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Will Byers Through the Lens of CSA: Will’s abuse, arc, and healing

content warning: spoilers for Stranger Things 1–5, discussions of (C)SA, forced impregnation, sexual trauma, abuse, grooming, misogyny, homophobia

I thought this needed covering, so here’s my full post breaking down the evidence of Will’s victimization and how it affects his character arc. Pretty long post, but it’s separated into sections.

What Is SA + The Importance of (C)SA Representation

feel free to skip if this context isn’t needed for you

Any form of unwanted sexual contact (including but not limited to; penetrative or oral sex, groping, and sex under threat or coercion) is a form of sexual assault. Sexual assault is defined by Wikipedia as, “an act of sexual abuse in which one intentionally sexually touches another person without that person's consent.” It is not required for the perpetrator to feel pleasure for an attack to be considered SA, the only precursors are sexual contact and a lack of consent from at least one involved party. According to the CDC, at least one in four girls and one in twenty boys in the US experiences childhood (<18) sexual assault and according to The Trevor Project, approximately two in five queer youth (13-18) report being forced into undesired sexual contact. This is a widespread issue. Experiencing CSA greatly increases the risk for problems later in life, including depression, substance abuse, chronic illness, and re-victimization. Sexual assault is near guaranteed to result in mental trauma. Alongside the devastating personal effects, (C)SA survivors are also victim to the stigmatization and romanticization of sexual assault. Warped societal perspectives on sexual assault encourage victims to hide or attempt to justify their abuse, and media which perpetuates these flawed views only furthers societies’ misunderstanding of abuse as a whole. Accurate, careful representations of sexual assault in media encourage SA victims to heal and push society for clearer perspectives on victimization.

Sexual Assault Imagery within Will’s Story

From season one to season five, Will’s kidnapping and possession is heavily associated with oral penetration. In 1x08, he is discovered by Joyce and Hopper, restrained and unconscious with a vine shoved down his throat. His condition resembles some murder victims—found dead and stripped, covered in bruises. To substitute nudity, Will is depicted with the tube still in his throat, the phallic shape signalling his sexual assault. The idea is further suggested later in the episode when he vomits up Dart in his bathroom. Historically, bathrooms in horror have been used to signal a sense of discomfort and violation. For example, the infamous “shower scene” in Hitchcock’s 1960 film, Psycho. Will’s bathroom scene is no different—Dart’s birth serves not only as an allegorical impregnation, but as a representation of how a safe, private place, such as the bathroom, can be twisted into a reminder of abuse and violation. Will’s initial assault is further depicted at the beginning of season five, in which a flashback depicts the vine actively pumping eggs into his stomach as Vecna watches. His body is encased in vines as he whimpers quietly, Vecna’s human hand strokes his cheek, and the audio emphasizes the putrid squelching of the vine in his throat. These details are used to emphasize Will’s weakness and lack of autonomy—creating a picture that, when paired with his oral penetration, forms a clear representation of sexual assault.

Season two builds upon preexisting imagery, depicting the mindflayer particles entering and exiting him orally in 2x01 and 2x10. However, the feeling of violation is further emphasized in this season. Will describes to Joyce in 2x04 that he, “Felt it everywhere. Everywhere.” The repetition of “everywhere” invokes the idea of inappropriate touching, and centers the discussion on sensation rather than exact experiences. Will continues on to state that he does not fully remember it entering his body, recounting instead the unpleasant “feeling” it gave him. This is reiterated when he later tells Mike that some of the mindflayer is in him, describing not only the possession, but his initial assault and the following “pregnancy.” These experiences mirror the experience of many real life victims—even when the mind forgets, the body remembers. Many sexual assault victims report foggy, unclear memories of their assault, or complete forgetfulness of it for prolonged periods. Despite this, these victims still experience the physical and mental effects of sexual trauma, such as physical flashbacks, wherein a victim re-experiences sensations or feelings within their body. Will’s recount of the mindflayer entering him is an example of this; his conscious mind not understanding what happened, but his subconscious recalling the feeling of violation. Will does not possess the words to say he was assaulted, but he knows that something was inside him that he did not want there.

