Untitled

[nightnut]

[munaymunchter]

Season 1: We find Will because Joyce, Jonathan and the party's love for him.

Season 2: Will gets out of the possession thanks to the memories of the people he loves the most: Joyce, Jonathan and Mike.

Season 3: Billy gets out of the possession of the mind flayer because he remembers how much is mother loved him.

Season 4: Eleven is almost killed but she gains strength remembering her mother's love. Eleven saves Max remembering moments with her. Max escapes Vecna because she remembers her best moments with her friends and Lucas.

Season 5: ???? They kill Vecna with guns and flamethrowers???

Every season has been about love conquering fear until season 5 😀

[ninononono]

They could have at least done it like MAPPA did in 2016...

┐(￣ヘ￣)┌

[fewpion]

The unfinished puzzle

[narrativelogicofbyler]

stranger things wasn’t just borrowing 80s aesthetics; it was operating inside a codified cinematic language where certain tropes have fixed, historically stable meanings. the duffers are fluent in that language, and the show deploys romance specific tools around byler with a level of precision that makes any “just friends” interpretation fall apart the moment you actually look at the form.

the shot language is the first signal. when the camera goes hyper subjective on mike and will, lingering close ups, shallow depth of field, soft lighting that isolates them from the world, that’s not how 80s cinema frames platonic bonds. that’s how it frames unspoken desire. the form is articulating what the characters can’t yet say.

the blocking reinforces it. mike and will are repeatedly carved out of the ensemble at key emotional moments, placed in tight two shots where the rest of the cast disappears. that’s a classic romantic isolation technique: the world falls away so the audience understands that this relationship is being foregrounded. if the intention were platonic, the staging would be looser, more casual, more integrated into the group. but stranger things keeps creating pockets of intimacy around them, and that’s a choice with genre specific meaning.

the interrupted confession structure is another unmistakable romantic marker. in 80s cinema, that trope is used to delay a romantic revelation, not to hint at friendship. the emotional swell, the tightening frame, the vulnerability, and then the interruption. stranger things replicates that pattern beat for beat with mike and will. that’s intertextuality, not coincidence.

and then you add the “i need you” beats, which in this cinematic dialect are declarations of emotional primacy. paired with slowed pacing and intimate framing, they’re structurally romantic. the show uses them exactly that way.

and into that context, you place the “hawkins is not the same without you” scene, and you stage it alone, just the two of them, with the camera giving them space to breathe. that’s already romantic coding. but then the performances take it even further. the looks they share, the way both of them start to tear up, the way their faces soften, the way they exchange that small, fragile, intimate smile, that is not how 80s cinema codes platonic emotion. that is the micro acting of a romantic beat. it’s the moment where the emotional truth leaks through the cracks. in this genre, that kind of shared, trembling smile is the pre confession moment. it’s the “we’re both feeling this but neither of us can say it yet” beat.

because again: context matters. “hawkins is not the same without you” spoken in a crowded room, tossed off casually, could plausibly sit in a platonic register. but stranger things doesn’t do that. it isolates them. it slows down. it lets the emotional weight settle. and then it gives them that look, that soft, tear rimmed, intimate smile that 80s films use to signal romantic reciprocity before the characters themselves realise it.

and this is where the bafflement becomes unavoidable: if byler isn’t meant to be read romantically, why is the show so rigorously committed to using romance specific cinematic language? why deploy the exact tropes, yearning close ups, romantic isolation, confession interruptions, emotionally loaded “i need you” beats, a private “hawkins is not the same without you” moment, and that shared tearful smile, if the intended reading is “just friends”? filmmakers don’t accidentally reconstruct a genre’s entire romantic toolkit with this level of deliberate craft.

so to me, the question shouldn’t be “why do people read byler romantically?” the question should be “why would a show that is so clearly fluent in 80s cinematic grammar write mike and will in the language of romance, right down to the micro expressions, if the intended reading were platonic?” once you recognise the grammar, the sentence they’re writing is not ambiguous. and from a film and television standpoint, the idea that all of this is unintentional is what’s truly baffling.

