idk it seems messy to befriend your ex's bff.

But in general, I don't think Nancy only had Jonathan. She seems to be the kinda girl who can keep school friendships. Like she was fairly popular in the school paper. She had two off-screen friends that were mentioned in s2 who she was close enough to have sleepovers with, without Karen being surprised by it. So, to me, she can make surface-level friendships, but as soon as school is done, she won't contact them anymore.

I also think after her split with Steve and her getting together with Jonathan, her reputation greatly suffered. Like dumping the popular guy to get together with the school creep just looks bad. On top of that, Tommy and Carol would spread the nastiest rumors about her and Jonathan, like it was already teased a bit in s2. I would have liked to see the aftermath of it. What do her friends say? How does she feel about that? Does she develop an even stronger us against them mindset with Jonathan and thus isolate herself further?

But again the reason why she doesn't hang out with the people in the UD group is the messy history she has with her ex and in extension with her ex' bff who are together 24/7.

I agree with you. I would have loved to see Nancy struggling with finding her place within the teen group at least. That would mean to acknowledge the complicated feelings she has towards Steve and Robin and vice versa. But we don't have time and there are bigger things to worry about. But if she were the driving force to befriend Robin, the pay-off would have definitely been better than what we got. It would have ensured that Robin didn't act out of character, and it would give Nancy more depth and room to grow as a person.

I don't think she would fumble her interactions with the kids, like they hung out when she was younger and the kids like having her around in s3. I think if they would question her authority because she sees herself in charge, then I think there would be problems, but the kids mostly listen to everything she has to say. They admire and respect her, so really, I don't think the kids are the problem. And because she sees herself as the older sibling, she doesn't expect them to check up on her between seasons. She doesn't see them as her equal because they are younger and she wants to protect them, but that doesn't mean she would love spending time with them outside world ending scenarios. Only if she truly has to. She has her own life and interests.

[thestrangestthing89]

Random Musing #1: Jonathan doesn't call Lonnie "dad" and instead calls him by his first name. I think this plays into the power of naming things theme that is in both A Neverending Story and A Wizard of Earthsea. And how El and Will both have to learn some distance from their abusers. El started getting closure from Brenner at the end of S4. Him dying could lead to her starting to process her abuse and stop referring to him as Papa and just call him by his name. And Will has some loose ends to tie up with Lonnie. There is clearly more to the story here. He doesn't mention Lonnie ever. We only get a glimpse of him and Jonathan talking about Lonnie in S1. To me, Will seems like he is trying to be a good kid and not cause problems for his parents so he goes along with the plans to go to the baseball game. He's bothered by the fighting and is the kind of kid who would not want to upset anyone even if he's uncomfortable. But Jonathans prompting suggests that he doesn't really like spending time with his father. He grudgingly admits that they never do what he wants to do and it's only about what Lonnie wants. We don't see the two interacting but from the way Jonathan, Joyce, and Hopper respond to Lonnie he isn't well liked and we know he was abusive to both Jonathan and Will (Will seemingly getting the worst of it). So him also learning to separate himself from his father is important.

Hopper could be a good prompt here. Jonathan sets an example of how someone distanced themselves from their abuser - he doesn't forgive Lonnie, doesn't acknowledge him unless he has to, and doesn't accept any implications of closeness to him. Whereas Hopper sets an example of what a good father actually looks like. He's protected both Will and El in the past and I think it's safe to assume he will continue to do so. This also plays into the whole Will and El are interchangeable and El is a projection of Will theory.

Random Musing #2: Totally unrelated to the above. Ted's line of "you see what happens Michael" in S1 in relation to Mike being worried about Will going missing implies that he has discussed this with Mike before. There are a lot of implications of Will having gone missing because he's gay and how the town knows this and is talking about it. A lot of people have already gone into this so I won't here. But Ted saying this line plays into the theory that something already happened with Will and Mike when they were younger and Ted had to talk to him about it. He probably did this in the name of protecting him. A conversation about how it's dangerous to act the way they do when they are together and how people won't understand. And then Will goes missing and "you see what happens Michael". This would just further enforce Mike's behavior in S3 where he overcompensates and tries to push himself to like girls. It's safer.

Random Musing #3: Sort of going along with #2 above. There is a lot of history between Mike and Will - they have known each other since they were 5. Mike's behavior towards El in S1 is interesting because I think he comes across as more mature than Lucas and Dustin who act their age in response to El. Their immediate response to finding her is to get a grown up and Mike's the one who stops that because they will get in trouble. Mike is also the one who knows what to do and problems solves. He's usually the problem solver in stressful situations throughout the series. But here it kind of seems like he's been there before.

So if Lonnie was abusive, Mike would have likely known about it. When the boys are explaining to El what a friend is, they tell her that it's someone you tell anything to and Mike adds a "even things you can't tell your parents". This to me makes it seem like something could have happened with Will and Lonnie and Mike knew about it and helped protect him and it's why he likes the Paladin role and why he immediately went to protect El from the "bad men" and was so opposed to getting help from an adult. He learned not to get help from an adult before. Mike thinks it's his responsibility to protect people and that attitude came from somewhere. Just like how Jonathan feels like he's responsible for taking care of Will and is afraid to leave him. And this also falls into the category of Will and El are interchangeable.

[stuckinstrangerthings]

Senior Year - Where we lose count

(part 7)

Pairing: Eddie Munson x fem!reader/ y/n Henderson

Context: y/n is Dustin's big sister. The events of S1 to S3 have happened with y/n being a part of it to some extent. S3 ends differently with Hopper escaping the Russians with Joyce and Murray. Joyce and Hopper made it to Enzo at some point and they are now happily dating. Joyce didn't move to California so the gang is all together in Hawkins.

Dustin's and y/n dad died a few years ago. He was Hopper and Joyce's high school friend so they are very close to the family. Hopper is y/n godfather.

I don't know yet if some of the events of S4 will happen in this serie, but I can promise that Eddie will be safe if they do.

Summary: Y/n is starting her senior year as Eddie's starts his third one. They know each other from being in the same high school, but are not really friends. She likes him. Good thing her little brother is now a part of the Hellfire Club.

Warnings: (for the whole serie) mention of dead parents, mention of drugs and alcohol, swearing, slow burn, flirting, mutual pining, fluff, friends to lovers, smut 18+.

Author's note: I want this will be a serie. English is not my first language. Also, this is my very first time writing fanfic. Please feel free to comment and give constructive criticism. Thanks!

----

It's Saturday afternoon and Eddie gets to your house as planned to work on your chemistry assignement due on Monday. As soon as he parks his van, he hears total chaos coming from inside. He chuckles, guessing the source of said chaos. He opens the front door and what he sees confirm his theory. All the youngster are there, spread all over the living room and the kitchen. Eating sandwiches and chips. It's loud but you look so happy. You are chatting and laughing with El, Max and Will sitting in the living room. Dustin, Mike and Lucas are eating and arguing in the kitchen.

Everybody warmly greets Eddie.

"Guys, you need to clean up and leave soon if you don't want to miss the movie!" you say.

They all get up, hurrying to finish their lunch and put the dishes in the dishwasher. Getting ready to leave. Today's plan for them is afternoon at the movies and sleep-over at the Byers.

"Dustin, don't forget the banana bread!" you shout, grabbing the container and putting it in his backpack "You guys leave some for Joyce, Hop and Jonathan".

"I'll try my best" he says laughing.

You and Eddie watch as they all jump on their bikes (or skate) and leave for the movie theater.

You get back inside.

"Eddie, I have leftovers, i'm making us sandwiches!" you say.

He smiles. By now, he knows there is no refusing food from you. Besides, why would he refuse, he loves all the food you make.

"I'm sad the banana bread left with Dustin" he jokes.

"Don't worry, I hid our portions. I also have extra for Wayne". you answer.

"Of course you have Princess. I don't know why I was worried" he winks at you.

Yes, the nickname stayed, and yes you love it. Add the winks... goosebumps. You like Eddie a lot as a friend, but at this point you know for sure you love him and oh my do you want him. Is the flirting a game? You don't know, but boy do you enjoy it.

You both go to your bedroom with your food. Eddie takes a first bite of his sandwich. He moans and closes his eyes.

"Princess, even your sandwiches are heavenly. What's in there?" he says.

"Can't say, secret ingredient. Family secret" you reply.

"Wow, now I have to marry you to know everything" he answers.

You laugh "You want to marry me for my cooking skills?".

He gets that naughty look on his face and answers "Oh I'm sure you have plenty of other skills worth discovering"

You laugh...and you blush "Ok Munson, that was sexy. You win this round".

You both smile at each other.

"Ok, let's do this damn chemistry assignement so we can have a little peace for the rest of the week-end" you say.

After a few hours, you are both tired but you are finally done with the assignement. It's now dark outside. The only lightening in your bedroom is from the lamp on your desk. You and Eddie sit in a confortable silence at your desk. You start touching his forearm, tracing the bats from his tattoo.

"I like this one" you say.

"Yeah? I didn't know you liked tattoos" he looks surprised.

"I love tattoos!" you reply.

"Do you have any?" he aks.

"It depends, can you keep a secret?"

Eddie face is a mix of shook and amusement "You do, you totally have at least one! No way! I want to know!".

"Oh my God, Eddie" you laugh but you are also worried "I'll tell you everything but you have to promise to keep it a secret. My mom would kill me".

"I promise" he says, mimicking locking his lips and throwing away the key. He looks super excited.

"Ok, nobody knows. For real, nobody but you. I have two small tattoos. Got them at a small tattoo shop while I was in Indianapolis last summer".

"That is so cool. I did not see that coming Princess. Pleasantly surprised" he says with a big grin "Where are they?".

"Well, let's say they are well hidden so my mom can't see them even when i'm in a bathing suit".

"I think i'm gonna faint" Eddie says as he rubs his hands on his face.

You laugh "Are you blushing? Am I winning a new round?"

He stays silent for a moment. Face still in his hands.

"I'll show you mine if you show me yours" you say.

He takes his hands off his face to look at you. He is definitively blushing and you win this round. A victorious look on your face.

"Princess, you will be the death of me" he sighs.

You decide to push it further. You are alone with him. Nobody is coming home until tomorrow. And this proximity with him in your poorly lit bedroom is making your head spin with desire. Also, you did what to see all his tattoos.

"It's a serious offer" you tell him.

He stops smilig, still blushing but now also very curious "Really?"

"Yup, but you go first. Show me all your tattoos. And no lifting part of your t-shirt or pants. You have to take the piece of clothing off. That's the deal". And that was a pretty good deal considering you were wearing only a dress.

"Deal". He gets up and quickly takes off his t-shirt.

You stand up and get closer to him "Can I touch you?".

"... yes" he replies a little shaky.

You smile but don't look at him. Your fingers slowly and gently touching his tattoos. Some of them you knew he had, some are new to you. You get to his back to discover big bat wings tattoos. You continue touching, taking your time, contouring the tattoos. You can hear his breathing changing. You feel the goosebumps on his skin. And you enjoy it... a lot. You come back to face him, tracing the tattoos on his chest, slowly coming down to the one besides his happy trail and disappearing a little under his pants.

"The bats on your forearm is still my favorite one" You put your hand on his lower abdomen tattoo "But this one has the best placement for sure". He puts his hands on yours. Your eyes meet his and there is no doubt on both your minds. This isn't just a game. You bite your lower lip and you shiver a little.

"Your turn Princess. I want to see yours now" he whispers.

"You'll have to find them" you softly say has you turn around and hold your hair out of the way so he can unzip your dress. He gently does and your dress falls to the floor. Leaving you only in your underwear. Nice black ones of course. You were always ready in case the flirting would lead to more.

His hands and his eyes are exploring your body. Searching for your tattoos, but it's also way more than that. It's very sensual while being very respectful. No inappropriate touching, He takes his time, slowly touching you everywhere your skin is exposed and paying attention to your reactions. At this point, you can't help making little sounds. Moans and sighs. But you don't feel self-conscious at all. You feel confortable, high on Eddie. You feel on fire. You are really enjoying this. This is foreplay and you are in heaven.

After exploring your legs, he stands up, dangerously close to you. Close enough for you to clearly feel on your stomach that this was working for him too.

"I can't find them" he says.

You lustly look at him "Guess you are going to have to take my underwear off to see them".

He licks his bottom lip and takes your face in this hands "I really want to kiss you right now" he confesses.

You look at him and reply "I always really want you to kiss me".

He blushes, smiles and leans over to kiss you. His hands finding your waist while yours find his neck. And it's soft and perfect and everything you wanted and then hungry and full of more desire from both of you. He grabs your ass and lifts you up. You wrap your legs around his waist. You can feel him kiss you everywhere he can while taking you to your bed.