Additionally, 2x02 features a scene in which Joyce walks in on Will using the bathroom, reiterating the idea that his “places of privacy” can be invaded as others desire.

Season five finalizes these signs, joining them to create a clear picture of his assault and trauma. The first five minutes provide a graphic picture of the assault, with later installations expanding on his suffering. In 5x06, Will’s consciousness is re-kidnapped, and he is chained against the wall and assaulted in a manner reminiscent of his original violation.

One frame parallels a scene from The Evil Dead (1981), where a woman is sexually assaulted by a demonic tree.

Another scene depicts him laid in bed in the void, before vines encircle him—suggesting once more the violation of private space. (Holly and Dereck are also depicted as being ripped from their beds.) Will’s revictimization references a real life experience; “almost half of child sexual abuse survivors are sexually victimized in the future.” His repeated abuse is intentionally designed to reference his original sexual assault, signalling the importance of this repetition. Various details are repeated, including; the setting, the cold stroking of Vecna’s hand on his cheek, the dim blue lighting, and the dialogue. One particular line, “Does it bring back memories?” makes this strikingly obvious, and even the cinematography heavily highlights these parallels. These serve not only as messages from the writers to the audience, but as characterizations demonstrating Vecna’s manipulative and emotionally abusive behaviours. Will’s capture is used not only to depict sexual revictimization and emphasize effects of sexual trauma, but also to amplify the portrayed intentionality in his abuser’s actions.

Vecna’s Likeness to Real-Life Abusers

Vecna possesses various parallels to real life abusers, particularly groomers, including his methods and relation to Will. Grooming is defined as, “the action or behavior used to establish an emotional connection with a vulnerable [child]...to lower their inhibitions with the objective of sexual abuse.” Generally, groomers select victims who are vulnerable and familiar. Vecna, Henry, is unimaginably close to Will. He knows Will’s full name, his home, his memories, and held decent familiarity with Joyce in high school. His connection to Will’s life mirrors the connections real abusers often hold with their victims. Statistically, 90% of child sexual abuse is perpetrated by someone known and trusted by either the child or their family. This trust forms an easy opening for predators to go unnoticed—to an extent, Joyce is aware that Will was assaulted, but she could not imagine that the act had been done by her former classmate. Not only does trust allow blame to be misplaced, it also simplifies the process of manipulating victims. When Joyce reports Will missing in 1x01, she describes him as, “a sensitive kid,” and recounts that Lonnie, “thought he was queer, used to call him a fag.” This establishes not only a basis for Will’s vulnerability, but a source of past trauma which a potential abuser could utilize. Vecna’s familiarity with this trauma allows him to utilize it to prime Will for silence and self-blame. The library, where Will is assaulted during his initial kidnapping and in 5x06, symbolizes this silencing; you are meant to be quiet in the library. To further manipulate Will, he demeans him, calling him “weak” and “breakable” (5x04), capitalizing on his trauma to further lower his self worth, diminishing his trust in himself and his judgement. The end goal in this, like with all grooming, is for Will—the victim, to accept the abuse, so Vecna—the abuser, can abuse him further.

A Breakdown of Vecna’s Monologue in The Sorcerer

Vecna’s monologue to Will in 5x04 perfectly demonstrates his use of manipulative techniques, therefore, a breakdown of this scene is helpful in understanding his abusive nature as a whole.

Initial transcript from here + some descriptions of on-screen visuals added by me / full scene available here

(foreboding music playing)

Vecna: Can you see them... William?

Vecna uses Will’s full name both to invoke a sense of familiarity and discomfort. It is his full name, but it is also a name no one else uses for him. His bond with Vecna is “special.”

Can you see the children?

Do you know why?

Why I chose them to reshape the world?

(Lucas grunting)

Vecna: It's because they are weak.

