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@nnothinginparticular
In this blog you may find:
good music content (mostly the smiths)
mental and emotional decay
conspiracy theories about fandoms
awfully gruesome memes
oddly specific and relatable posts
the smiths (twice, because)
i reblog a lot of shit about a lot of fandoms.
find me on instagram, youtube, tiktok and spotify
my ask box is always open :)
some things are just better raw
Hayden Christensen as Sam Monroe Life as a House (2001) dir. Irwin Winkler
music is the cock im sucking
Did the Duffers like roll the dice to whom they wanted to give these arcs? Like this could’ve fixed a lot from s5.
okay but like. Picture the scene:
El moved to iceland after s5 and started afresh
She settles in a small village and when the people living there see a teenage girl alone with an air of melancholy? Immediately she is taken in as the village child to look after
someone sees her using her powers by accident and the whole village silently agrees “we tell no one. She is ours to protect now” and they go about their daily lives
years pass, el grows into an adult and takes over the village bakery after the elderly owner passes away
sometimes she checks in on The Party, using her powers, she watches mike and will fall in love, lucas and max blossom, and she is so very happy for them
and then she sees dustin. Dustin does not fall in love, she doesnt understand why because dustin always talked about suzie when they were dating, el figured dustin really valued romance
after a long while of living—when shes about 25-27—she is taking her daily walk through the forests and waterfalls (the one time a day she lets herself truly think about what she left behind) and she comes across a small child. No older than five or six, and so *so* small, shivering, terrified. El looks at her and sees herself that night in the woods when hopper found her
she remembers what hopper said the last time they saw eachother “give her the life you never had”
so she does
a year later dustin—a fully fledged nasa engineer—moves to work in iceland to study the geothermal vents and renewable energy possibilities. Hes posted in a small village.
the day after he arrives he walks into the village bakery to see el—jane—laughing with a customer behind the counter, flour on her cheek, her hair long, so long (she never cuts it, not after the lab) and smiling. Really truly smiling.
he’s about to call out to her, sweep her into a crushing hug, cry, shout, *something*, a young girl comes running behind the counter waving a sheet of scribbled on paper shouting “mama look what i made!”
and dustin comes to the conclusion that Jane has well and truly moved on from everything. From hawkins. From everyone.
he leaves the bakery without buying anything
and now has to try and get through his year long post without running into Jane, or her daughter
(obviously they meet again and fall in love and its wonderful yay)
Papa me want more movie.
byler learning to be boyfriends together instead of secretly pining because they’re so used to hiding their feelings behind flirting and glances…. mike who keeps staring at will’s lips because he’s not used to being able to kiss him, everything being soft and gentle and exploratory, i feel like there’s a lot of established byler fics out there where they’re completely comfy with each other but i need to see that cheesy, shy, gentle stage where they’re both a little worried about moving their relationship from friendship to romance
"i don't CARE about the PAINTING, or that mike can't say i love you to his GIRLFRIEND even when she's about to KILL HERSELF. mike is our self-insert character and we are HETEROSEXUAL MEN" - the duffers probably
a silly little byler headcanon: when mike is feeling extra dorky and silly and stupid he says the most stupid things before trying to kiss will like. "butterflies incoming" *puckers up his lips, closes his eyes and leans in* or "welcome to kiss town. population: us" *sticks his tongue out and pretends to make out with will before leaning in* or "freeze! *hand gun* now put your lips where i can see them!" and will just swerves him left and right or backs up and rolls his eyes at him and gets annoyed and pushes him away and "do you want me to get the ick?!" or "mike, i swear to god, if you do that one more time i will break up with you" at him (but is secretly and embarrassingly endeared) and mike just laughs his ass off because he's insufferable like that
the stranger things finale kind of sucked.
not in a “it was all terrible” way.
but in a “how did we fumble THIS many narrative balls in the FINAL season of a billion-dollar show” way.
and it all starts with:
⸻
THE HOLLY WHEELER PROBLEM
i said it.
i meant it.
i’ll say it again louder for the people in the upside down.
the holly plotline was useless.
not “bad.”
not “poorly acted.”
just… narratively unnecessary.
she had more screen time than half of the original cast.
HALF.
characters we’ve known since season 1 were standing in the corner like forgotten coats while holly and her little stranger squad were running around having their own side quest.
and for what?
what did it actually change?
remove the holly plotline and you still get:
• vecna
• the final fight
• the upside down
• the world ending
but suddenly you also get:
• more time for mike
• more time for will
• more time for joyce
• more time for literally anyone who mattered
they said they were “circling back to the core themes.”