Finally, this is happening.

[erikiara80]

Do you think there is a reason that Will's name (William) is written on the grandfather clock or is it just overall *vibes*?

I personally think that time travel / time loop situations are unlikely to happen. But it could refer to something else maybe? Also some people pointed out that Dustin gave Will a 'forever clock' in S3, maybe it contributes to something? And could it also be related to the UD's appearance being stuck on November 6?

I am not sure what it means but alongside the whole library thing, it probably might refer to something that we do not know yet.

Ciao, anon! Sorry it took me so long to answer.

I'm still finding new details, there's so much to analyse, so I'm not saying that I'm sure. But my current theory is that... yes, it is likely that there are different timelines. And maybe the whole story is stuck in a loop. Many timelines, but always the same tragic end. And we're watching the end of the loop, when they finally find the only right solution. So I think that the Forever Clock and Will's name on the grandfather clock of a man who can move the hands of said clock, hates the very concept of time, and wants to destroy the world and build a new one, means that time is important. Will is the one who will deal with Henry/Vecna in S5, like El did in S4. And I think it will get much worse for Will, before it gets better.

There are too many references to Back to the future. Will's clothes in S1, Bob's camera in S2 that is Doc's camera in the movie. BTTF in S3 and now Henry and his clock and El saying that they all are time travelers. Time is important. I have no doubt about that.

I think different timelines and loop make more sense in this story than simple parallel worlds. I don't think Will will ever meet Will 2.0 you know? Despite the huge parallels with Fringe, a story about parallel worlds. Or The Talisman. ST is different. It's a mix of all these stories. Including The Dark Tower. No spoilers on the ending, but that rose on the Creel House's door is a huge hint imo.

The loop could also explain why many characters said many times things like: This isn't real, this things can't be real, Your timeline is wrong. Or the whole 8:15pm mystery, or Brenner's name changing from Martin to Richard in different articles. Same for the two versions of the article on Will's rescue. Not to mention all the things that keep changing during El and Henry's fight. Wow. That's a lot. And I really don't think these writers and crew are lazy. Certain things were there from the beginning, but we needed S4 to really start to connect the dots.

The Duffers said that clocks will be very important in S5 (I'm thinking about the whole 8:15pm mystery). And Mike! Mike is a mystery too! For some reason he's always late in every season, and also seems to know things, like, if a plan can work or not, but when asked about it he just says I just know, or just trust me. It's almost like the story has repeated itself. It almost feels like a deja vu...

So yeah, I think Stranger Things is a mix of Fringe, The Talisman, The Dark Tower and Back to the future. Time is the key tho, so not really simple parallel worlds a la Fringe. It's about timelines.

Of course, I could be wrong, but for now, this is my theory. Thanks for the ask!

[awesome-opossum-after-hours]

so I'm doing a full rewatch of Stranger Things bc my finals for this semester are done SO here's some cool little details I've noticed so far. (part 1, s1 and beginning of s2)

in the first episode, Steve claims himself to be stealthy, "like a ninja" when sneaking into Nancy's room. in season 2, when giving Dustin girl advice, he says "

when Mike is giving El privacy to change in the bathroom, she wants him to leave the door open. they settle on just a crack, perhaps 3 inches?

at first, when the police station thinks that the "kid with the shaved head" on the loose was Will. according to them, they looked similar enough. which, now that they're adoptive siblings, makes me wonder if people in Lenora thought El/Jane and Will were twins?

when El is vanquishing the Demogorgon in the season 1 finale, her pupils get large and her irises turn red.

looking back, I wonder if there's a reason why she had to go to the Upside Down in this case, but not when banishing Henry in the exact same way?

at the end of season 1, right before the Christmas flash forward scene, everyone is waiting for Will to wake up, including the newly non-douchebaggy Steve!

additionally, right after this, we see Hopper reluctantly getting into some fancy government car. I mean I feel like it's obvious what they talk to him about but I still wonder how that conversation went down

in the first episode of s2, when Owens greets Will in the doctor's office, he addresses Hopper as "Pop", to which he doesn't ever correct :)

Mike has what looks to be some of Will's drawings of their DnD characters on the walls of his basement!

joyce also would get nervous when the phone rang, it's possible that the Anniversary Effect was true for her trauma as well, it just got kinda overlooked

one big question I still had, was why didn't the demogorgon eat Will like it (presumably) did with the other people that had gone missing? there has to be some reason, and we also don't get to SEE the demogorgon as it finds him in Castle Byers.

everything that went down in Hawins Middle School in the s1 finale happened on a school night (or possibly a weekend, but not a vacation like s3 or 4). did they clean up the streaks of blood on the floor and the giant portal in their wall somehow? or did eleven fix that?

each of the boys' Ghostbusters costumes are slightly different! if you look at the styles of their shirts, Lucas and Dustin have polos, Will's shirt is a slightly darker color, Mike's is a zipup. a cute little detail that implies they were homemade (same goes for the Proton Packs that all look slightly unique)

when Dustin and Lucas invite Max to go trick or treating, they say that they'd be the best to go with because they know where to find all the full sized candy bars. she replies with, "that's presumptuous of you", to which Dustin wonders is good or bad. this line is repeated later on in the season. but the kicker! in season 4, when going over Max and Lucas's part of the plan and how she'd hide in her happiest memory, Lucas asks if he's involved, to which he gets this same response :)

when asked about his Mindflayer drawing, Will lies and says that it's for one of his stories, which implies that he occasionally writes!

El and Hopper's whole "Word of the Day" thing was adorable and should've been talked about more

according to Billy, them having to move to Hawkins was "Max's fault", but I don't think they ever mention what actually happened. though it could also be wrong, as she blames the move on him

this is super insignificant, but the suit Steve is wearing at the halloween party isn't just black. it's pinstriped. I feel...lied to?

correct me if I'm wrong, but doesn't Steve live near Loch Nora? makes sense, Max convinces the party to trick or treat there because she's heard it's where all the rich people lived

speaking of streets, their consistency in location names is really cool! like Kerley, for example, is mentioned here and there in season 1 and again in season 4 when talking about the trailer park.

did Will's "episodes" function in the same way as Vecna's curse? like, were they these spooky visions that he couldn't be snapped out of, until the Mindflayer finally got to him?

the scene at the end of s2 episode 2, with Mike and Will on the couch is directly paralleled at the end of season 4. the first time, Will's opening up about being able to feel the Mindflayer (or we now know is really Vecna), but the second time, he's saying how Vecna is still alive

[chirpsythismorning]

It’s weird thinking about how, especially in s4, Mike has connected with Will for closure about his relationship to El, though he has never done anything in comparison to connect with El for closure about his friendship with Will??

And what I mean by that, is that Will is one of Mike's best friends and El is his girlfriend. Wouldn't he want to have deep conversations with El about all parts of his life, including his friendship with Will and the struggle they're having there?

This isn't to say that every conversation between them has to be about Will, but I would at least like for it to be close to equal? Like s3, it was as if Will did not exist in Mike and El's world beyond him being in the frame, and s4 had a similar approach... Why can't Mike even disclose to El UGH Will is being clingy or whatever, and make it clear that Will is completely platonic, for the sake of the audience at least? Instead, what we get is very very few mentions of Will at all between them. But the ones that we do get, are incriminating as hell as to why all of this might be.

S1. Pretty self explanatory what I mean by that.

There's two scenes in particular though that I want to talk about because they are direct parallels of each other.

At the end of s1, we get Mike mentioning Will specifically in his plan for the future to El. He says that she can just have his room bc he spends most of his time in his basement anyways... (*cough* Mike projected during the rain fight *cough*) And that it'll be like she is Nancy's sister...

At the end of s3, we get Mike mentioning Will specifically in his plan for the future to El AGAIN. And this is happening directly after his conversation with Will. In that conversation Will and Mike have about their own idea of the future, they do not talk about El at all and only focused on Mike's insecurity that Will might go on to find another party. Mike doesn't voice any similar concern about El moving on in his conversation with her afterwards...

And that's where Mike making any mention of Will to El, just falls off.

In s4 we get El's letter and this is probably the first time since s1 that El has acknowledged Will in reference to Mike (assuming Mike asked how the Byers were doing, seeing as most of her letter came off like she was responding to a questionnaire...)

Again this is all very very weird. These are two best friends and a boyfriend and girlfriend. Mike is being weird about these relationships co-existing at once and how the writers navigate that between those relationships makes it all start to make sense once you actually start to think about it.

And s4 is where it just gets weird... Because Mike is clearly very much struggling over the distance that has come between him and Will over the last year. On the ride home after Rink-O-Mania, they make a point to show Mike looking over at Will briefly, not El. This means that what was on his mind after all of that, was Will.

WHY is Mike not disclosing a big part of what is upsetting him, ie his relationship with Will, to El, his gf? Again, not saying it has to be a bunch of mentions, but really, NO conversation? Not even a mention?

Why is Will not mentioned AT all in their conversations, even though we know Mike is feeling a lot of emotions about Will? Because I think, if it was truly platonic, Mike would be fully capable of opening up with her about his struggles with his best friend, as a bf looking for comfort from his gf about his failing friendship.

Why didn't we get a scene of Mike separating El from everyone else back in Hawkins, saying it wasn't the same without her there? Mike literally separates Will and El saying he was worrying about her too much and felt like he lost Will as a result.......

Those types of moments should have been going to the romantic pairing, not the platonic one...

I just don't think s4 Mike would be caught dead admitting those conflicted feelings he has about Will to El. Like imagine him bringing up Will in a conversation with her? You just can't. Post s4 it's just not something you can picture without thinking oh shit oh shit. Like it's just not possible.

I do think that if it was as simple as Mike being like overwhelmed by Will's feelings or just having basic platonic qualms with his best friend, he would be fully capable about confiding in El about that. Instead Mike and El cant even have a conversation without making each other feel woefully misunderstood about where they both stand on things.

Also, if it was as simple as Mike just being scared to lose El and feeling insecure and needing his platonic best friends support, he wouldn't have needed to dance around the fact that he couldn't tell El he loved her, to Will. If they were purely platonic, he would lay it all out there, with no ambiguity, so that he could actually get closer to resolving things with El, instead of stalling, which is what he did literally all season, seeking emotional support from Will.

The point is, Mike seeks emotional support from Will, but not El. And when it matters most, he is making clear Will is always going to be involved in his picture perfect plan of the future and what he wishes for it to hold, even if he isn't certain what that will be. He wants Will there regardless.

Not having Mike have those deep moments with El, not having it be about them and only them, only for Mike to not really tell El about how he's truly feeling all around, beyond his insecurities in their relationship... says a lot about how he is probably feeling deep down but wont say out loud... (literally).

[lesbianrobin]

What do you think are the good and bad aspects of each season of ST?

ok 1. thank u for this question omg and 2. this answer may or may not be a mess, but either way it’s long (almost 7k words lmao) bc i’m insane, which is why it’s under a cut. it’s still by no means an exhaustive list but these are the things that just kinda came to mind.

also i realize you asked “good and bad” and i wrote this whole post as “strengths and weaknesses” which um. is not Exactly what you asked. but close enough <3 i also ended up including a lot of au ideas ksjdckmn bc like i personally hate when people say a certain plot or whatever was bad without suggesting anything that could have improved it yknow so whenever possible i tried to provide Some idea for fixing the issues i had with the show!!

season 1

strengths (this is probably gonna be the longest section but that’s because a lot of these strengths also apply to s2/s3 by default)

nostalgia and authenticity

this one’s pretty simple, but i think that season one did a good job of blending classic eighties media homages (such as the many many e.t./el parallels) with explicit pop culture references (such as mike’s yoda impression, mentions of the x-men, etc) to create a show that’s essentially dripping in early eighties nostalgia without it feeling too forced. before st, i think the most popular depiction of the eighties in mainstream media was that overly exaggerated neon scrunchie aesthetic from the mid to late eighties, and it was usually done in a comedic sense first and foremost. st took a different approach, instead focusing on the early eighties, a time that’s often ignored in favor of going either Full Seventies or Full Eighties, and i think that this choice likely resonated with adults who lived through the eighties and hadn’t yet seen something that felt quite so accurate to their own adolescence. a lot of young people who watched st were totally unfamiliar with this period of time, unfamiliar with books/movies like “stand by me” that st borrows from heavily, and i think st lent more seriousness to the eighties than most young people had experienced so far, and this was refreshing and interesting!

the use of dnd in the show is also quite genius in a way i’m not sure i can articulate?? it isn’t something Everyone would have played at the time, but it’s something that existed within a different context back in the eighties than it does today, and it really lent a sort of authenticity to the naming of the show’s sci-fi elements. like, of course these kids would name parallel dimensions and monsters and superpowers after these similar things in their favorite game! it just feels so real and it grounds st in our reality moreso than you might expect from the typical sci-fi or horror universe.