Weak in body and mind.

Child: Please!

Vecna: Easily broken.

Easily reshaped.

Controlled.

Vecna purposefully sought out vulnerable children to victimize.

The perfect vessels.

Scene cuts to a yonic looking portal just when Vecna mentions “vessels.” In this case, “vessel” and “incubator” are interchangeable. Impregnation is generally associated with women or the feminine, and this sort of imagery (tied with Will’s impregnation) implies a demeaning sense of femininity. Will is not only being insulted, but dehumanized in the manner a woman would be.

And you... Will.

You were the first.

Affirming that Will is special, while simultaneously implying that he is weak, controllable, easily broken, and everything else that he describes the children as.

Unwanted touch, shows Vecna’s control and reminds Will of his initial kidnapping. This is also the second in three scenes where Vecna strokes Will’s cheek, adhering to the rule of three.

And you broke so easily.

(footage of mindflayer particles entering Will, followed by Will crying in Joyce’s arms)

Vecna utilizes Will's trauma, showing him one of his previous assaults and the aftermath of it. He includes Will running, the assault itself, and him crying to Joyce, but discludes Will’s moments of strength and resistance. This is done intentionally to demonstrate the warped narrative Vecna is forming.

You showed me what was possible, what I could achieve.

Reaffirming that Will is “special.”

Some minds, it turns out, simply do not belong in this world.

(footage of Will tearing a photo of him and the party, followed by footage of him crying in the car)

“Some minds” = homosexuals. Vecna does not need to explain this, because Will’s previous trauma allows him to fill in the blanks. The following clips, castle byers’ destruction and the car scene, reinforce this idea. “This world” has a double meaning. He is not just referring to the literal worlds, but whether those individuals deserve to possess autonomy.

(dark music rising)

They belong in mine.

Vecna affirms once again that Will is weak. Individuals within Henry’s mindscape (“his world”) such as Holly, Max, and the children, are unable to control their bodies in the real world. By stating that Will belongs in his world, he is claiming that Will should not possess control over his own body, that Will does not deserve autonomy.

(music halts)

(Demogorgon screeching in distance)

>scene end<

Following this, Vecna drops Will, walking away and into the portal. He intends this to make Will feel weak, as though he is not enough of a threat to kill.

Vecna’s manipulative behaviours present not only in his interactions with Will, but in his interactions with the other children. Particularly, his grooming behaviours are in full display around Holly. In 5x05, Henry is shown meeting her in the school library, the same place of secrecy where Will was assaulted twice. Henry introduces himself to Holly as a familiar figure; Mr. Whatsit, an imaginary friend inspired by her favourite story. After their meeting, he is immediately able to gain close insights into Holly’s life, both through observation and direct conversation. Rather than using the plainly malevolent techniques he utilized against Will, Henry uses a facade of benevolence to harm Holly. Acts of “unusual favouritism” such as special gifts, or excessive attention, are described by the National Children’s Alliance as primary warning signs for grooming behaviour—and these acts are common within Henry’s interactions with Holly. In 5x02, once Holly is inside his mindscape, he claims that he is saving her and her loved ones. He uses the promise of safety to form a state of trust and dependence, increasing her chances of accepting abuse in the future. Later, in 5x03, he gifts Holly a radio and a tape of I Think We’re Alone Now by Tiffany. Then, he leaves and reminds her to never go into the woods. This serves not only to show how he rewards compliance, but also to emphasize another behaviour of groomers. I Think We’re Alone Now—the title and lyrics of the song directly state a common alert for grooming behaviour: an adult attempting to gain frequent alone time with a child. Established grooming subtext recontextualizes the lyrics of the song into a warning; Holly is alone with a known abuser, and regardless of how “kind” he is to her, it won’t end well. When Holly and the other children are finally rescued in 5x08, they are discovered in the same state Will was following his initial kidnapping. Their assault further demonstrates Henry’s predatory behaviour; regardless of whether he puts on the face of Vecna or Mr. Whatsit, he is still the same abuser underneath.

