Mikes perspective is purposefully being hidden from mileven-centric and byler-centric scripts.
-an analysis as to why they did it and what it could mean for him
one thing that never sat right with me when it came to this script is the fact that mikes perspective is detached & purposefully hidden.
since this is a mileven-centric scene, then why do we barely know a thing about how mike feels? I mean just THINK about it. their whole conflict this season was that mike could not tell el he loved her to save his life, and we're aware that it has always been a struggle for him since s3, meaning that this scene should mark a pivotal chapter in his character development, right?
If its so important and impactful to him and his relationship with el, WHY don't we know anything about how he feels as he speaks? and I'm aware that he's saying a lot in this scene, but him monologuing does not necessarily mean that he's being truthful; finn himself called this scene a profession (fake confession)
because, if you view this from the lenses of mike being gay, then him telling eleven that he loves her is him "sealing his fate" in a way. by doing this, he is choosing to live a life of heteronormativity. he's not chasing what he wants here, hes chasing after what he thinks is good for his relationship with el as well as his safety (given that it was the 80's and homophobia was rampant back then). he is choosing to conform to what society expects from him; he is choosing to live a lie.
if we were to get his full internal monologue in this scene, I can ASSURE you all we'd get would be guilt. and that guilt would tear his words apart bit by bit and would reveal all its inauthenticity. it would be too telling, which is something the writers can't afford if they truly want to keep the ending of this love triangle ambiguous in order for byler to be a plot twist next season.
not to mention, the descriptions of els perspective do NOT match up with what we see in the show
I'm aware this strays away from the point of this post, but I'd just like to point out that this is not the face of a girl who is reassured by her boyfriends words, which obviously does NOT match up with what we see in the script. If anything, it could just be an intentional acting choice from millie, but I'd like to hear your opinions on it! if you'd like to see an analysis on this scene, you can read this post of mine!
moving on, this isn't the only instance where mikes perspective is being hidden, since it can also be observed in the van scene.
this scene revolves around byler in the sense that both will and mike are having a heart-to-heart and sharing their feelings, yet we get to know more about how will feels and even how JONATHAN feels (despite this scene not being about him) but barely anything about how mike feels in response to wills words?
here, the purpose of including jonathans perspective is to establish his awareness of wills feelings for mike, which falls into place later where we see the two of them having a heart-to-heart while making els salt bath.
If they were to include mikes thoughts and feelings here, I'm confident most of it would be satisfaction and disappointment. I mean, you can see it on his face from the moment he unravels the painting, to will "admitting" that the painting was commissioned by el (which we all know was a blatant lie), which would tell us that he wishes it was from will himself. If they were to build up on his sudden change of reaction in the script, then his feelings for will would be explicit, for all to see before they even got a chance to turn it into a plot twist.
It's important to remember that the painting is a plot device implemented in the show to raise questions about wills lie and mikes feelings about it; It's essentially meant to set up byler next season.
It wouldn't make sense for them to reveal so much about mikes perspective on it in the script for this scene if it's meant to catalyse his romantic relationship with will in the final season.
TL;DR - Mike plays a crucial role in both scenes, yet we barely get any insight into his perspective. To re-affirm my statement earlier, I fully believe that they did this on purpose to potentially mislead viewers and keep us in the dark. Including it would tell us too much about where he's headed as a character (which they dont want to reveal yet) and his feelings for will—which, again, would lean into byler endgame and rob the possibility of it ever becoming a plot twist.
An incomplete list of things I noticed in the Stranger Things Season 2 Scripts. If you want to ready my thoughts for Season 1, feel free to check it out.
This is not an analysis. This is not even really a, LOOK this is PROOF. It's more like. That's interesting, I wonder why they did that.
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One. All that Vanishes is not Gone. And all that is Gone is not Dead.