utilization of existing tropes

almost every single character in st clearly originates from some popular trope. the plot itself is riddled with classic eighties movie tropes. almost every single element of stranger things can be clearly traced back to some iconic eighties film or just to, like, overused horror/sci-fi/mystery/coming-of-age movie tropes in general. this might sound like a bad thing, but it really works in st’s favor! starting off with familiar tropes gives st the ability to easily create a lot of complexity and make a big impact by selectively deviating from those familiar, comfortable tropes!! while el’s whole plot, hopper’s character, etc, are all examples of this in action, i think the steve/nancy/jonathan plot is the greatest example. even from the start, the fact that good girl barb dies while nancy is off having sex with her asshole boyfriend is an incredibly thorough inversion of the most well-known horror movie trope in the book. how often do girls in horror movies have sex for the first time, walk home alone in the dark of night, and live to tell the tale? nancy and jonathan’s dynamic at first glance is a sort of classic “good girl meets boy from the wrong side of the tracks, discovers he’s actually got a heart of gold” thing, but instead of following this well-trodden path, st diverged. nancy is brash, impulsive, and at times downright insensitive. jonathan is angry, bitter, and actually a bit of a creep at first. while they have the capacity to emotionally connect and support one another, they can also bring out each other’s darker side, which is not what we’ve come to expect from that initial tropey dynamic.

in addition, steve, the popular rich asshole boyfriend, is actually... a human being! unlike the cartoonishly evil jocks that we’ve come to expect (especially from eighties movies), steve has complexity. despite his initial immaturity and selfishness, he’s also kind to barb, he backs off when nancy says no, he’s gentle and sweet when they sleep together, his first big Dick Move of the season is in defense of nancy, he realizes the error of his ways after the fight and does what he can to fix it, he’s worried about nancy when he sees that she’s hurt at jonathan’s house, and to top it all off, he ends up saving both nancy and jonathan’s lives when he could have just walked away, and the three of them all work together to fight the demogorgon. like... steve began as the most stereotypical character of all time, and by the end of the season, he had one of the most compelling and unique arcs among the whole cast!

finally, at the very end of the season, instead of dumping steve for jonathan as expected, nancy ends up getting back together with steve, and they’re both on friendly terms with jonathan. i realize that i just kinda. summarized s1. but my POINT is that i don’t think the dynamics between the monster hunting trio would be nearly as fun and interesting had the characters of nancy, steve, and jonathan not been set up to follow certain paths that we already had charted in our own heads. like, within the first couple episodes of s1, it’s pretty obvious that nancy and steve are gonna break up, nancy will get with jonathan, and steve will either die or go full evil or just never be seen again. like, duh! you’ve seen this story a million times! you know that’s how it’s gonna go! so, when the story DOESN’T go that way, the impact of each character’s arc and the relationship dynamics become stronger due to their unexpected complexity and authenticity. 

distinct plotlines separated by age group

this one’s rather obvious, but the way that the adults in s1 were essentially in a conspiracy thriller while the teens were in a horror flick and the kids were in a sci fi power-of-friendship story and all three converged at the end... wow. brilliant showstopping etc. not only was it just really well done and unique, it also gave stranger things near-universal appeal. like, there’s genuinely something for pretty much everyone in season one!

casting

obviously this applies to every season sorta by default, but when i think about what made season one So successful, i always think about the cast, and not just winona ryder. yes, she’s absolutely amazing in the show and it’s very doubtful that st would be as big as it is today without her name being attached to it from the start!! however, i think the greatest determining factor in st’s success is the casting of the kids, particularly millie bobby brown. like... el is just absolutely incredible. she’s amazing. this has all been said many times before so i won’t harp on it, but millie and the other kids are all So talented and charismatic and i think their casting has been instrumental to the show’s success.

strong visuals

the way that multicolored christmas lights which have been around for decades are now kinda like. a Stranger Things thing. jesus christ. those lights are probably the biggest stroke of stylistic genius on the show.

atmosphere and setting

this is probably like. the least important one here for me sdjncdsc because i think s2 and s3 both had like Even Better atmospheres and shit but s1 was good too and it laid the groundwork!! i know a lot of people would have preferred st be set somewhere more Spooky with lots of fog or giant forests or whatnot, and while i do enjoy thinking about alternate st settings and how they might alter the vibe, i think hawkins indiana was a good choice. as the duffers have said, placing stranger things in a fictional town allows them more flexibility than if they’d gone with their original plan of using montauk, new york. besides that, i think the plainness and like... flatness... of small-town indiana just Works. like, the fact that hawkins is never really scary on the surface is a big part of the horror in the lab’s actions and their impact. hawkins isn’t somewhere that people just disappear all the time. it isn’t somewhere known for strange occurrences (prior to s1, that is). it isn’t somewhere shrouded in mist and secrecy. hawkins on its surface seems like the sort of place with no secrets and nothing to fear, and that’s the point! the lab is out in the open! it’s right there! everything is so close to the surface, yet so far out of the public eye, and i think that really works.

the byers family’s whole deal (specifically the joyce/jonathan dynamic)

this is going here bc i miss it so bad in s2 and s3. i’m not one of those people who believe The Byers Are The Whole Point of the show, because st is and always has been an ensemble, and el, hopper, and the wheelers are just as instrumental to the plot as the byers, but ANYWAY, i do think the byers were one of the most interesting aspects of s1. joyce’s difficulties with supporting her sons as a poor and (implied mentally ill) single mother, jonathan’s stress as a result of having to earn money, care for his brother, and keep the house in order when his mother is unable to do so, and the resulting tension between them when will’s disappearance and supposed “death” brings the situation to a tipping point? holy shit! it’s so good! that argument after they see will’s “body” is just incredible and gut-wrenching. their relationship feels so real and messy and i think it’s just... good. also winona ryder REALLY acted her heart out and she carried a lot of s1 which i think people often forget to mention so i’m saying it here.

weaknesses

pacing/timing

ok so pacing is probably going to go in each season’s weaknesses, to be honest, because i think they all had a blend of some good and some bad pacing. good pacing is invisible pacing, though, so i probably won’t be putting it in any of the strengths sections and will only be focusing on it in the weaknesses. i’m also probably not going to talk about weird day/night cycle things, just because i don’t want to get nitpicky on timelines because that would require going back and rewatching things to double check timing which i don’t wanna do at the moment lmao. anyway, when i think of bad pacing in season one, i primarily think of two things: nancy’s little trip into the upside down and subsequent sleepover with jonathan, and the sort of staggered nature of the climax in the final episode. the latter is simple so i’ll explain it first: while i understand that each group’s respective climax is like part of a chain reaction and that’s why each big moment happens separately and at different times, i think that st is strongest when the whole group is together, and i think that makes the stakes feel higher too, so i’m not In Love with the way s1 separated everyone and gave each group their own climax. 

okay, now on to the nancy/upside down thing! idk if i’ve ever talked about it before, but i think the worst decision made in s1 by far is the inclusion of nancy’s brief trip into the upside down, wherein she dives headfirst into another dimension with absolutely no backup, watches the demogorgon chow down, freaks out and runs around for a minute, and then leaves. like... what the fuck? even putting aside what an idiotic decision this was (because i do think nancy’s tendency to rush into things headfirst is an intentional and consistent character trait), it just kind of destroys any remaining suspense surrounding the demogorgon and the upside down, and it accomplishes basically nothing besides scaring nancy enough to have jonathan sleep over, which is lame. i will break it down.

like, first of all, nancy just getting to waltz in and out of the upside down and get a good, long look at the demogorgon makes the entire thing far less mysterious, and by extension far less scary. like... before this scene, we the audience haven’t got a good look at the demogorgon. we’ve seen its silhouette briefly and we’ve seen a blurry picture of it, but nothing more, and i think that is far more effective at building fear than this jaunt nancy goes on which gives us a full view of the thing and makes it into less of a horrifying nightmare and into more of a humanoid animal. like, maybe this is just me, but i found the demogorgon far less intimidating after that scene than before. it also lets nancy and jonathan know For Sure that they’re right without providing any crucial information that they need to fight the demogorgon (aka it’s unnecessary to the plot), which removes a very compelling story element (the faith nancy and jonathan need to have in order to keep going against a vague and poorly understood enemy, the doubt they might have about each other and their own sanity, the possibility that they might be wrong, the trust they need to have in each other) a bit earlier in the plot than i believe is ideal. at the end of episode 5, nancy goes into the upside down and jonathan doesn’t know where she is and it’s intense!!! you’re thinking like, oh fuck, not only is nancy missing and fighting for her life now too, jonathan might be implicated in her disappearance!! some people already think he’s the one who killed will and people know that he took creepy pictures of barb and nancy before they both disappeared, maybe this is gonna cause some serious problems for him!! maybe nancy will find will in the upside down and she’ll help him survive!! fuck, maybe she’ll actually die!! this is huge!! and then episode 6 starts and they’re immediately like oh nevermind jonathan found the tree and got nancy out and she’s fine. my point with all of this is that nancy entering the upside down could have done A Lot in the grand scheme of the plot, but all it did was just... get jonathan to sleep over so he and nancy could have some awkward romance moments and steve could see them together and pick a fight. which could have honestly happened at Any point while nancy and jonathan were working together to hunt down the demogorgon, without ruining the demogorgon’s and the upside down’s mystique. so yeah <3

weird behavior and dumbass decisions that make no sense (aka the whole camera thing)

gonna go off about the teen plot again sorry but: why was nancy so unbothered and quick to forgive jonathan for taking those pictures? girl what the fuck are you doing? why wasn’t that a bigger deal? why was jonathan’s motivation for doing it so weak and why did they just kind of forget about the whole thing? why did nancy TRACK HIM DOWN AT THE FUNERAL HOME while he was PICKING OUT HIS BABY BROTHER’S CASKET to be like hey can you tell me what’s in this creepshot you took? it’s insane. it’s so insane. i mean i think the funeral home thing is hilarious and i don’t mind it being in the show necessarily but like my point here is that i think a lot of character decisions in s1 just kind of.. happened because they Needed to happen for the plot. like, they wrote this plot that required jonathan to be secretly taking pictures of the party and required him and nancy to work together after seeing something odd in the pictures, but they didn’t like... really consider what that event would mean for their characterization and relationship. the whole thing was sort of just dropped with minimal discussion and i think it did both nancy and jonathan’s characters a disservice and was really mishandled.

lighting and saturation/color grading

i am literally begging horror/sci-fi shows to let me see shit. i GET IT okay i understand that when you’re doing cgi effects it helps to keep the lights down and i’m not mad at any of the lighting in the demogorgon/upside down scenes!! i’m really not i think the demogorgon scenes in s1 all look sick!! but like... dude. the colors. where are they. why does everyone look like a vampire. i know blah blah this was probably an intentional stylistic choice intended to mimic film at the time blah blah but dude a lot of old movies are very colorful!! please just let people have color in their faces so everyone doesn’t look like a sheet of paper!!! also i’m white and not a professional lighting designer so yknow grain of salt but i think lucas was kinda poorly served by the lighting sometimes in s1. not Hugely so, not to the degree that i’ve seen poc be poorly served by lighting in other shows, but there were some times where it felt kinda like the lighting setup was just not designed with darker skin in mind. 

horror

i just personally don’t find s1 very scary like... ever. i don’t think they were really Trying to be extremely scary yknow so i’m not counting this as a big deal, but i do think that each season has improved on the horror aspects. i think s1′s horror lies more in the mystery and the unknown than in what’s seen onscreen, and as i’ve said already, i think s1 kind of fumbled that suspense ball.

season 2

strengths

the possession plot

i’ll warn u rn this whole s2 strengths section is probably gonna be really short bc idk like. how much there is to really say i feel like it’s all so self-explanatory skjncmn. anyway yeah the possession plot!! eerie as fuck, and noah OWNED. so did winona tbh and finn and sean etc but like. noah. wow! i think the possession plot helped the show maintain a good amount of tension and suspense throughout the season, and a lot of scenes with possessed!will are flatout disturbing to watch. in a good way. i think the mindflayer and will’s possession were far more genuinely frightening than s1′s demogorgon, and it provided a new layer of depth and intrigue to the antagonist besides just “bad monster want eat people.”

tone and aesthetics

halloween season... literally halloween season. halloween season. that is all.

actually i will elaborate a bit and just say that i think s2 did a good job of having the sort of foreboding vibe that s1 was often going for, but without the annoying darkness and desaturation. so points for that.

also st2 is like one of the best Autumn pieces of media ever like it just. like steve and dustin on those train tracks with the fallen leaves all around them.... god. god the vibes are unparalleled. all of the halloween stuff also really contributes to the nostalgia st runs on yknow it makes you think about childhood and trick-or-treating and you kind of get transported like damn... i remember going to the rich neighborhoods to score the good candy..... idk i just think the whole thing is incredibly effective. 