FRIENDSHIP AND LOVE PREVAILS MY ASS.
this season was:
doom
gloom
crying
death
suffering for no actually reason
apocalypse
action packed bullshit
⸻
HOPPER SHOULD HAVE STAYED DEAD
i love hopper.
he is a king.
he is a dad.
he is a real life hero.
but.
HE. SHOULD. HAVE. STAYED. DEAD.
bob’s death in season 2 hit because it told us something:
no one is safe.
that’s what makes horror work.
that’s what makes you hold your breath.
now?
steve falls off a TOWER in season 5 and i don’t even blink.
i was like:
“he’s fine.”
because he is.
everyone is.
they have so much plot armor they could walk into the sun and come back with a mild tan.
when everyone is guaranteed to survive, nothing feels dangerous.
and when nothing feels dangerous, nothing feels important. Or real!
hopper staying dead would have:
• raised the stakes
• fixed the fear
• and forced eleven to grow on her own
which brings me to—
⸻
LET ELEVEN BE A PERSON, NOT A PET
this is not about ships.
do not come in here with that energy.
jane needed independence.
she needed to exist outside of:
hopper
mike
the government
netflix’s marketing department
kali should have lived.
period.
eleven could have escaped.
built a life.
been a person.
instead we got:
more suffering
more trauma
more reset-to-factory-settings arcs
girl has been through ENOUGH.
⸻
THE WILL BYERS SITUATION
they should not have dragged will being in love with mike this long.
there were two options:
1. follow through
2. shut it down early and give will a new love interest
they did neither.
they just let him suffer in the narrative corner for five seasons.
and that robin pep talk?
wasted time.
led nowhere.
gave him false hope.
then did nothing with it.
you know what that time could have been?
what were all those clues? those glances? the touches? the tension?
all these for a big Nothing Burger!
THE FINAL FIGHT.
people are not wrong when they say the final battle was barely longer than will’s coming out scene.
priorities were in hell.
⸻
CONFORMITYGATE AND THE MARKETING MACHINE
netflix knew this was controversial.
they fed it.
they promoted it.
they tweeted about it.
because controversy = clicks
clicks = engagement
engagement = money
we are not viewers.
we are metrics.
we are little corporate pawns in netflix’s chess game.
and they’re playing 4D chess with our feelings.
⸻
BACK TO HOLLY (BECAUSE I’M NOT DONE)
they aged her up.
ignored her canonical age.
made her important.
why?
new kids = new audience.
but what was their actual purpose?
“to merge the worlds.”
okay.
why.
how.
to what end.
no answers.
Pure aesthetic, zero explanation.
we didn’t need 12 new characters in the FINAL season.
we needed:
the kids we started with.
that’s it.
⸻
IN CONCLUSION
the choices this season were… interesting.
that’s the nicest thing i can say.
this could have been a beautiful, focused, emotional ending.
instead we got:
corporate storytelling
safe decisions
marketable drama
and a finale that felt like it was trying to please everyone and satisfied no one.
anyway.
i’m going to go lie on my bed and stare at the ceiling now.
reblog if you agree.
reblog if you’re mad.
reblog if will byers deserved better.
that’s it that’s the whole show in one gif
His ass is so giddy over byler omg he had to have done like 20 lines backstage
“omg now mike wheeler will never come out of the closet and be miserable for the rest of his life” he is eighteen years old, and last time we see him he’s exchanging charged looks with his bestie, going “pov i bite your neck” and then leaving to go eat lasagna with him. guys i think he’ll be alright actually
When you think about it, Will's only purpose on this show was to get kidnapped so Mike could meet El, get possessed so Mike could get El back, fight with Mike so Mike could learn to admit to El he's wrong, fall I love with Mike so he could explain El's feelings to Mike, and give up on Mike so that he wouldn't be in their way.
All the while being tortured by supernatural beings, but only playing a passive role in it except for a few scenes in the final season.
Will ended up being a plot device wrapped up in a heteronormative idea of a gay story.
Fuck the Duffers.
one of the biggest tragedies of mikes character is that his grief and regret following els death hits so much harder if you read him as a closeted queer man. mike, who loved jane, but was not in love with her, and never had the courage to tell her the truth. he will spend the rest of his life wracked with the guilt of lying to a girl who did nothing but love and love and love, and then loved him once more. even when she was dying, he could not abide by the only rule he ever swore to follow -- friends dont lie. a fallen paladin indeed.
this has to be a joke 😭 im going to kill everyone
so every song is about them now