[andrewthegaynerd]

"Bylers are coping so hard"

Yeah, no fuckin shit we are!

Do people ever think about WHY bylers are so obsessed? Do they think about WHY this is so important to us? Do they think about WHY we are LEGITIMATELY grieving over this?

Because if people can't see it, I'm genuinely concerned about their lack of empathy.

Do they think we would all flock to a ship like this and react this way to it not being canon if we had an abundance of OTHER ships to cling to? OF COURSE NOT! Why is it so hard to understand why this is so important to us?!

It's like we're starving to the point of whithering away, and straight people are sitting here, getting fed fucking five course meals every day, and they're wondering why we make everything about food.

Like, holy fuck! YOU. DON'T. GET. IT.

For them, the loss of mileven was "oh shucks I thought they would've been good together."

For us, the loss of byler was the loss of a once-a-generation chance for genuinely good representation.

For us, it was a chance to feel seen for once (in a show that basically promised at the outset that we would feel seen). It's a genuine loss and a betrayal.

They don't understand the desire to feel seen because they're fucking seen by every piece of media since the dawn of humanity.

So, yes, we're coping! Because we ACTUALLY lost something!

The mere existence of such a dedicated (and now devastated) community is proof of why byler was so important.

[inmybylerera2003]

Castles On Quicksand

Over the course of 4 1/2 seasons and ten years, The Duffers ( whether it was intentional or accidental ) set up what could have been the greatest LGBTQ+ childhood besties to teenage lovers story in the history of television with Byler. They constructed what could have been an AMAZING and INSPIRING story of how El and Kali, after years of being victimized, finally triumphed over their abusers, helped save the world, and at long last earned their happy endings in the form of the normal happy lives they always dreamed of.. They handcrafted romances between Steve and Nancy, Jonathan and Nancy and Robin and Vickie. All of which had the potential to end with meaningful relationships that could've stood the test of time and brought those couples happiness moving on.. But instead? The Duffers decided to burn ALL OF IT to the ground to teach us that young gay love is nothing more than unrequited crushes, magic has to die bc happy endings rarely happen in the real world and the connections we form in our youth fizzle out and disappear once adulthood takes hold of us. Conclusion? The Duffers are those assholes that help you build the greatest sandcastle of all time and then smash it into oblivion immediately afterwards just to see you cry. Why? Bc the sad fact is it was never about creating something to make US happy. It was about creating something to make THEM happy.

[rikyberryohyea]

✨ HEWWO 🗣️✨

If everything goes well AND MY DESIRE TO CONTINUE COMICS STILLS THERE, I will return to making sequels or things related to my alternate universe. For now, it was just how they met.

Maybe I'll do a shorter one later, depending on the context. Also, if all goes well, you can go to the questions section and I'll answer anything (even with art) about it.

First fact: Will’s mark can be made invisible with magic, but it consumes a lot of energy. (It’s a mark of cursed users.) The mark can spread across his entire body, and it turns completely black when the curse takes control of him. The mark reacts to his emotions—negative emotions are what make him lose control of both himself and his magic.

[noihavenosanitythanksforasking]

OMG EATS THIS EATS THIS THIS IS SO GOOD UGDHDHJAKAJDB

[summerfloy]

S1 and S2 Mike are the best Mikes And S5 vol.1 gets a pass too

Epilogue Mike is just sad, I don't even want to joke about him

[inmybylerera2003]

THIS! And stop trying to excuse it, those responsible for it and those who participated in it.

[archive-yanillaart]

S2 Mike and Will, get behind me!!!

[onceuponlia]

Stranger Things Ending Betrays Its Own Values — and Its Fans

I’ve been thinking a lot about why watching V2 and the finale was so emotionally difficult for many of us. While the handling of Will, Mike, and El is a major part of it, the issue runs much deeper than any single storyline.