“babysitter” steve

by sending nancy and jonathan off together, the show created a problem: what to do with steve? this problem pushed them to create the unconventional and unexpected duo of steve and dustin, and the world is so much brighter for it. seriously though we all know steve and dustin are great i don’t need to argue that point. all i’ll add is that i think allowing steve to grow in this way, serving as a mentor figure and becoming genuine friends with someone so unexpected, really took the originality of his character to the next level. no longer content just to defy his archetype, in s2 steve begins branching out in ways that never would have been considered in s1, creating an incredibly complex and interesting person from the sort of character that most shows would have simply written out or killed off for convenience’s sake. and it works and steve and dustin are such a joy to watch and i love them. <3

the lucas/max plot

so first of all max mayfield is the most perfect baby girl on god’s green earth and idk what i would do without her but anyway. i think lumax is the best romantic relationship in the show and not just because they’re the only ones with like an age-appropriate approach to the whole thing. it’s also because their relationship accomplishes more than just putting the two of them in a relationship!! lucas and max spending time together motivates billy to do his evil shit, providing more conflict in the narrative, and it also helps establish max as part of the group in a relatively natural way while giving both her and lucas a great subplot. lucas (and dustin) has a crush on the new girl, they start spending some time together, and lucas ends up needing to decide whether he’ll keep the secret of the upside down and lose her, or risk both of their lives by telling her the truth. that’s a pretty big, character-defining decision that he gets to make!! max has to choose whether to trust this boy she barely knows and endanger herself, or to walk away and stay safe, yet another great character-defining choice that also contributes to the sense we get as an audience of max as somebody who’s incredibly lonely and desperate for love and connection. this post is way too long already and i have a ton more to say so i’ll stop now but yeah i think lumax really Works in the show without ever distracting or detracting from the overall plot and narrative in the way that some other ships (coughjancycough) often do.

balance between the normal and abnormal

s2 i think did a pretty solid job of melding daily life with more fantastical sci-fi horror elements. i enjoyed seeing so much of the kids at school in the first few episodes!! you really get a strong sense of where they’re at in life, what their daily lives are like, and you get a sort of gradual shift into madness that makes everything feel more grounded than i think it would if they had just leapt straight into the horror shit, yknow? 

the el and hopper dynamic

go back and rewatch s2 and tell me that’s not one of the most moving portrayals of parenthood and trauma and growing up that you’ve ever seen. you can’t. or well you can but i won’t listen. i really can’t imagine stranger things without el and hopper’s relationship, and it’s my absolute favorite part of s2. their whole dynamic is so beautiful and complex, and gives them each amazing personal arcs in addition! the black hole scene is literally one of the show’s greatest moments of all time. any given scene between the two of them in s2 is just guaranteed to be heartwarming as well as heartbreaking, and i think that makes for an incredible show.

weaknesses

flashbacks

okay this applies to Every season they All have too many flashbacks but in s2 specifically... please stop showing me shit from season one. i watched it. i know what happened. you don’t need to spoon feed everything to me!! flashbacks can be a really helpful way of delivering information to an audience, but st has a bad habit of not only being kinda demeaning in how often they flash back to shit that the audience already knows, but they also have a bad habit of using flashbacks almost as a crutch to avoid having to deliver information subtly and naturally. 

you know i gotta say it... the lost sister

this is so sad. the lost sister really is like a great concept for an st episode, and i’m not mad about the idea of st taking a break from the normal action to focus on one story for a full episode, but the execution of it was just dreadful. kali and her crew feel very over-the-top and stereotypical, and its placement in the season totally kills the tension and excitement that was built in “the spy.” 

i think the lost sister honestly could have gone over far better, even with the stereotypical fake-feeling gang kali has, if they had just swapped it with “the spy” like... ok, the end of episode five has el setting off to find kali and will collapsing on the ground seizing. right? imagine if, instead of immediately following will to the lab, we’d followed el. we don’t know what’s happening with will, but it’s a very simple cliffhanger that leaves us on edge without making us feel cheated by the show cutting away. we follow el on her little journey, everything happens much the same as canon, and then at the end, el sees hopper in scrubs. she sees mike, screaming, sees that they’re both in danger. holy shit!!! what the fuck!!! what’s happened since we left will seizing on the ground??? we feel el’s fear and confusion. she decides to go home. and then... boom. “the lost sister” is over. now, we rewind, right back to will seizing on the ground, and “the spy” commences. we learn how they got into the danger that el saw in the end of “the lost sister,” and we sit on the edge of our seats all through “the spy” and “the mind flayer,” KNOWING that el is on her way back to save them but not knowing when she’ll arrive!! idk i don’t think that would have necessarily saved lost sister but i think it may have alleviated some of the issues that i and many others have with it, timing-wise.

the nancy/jonathan sidequest

once again, the idea of nancy going off on her own little mission to find justice for barb after s1 is like. amazing. genuinely i love that plot for her and i can’t imagine anything better for her to have focused on in s2. unfortunately though i think her and jonathan’s little trip to see murray was just kind of... lame. the whole thing just felt like an excuse to get the two of them alone together, yknow? which is fine i guess people contrive all sorts of situations to get characters alone together for romance reasons but in this case i think it just really doesn’t work for me because of what it’s juxtaposed with. like, will is POSSESSED, and jonathan is just off on a mini road trip and sleeping with his bestie, and jonathan never seems to communicate to joyce/will that he left town, and joyce never like... thinks to tell him that will is like sick and fucked up and they’re looking at him in the lab??? like it’s so weird i know joyce always forgets about jonathan when shit’s happening with will but jfc you’d think at some point in that like... 72-ish-hour period where jonathan was out of town she would have thought about him. like at least once. maybe i’m forgetting something and she mentioned him sometime and i missed it but even still, i hate the juxtaposition of nancy and jonathan just like cheers-ing at murray’s place and sleeping together and whatnot while everyone else is dealing with possession or trying to hunt down dart yknow? it feels really boring in comparison and i think it could have been done far better. like it was SO insanely easy for them to get into the lab and get an admission of guilt and escape with it!! i think it might have been a lot more engaging if maybe someone from the lab tailed them to murray’s place and they had to like lose the tail and race to get the recording out to as many news outlets as possible before they got caught, or something like that. the tension in their plotline is completely resolved in episode four!! episodes five and six are just them screwing around and addressing envelopes. while there were a lot of strong ideas in this plotline (i really enjoy nancy going out of her way to get justice, and the fact that they have to water down the story to make it believable), i just think the focus on nancy and jonathan getting together hindered it a lot without adding a ton to the plot or their individual characters.

season 3

strengths

starcourt mall as a setting

while i don’t think the mall was utilized quite to its full potential (something i could make a separate post about if anyone’s interested), i do think that starcourt was a genius addition to the series. i’ve said this before, but building a new mall is a literal Perfect in-universe justification for a significant leap forward in fashion and aesthetics, and it provides a great location for characters to just... be characters. idk how else to articulate this i just think that the mall is a great setting to let people interact with each other and to bring people together who may not have been otherwise (i.e. scoops troop). not to mention how sick it was to see the mall get wrecked toward the end kdjncdkm like they were able to do so much more with the mall in terms of like The Finale than they could with just the byers house or the cabin or the school or even the lab. i love all the back tunnels they run through it’s such a fun like acknowledgement of how this glitzy eighties mall is just a real place where employees get shipments and take out the trash and shit idk it’s all about the perfect facade and what’s hidden what’s underneath what’s hiding in plain sight etc etc i’m just saying words now. anyway. 

willingness to experiment and go against expectations

gay robin. neon aesthetics. giant fucking meat monster. i know some people hate both the neon and the meat monster but i personally think they were kind of amazing and like. yknow regardless of personal tastes i think it’s impossible to deny that s3 had a lot of incredible visuals, and they’re all visuals that just wouldn’t have been possible if the show were too afraid to stray from its s1 aesthetic. robin being canonically gay (and her resulting friendship with steve) and the season’s striking visuals are two things that most everyone (besides like homophobes skjncdknm) can agree were great, right? and they were both departures from where the show began and what we all expected!! so yeah i think while some of the experimentation in s3 wasn’t ideal it was also that experimentation that allowed for some of the season’s strongest elements to come about.

the hospital sequence (and the season’s action/horror scenes in general)

this one is fairly self-explanatory. while they may have underutilized the “body snatching” element of the season, the hospital sequence with nancy and jonathan fighting off their possessed bosses did an amazing job of building tension and creating a genuine sense of really intense and personal danger.

in general i think that s3 melded action and horror rather well, particularly in the sauna test, the hospital, and when the mindflayer busts through the roof of hop’s cabin. horror can come from many things, and in this case, st elicited horror largely from the feeling of helplessness, and it was really effective for me personally. i think it worked better for me than s1′s brand of horror because it doesn’t rely so much on a lack of knowledge or a sense of suspense that inevitable disappears upon a second viewing.

the body horror we got in s3 was also really fun! that’s it i just think all the blood and guts and slime were fun and i would like more of them. once again, the impacts of body horror are less dependent upon the viewer being in the dark or unsure as to what’s happening, and as such i think it tends to be a little more effective at eliciting reaction in the long term.

timing and mechanics of the battle of starcourt/finale

i think the battle of starcourt is just fucking awesome, and beyond that personal opinion, i think it’s the most high-stakes and intense finale of all three seasons, and this is for two main reasons! 1. el is out of commission, and 2. (almost) everyone is in the same cental location. this means that (almost) everyone is in danger all at once, and they are all working together at the same time to fight the same threat. s1/s2 have their groups more fragmented for the finales, and while i understand why in each case and i wouldn’t call either season’s finale necessarily weak, i do think the centralized nature of the s3 finale just Works on another level. in s1 and s2, large segments of the cast are already perfectly safe by the time el dispatches the primary threat. in s3, however, everybody save for dustin and erica is still in danger up until the last moment, and el is seemingly (you can def debate how much power she still had in her when she peeked into billy’s mind and whether the memory broke the mindflayer’s hold on him or if she was actually controlling him to some degree) completely vulnerable. this increases the tension and raises the stakes, making the finale a real crescendo to fortissimo as opposed to a series of little mezzo forte moments. i hope everyone reading this knows music idk how else to phrase that my brain is stupid.

emphasis on friendship and adolescence (but in a different way than s1/2)

this is definitely a controversial one but i think that s3 really did like... show a side of friendship that had been more or less unexplored thus far in the show. el and max were amazing, and i think it’s really nice that we got an opportunity to see the kids have some growing pains as well as see them support each other through Normal Adolescent Stuff like boyfriends and breakups instead of just like. death and trauma. this is maybe just a personal preference, but i think it can be really enlightening and provide a lot of depth when you get to see how characters respond to normal everyday conflict and not just how they respond to giant world-ending conflict!! letting el use her powers for goofy teenage shit like spying on boys and messing with mean girls at the mall is not only fun for her and the audience, but it also really emphasizes just how much those powers are a part of el, making it that much more devastating when she loses them at the end of the season. 

weaknesses

tonal dissonance

so this is like. obvious. but it must still be said! i won’t go on and on about it since we all know this so i’ll try to like talk about it from an angle people don’t usually? anyway. it seems to me like they were maybe a little worried about s3 being too dark. while the choice to really lean into humor was definitely driven by the sorts of eighties teen films from which s3 drew inspiration (like fast times at ridgemont high), i think it was also done in an attempt to alleviate the more troubling implications of some events in the season, particularly the russian bunker plot. like, yeah, st can be incredibly dark, but if they’d played the whole “children being stuck inside of a foreign military base, tied up, tortured, and drugged” thing completely straight without the humorous elements that exist in canon, it had the potential to be like... disturbing on a new level. steve and robin don’t have powers like el yknow their kidnapping/torture doesn’t have any sci-fi elements to sorta soften the blow. they’re just innocent teenagers being brutalized and traumatized by grown men. so anyway yeah i think maybe the writers were concerned about this storyline coming off as too dark and they wanted it to be a little more whimsical but they ended up pushing way too hard in that direction and creating extreme dissonance at times. this goes for joyce/hopper/murray/alexei too, but to a lesser extent. i think the ridiculousness in that group felt a lot more like... realistic. but still. 