Will’s Not-So Allegorical Pregnancy

During Will's initial kidnapping, Vecna pumps demogorgon eggs into Will’s throat. Vecna’s tentacles, a phallic object, fill Will’s throat with eggs, the seed of demogorgon life. This is both the original act of rape, and the original act of impregnation. On screen, Will births only one demogorgon, vomiting up Dart in his bathroom in 1x08. This is another instance of the bathroom as a representation of warped safety—his place of privacy is once again invaded, this time by a reminder of his abuser. Dart parallels a child born of rape, something secret. Will’s shame is evident; he possesses a silent sense of self-blame, refusing to disclose the origins of Dart until it becomes urgent. He relinquishes his child, not from malice but from inability. Dart’s later connection with Dustin in 2x03 demonstrates the difficulties in teen pregnancy. It is shown repeatedly throughout the episode that WIll and Dustin love Dart, both of them demonstrating gentleness and compassion for the creature even after discovering what it is. When searching for Dart in the school bathroom, Will insists that he will not hurt him. Despite the violence Dustin knows Dart’s species enacts, he remains hesitant to kill Dart in his final moments. However, love is simply not enough to raise a child; as Dart grew, he became a creature that even Dustin could not handle, and Dustin too was forced to relinquish him.

Will’s impregnation serves not only to expand on his sexual assault subtext, but to further the traditionally “feminine” nature of his suffering. Previously, Will has been associated with homophobic dehumanization. As was previously explained:

In [Will’s] case, “vessel” and “incubator” are interchangeable. Impregnation is generally associated with women or the feminine, and this sort of imagery (tied with Will’s impregnation) implies a demeaning sense of femininity. Will is not only being insulted, but dehumanized in the manner a woman would be.

While this discrimination at first appears purely misogynistic in nature, given that it implies the devaluing of anything feminine, it is also inherently homophobic. In 1x06, the bullies refer to Will as a “fairy,” a common slur for gay men during the 1980s, intended to imply effeminacy. Lonnie is also mentioned to have referred to Will with slurs, and implied to have abused him physically for his queerness. Gay men have historically been viewed as effeminate, a stereotype that is emphasized in Will’s story.

He is purposefully associated with femininity not only to draw attention to queer stereotypes, but to build parallels between Will and the abused women within the story. A common trait between him and them is that they are all dehumanized. Kali is kept in an indefinite state of half-consciousness, as her blood is harvested unconsensually and her body is kept alive only for the sake of Dr. Kay’s use. El and Kali were both raised in the lab, granted numbers for names and trained to be weapons. The women in the lab, shown in 5x05, are kept comatose and nameless, their bodies only being maintained to incubate children who will only be abused like their mothers. While all used in different ways, El, Kali, and the pregnant women are all “vessels” like Will—stripped of their autonomy and kept for their body alone. Another link between them is their expectations to continue the cycle; Kali and El were to be used for their blood, made to create more child weapons which the other women would incubate and Will was a vessel to demogorgons and the mindflayer. Their abusers all planned to treat them as vessels, which would continue the cycle of dehumanization and abuse.

Trauma Symptoms within Will’s Story

Complex post-traumatic stress disorder, or C-PTSD, is described as “a stress-related mental disorder generally occurring in response to complex traumas(i.e. commonly prolonged or repetitive exposure to a traumatic event or traumatic events, from which one sees little or no chance to escape).” Over the course of the Stranger Things story, Will experiences three direct sexual assaults and an impregnation, alongside various other traumatic events and accompanying his pre-existing familial trauma. This combination of factors forms a solid basis for the development of C-PTSD, especially when paired with the statistics of mental disorder development in sexual assault victims. Sexual assault is associated with increased rates of PTSD in victims comparative to other forms of trauma, and the documented reactions common in sexual assault victims (ex. avoidance, dissassociation, hyperarousal, etc.) mirror common C-PTSD symptoms. While Will is diagnosed with PTSD in season two, with full context it can be seen that his symptoms and experience more closely mirror that of C-PTSD.