From the very beginning, Stranger Things has presented itself as a show that “shelters freaks and outcasts.” For years, it genuinely seemed committed to that mission and to the core values it claimed to uphold.

The final season, however, erased those values almost entirely. Instead of subverting tired, harmful tropes, as the show once promised, it doubled down on them. The ending stands in direct opposition to the principles the story was originally built on.

Despite claiming they didn’t want to cater to audiences, the creators ultimately did just that — only not for the fans who had spent years analyzing the narrative and engaging deeply with its themes. Instead, they catered to the general audience. Steve almost falling from the tower, his dynamic with Dustin, crude jokes, an overload of action scenes, and preserving “the main couple” despite their relationship having been intentionally non-romantic since the start of S4 — these are just a few examples.

Even setting aside the plot holes, contrivances, and unanswered questions, the season felt shallow for a show that once insisted every detail mattered. What we thought was a thoughtful, niche sci-fi horror story for nerds and outcasts was reduced to a cheap blockbuster imitation, stripped of its depth and meaning.

What’s even more troubling are the “lessons” the creators chose to convey through the story:

1. If you’re a victim of abuse, exploitation, and lifelong trauma, the best solution is to sacrifice yourself so others can find peace.

2. If you’re queer, the most you can hope for is self-love and acceptance. Don’t expect real queer love (certainly not on screen). Go somewhere far away and find “happiness” out of sight.

3. If you’ve treated the people around you poorly for years, one apology is enough. Emotional growth and self-work are optional; bottling everything up is apparently fine.

These messages were delivered through some of the show’s most prominent characters — characters whose arcs required genuine growth, payoff, and subversion of expectations. Instead, they were denied the very things the writers repeatedly told us they wanted most.

These are deeply harmful messages, especially given the show’s massive influence and the current state of the world. The creators chose shock value over care, regression over growth, and — ironically — conformity over integrity.

It’s also worth noting that the writers chose to introduce love triangles that did nothing for the overall plot but succeeded in dividing the fandom and fueling ship wars. That conflict wasn’t necessary for the story at all — it feels like it was added purely for spectacle. And that choice is exactly why they later claimed the ending wouldn’t satisfy everyone: they ensured it wouldn’t, and in doing so, managed to disappoint almost the entire fandom.

On top of that, the Duffer Brothers openly disrespected their most invested fans by dismissing them as “noise,” making promises they didn’t keep, and attempting to gaslight the most vulnerable portion of their audience — the ones who trusted them and believed in the arcs they themselves established.

The final season, particularly the last episode, turned our understanding of Stranger Things completely upside down. We believed in this show because we never expected its creators to become the villains of their own story. Our analyses and theories weren’t delusional — they were narratively sound, built from the groundwork the writers had laid themselves. We expected them to stay true to their story instead of retconning it. We expected the season to live up to its own hype. Most of all, we expected basic integrity.

Instead, they betrayed their values — and with them, our trust. They broke our hearts and turned a once-beloved story into something many of us can no longer even watch.

It’s devastating, especially because they had every opportunity to create something bold, meaningful, and genuinely revolutionary. They wasted that potential entirely.

No matter how compelling the plot once was, what they ultimately did to these characters and how they treated their fans makes it incredibly difficult to engage with this story anymore.

I truly hoped to part with Stranger Things on a good note. Maybe one day I’ll be able to look back and appreciate what it once was. But for now, it’s been fundamentally altered for me.

[hawkins-batman]

do ya’ll get it now? do you get why it IS that deep? do you get why it’s not just a joke?

[miwiromantics]

yeah, I’m sorry if this is too woke or whatever but I fucking hated the jokes about the coming out scene.

like yeah, I know it’s fucking snl but the gall to make stupid jokes about a scene where your friend and co-star literally had a panic attack while filming for 12 hours and expressed how much it means to him. just for yall to make dick jokes about it and make homophobes who are alrdy harressing both noah and will think it’s even more funny to do so.

and that fuckass coma joke about max is so fucking weird. fuck you lucas would never say that shit to max. it’s disgusting.