newspaper plot

once again i feel like i don’t even need to say this skjdncmn we all know it was insane how the show basically ended up delivering the message “while misogyny is a serious problem poverty and classism are not” and i’ve said it on this blog a million times so i don’t need to repeat myself. i’ll focus on another weak point of this plot: the fact that it completely separates nancy and jonathan from everyone else. once again, the show’s preoccupation with j/ancy held them back! like... can you imagine a version of s3 where nancy and jonathan both worked in the mall? i have a lot of ideas about this possible au and like how the plot could play out differently if they worked in the mall but first of all it’s just more realistic, second of all it further utilizes the mall as a central setting, and third of all, it would bring everyone together. as it is in canon, nancy and jonathan were unnecessarily isolated from the rest of the group, and this isolation was detrimental to both of their characters. like, they only ever get to interact with each other! if they’d gotten summer jobs in the mall, they could have had more interactions with the kids/steve/robin, and they absolutely still could have had a similar argument! maybe in this case, nancy notices the rat thing (or something else odd) herself when taking out the trash behind the mall, and she wants jonathan to ditch work with her to check it out bc she thinks it may be related to the lab. jonathan doesn’t want to ditch work because he needs his job, nancy argues that they’re working shitty mall jobs anyway and who cares if they get fired, and we get more or less the same thing as s3 without the cartoonishly over-the-top misogyny. i mean honestly i think the rat shit could have been cut entirely it didn’t rly... accomplish much of anything. in my opinion. like imagine s3 without the rat plot you literally would not be missing anything except it would be more surprising when the dudes melted into goo at the hospital. so yeah i think it would have been better if nancy and jonathan had jobs at the mall, weren’t isolated from everybody else, and were maybe absorbed into the party’s plot or the scoops troop’s plot from very early on, allowing them to interact with more characters and have a less... dumb.... plot. like god splitting up nancy and jonathan between the party/scoops troop would have been So Much better i just. sdkjcnksdmn anyway yeah.

briefness of group reunion/separation of groups

remember in s2 at the beginning of “the gate,” where mike and hopper had a confrontation and max and el met for the first time and el hugged everyone and steve and nancy had their sad little moment together outside... where’s that energy? obviously the s2 reunion wasn’t that long either, but it made space for some significant emotional moments to take place. s3′s reunion had some hopper/el/mike resolution, but besides that... there was nothing, really. i just think that the whole group getting together in s3 was SO exciting and powerful the way they did it (with both the scoops troop and the adults having their own Big Moment reconnecting with team griswold family), but the emotional potential was more or less squandered. 

i also think in s3 at times they were really stretching to keep everybody separated even though it made no sense. and like... in s1 the separation worked bc nobody else knew that (x group) was experiencing weird shit too, and beyond that, each group (as i mentioned in the s1 section) was sort of operating within their own genre and bringing something unique to the season. they’ve stopped doing that though! now, the groups aren’t separate bc each plot is tonally/structurally different, the groups are just separate bc... they need to be, because it’s a big ensemble cast and you can’t just have them all be together for a whole season or it would be way too difficult to coordinate things and keep the show dynamic. all this is to say that i’m excited for s4 because the location differences make it so there’s a Reason for each plot to be separate at the beginning, and i think that’ll work better.

general ridiculousness

i dont mean like i think it’s bad that they made jokes this is just me lumping in all the dumb shit like hopper not worrying about el and not wanting to check on the kids, him and joyce bickering long after they both know they and their children are in danger, max seemingly forgetting that billy is a racist abuser, etc etc. i think many of these are just a symptom of the show 1. trying desperately to keep the groups split up a certain way even though it may not make any sense, and 2. trying to fit into a certain genre/trope mold when their actual characters are more complex than the tropes they’re imitating. this is so fucking long already i am not gonna elaborate further rn but i trust u all know what i mean.

soooo... yeah, that’s about all! i mean it’s not all there are definitely many more things i could talk about and i know i focused sorta disproportionately on the teens which is my bad :/ but i’m done for now. thank you for asking, and apologies for the delay in responding!! i’m sure some people reading (if anyone read this far) will disagree with some of what i’ve said and that’s alright like i’m not The Authority on st or anything i’m just trying to talk about like my own thoughts yknow? so yeah luv u all i hope someone enjoyed reading this!!

[kaypeace21]

Analyzing the 5 plays in this drama club poster .From the bts pics of stranger things 4.

So... some of ya’ll know I'm going through the st s4 films given to us by the official st twitter + the films reffed in the show itself or mentioned by the Duffers in interviews .

So I decided to look at the plays mentioned here. Because even if we don't see the monologues in the show directly - the Duffers wouldn't name drop anything unless it inspired them in some way. Similar to films name dropped in the show. Tw : for some dark themes .

This is just a quick little analysis I decided to do since we probably won't get any new st content today (3/22). Nothing too deep. Just mentioning things that caught my interest especially cause these plays have a lot of narrative connections to the st s4 movies I've been watching.

Invitation to a march (Authur laurents)

Reminds me of the stancy/jancy love triangle. "A young woman is having second thoughts about doing the right thing and marrying a respectable , rich, kind, young man with good prospects.By way of a prewedding diversion, this woman becomes interested in the passionate but poor and entirely unsuitable son of a local landlord.Basically, the plot concerns the efforts of Norma Brown to choose between a conventional fiance who "puts her to sleep" but is wealthy (like what her own mother did) or go for this new-poor guy. The play is principally interested in how this youthful love triangle affects the three mothers involved (whether the kids like it or not)

12th night (Shakespeare)

 - viola (el) wrongly assumes a family member (hopper) is dead. She dresses up as a man named 'cesario'. A girl named Olivia falls for 'cesario' (violet dressed as a man). "Finally, when 'Cesario' and Sebastian (violet's twin brother: assumed to have drowned - Will) appear in the presence of Olivia there is more wonder and confusion at their physical similarity. Taking Sebastian for 'Cesario', Olivia asks him to marry her, and they are secretly married in a church. Cough if Olivia is 'straight' cause she fell for Viola (as a doppleganger dressed like her twin brother).Mike being into el who multiple characters in s1 said looked like a boy and specifically like Will is...suspish and a hint he's not straight lol. just like Olivia they're both into guys . plus, this play just has a butt load of love triangles (ugh i hated that aspect). There was also romantically coded letters (which was in the s4 films) . One character is also thrown into an insane asylum and framed as 'insane'.'Pretending that Malvolio is insane, they lock him up in a dark chamber. Feste visits him to mock his insanity'. We all know the psych hospital will be narratively important- talked about it more here.

The seagull (Anton Chekhov-russian)

similar to how I believed s4 will show m*#even already broken up since the months between s3-4 : act 3 (s3) ends with Nina begging for one last chance to be with Trigorin before he leaves/moves away. They kiss and make plans to meet again in Moscow.And in act 4 there's a timeskip where it shows they've been broken up for a long time between acts- and its established they never actually loved eachother. Do i even have to spell out why this parallels the m*#even ending in s3? There is also a play within the play (this is common in a lot of the st films- they have plays- or a story within a story- which illustrate certain themes or emotions of the characters within said film : blackswan, children of paradise, highschool musical, Rushmore, book of Henry, welcome to marwen, never ending story, romancing the stone, wet hot American summer, etc).The play is Konstantin's latest attempt at creating a dense symbolist work. There is also alot of love triangles in the seagull. TW!: for se#ual ab*se/su*cidal thoughts/ inc*st (here and in other play segments). The seagull motif reminds me a lot of Jonathan's rabbit story.Konstantin romantically into Nina shows up to give her a gull that he has shot. Nina is confused and horrified . Trigorin sees the gull that Konstantin has shot and muses to Nina on how he could use it as a subject for a short story: "The plot for the short story: a young girl lives all her life on the shore of a lake. She loves the lake, like a gull, and she's happy and free, like a gull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this gull."  This immediately reminded me of jon's rabbit story and some of the movies on the s4 list . Like in forrest gump- Jenny (who is poor) was se*ually ab*sed as a very young girl by her father. As a child she runs away into a field-away from her alcoholic father yelling at her -there she prays that she can "be a bird so I can fly far far away" .

Jenny as an adult struggles with this unresolved trauma- being with ab*sive partners, doing dr*gs, and having su*cidal thoughts . She as an adult when contemplating su*icide, jokes 'you think i can fly like a bird ?' while looking down at a bridge.God-i'm worried about jonathan (Jenny was also a musician sort of like jon). In another s4 movie example ' mystic river ' :(in the 80s) a preteen baseball playing boy is r*ped by men in the woods. He later says he wishes he could become an undead monster to not feel the pain of that experience - cause quote " if I'm not human anymore maybe the pain will stop" (Will) . slightly off topic but he also has another personality, imagines a alternate word that dissappears when he turns his head. And as a less direct animal parallel to the play - the boy from the film also imagined his perpetrators as monsters and wolves to cope.In 'getout' the photographer character sees a dead deer in the woods and it represents a parent/his own childhood tra*ma relating to his past. similarly in 'prince of tides' the 2 siblings as kids were ra*ed by men. The older brother remembered it and the younger sibling developed DID (so didn't remember but she would draw wolves- as the perpetrators/villains in her picture stories she created . In the film they also had an ab*sive dad and were very poor. She also tried k*ling herself multiple times-but started to get better after remembering the source of her pain and trauma.  There is also the theme of multiple attempted su*cides in the play- and the play ends with yet another attempt- and the audience is left unaware of the artist's fate at the end of the play.

The tempest (Shakespeare)

Prospereo - (the perceived antagonist) is a wizard with monstrous looks, storm powers , and ability to create monster-dogs

He wants revenge on a man who tried ra*ing his family member & revenge on his other family member who wronged him years ago. I mean... pretty much my did theory.But in the end.Prospero decides to show his enemies the mercy that they did not show him twelve years earlier. He tells Ariel to bring the men to him, he will restore their sanity and then renounce magic forever.Prospero breaks the spell that the men are under .

Diary of a scoundrel (Alexander Ostrovsky-Russian)

-  I suppose this could loosely relate to Jonathan? Glumov, is a young man from an impoverished family lacking status seeking entrance into society's pampered class. A 19th-century Russian scoundrel must scheme his way out of his meager life in a small apartment -whatever it takes.He has a quick mind and some talent for seeing through the hypocrisies of people around him ( Jonathan does make a lot of social critiques about society). That gives him some advantages. A tale of one man's mission to finagle his way into upper-class society and find a cushy job. Set in 1874, this social comedy follows Glumov, a Russian youth who begins his ambitious ascent to social esteem. He progresses by wit, guile and rhetoric. Pitting one stupid person against another, he soon gains his ends. To reach these goals, Glumov will lie, flatter, and cater to the vanities of the wealthy. Unable to contain his disgust with his victims, Glumov decides to relieve his unvoiced satirical comments by recording his schemes in a diary. But he is tripped up by his uncle's wife, to whom he has made passionate love on his way to success. At the end of the play, his diary is stolen and his duplicity exposed, but he can nevertheless suceeds. The author is much more critical about the high society itself than about the main character, so the play keeps attracting generations of directors by opening possibilities for political criticism while also avoiding naming names of the current rulers.The play's aim was to overthrow bourgeois tradition and establish a class-conscious art called eccentricism giving a deliberately comic portrayal of reality.