I mentioned this in the Season 1 overview, Vanish does not equate to the word Gone. They are not actually synonyms in the text of this show. Dead and Gone however ARE synonyms. I will be doing a full showcase of this at some point in the scripts. And some people may be like, "well obviously." And like, no you don't understand it goes so much deeper than just like El using the word "gone" when someone is dead or functionally dead. There are less than 10 instances of the word "vanished" being used in the script and its usually used around Mike and Will. I have to be 100% certain by rechecking, but that is not a coincidence.
Two. "Right Here" holds power and the Duffer Brothers know it.
There is an essay by TVMicroscope that goes into depth about the metaphor for Stranger Things. One of the things echoed in the essay is that the use of the words "right here" are clearly a reflection of the fact that someone who is in the closet can be "right here" and still not seen.
Does the script agree with this? Yes. Explicitly. The phrase is tossed around with the same power as vanish vs gone. It is only used in very specific situations, and in specific contexts. Most of these are descriptors and not actually said out loud or even seen. And when I tell you that El's "no one saw me" actually relates to all of this, you'd say yeah. We know. We have media literacy and watched the show. The scripts, once again back the analysis.
Three. Changes and Page Breaks
We started off strong with the first page break (change) being on page 9 in the cold open. Top three episodes with these page Breaks? Will the Wise, The Spy, and The Lost Sister.
I still don't know why they kept these in.
Four. Diegetic Vocal Sample Changes
I don't know what else to call these, because they're not really dialogue of the characters. The written request of what should be sampled is different than what was actually in the show.
El's TV show, Episode 2
In the show it is, "'I'm stunned. I don't know what to think.' 'Don't you love me?' 'Yes, of course I love you. It's just that it's so sudden. I mean, its not like you.' 'Erica, I am this way because of you.' 'Me?' 'You have made me wild and impetuous just like you.' 'People are going to be aghast.' 'People are going to love it.' 'I mean, it's going to stun the whole town. The whole world!' 'Erica, tell me that you will marry me, in this house, tonight.'"
In the script, it's:
Now, I do not know All My Children (the soap opera) that both of these scenes came from, so I really can't go into detail on why this changes matters or what the context of the scenes mean or the change, but it was changed.
Five. Nancy Says "You're not going to lose me."
I read this and had to double-check twice.
This line was cut from the show. Also this fun description was cut short.
Six. Will sees Max before he turns.
I had to rewatch the scene but it doesn't appear like he does. The line there is after he turns and sees her. In the text he says where she is BEFORE he turns around and sees her.
Seven. Dialogue and Scene Changes
Pg 56. "Stupid, so stupid." In the show Mike says "I'm so stupid." Check for S3 Byer's Castle.
The last words from will in the spy are different. He tells Joyce, "you should go now." in the text it is "we should go now, Mom." This change in dialogue changes the context a bit, because in the OG Script version Will is at risk too, not just Joyce. In the final show it is implied that because he's a part of the hive he won't be harmed.
Eight. Weather Tower and Fried Batteries
This was in the show but it personally didn't think it was super clear and the satellites looked like TV and not a weather tower. Foreshadowing for Season 5.
Nine. Callahan is Everything Wrong With Cops
Like I knew this, but it really didn't hit me until reading this script. He's the one in S1 that says Jonathan was suspect #1 and he makes racist comments in the script, AND he makes stupid decisions.
Ten. Comparing to S4 and S5 For No PARTICULAR Reason
Pg 128. "It's like they see each other. Only... they don't"
Pg 275. "Why are you so scared?/ Why are you?"
Pg 339. Mike scared of Will, paralleled to Jane/El in S4
Pg 536. The Mike and El reunion is written similar to Jonathan and will reunion, ie sibling coded, and when it happens in S4?
Pg 588-593. And when El closing the gate is written the same as saving Max on S4? Then what?
If when El loses her powers in S3 and is called Jane in the dialogue tags in S4 until she gets her powers back, something-something, season 5.
Eleven. Mike genders Dart.
Before Mike says "him" Dart is "it" in the text. This really doesn't mean anything but it was interesting to me. Also, Mike is the only one "fascinated by 'him.'"