[kararika-deactivated20260331]

Yeah sorry no sorry all this shit is so unfunny to me. There were ways they could have made tasteful jokes. One of them being, yk, constantly ADDING people to that coming out scene so they addressed the issue QUEER people had with it (that they inflated the character list during that scene), and not the issue the GA did (which was that it was too long). Don't even get me started on the Max joke. And, like, I'm sorry, but aren't they all co-stars? I would NOT be comfortable saying this kind of stuff about the characters my costars play.

[miwiromantics]

Like if they wanted to say shit about scenes taking so long, the max and holly scenes in the mindscape where right there - even fucking Sadie addressed the joke.

Comparing female genitalia to monsters, making el speak gibberish, making dick jokes abt the coming out scene and that fucking rape joke abt max like fuck all of you guys. The show really decided to pander to the ga and the homophobes because fuck the rest of us I guess.

I’m so happy Sadie, Millie and Noah are out of this shit because I cannot imagine having friends who joke abt things like this. Like even to everyone who’s saying that snl wrote this jokes and the guys didn’t have a choice like yes they do. They’re in their 20s, they should know how to say no atp.

[inmybylerera2003]

Yeah. Funny i didn't see Finn and co. mocking the acting in this scene..

Or that "Purple Rain" scene with Millie where he delivered THE most unconvincing on-screen kiss in the history of heterosexuality.

[pendragonstarz]

To those who are upset I understand. I just want to make sure everyone knows that if you didn't like it your feelings are valid. Yes, the snl writers suck. Yes, some jokes were tone deaf and no one is gonna defend them for that.

Everyone is different here, everyone will have their own opinions/interpret things in different ways.

That being said: if you liked it, don't shit on those who didn't like it, let them express how they are feeling.

And if you didn't like it, just don't put the blame on Finn. He has a contract, he can't just leave the place if he doesn't like something. (I know not everyone that didn't like the skits are hating on him, this is just directed to those who ARE hating)

Don't call anyone slurs. It's not okay in any way.

[inmybylerera2003]

I agree with most of what you said and while I'm not gonna call anyone slurs. Or threaten anyone. Or even leave any negative messages on their pages.

Sorry but the blame IS on Finn. And Gaten. And Caleb.

I don't care if they didn't write the skit. I don't care if they were under contract. They DID have a choice. They COULD have refused to do that skit. They COULD have walked out.

But instead they chose to participate in that homophobic garbage and openly mock their co-star and friend of 10 years who wasn't there to join in or defend himself.

You excusing them of any wrong doing is like you excusing them for standing by a group of people who bullied Noah in public bc "They didn't yell the slurs or push him around themselves. They only stood by, watched and laughed."

NO dude. They don't get off that easy. THEY PARTICIPATED. THEY are SHITTY FRIENDS. And they sure aren't the "allies" to LGBTQ+ that they claimed to be. PERIOD.

[peakyanakin]

“learn to take a joke” and the joke is always at the expense of the minorities

[hawkinsschoolcounselor]

Things that make no sense now that Mike is revealed to have always been planned to be straight (just observable behavior, no set designs or anything like that):

Pretty much all of season two, but especially him holding Will's hand.

"It was the best thing I've ever done" which could pass for platonic if Mike wouldn't go on to say two similar things about El in later seasons.

Mike looking upset when Will danced with the girl even though he was the one to encourage him to do it.

Mike noticing when Will was affected by the Mindflayer in season 3.

Mike apologizing to Will after Max told El he'd come crawling back to her.

Mike being more sad about his fight with Will then El dumping him.

Mike trying to use "crazy" to indicate his feelings to El, but her not getting it, in a contrast to season 2's "crazy together."

Mike appearing confused and disturbed when El said she loved him and kissed him in season 3, not even closing his eyes during the kiss or smiling afterwards.