I suppose I notice some possible commonalities-  besides s3 critiquing the wealthy/capitalism in comedic ways . jonathan since s1 has worried about his family's finances / had some resentment toward the rich . In some of the s4 movies ‘orphan’ & ‘ girl interrupted’ someone reads their diary out loud to get at them (in girl interrupted the winona character’s diary even had critiques of her new friends).  Alot of movies also have someone (usually a teen/young adult) making a documentary about their life -which could narratively replace said diary? A few movies have a poor guy adjusting to snobby rich social circles (or being poor and then getting money)- titanic, kingsmen, karate kid, the craft , godfather,  wardogs,into the spiderverse,flashdance, and many others . And movies like wardogs has a poor-young-character do shady things to finacially support his family . There’s also that whole uncle’s wife thing- which makes me uncomfortable for obvious reasons (but I’m just thinking of Lonnie’s creepy gf who was into him). A few movies had the guy’s step mom innappropriately hit on him- orange county & you got mail. And him trying to avoid her advances. Or...not to mention ... it may be a problematic coincidence /trope. But in enter the void -the guy who needs to finacially support his sibling/ does dr*gs -hooks up with his dr*g dealing friend’s married mom (who would give him money).  Or in gilbert grape- the poor teen-who has to finacially support his siblings/single mom-has his endgame relationship be a girl his own age. But before that he h*oked up with a married woman -who would give him money. Don’s plum -young film guy-propositioned by older female film director (for dream job). Not even mentioning the other films that have the guy hooking up with toxic older women (like ‘the graduate’). Or analyze this-where the therapist accuses him of having an Oedipus complex (not touching that one... but the guy in ‘enter the void’ a 100% had one). It’s possible those movies were just- inspo for s3?  A coincidence? Or s3 was foreshadowing for this in s4- but unlike s3 it will accurately be played as wrong  and a sign of Jonathan recreating past tra*ma caused by Lonnie (cough like the photos) /being desperate for money. And not played ‘comedically’ like how it mostly was in s3. But shown as self destructive  (for Jon) and immoral on the Woman’s end. Like... Billy and Jon are character foils. Both are older siblings into rock music, with ab*sive dads who shoved them into walls. Both lose it (and beat steve to a pulp when Steve accidentally triggers their daddy issues). In s3 it’s established womanizer Billy has mommy issues, than he tries ho*king up with someone his mom’s age, and the characters ref ‘back to the future ‘ and Steve incorrectly says it’s about “alex p keaton trying to bang his mom.” This could illustrate his subconscious issues with parental figures/adults cause of Lonnie’s  possible past se*ual ab*se . One film the friend even says to the guy “you don’t have friends!” guy b: i have friends! him:  no you have acquaintances! ADMIT IT! YOU’RE AFRAID OF MEN!I mean-Jonathan liked Nancy- but he initially hooked up with her cause he wanted to prove he didn’t have ‘trust issues’ from his dad. Also it’s prob a bit of a reach (and maybe a coincidence)- but the fact Murray in the same breath compares Steve (Nancy’s then bf) and Lonnie  ... uh... if you think too long about it ... it’s very sinister .  Especially because in s3: muray tells Joyce  that despite her wanting to be with a nice guy, she’s curious about “the brute” Hopper despite him reminding her of a past “bad relationship”(aka Lonnie). Like- yeah connect some dots.  Quite a few films (other than forrest gump) also have the character who (as a kid) was  r*ped by their dad/parent-  begin to do dr*gs/be pr*miscuous as adults since they never learned to properly cope with their trauma (’girl with the dragon tattoo’,  ‘black swan’, and ‘magnolia’). Unfortunately the whole relative doing such things to kid-relatives is in at least 30+ movies. 

Personally, i would be MUCH happier if Jon had a age appropriate romance- and had not a single creepy adult near him. A few movies actually imply Lonnie gets yet another ‘new model’  replacing his gf in her 20s with a new gf- who is ‘barely l*gal” and just turned 18. so there’s that possibility as well- that she’s jonathan’s age.I just want Jonathan-happy &safe. GOD. IS THAT TOO MUCH TO ASK?

[multimetaverse]

HSMTMTS 2x09 Review

Spring Break was a bit of an odd ep but helped move some key plots forward. Let’s dig in!

Well people can no longer claim that Portwell is one sided. We finally got Gina’s pov and she starts off the ep uncertain whether the shift in their relationship means that EJ likes her but by the end of the ep she seems sure of herself and that EJ likes her back. I liked that she didn’t try to pretend that nothing had changed or that she hadn’t noticed potential signs that EJ might like her; it always sucks when tv characters act like idiots. 

Perhaps the most important reveal of this ep was that Gina has a much older estranged brother who left her and her mom many years ago. That certainly makes her backstory more tragic and is definite set up for her brother to eventually return.

The writers continue to give Portwell great tropes, capping this ep off with an airport rom-com trope that also calls back to EJ getting Gina the place ticket so she could come back in S1. Not only did Gina keep EJ’s Duke sweatshirt but she altered it to fit her better which is both sweet and bold in the assumption that it was hers to keep. Gina got her sign when not only did EJ show up to drive Gina home and take her luggage but he brought her the granola bar that she had wanted but forgot to pack. I wonder if her posting on her story that she was ubering home after her flight was cancelled was intended to see if EJ would show up since the camera focused on her posting it. Also sweet that she’s taken to calling EJ, ‘ Eej’. 

EJ’s opening was good, shows a lot of his character growth from the selfish guy he was in S1 and how he’s learned to value other people which of course leads into his feelings for Gina. We got another great use of the camera as character tonight when Gina was laughing after her facetime call with EJ until she realized that the camera was on her. 

Jack was a lot of fun. Though he didn’t really change Gina’s mind over anything like the ep description said he would.  Seemed like Gina was largely over Ricky and wondering about EJ at the beginning and the end solidified her feelings for EJ but Jack didn’t really play a role in that, it’s not like he encouraged Gina to reach out to EJ or anything. There’s a vague sense in which Jack being nomadic linked him to Ricky’s unreliability in Gina’s eyes with her craving stability but that’s a stretch. Jack mentioned that the second most dangerous part of a plane ride is when the plane takes off, a hint to the blossoming Portwell relationship where in order to take off one or both of them has to risk a confession even though they could be turned down.

This ep might seem a bit weird in hindsight. The zoom parts probably won’t age well and five years from now people might be wondering why they had Gina hang out with a manic pixie dream boy of sorts for an ep.

The path is clear for canon Portwell in the finale with EJ being Gina’s second chance at romance and her first kiss since they clearly telegraphed it out of nowhere. I’ve been impressed with the great work the writers have been doing since 2x05 to build up Portwell as a ship but also work on Gina and EJ as individual characters; they’ve been the highlight of the season so far. 

There was discourse this past week over how well or poorly Portwell has been set up. Objectively very few ships on this show get much in the way of set up or consistent writing. Redlyn and Kowie had barely any set up before getting together. Seblos had none (though in fairness that was due to Disney restrictions) and Miss Jenn and Mike Bowen didn’t have much set up either. Rini did get lots of development in S1 but that’s because they had already dated and were the main ship of the show. The show’s not really about slow burns, if Jenzzara canons in the finale they’ll count and if Rina ever got together they’d also count but neither of those ships have gotten consistent development with Mazzara not being in several eps and Gina and Ricky not even interacting for the past 3 eps. 

Is Portwell a slowburn? In a sense since they did feature quite a bit in each other’s S1 plot lines and even had a fake dating plot but it is true that they were platonic and not that close in S1 so it’s a wash. There was clear set up for romantic Portwell in 1x10 with team wonderstudies and Gina staring at EJ (which interestingly enough looked more like set up for Gina to pine over EJ). I think the main problem is that even though we saw Gina and EJ hanging out in the background we didn’t get any scenes of substance between them until 2x05. It was a mistake and there should have been some scene, like EJ and Gina commiserating in 2x03 over being single on Valentine’s Day or something like that. Hell there was even that still from 2x01 of EJ and Gina looking at each other at the piano while they were in the frame between Ricky and Nini singing and having a moment  which would have been good foreshadowing but that shot wasn’t in the ep.

Whether Tim just really wanted Portwell to be a surprise in 2x05 as a mid-season twist to throw the audience off of what looked like a Rini/Rina triangle or he was unsure as to whether he wanted to go with Portwell or if he just planned it out poorly we may never know. Regardless they’ve had great writing for 4 eps in a row now which puts them slightly ahead of the 3 eps in a row of development Rina got in S1. I’m sure if someone added up their screen time they’d find that Portwell has more screen time this season than Kowie and more screen time than Redlyn or Seblos  got in S1. 

Caswell cousins was fun and Ashlyn did in fact paint EJ’s nails. 

Set up for Seblos drama next week, it’s refreshing to see Seb being jealous over Carlos flirting with other boys that’s definitely not something you see on Disney shows.

Ricky got some healing done with his mom. Enough to cover their issues? No but this is probably the best this show is capable of. There was a brief mention of therapy sandwiched between other options which sounds more like checking off a box then setting up Ricky actually going to therapy. I noticed Lynne was smiling at odd times like when she told Ricky she knew about his breakup with Nini; whether that was poor directing or acting I don’t know. Who knows if we’ll see Lynne again. As an aside still so wild that Tim named Lynne who’s been a kinda shitty mom after his own mom who he seems to be fairly close with.

Really liked You ain’t seen nothin as a song but not a fan of the Tiktok style vid. I’ll level with you wildcats, I’m too old to really get Tiktok, it just seems like a crappy version of Vine to me. Let you go was good, seemed better fitted for Joshua Bassett’s voice than some of his previous songs. A big sign that they’re not circling back to Rini for a long time for sure. Though on that note we got a bit of a hint that Ricky was Nini’s muse which may one day come back as a way to help bring them back together. 

Looking Ahead:

If there’s only 3 weeks left till the Menkies, with only 2 weeks left for rehearsal due to spring break, it’s hard to see East High winning unless North High is disqualified or has to withdraw. 

Lily is in a promo photo so she’s likely the unexpected facetime Ricky gets which is what I had theorized. Also makes it much more likely that she’s the party crasher Ricky re-evaluates in the finale though what Tim actually wants to do with those two I do not know.

There’s little point in bringing back the Valentine’s chocolate since there’s no real stakes. Rini are already broken up, Gina hasn’t spoken to Ricky since 2x06, and it’s not like Nini and Gina were ever close so even if they stopped talking to each other it wouldn’t really affect the show in any way. 

Seems pretty likely that Second Chances refers to Gina realizing that her first try with Ricky failed but her second chance with EJ won’t and that leads to her sharing her truth and cue the Portwell confession and kiss, perhaps with an assist on EJ’s end from Mazzara. We’ve gone well past the point where Portwell can be brushed off as just a plot device to help Rina but Tim is playing with fire by getting the audience so on board with Portwell if he’s once again going to have EJ lose a girl he likes to Ricky in S3.

Gina certainly needs to talk with Ricky and I do think that happens in ep 11 or 12 and leaves them on better terms. As I mentioned last week, if Tim was smart he’d slam the door on Rina if he’s going with canon Portwell or vice versa. If he wants Rina to be a slow burn he’s really botched the writing this season, it’s been too one sided and too angsty to sustain any kind of momentum or audience interest. They haven’t even interacted for 3 eps now and not only has it not affected the show but it’s inarguably made Gina’s story line much better.  Again I don’t think he’s smart enough to not try and do Portwell and then later Rina but he’s accidentally set up the Rina story line to quite easily slam the door permanently on them by having their conversation be closure for Gina who’s moved on and an apology from Ricky who never liked her back as much as Gina liked him.

Not looking forward to seeing Nini basically live out Olivia Rodrigo’s life in future seasons

Curious to see Carlos’ apology song to Seb. Ricky helping him with it is a great way to help start redeeming Ricky’s character in the audiences eye’s. According to Matt there is a bit of a Ricky/EJ rivalry this season and if it’s really happening the sleepover would be a good place to do it though I hope it’s not about Gina. 

Until next week wildcats.

[willthecleric]

i really wanna have hope that byler will happen, and i agree with all of the subtext you've pointed out, i just have a really bad feeling that they're not gonna pull through :( i haven't watched the movies on the s4 list, so maybe that's why i feel less certain, but i'm just generally unsure that it will actually happen, despite really wanting it to? how can you be so sure that it will? love ur blog by the way! :D

Aww, thank you so much! Well, I used to have doubts too, so I get what you mean. But remember a few different things:

1. Mike is clearly written as gay, seeing as he is very much comp het in S3 (bisexual boys can imagine themselves in love with females, it isn’t some foreign concept and ‘something old people do’). Many straight guys found Mike’s behaviour with El strange. For a reason: he was trying to be straight and took it too far. He was especially mimicking Lucas. Seeing Mike as gay also recontextualizes a lot of his behaviour in S1 and S2. I just don’t understand why they would make Mike gay and give him so much coding for it if they were planning to have him with a girl. Makes more sense to have him bisexual or straight then. I’m not exagerrating when I say that Mike’s main story arc is about him realizing he is gay and coming to terms with that and accepting his love for Will.

2. When originally writing the S1 script, El was supposed to die. They changed it, my guess, because she helped them with a few plot points (mainly as a beard for Mike). I’m not sure why they’d have wanted her dead initially if Mileven was planned as endgame. That on top of Mike being gay is another strike against Mileven.

3. El is way behind Mike intellectually. Mike is very smart, and El doesn’t even know what a State is. It just doesn’t work and Mike is way older than her intellectually. It is creepy and will just get worse and worse. Not sure why they would do that if Mileven was meant to be endgame.

4. The Duffers parallelled Mileven with ET and Elliott multiple times in S1, and told Finn that Mike saw El as an alien or a puppy. Not at all romantic. Mileven was paralleled to Dustin and Dart in S2. In S3 it was mentioned that Mike saw El as a pet. Mike doesn’t trust El. He couldn’t answer when she told him to trust her, and changed the subject when Max said he doesn’t trust her. Mike was also justifiably upset about El spying on him (which El never felt bad about). Mike lies to El and El stalks/spies on him. Most of S2 Mileven was El stalking and spying on Mike and they used ominous music (so clearly it is not meant to be romantic). Mike had no idea she was watching him, and we saw in S3 how he would have felt if he found out about her doing that. They danced to a song about a stalking ex. Multiple movies hint that El stalks Mike in S4 (which is supported by her in S2 and S3). Those S2 Mileven scenes weren’t meant to be romantic, they are meant to be creepy. Not that I blame El. She is confused and doesn’t understand. She doesn’t know any better. The Duffers hate Mileven. They have dissed it many times (which kaypeace has shown examples of).