Edit for clarity: There are times it’s “him” (to describe Dart before) but the way that Mike uses “him” is clearly different.
Twelve. The Two Most Important Speeches
Season 2 has the two most important speeches for the whole show. I always kinda thought this and a lot of the fandom has assumed that, but I think its more obvious in the script.
The Water it Down speech by Murray.
"Your pain must be addressed" speech by Kali.
Thirteen. Max Feels Vulnerable and Stupid with Lucas.
Do with that information as you will.
Now that I know that S3 and S4 are not coming out until after S5 Vol1 drops, I'll get to those later. I have a few projects on the back burner rn, so there is a chance that everything is going to drop all at once over the weeks going into November. But I WILL get to the Vanish vs Gone and Right Here essays (if someone doesn't get to them first before me).
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An incomplete list of things I noticed in the Stranger Things Season 1 Scripts
Anyway sorry for the inconsistency in images. I was taking pictures while in three different environments and I can't be bothered to retake them all.
Season 1 Scripts | Season 2 Scripts | Season 3 Scripts | Season 4 Scripts | Gone | Vanish | Season Comparisons | Normal | Gone & Vanish
One. When reading there are pages where there are clear blank spots.
These blank spots, I think, correlate with script version changes. (This is a common practice in screenplays and stage plays where instead of replacing the whole text, you just replace pages). Two things on why this is interesting to me:
The fact that they kept the breaks in, instead of making it one continuous text, seems strange to me. I actually didn’t notice it, until I got to page 196 because the scenes flowed one to another, without large gaps. If I’m right and these are a reflection of the pages/text being changed, why did they keep it in? Some gaps happen in the middle of a scene. It’s not like we NEEDED to know where revisions were made. But leaving it there, keeping the space, I want to read into it and be like “they wanted us to know there was a change.” Simplest answer is that someone legit just copy and pasted the final version and didn’t change or fix things, but that seems… weird. I don’t actually think we should read into it. So I’m just saying. It’s interesting.
Note that size of gap ≠ a massive amount of content being changed. Instead the number of gaps/hard page breaks, means multiple changes. (Could be small changes to dialogue) That being said. The Flea and the Acrobat had a TON of changes if the page gaps are an indication of changes made (ie new pages added). This makes me really curious on what caused that episode in particular to change that much.
Two. Gone = Dead (in most cases). Vanish ≠ Gone
I will probably have to write a whole new post about this, because it’s actually REALLY interesting to me. And I’m really curious if this trend continues for S2-S4. Like we knew that El said “gone gone” about Barb and not “dead.” Having read the whole of season 1, dare I say, this actually holds more weight when the word gone is pretty exclusively used to equate to the word dead. Like it’s not a 100% but pretty close (there are some moments that break the consistency, but not a lot).
I’m going to need to go back through all of S1, and list out each time “gone,” “vanish,” “nowhere to be seen,” and “darkness swallowed” are used. And then I’m going to look at S2, because I think it’ll be relatively consistent. And once I’ve done both, I think I’ll have an analysis.
Three. IMO, page 99 is hilarious.
The “Eleven is on Mike’s bed” being underlined. (Underline is used for emphasis). The implication based on emphasis that the reason that Mike is out of his mind is because El is on his bed. Followed by the “she knows about Will,” and “what do you mean, “she knows about Will?”” Yeah, what does she know about Will, Mike? It feels like an:
*Mike is caught with a girl in his room*
Mike: It’s okay guys, trust me. This girl who is sitting on my bed? She knows about Will.
His friends: WHAT DO YOU MEAN? WHY IS SHE IN YOUR ROOM?
This lowkey reads like a cheating scandal which made me laugh, because it 100% didn't feel that way to me when I watched the scene (not once in the many rewatches).
We all know what this scene is about: Lucas thinking Mike is out of his mind talking/listening to her. But like IDK, looking at this, and the way it’s written with the underlines just made me laugh out loud.