Mike going home in a daze after the Byers moved and hugging his mom in a callback to when he thought Will was dead.

Mike losing touch with Will, never writing him any letters.

Mike pretending to be someone he isn't when he goes to California even though he is back to being himself with El gone.

Mike not being able to hug Will.

Mike "ignoring" Will, but also noticing all his behaviors at the roller rink.

Mike prioritizing fighting with Will over helping El after Will reveals her lies about being popular.

Mike treating El terribly after she finally had enough and hurts Angela.

Mike acting like Ted at dinner.

Mike being callous with El and trying to gaslight her when she honestly tells him she's upset he never says he loves her instead of just telling her.

Mike having open, emotionally honest conversations with Will, revealing that Hawkins isn't home without Will there, setting Will apart from the rest of the Party.

Mike telling Will he "didn't know what to say" after El was mad that Mike never says he loves her. She seriously told Mike what she wanted him to say.

Mike nodding along to Will saying it can be hard to be honest with people you care about because they might not like the truth.

Mike loving Will's painting, but being confused when told it's from El.

Mike becoming enamored with everything Will is saying. Even if he's told it's El's words, they're really from Will, showing that Will loves and sees Mike exactly the way he wants to be.

Mike still not being able to tell El he loves her even as she's dying until Will pushes him to.

Mike's monologue to El seeming to be a random mishmash of words taken from Eddie's earlier monologue and other sources.

Mike not being a comfort to El after Max nearly dies and is put into a coma.

Mike being very touchy with Will at the start of season 5 whenever he notices something is wrong.

Mike not seeming to be romantic with El, and vice versa, despite them apparently still being together.

Mike giddily telling Will he's a sorcerer after he noticed the demogorgon not attacking Joyce.

Mike referring to El as "Eleven" in the only time he mentions her after she went into the Upside Down, and suggesting Will could be their magic while she's gone.

Mike again noticing something is wrong with Will at the Mac-Z and fighting off soldiers to get to him.

Mike being awestruck by Will's powers after being saved from the demogorgon.

Mike being very insistent that Will is a sorcerer, not a wizard, and that "it matters" that his powers are innate.

Mike becoming very weird around Will after Joyce called attention to his fanboying, no longer showing physical affection or open concern unless others also are.

Mike walking into the room where Will is on the couch unconscious, looking from Joyce sitting there to down at him, and then just walking off.

Mike being very concerned about having El save Will, to the point that when she isn't able to be tells her to go eat something to recharge so she can try again.

Mike again failing to connect emotionally with El, even though he knows something is up.

Mike reacting multiple times to Will's coming out, more than any other character, and going through a range of emotions. It's especially odd when one considers that this was originally not going to have any followup scenes

Mike nodding along to Will saying he wants to show Vecna he's not afraid anymore. It almost seemed like a followup to Mike's earlier comment about not wanting to have any regrets and also having Mike the Brave as his ideal.

Mike still not being able to tell El he loves her, even as he knows she's about to sacrifice herself.

I may have missed quite a bit, but it's late, and I should be sleeping, anyway. But this is an awful lot of weird behavior for a straight boy, even one who has a "special friendship." I know I say it was done to give Will a reason to like him so much, but that can't really apply to his interactions with El. They get progressively worse as the series goes on, and even in season 5, when the painting lie supposedly fixed their relationship, there's still no real connection.

Word of God or not, I will forever maintain that, by creating a seemingly deliberate and ongoing comparison between Mike's relationships with Will and El, the audience was meant to see how much more suited to being with Will he was. It was only Will being a boy that blinded most people to the possibility.

I maintain my conceptualization of Mike being deeply closeted, with El being a socially appropriate substitute for Will. She literally went from being mistaken for him in season 1 to being his sister, who wore his clothes, in season 4. The Duffers can cry all they want about it never being the case, but the show they made screams otherwise. So, as much as I have to accept their claim that Mike never liked Will that way, I don't have to accept that their show in any way supports that claim.