Throughout the series, Will experiences various flashbacks and nightmares, both literally and allegorically. In season one, it is established that Will already experiences nightmares-–presumably from Lonnie’s abuse, however, these nightmares increase following his kidnapping and possession. The upside down is a primary trigger in Will’s trauma reactions. Throughout season two, Will is depicted dreaming of the tunnels Vecna is making him build, and seeing into the upside down through visions which he refers to as “now memories.” While Will’s visions of the tunnels are not technically nightmares (as they are later revealed to be real) they represent nightmares. Will’s “now memories” are also an allegorical form of flashback—while they are not direct images of his trauma, they are persistent reminders of his past abuse. These visions cause a similar panic reaction to the one elicited from him by genuine flashbacks and nightmares; they are all triggers for a trauma response. In 2x08, Will responds to being restrained during his possession with emotional unrest, screaming, asking why he’s tied up. At first this may appear to only be an effect of the possession, but the circumstances of his initial kidnapping and his later responses to being similarly restrained demonstrate something else. In 5x06, Vecna—who has been shown to purposefully trigger Will, asks him after imprisoning him if the library in the upside down, “[brings] back memories.” Will’s reply demonstrates an obvious fear response; he rapidly shakes his head, repeating “no” as if he is afraid to remember. This moment emphasizes two of his triggers; the upside down and restraint, both of which stem from his initial kidnapping.

(Additionally, Will experiences something similar to a dissociative state with his possession, where he is aware of the world around him but feels a disconnect between his body and mind.)

The most significant, yet least obvious effect of Will’s sexual trauma, are the distortions to his sense of self and identity. Will has been demonstrated to possess feelings of low self worth, particularly ideas of self blame and internalized homophobia. His self talk during his discussion with Joyce in 5x07 mirrors Vecna’s words towards him—he refers to himself as “weak,” claiming that Vecna chose him because, “he knew he could control [him.]” When Joyce claims it is not his fault, he responds by saying it is. This demonstrates the influence of Will’s trauma and Vecna’s manipulations on Will’s psyche, while also paralleling the real-world experience of self-blame and victim blaming among sexual assault survivors. Like many survivors, he views himself as “tainted.” Will has internalized both Vecna’s words, and the general societal attitudes towards abuse victims. This self degradation is also emphasized in 4x08, when Will tells Mike that, “when you’re different, you feel like a mistake.” While his statement is phrased as general, it is a direct admission to his own feelings: he is different, and he feels like a mistake. Moreover, Will does not just feel that he was born a mistake, he also feels that his abuse has altered him irreparably. He describes feeling, “permanently changed,” (5x07) and claims that a part of “him” is still inside him. (2x0?) However, “him” does not refer singularly to Vecna or the mindflayer, but the sum of Will’s trauma; including Lonnie’s abuse and the constant homophobia of Hawkins. Will’s true sentiment in 2x0? is that “[The trauma] is here, too. In me.” His trauma has become so deeply ingrained that he cannot differentiate it from his sense of self. He believes that even if he escapes from the people and things that have hurt him, they will follow him within his own mind.

Castle Byers, Consent, and Trauma Recovery

Considering Will’s sexual abuse, it would be expected that autonomy is a focus within his story; it is indeed such, as shown through Castle Byers. Castle Byers is Will’s fort, built by him and Jonathan after Lonnie left. The building of Castle Byers represents the building of Will’s autonomy and comfort in his sexuality, following the discard of his homophobic, abusive father. Jonathan’s assistance in building it symbolizes his early support of Will’s homosexuality—”So what if you’re a freak? Do you want to be just like everyone else? Being a freak is the best!” (2x01) Will’s newfound autonomy is also expressed within Castle Byers’. In 1x01, Joyce recalls it having a password, symbolic of consent. Whoever is in the fort asks for the password, whoever is outside says it, and they are allowed in—you ask for consent, they say yes, you proceed. This model is further supported by the large sign over the entrance to Castle Byers, saying, “All friends welcome.” There is a hidden statement within the signage; if all friends are welcome, it is foes (ie: abusers, such as Lonnie or Vecna) who are not.