Full scene context:
Four. Courage
Every time that Mike is on the page, he makes the choice to not fight back against the bullies for a “not today” sort of reason. He chooses to be passive. But as time goes on and Will is gone longer, the passive approach turns to vibrant anger and courage (negative).
And
Now this second instance really gets me, specifically, because, Mike is smiling through his pain. It isn’t just his pain of being hurt but the bullying as well. We knew this to be true, based on the visual clues, but the written text says so as well.
And then at the school
And we’ll get to what El “put together” in a second. Notice here that Mike is fuming, hot, burning, and embarrassed. Mike’s anger is red. Who else do we coordinate with red? El. What does she do? Defend him. (El representing a metaphor.)
But most importantly: Mike doesn’t gather courage to face his bullies. He gathers determination.
You know when he does gather courage tho?
Confirmation that Mike knew he was going to die. And I’m like, the word courage here relates to the courage in the “smiling through pain.” The two scenes are linked in Mike’s desolation.
And you may be like AC. Please, it’s just a word. It could mean anything. Possibly! But they use the word “unoccupied” for Barb’s empty desk at school (when she’s missing and Nancy notices). Vanish vs gone has an actual correlation in the text.
Courage + smiling through pain and courage + stepping off the edge, are correlated. They are meant to be related in the text. If courage being tied to Mike being willing to hurt himself wasn’t the case, the word would have been used when he confronted the bullies in the gym. It wasn’t.
Also, Mike wasn’t angry when he stepped off the cliff side. I really think this says something about his emotions in a deeper context, but I’m also not sure if I’m the person to break down the inner workings of his anger, desolation, and “courage.”
I actually need to go back through the text and see every time the word courage is used to 100% stand ten toes down on this, but for now I’m pretty confident.
Five. I don’t actually think El knows/knew that Mike was being bullied.
This is probably my most controversial take, ever. I was of the opinion she knew, and understood by Season 4. That when she said her bullying and Mike’s bullying wasn’t the same, and that he didn’t understand, that she meant him being bullied for being weird vs her being bullied for a perceived disability. In which case she’s correct, those two things are different.
Now, I’m not going to completely discredit that, because I do think it’s still true an applies, but after reading S1, I actually wonder if she did understand.
El puts together that Troy hurt Mike (see above) .
In this scene previous, Mike explains. Now, from what we know in S4, this El shouldn’t remember the bullying she had at the facility (memories locked). And if we consider S1 on its own, there’s no proof she’s being bullied. But she is being abused.
El understand when people hurt others. Her saying she understands in this scene is not her understanding he’s being bullied, to this El, she’s equating it to abuse. Those are two entirely different things.
So in S4 when El and Mike are talking about her being bullied and he says “I’m not exactly Mr. Popular,” she knows that. But I don’t think El thinks Mike was being actually bullied (verbal bullying) the same way she was in school. I think El thought Mike was being hurt (physical bullying). When for Mike it was actually both.
And you may say, but AC she saw the bullies at Will's assembly at the school. She did. And she heard what they said about Will.
Let’s break this down:
1. She sees Mike hurt. He says a person hurt him by tripping him. And he said he didn’t want to tell her because he didn’t want her to think less of him. El, memory locked, really only remembers being abused. Mike’s injuries = her injuries = she understands.
2. At the school, Troy is making fun of Will. Mike calls him out. The “fairy” comment goes over El’s head but she knows it’s bad and they’re talking bad about Will. Mike, in her eyes, stands up for Will. In Mike’s eyes, however, the fairy comments are bullying/a direct attack against him. In this scene Mike is standing up for himself as he’s being bullied. To El, Mike is a hero.
3. When Mike jumps for Dustin, there is a knife against Dustin’s neck. Mike jumping is because he’s being pushed to it by his bullies. El sees Mike sacrifice himself to save Dustin.
Yes, El sees the physical violence, but to her that is what it is. Troy is Mike’s Papa, the one who hurts him. But Mike is a hero in her eyes, someone who saves others.