5. Mike and El do not share interests or even seem to like each other. El thinks Mike’s interests are dumb and that he talks too much. They don’t trust each other, and trust is essential to love. Period. Neither even sees the other as a person. She has been a tool/weapon to him. And an alien/puppy. It’s a part of his using her as a beard. He doesn’t feel bad about it because he doesn’t see her as a person. He did feel some guilt over her death, but most of him wanting her back in S2 was wanting her to fix him. His attitude problem and issues with Max in S2 were about his growing feelings for Will, NOT about El. Mike was angry at Hopper at the end of S2 because he blamed Hopper for keeping his beard away from him. He thougnt if El was there, he would not have these feelings for Will. Mike blamed Hopper for everything. Why he was so angry with him in S3. And El doesn’t see Mike as a person either. To her, he is a sense of comfort and normalcy, like her teddy bears and Hopper’s shirt. She also projected a soap opera character she liked onto him. El only found Mike attractive when she thought he was a bad boy. She didn’t know if she liked kissing him after months of making out. She referred to him as her first boyfriend, implying she was thinking of dating others in the future. There is a reason why she came to Mike three months after the main events of the season. Comfort. She lost her dad and was moving away from her new home. She was seeking normalcy. Mike is that to her.

6. They made the ending with Mileven ambiguous as far as if they are dating or not. Which idk why they would do that if Mileven was the main ship. Why make it ambiguous? I think it was intentionally done that way. El was acting romantic while Mike was more platonic in nature. I think that is to hint towards them not being on the same page. As I mentioned, numerous movies and show canon hints to El stalking Mike and spying on him. Multiple movies have Mike frustrated and not interested. And we already saw how he felt about El spying on him. I think El believes they are dating and doesn’t get it when Mike and others tell her that they are not. She doesn’t understand.

7. They made numerous Mileven and Byler parallels in S3, of S2 Byler moments redone for Mileven, and things happening between both ships in the same season. Byler always won by a landslide. They completely destroyed Mileven instead of building it up, which makes no sense if it’s endgame. Mileven had poor development from the start, and if they wanted to pull it off, makes more sense to work hard to build them up instead. Also driving away the fandom so it’s not popular anymore... why do that? It makes no sense. Queer baits don’t do that. Seems more like a straight bait to me.

8. In S1, homophobic Troy was: shoved by Mike (who is gay), forced to piss his pants in front of the school who laughed at him, had his arm broken, and was made to look like a fool. This shows what they think about homophobes. They also have posted LGBT+ positivity on Twitter. They are not homophobic and do not support homophobia. They are not going to work to please a bunch of homophobic Milevens.

9. According to multiple movies and show hints, Byler is essential and key to fixing everything. The Never Ending Story was repeatedly in S3 for a reason. It’s a hint. Not just at Will being the chosen one instead of El, but also... ‘and there upon a rainbow is the answer to a never ending story’. It’s outright telling us that Byler is the answer. Not only because rainbows are a gay symbol in itself, but Mike is also connected to rainbows as a part of his coding.

10. Multiple movies hint that Stranger Things is a book written by Mike for Will, sharing his story and their love story. Mike is the character who wants to be a writer, and the episodes are called CHAPTERS. That supports Stranger Things being a book. And the book is always written by the Mike character for the Will character. They let it be known that Mike wants to be a writer. It was mentioned as his career goal in his yearbook page, and he writes most of the D&D campaigns (besides the one that Will wrote).

11. Byler is the biggest and main relationship of the show. It’s the relationship that gets the most development, the one that gets the most romantic scenes, the one that gets the most coding by far. And every single pairing (minus Jopper and Ted/Karen as far as I can tell) parallels Byler while it is healthy and happy. The moment that stops being the case, they start paralleling Mileven. Not a good sign for Mileven. And Mileven only parallels Byler a lot because Mike has been using El as a substitute for Will (something that is mentioned by the Mike character in a number of movies, using the El character of the movie as a substitute to the Will character).

Hopefully this helped you (and anyone else) feel better about things. 😃

[hmgfanfic]

Talk about all the Fillory worldbuilding in LQoF, please :)

THIS IS INEXCUSABLY LATE. I’m so sorry!

And I wish I could say it was just my scatterbrainedness, which is definitely a constant factor, but it was also that when you sent this, I was deeeeeeeep into writing the final few chapters of Little Quirks of Fate and I was kind of... in my head about it. It took a lot longer to finish than I had planned (a cardinal sin to my particular combo of severe ADHD and Type-A personality) and I was spending excessive amounts of time making sure I figured out a satisfying ending by my own exacting standards, so I just didn’t have the headspace to think through my early process yet. Very sorry about that :( But now that I’m finally done, I’m excited to look back! So if you’ll indulge me a very late answer, I’d be tickled. 💗

Long ramblings and major fic spoilers under the cut.

The truth is a lot the world building came down to character stuff foremost, followed closely by my preferences as a writer. I adapted the world to the story I wanted to tell, while using the little bits of information we’re given in canon as a baseline, rather than building the story around the world. And that was a lot more fulfilling for me, since I only really love worldbuilding through the lens of character, rather than as an exercise unto itself (though it’s super fun once you get rolling.)

To explain what I mean by that, you need to know that Little Quirks of Fate was originally going to be a oneshot. My plan was about 25-30k (lol) of a pure S2 retelling, only with Quentin in the role of Fen. It was also going to take a much more traditional enemies-to-lovers’ path—with Quentin as an active member of the FU Fighters—and the whole thing was going to be in his POV. Also, they weren’t even going to kiss until after the bank heist (which, yes, was going to be a thing here), but that got abandoned the fastest in favor of trying my hand at smut. But two things made me realize I needed to significantly shift course:

1) I was struggling to make Quentin actually feel like Quentin. I wrote this very atmospheric early scene at the FU Fighters encampment, with lots of description of the bonfires and the way their shirts dyed in Fillorian red looked like blood (you get it.) It took place in the black of night, shrouded in secrecy, and when Bayler questioned Quentin about his new husband, Quentin said something like, “He’s a drunk idiot, we have the advantage.” It was all very lush and dramatic, but it really, really, really didn’t feel like Q in any recognizable way to me. Now, I’m not someone who thinks Q needs to be a precious sweetheart all the time, but what I was writing didn’t have his idiosyncrasies or a motivation that felt true to who I feel he is.

2) The draft was DEFINITELY missing Eliot’s story and his perspective. I certainly don’t think Eliot’s POV is always necessary (sometimes not having his direct thoughts heightens tension in romance especially), but it felt really necessary here, to fill in the gaps of what Quentin was assuming and also—more importantly—because the events were just as impactful on him, but in a very different way. So I knew I was missing half the narrative, but that meant I would need to deal more explicitly with the Beast (i.e., Mike, the most devastating storyline to me, personally) and I really, really didn’t want to do that.

My first step in making a more recognizable Quentin was figuring out a way he could more or less use the same syntax that he does on the show. Voice is the first way I connect with a character, so while many writers in this fandom thrive at modifying speech patterns and keeping the heart of a character alive, keeping close to Quentin’s canon speech was an easy fix for me in a story I was excited to get rolling. Sort of like the old adage of uplifting your strengths before putting outsize energy into things you struggle with.

The easiest way I could think to give him the same syntax was to figure out a way Quentin spent some significant time on Earth during his formative years. And once I rewatched 2x06 and was reminded that Ess went to Phillips Exeter Academy for high school, I lost my damn mind. I started sketching out ways that Quentin could get there too and that’s how I built out the idea of Umber brokering a marriage deal with the actual landmass of Coldwater Cove, which included an education opportunity for the boys (in a nod to Fillory’s patriarchal nature), and also the reason why Umber did that, which was to take advantage of his brother’s orgy mistake with the first Children of Earth to usher in a more productive and orderly Fillory. So that created a whole new set of rules and essentially a whole new world for me to play with... all for the sake of Quentin getting to say “fuck.” It was that important to me. :p

And as I worked through all that, I realized I also wanted to give Q magic, since Quentin’s relationship with magic is something I’m interested in. But I had read on ye olde Tumblr that the reason Illario uses a wand in 2x06 is a nod to the books, where Fillorians specifically aren’t Magicians and that’s the rationale for the Children of Earth royalty. And while I generally see the books as interesting supplemental material with zero bearing on the television show canon, I still said to myself, “Self, wouldn’t it be kind of funny if Quentin was the only native born Fillorian who had magic and so the FU Fighters believe he’s the chosen true High King, but instead of it being because he’s ~special~, it’s because Umber made a clerical error? Lol! Hilarious!”

So while all my questions for how to explain all THAT spun out into more and more detail, at the same time...

I caved to the idea that this story was going to be a No Beast AU, just like my last two stories, mostly because I really couldn’t bring myself to deal with the Mike of it all, even tangentially. I could have just changed that single element, but I’m not a half-measure gal! But I still wanted to stick with the vague background theme of Fillory = adulthood from a questing perspective and I wanted Julia leading the charge this time, but without the sexual assault that occurs in canon. So obviously, the answer was avenging all of the murdered and cannibalized “grown-ups,” i.e., master Magicians, by seeking out help from the gods in a balanced Fillory free from the devastation of the Beast. Duh! ;)

So then, like anyone would do, I rewatched every episode up to 4x11 that makes a mention of Fillory and took about twenty pages of notes on the canon worldbuilding, along with an analysis of how much a particular piece of information would be impacted or not by balance in the realm. For instance, the existence of geraniums (per The Fillorian Candidate and Tick’s misunderstanding of “power plants”) and the lack of diamonds as a precious stone (per the River Watcher not knowing the value of Margo’s earrings in Knight of Crowns) struck me as static facts unaffected by Ember’s reign of chaos. But I shifted the overall feel of Fillory to one that’s more functional and a lot more bureaucratic, leaning on things like the existence of socialized health/vision/dental insurance (the idea of which is canonical, per a petition from the beavers requesting dental coverage from acting High King Josh in Ramifications), strict taxation plans, and an overall sense of thriving Ceremony to show Umber’s influence.

Basically, I wanted Eliot to inherit a much, much easier Fillory to rule—especially with the highly educated Quentin as a built-in and passionate advisor—mostly so it wouldn’t completely strain credulity when a lot of his energy goes toward his love life rather than the intricacies of ruling (though Margo would say he still favored his personal life more than he should have, and she wasn’t... wrong. He wants to be a husband more than a king!) But I specifically made it so most of the chaotic elements were played as whimsical (sorry) quirky shit or smaller hints of greater injustice (see: Ember getting rid of STDs, but still letting magic-poor citizens die of sepsis because that’s too boring to deal with), all while a cataclysmic danger lurked under the surface.

After that, I just filled in details as they worked with character stuff and plot stuff, and I tried to make sure they didn’t contradict each other in a way that couldn’t be chalked up to “chaos.” I basically lived with the Fillory map open all the time and also took screenshots of Benedict’s map of Loria, which gave me alternate ideas for the overall feel of the landmass rather than just the kingdom. And pretty much that’s the basic process I used to create the world! It was extremely fun, and I learned a lot, though I’m *definitely* focusing on some pure relationship kind of stuff for a while because... oof, sometimes it was a lot.

Annnnnnnd if you’re still with me, here’s some stray observations, for funsies:

I wanted Quentin and Eliot’s starting points to be more mature than in the show. Quentin when we’re introduced to him as an adult in LQoF is a lot more jaded and cautious than S1 Q, which is because in this world, his S1 mentality happened while he was on Earth and came to a head during the throes of his fucked up relationship with Bayler. Similarly, Eliot had already gone through a lot of shit too, and was much more self-actualized by the time he agreed to be High King here than in the show. It was still out of desperation for purpose, but not coming out of a direct trauma spiral. I think if they had been younger, both in age and mentality, the story wouldn’t have worked because they would’ve blown it up day two. They’re both still disasters, as we like to say, which is why the... everything happens, but they’re not disasters in the exact same way as in early canon. I thought of them as closer to their S3 selves, pre-Mosaic.

While I mostly kept Quentin’s syntax the same as on the show, I did change it up in some ways to reflect his Fillorian upbringing. The most obvious was replacing “goddamn” with “godsdamned” and “Jesus” with “Hades,” but I also made him slow on the Earth idiomatic uptake and slightly more likely to use passive voice and less likely to use contractions, especially early on and especially when speaking with Fen. He also said slightly out of date things even for someone who last remembered 1999, since Earth was still overwhelming despite his immersion. E.g.: In the epilogue, he asks Eliot if he can spend some time “Googling the World Wide Web” instead of watching Gossip Girl together, even though by 1999 most people were saying “on-line” or “the internet” by a pretty wide margin. But in my mind, the first term he learned was World Wide Web and he stuck to it like glue.