However, this place of safety is violated. Following Will’s kidnapping, Joyce returns to Castle Byers in 1x01 to search for signs of his presence. She remembers him a year ago claiming within the fort not to suffer from nightmares anymore, signifying that Castle Byers is not a place where “bad things” happen. In the upside down, Will hides within Castle Byers for nearly a week. This provides him relative security and comfort, but eventually this spot is found, and he is brought to Vecna. The demogorgon takes him from his safe place, violating the little autonomy he had, and taking him to his abuser. The violation of Castle Byers is the violation of Will’s free will—he is taken against his wishes, against his desire, to someone who harms him. In season three, Castle Byers is entirely desecrated, following the destruction of Will’s sense of sexual identity. In 3x03, Will suffers a significant conflict with Mike. Will, feeling disheartened with Mike and Lucas’ recent interest in romantic love, and disinterest in friendship and DND, insults Mike for, “ruining everything, so [he] can swap spit with some stupid girl.” To this, Mike retorts, telling Will that it is, “Not [his] fault [he doesn’t] like girls.” Mike’s words are a direct strike to Will’s pre-existing internalized homophobia and sexuality-related trauma, and Will appears distressed hearing them from Mike’s mouth. Mike is important to him, and the words resemble Lonnie’s too much. To this, he departs, biking away in the rain. The weather itself is an obvious symbol of distress, the blue tones of it almost replicating the darkness of the upside down. The incident with Mike destroys all stability Will had in his sexual identity, and his response to this is to destroy Castle Byers. Unlike when Castle Byers was built, he does not feel that he possesses any agency, security, or confidence. His homophobic father remains gone, but the hatred for his queerness appears to have returned in the form of Mike. By desecrating his place of safety, he morphs reality to match his internal world.

Following this, the mindflayer returns, signalling his abuser’s readiness to utilize his weakened mental state.

Despite the occurrences in season three, Mike is a necessity in Will’s reclamation of his autonomy and identity. The aforementioned consent model for Castle Byers is as follows:

I) whoever is in the fort asks for the password / you ask for consent

2) whoever is outside says it / they say yes

3) they are allowed in / you proceed

Ps. “All friends [are] welcome.”

This is the same system which Mike and Will’s initial meeting, as described in 2x08, follows. Mike, “Asked if [Will] wanted to be [his] friend,” and Will said, “Yes.” Not only does this interaction embody the general process of Castle Byers entry, it contains multiple words repeated directly from it. Will’s bond with Mike represents the importance of autonomy in Will’s story; both the free will to provide (or not provide) consent and the free will to love whoever he desires. Mike is the embodiment of both Will’s primary needs. This is further shown through the manner in which the two engage in physical touch. Unlike Vecna’s touch, which Will has repeatedly (5x01, 5x04, 5x06, etc.) been shown to flinch away from, Mike’s touch is presented as a source of comfort. Various scenes depict Mike’s hands stabilizing Will following a flashback or episode, for example; 2x01—where he guides Will inside by the shoulders after his vision at the arcade, 2x02—where he holds Will by the shoulders, while checking if he is okay before walking him home, following another mindflayer vision, and 5x01—where Will collapses against a tree following a Vecna vision, and he places his hand on Will’s back. Rather than forcing painful touch on him like his abusers did, Mike uses gentle touch to heal him after distressing moments. The scenes establish the purpose of Mike’s presence in Will’s life; he is not only a best friend and a love interest, but a primary contributor in his trauma recovery.