Again, El doesn’t actually see or hear Mike being bullied (in part because she doesn’t understand yet, from a language gap. In part she doesn’t understand nuance yet, and how comments that are being said against others are used against him). She sees violence.
Follow this:
In s2. El doesn’t see Mike except for when he’s at the school and another girl is circling him. (Making El jealous). Mike = cool to get another pretty girl.
In S3. We know El doesn’t go to school. She pretty exclusively hangs out with the crew (who are all outcasts) and she can’t be seen. It is reasonable to assume she doesn’t see Mike being bullied, ever.
So we get to S4. El is being bullied. And she doesn’t want Mike to think she’s not strong or cool enough. She doesn’t want to be seen as a loser to him (as Angela makes her feel.) When he says he understands (he didn’t want her to see him as a wasteoid). She says no. Because Troy=Papa NOT Angela. It’s different.
And she would be right.
But she’s also wrong, because Troy = Angela for Mike.
I don’t think El meant that Mike doesn’t understand her bullying in the nuance of being bullied for something you can’t control vs just being seen as a loser. (Which it is a totally fine take/ way to read it. After all, Lucas called Mike out for it and he did mean it in that nuance.) I simply think El doesn’t think Mike actually understands.
I’ll know better when the S4 scripts come out.
Six. Cut Scene of Jonathan becoming #1 suspect.
This is fascinating to me, because the rest is kept. People say they think he’s the killer. His creepy/stalker behavior. After the fight he’s arrested for assault on a cop and kept there because of the murder weapons in his trunk.
However, this scene is cut. In the grand scheme of things it doesn’t affect anything. But it’s cool to see how this scene alone takes an implication (that Jonathan is creepy and people joke he killed his brother) and turns it into a legitimate question (“what if he did it?”) Jonathan as a red herring, like an actual one, is really interesting. But I figure they cut it to make the plot simpler to follow for the audience. The rest of the scenes imply that people think Jonathan’s creepy enough to be a killer. As is in the final version, the audience doesn’t necessarily think that. Yet, this single scene could have turned him to sympathetic to extremely questionable.
Seven. Page 166 Watergate foreshadowed.
This scene was also cut. Only unlike above, it was only cut partially. Nancy still goes to the water, but she doesn't really look into the pool. Instead she heard the noise and investigates.
Eight. Scenes I want to compare with future scripts to see how they are written and if they’re similar
Page 313 is when Mike tears down his tent. Compare to S3 when Will destroys fort byers. Also page 444 of the destroyed Fort Byers in the Upsidedown. Are they described the same?
Joyce pushing Jonathan 379. Compare with Mike pushing Hop in S2
145 El seeing Nancy’s room (memories on her dresser/descriptions) Compare to S4 El flashbacks with Max.
Count me as surprised if pg 94 doesn’t come back in S4 “relieved this is about Will, not Eleven.”
Nine. Lonnie called him a…
Script only says “queer.” The final show says “queer… a fag.” Both a slurs for being gay, but the final show implication (and also in the script) is that queer = gay slur AND queer = different. Yes, yes, I know that this tracks for the definition of the word.
However, if we look at the final product: Joyce is essentially saying Lonnie thought Will was 'different [queer], that he was gay [fag].' Where as the written script has that he’s different AND gay [queer, only]. Do you understand what I’m saying?
Anyway, I’m just going to replace the word “different” with “queer.” And when you’re “different [queer]…”
See you in Season 4 when I'll probably do an analysis of the use of gay slurs and being different in the actual text.
Ten “See, Michael: This is what happens.”
That punctuation is curious, isn’t it? Oh but AC, we’ve analyzed this to bits. Ted is saying to Mike that this is what happens [when you like boys/act gay]. Yeah, I know. We assumed that based on context clues and media analysis. This is the actual punctuation and it says the same thing.
I’m not refuting. I’m giving textual support.
That semicolon means everything.