I originally had a full-blown coronation scene, where Quentin helped Eliot with the answers to the 90s questions via subtle charades, such as flapping his hands at his sides to give him the answer “Wings” (and Eliot was eventually going to Eliot-Logically use that moment to argue to Quentin that maybe Q really is the true High King since he was the one who actually answered the Knight’s questions, etc.), but I cut it and only showed bits and pieces in flashbacks because it didn’t really matter. They had to treat it seriously because it was An Event in this version of balanced/un-Beasted Fillory, with a full audience bearing witness, but the whole thrust of the external plot was about dismantling that moment and the concept of monarchy in general, so giving it too much weight outside of the Eliot and Julia friendship felt disingenuous to the story I was telling.

This is also why it was important to me that Margo hated the title High King Eliot the Kind, even though I only brought it up textually once or twice. But in my view, she fucking hated it and never came around to it. Which isn’t because she doesn’t think Eliot is kind, it’s that it felt like a simplification of all that he is, and the coronation ceremony in general felt similarly shallow. It wasn’t just the four of them working out their shit on the beach; it was true ceremony after a year of questing toil and a lot lingering uncertainty/resentments (especially regarding Julia), so it was too Big Shiny Happy Bow to her.

Yet on the same theme, my greatest regret was not being able to work in the fact that Margo’s title for Penny (King Penny the Persistent) was supposed to be half-sincere and half-sex joke. She did genuinely admire that he stuck it out even through his initial heartbreak because he gives a shit about his people underneath it all, but—and this is a very important headcanon to me—she admired his dedication to the art of the female orgasm even more.

I was originally also going to include the One Day More sequence with way more details—such as Umber taking the Javert lines, Ember taking the Thenardier lines, Bayler taking the Enjolras lines, and Penny taking the Marius lines, but... uh... writing a musical number is apparently not in my skill set. Also, honestly, the weirdness of the original is its whole charm and so I didn’t want to improve upon perfection. See also, in a more serious way: Eliot bowing to High King Margo on the Muntjac, the events of Plan B, and Quentin & Penny in the Flying Forest. Would not touch it!

My favorite Fillorian detail was either the guy who sent a citizen petition requesting a “smidgen” of Eliot’s earwax for an undisclosed purpose, or the use of the verb “to peg” to describe a Pegasus flock greeting an outsider with honor. They encapsulate the obscene yet pristine feel I always tried to give Fillory.

My favorite subtle(-ish?) ironic moment is Ess, the heir to a hereditary monarchy, taking Quentin to task for not honoring the anarchy patch on his high school backpack. In general, I don’t like everything being neatly resolved, including on an overarching world level. And I very strongly felt they had ZERO business meddling in Loria, so it left some fun-to-me unanswered questions. Will Ess usher in democracy for Loria based on his experiences on Earth? Maybe! Maybe not, since tradition’s a hell of a drug and Loria has its own history and complexities. Who knows?

I misread the town name Sutton as Sultan on the map the first time I referenced Bayler’s hometown (Sultan’s Ridge), but instead of going back to fix it, I just made it a sister town. Whatever!

I do not know how Quentin got a full bookshelf of Earth literature back to Fillory with him. Magic, I guess. (That’s the answer to anything I didn’t totally think through.)

I occasionally get asked whether Quentin and Fen were physically related. The answer is no, though it doesn’t totally matter. But I intended heart-cousins to be more like close family friends. (Though I actually originally had a joke where Eliot still wasn’t sure by the epilogue, but it didn’t land/feel realistic so I cut it.)

The details of the magic frequency poisoning were DEFINITELY what I thought through the least. My main goal was to have something catastrophic happen to Fillory based in part from the historical actions of the Children of Earth and Ember, patently ridiculously but with lasting consequences. Hence, god orgy that took away Fillorian human magic and sent out a slow poisoning of the overall magic “frequency.” It sounds all well and good, but it’s definitely something that would fall apart with even the lightest bit of prodding. It serves it’s purpose though, so I figured the gaps could be filled in or politely ignored. ;)

This question was way too much fun and a helpful retrospective for me! Thank you so much for indulging me, many moons ago. 💗

[jerepars]

Throwing Copper Extended Chapter Notes

3 / 5 Why We Ever

Hyperlinks appear in blue (underlined on mobile). The story is posted here. Direct link to this chapter is here.

James contemplated what an early morning of everyday things would consist of if they were different people, in a different life. He wondered if she would make fun of his bedhead and if her laughter would fill up the air in the room when he reached over and pulled her closer, threatening to not let go unless she stopped squirming, until the book they’d been reading toppled to the floor, forgotten. He wondered if they’d let their coffee run cold.

There’s a song called “Everyday Things” by David Usher, which doesn’t mention any of the things James is thinking about here, but I do like the idea of James (or Teresa for that matter) thinking of what everyday things would consist of for them. Also, I hadn’t heard the original version of this song in...years...because the one I always listen to is the acoustic version, featuring Cœur de pirate, whose back vocals are very complimentary. The original version of the song doesn’t even sound right to me and it sounded so off when I listened to it to get the url. Not that any of this matters at all.

A frown settled between Teresa’s eyebrows and she blinked away tears before they could form. She swallowed the lump of emotions blocking her throat. There was an irony to her actions. Doing something for James gave her new lungs, but explaining it to him made it hard to breathe.

The song “New Lungs” by Glacier Veins is what I was thinking of here, because of the line that goes And with new lungs I relearn how to breathe.

“You know why,” she answered simply, unwilling to elaborate what she was sure they both understood.

Making her feel better and being a shoulder to lean on might’ve been things James did out of a sense of obligation. But turning up in New Orleans to warn her about Devon, and then being the overwatch for the meeting Devon had shown up to – those things were about something else. It was the same for Teresa. When the opportunity presented itself, for her to make James’ Devon problem go away, the reason she didn’t hesitate wasn’t because she felt she owed him or had to repay him. She did it because it was James. The things they took on for each other, actions strong enough to shift tectonic plates, they did because they wanted to. The only boundaries of their loyalty and love for one another were speaking about them out loud.

I’ve found the cave metaphor from 1x06 to be something that I continually come back to while writing about James and Teresa. There’s a part of the conversation, which focuses on how far implication goes with them, when James says, “You know what I’m talking about” (1:35). So I wanted there to be a similar thing here, with Teresa saying “you know why” about why they’re willing to do so much for each other. It seems a big part of why they never say how they really feel is because it’s so easy for them to make vague statements with implications that they both understand. 

Teresa was right, and James did understand, because when he looked at her again, the warmth of his eyes was ebbing away at the anger held there. “Not sure I can exist without consequence,“ James told her softly.

When I started planning this chapter, I could hear James’ dialogue here so clearly in my mind. The line and the idea of James having grown so uneasy with a life where there’s no retribution against him is inspired by American Football’s “Uncomfortably Numb”. Mike Kinsella (the band’s vocalist) and Hayley Williams (who is featured on the track) do a little call and return with the line: But how will you exist (how will I exist?) without consequence? I’ll let you know.

This song is so hypnotic and I remember listening to it ad nauseum, except that I never got tired of it, when it first came out. I listened to it over and over and over again (again, lol) while writing this chapter, and I still love it. The mood of the song, in my opinion, really matches the mood of the chapter.

Despite the high stakes of their mission, or maybe because of it, the last three days had been better than, perhaps, the last three hundred. Like looking in his eyes and searching for clarity, working with James again was like muscle memory for Teresa.

This part is a call back to the first chapter, where it’s mentioned that for Teresa, looking at James and searching his eyes for their next move, for reassurance, for clarity is like muscle memory she can’t shake. Not that this is a super important detail, but I do like to put earlier ideas into later chapters for cohesion. This is probably why I can’t write something short to save my life, because I think too much about small details. It bugs me, in fic, when it’s obvious time has been spent on certain details but then the idea is never brought up ever again.

Working on an operation with him made Teresa curse the reasons why they’d ever said I’m gonna miss you and I’ll see you around a year ago, when they’d said goodbye. It brought back the feelings of longing, of wanting to coexist in the same space and move in the same direction, at the same time, together.

It was unintentional that the two songs that inspired this chapter most have Hayley Williams in them. But when I listen to them back to back, I can also see why that ended up happening. This chapter is named after the Hayley Williams song “Why We Ever” because of the line that goes And now I can’t seem to remember why we ever felt we had to say goodbye. 

I watched the goodbye scene in 3x13 to write these two sentences. There are a lot of scenes from QOTS that I’ve watched over and over again but that’s not one of them because, like, it hurts me. Also it’s super frustrating that that’s the note Jeresa ends on until the last ten seconds of 4x13. I'm thinking S5 Jeresa needs to happen by 5x03. And if not, we riot. Lol.

“For freaking out and needing you the other night. For doubting you and questioning you, when you’re always just trying to help me,” Teresa rambled, then paused to take a breath, because what she really wanted to apologize for cut at her the deepest. “I’m sorry for the things I’ve asked you to do. For the people you had to take out and people you had to bury. Even after I knew about what happened with Suzie, I still asked you to…”

The part of “Why We Ever” that really pulls at my heartstrings is the end, which goes: I just wanna talk about it. I know I freaked you out. I just wanna talk about it. Sorry for freaking out.

That’s simple, sure. But it’s raw. I wanted Teresa to get pretty raw in this scene, letting her honesty come tumbling out without eloquence.

Also, something that has irked me since 3x05 is the fact that James is so clearly not the same after what happened to Suzie, and when we learn what happened, we understand why he’s so affected by the stuff he has to do, even out of necessity. What happened to Suzie takes it to the extreme, creates a breaking point for James, but even going back to S1, James has never liked the part of his job that means he has to hurt and kill people. After finding out what happened in 3x05, 3x04 seemed especially cruel to James, when he’s left to bury the reporter - we just didn’t know how cruel it was at the time.

And I get it, he has to do his job. Occupational hazards, right? But he’s changed after 3x05, and he still has to kill for Teresa. He even has to dig the ditch to bury Guero. The experiences of cartel life that Teresa and James have are certainly different, and again this makes sense, because they are in different roles. But S3 is not kind to James, not in the least, and I think that’s why it makes sense to me that he’d want out of the life if there’s nothing or no one to stay for.

I don’t know that Teresa will ever be this apologetic in canon, since she’s the queen so she’s free to give out orders without explanation or sympathy. I wish it would happen though, and I think there’s potential for prime Jeresa content if she does. I wrote it myself since the likelihood of it happening is probably slim to none.

Teresa trailed off without finishing her train of thought. She wasn’t meant to apologize, for she was the queen. She was supposed to stay icy and distant; sensitivity deprived. But she couldn’t help it with James. She couldn’t help the light leaking back in. It was different, because he was different.

The opening lyrics of “Uncomfortably Numb” are sensitivity deprived. That phrase begins the first two verses. As already mentioned, to me the song encapsulates the mood of this chapter so well.

He looked scared, confused about what she’d said. James had grown used to Teresa’s mixed signals; they’d been dancing around each other and their feelings for so long. But Teresa being direct was new. Her dark side scared him, and he didn’t know to which part of her directness belonged to, light or dark.

This is, again, a call back to the first chapter, where it’s mentioned there’s a part of Teresa (the Teresa that she’s become) that scares James a bit. Just trying to tie it back in and keep the chapters cohesive, connected, over the course of the story.

Her heart was already on the floor, but had she been entirely forthcoming? She’d reinforced that he had a choice, and he was free. But had she even given James a reason to want to stay? Had she ever? Did he even know her desire for him to stay had many layers to it?

Heart is on the floor, why don’t you step on it? is the first line in the chorus of “Rocks Tonic Juice Magic” by Saves the Day. I didn’t really realize I was making this reference until I was actually typing it out. And it being the last song reference in the chapter, when I went to get the URL, I ended up with so much sorrow because I have so many fond memories of being at shows surrounded by people with the same feelings for this song and this music as me, and singing these words back with such urgency. I miss shows so much. I think finally being able to go back to shows, in a post-pandemic world, whenever that is, is going to be so emotional and I’m probably going to cry.

Okay, so that was a tangent.

Anyway, I don’t think Teresa has ever let herself be so vulnerable, to just come out and tell James how she feels or what she wants. It doesn’t mean she and James don’t already know. But there is something to be said about, well, saying those things. It takes brevity, but if she can’t be honest where it counts, then they don’t have a chance. That’s why I wanted Teresa to have this moment, with her heart on the floor, thinking...does she need to take it even a step further?

And by the end of it, she does.