Sexuality as a Source of Power in The Sorcerer

During Will’s earliest connections to the hive mind, he is seemingly unable to control or “tap into” it of his own free will. After his kidnapping and possession, Vecna and the mindflayer begin to use Will as a proxy for their own powers. Vecna emphasizes this to Will when trying to mentally weaken him in 5x0?, when he reminds him that his abilities are borrowed. These abilities are forced upon him, just as they sexually imposed themselves on him previously; they function as an allegory—sexuality is power, power is autonomy. Will cannot “control” his sexuality, because he has not accepted it, therefore he does not possess the power to fight Vecna’s manipulations, nor does he have the autonomy to reclaim his identity. Until he accepts his homosexuality, he cannot gain the autonomy needed to command his own power. Will’s status as Vecna’s weapons mirrors El. El was born with powers, representing the societal expectations placed on women from birth. From the start she was objectified, possessing powers that (while her own) were used solely for the sake of others. As long as either of their powers are controlled by another, they will continue to be objects of dehumanization. The exploitation of their abilities represents the expectations others place on them, and the abuse they endure.

The ending scene of 5x04, The Sorcerer, represents Will’s reclamation of his identity and body. Will recalls Robin’s monologue, while remembering three positive memories: his first meeting with Mike, the spaceship he drew, and the building of Castle Byers. Not only are these the same three moments which Mike, Joyce, and Jonathan recite to him during his possession in 2x0?, they also hold individual significance. As previously explained, Will and Mike’s first meeting embodies the simple model of consent displayed in Castle Byers.

I) whoever is in the fort asks for the password / you ask for consent

2) whoever is outside says it / they say yes

3) they are allowed in / you proceed

Ps. “All friends [are] welcome.”

Mike, “Asked if [Will] wanted to be [his] friend,” and Will said, “Yes.”

By including this flashback, they demonstrate that Will’s first realization in his awakening is the importance of his autonomy. Mike is his friend because he said yes, because he chose to. This is Will’s first step to fully realizing his true self. His next flashback is the spaceship drawing she shows to Joyce. During his possession in 2x0?, Joyce describes the ship by saying, “it was [his] ship,” emphasizing that the design was Will’s and no one else's. This memory highlights the importance of Wills’ individual identity, independent from his trauma and that which has been imposed on him. Despite how Will has been made to feel that his trauma has “permanently changed” him, it is still his life, his body, and his mind. Lastly, Will remembers building Castle Byers. This is the final push required for him to save himself. The vision of Castle Byers is the metaphorical rebuilding of it—while the physical Castle Byers remains destroyed, Will has built a sense of security within himself that provides the same safety his fort once did. He no longer requires an external force to comfort him (“I was looking for the answers in [something] else, but it turns out, I had all the answers”), his own acceptance has become enough.

The full activation of Will’s abilities represents the complete acceptance and reclamation of his sexuality and autonomy. The title of the episode comes from a line of Mike’s dialogue—”In real life you’re more like a sorcerer, because your powers don’t come from a book of spells. They’re innate.” This “innate” nature of Will’s power is repeatedly emphasized, twice by Mike and once by Erica. The title of “Sorcerer” is used even more throughout the show and various promotional pieces.

It is intentionally highlighted that Will’s newfound abilities come from within himself, because this shows that power (sexuality) is no longer a thing imposed upon him, but a thing which he himself possesses. The thing which before was used against him has now been made his own. The cinematography highlights this shift in power. In The Matrix (1999), which was included on the inspiration board for season five, the blue pill represents ignorance and illusion, while the red pill represents painful truth. Will’s memories of the upside down are all in hues of blue, highlighting the falsehoods Vecna has cast on Will’s life and sense of self. However, the ending of 5x04 is presented primarily in shades of red; Will accepts himself and his sexuality, even if doing so brings awareness of a more painful reality. The final shot of the episode features a visual display of power; Will is centered in frame, staring straight into the camera, making him the singular point of focus in the episode’s ending sequence. Will’s awakening in The Sorcerer is not only one of supernatural powers, but of internal power, sexuality, and autonomy. By learning to love himself, Will gains the strength to save himself.

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