Eleven. El Knows Will
I can’t tell you why exactly this stood out to me so much. I think it’s because it’s one of the few times where an answer is so obvious in the implication. Maybe it’s because of the “yes” in quotations but it’s not underlined, as most of the major revelations are.
Or maybe it’s because this scene has both of their POV. Mike sees her looking and realizes it’s Will in italics.
El sees Will in her POV. And it’s underlined.
Not sure what that means tho.
Anyway. That’s all for now.
Bye!
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Once again, as a reminder, this is not an analysis. It is not even proof. It is a OOOH that’s interesting. What you do with that is on you, not me. I’m just saying.
I've only checked this like twice, so forgive me.
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One. Updates to Vanish and Gone
I noticed that there was a significant increase in the use of the word “vanish.” Significantly. I think this is a relatively good indication that the use of vanish and the word gone have been changed. I also think that the use of the word “here” has significantly dropped. I won’t go too much into this, because I am going to do an update on it later.
The biggest note about this is that Billy is dead (page 530). The Rift (page 530) and Russians (page 531) are gone.
“The Rift is gone. But… So is HOPPER.” (page 530) and later “And it hits her… Hopper isn’t here.” (page 532)
Hopper doesn’t vanish, but it’s not a “hopper is gone’ which is how it is clear that others have died in the past. Instead, it is Hopper isn’t here, which is a reference to “right here” and “I’m here.” One of these days I will look into the use of the word “here” in the text.
Anyway, this is not the way I thought it was going to be (I thought it would be vanish) so that did throw me off.
Two. Blue and Yellow
Page 115. Some people have already pointed out that the code changed at some point. It was "When Blue and Yellow go south" and changed to "when Blue and Yellow meet in the west." I really like seeing this change, because it is "in the west" throughout the rest of the script. The different versions are fun. (I still don't know why the page breaks are happening and why they kept them though).
However did anyone point out this on 534? It was cut from the final show. Instead, Robin says, "You're such a dingus" and we cut straight to the counter with the resumes.
Three. Rainbows and the Way Back Home
I’m really not sure how I missed this while watching the show, but the song that Mike sings in S3 while kissing El (page 8) is Never Surrender by Corey Hart.
The exact lyrics that Mike sings are:
And nobody wants to know you now
And nobody wants to show you how
So if you're lost and on your own
You can never surrender
And if your path won't lead you home
You can never surrender
The song is about never giving up. The phrase never surrender is a reference to Winston Churchill who said the words about Great Britain not surrendering to the Nazi’s during World World 2. (Which Heroes references the fall of the Berlin Wall, which was first built after WW2)
All the same, the lyrics themselves that are being sung are about never surrendering ever if no one wants you and even if you can’t get back home.
Cool, AC what does that have to do with Rainbows?
Well on pages 293-294 Mike and Will are the only two put into the back of the car. The back area is called the Way Back.
Mike and Will are stranded. No one helps them out. Will says “welcome to my world” and then Mike shuts himself and Will into the way back. Objectively, this scene is pretty clear: they get into the back of the car.
But Way Back is in quotes, which threw me off at first. Because why would a term be in quotes like that? It led me to read it that Mike is leading Will into the way back [blank]. Like, the way back [home].
This scene takes place after the rain fight and after they fight about growing up. So it also reads to me that Mike is leading Will the way back home which is Will’s world. Ie a world where they don’t grow up and play games in Mike’s basement.
Anyway, in this scene in the show, Max is wearing the rainbow sleeves.
And the other time that Rainbow is mentioned (and underlined) is on page 376.
El is trying to figure out a way to find Billy and sees a rainbow. This leads her to remember her mother and piggybacking off of memories. It then leads El to get into Billy’s memories where she sees his mother. She uses that EXACT memory later on to bring Billy’s mind back from the Mind Flayer. The rainbow led to the memory that gave him a WAY BACK.
Do I actively think this is all interconnected? Mmmmm it’s probably a reach, at least it being connected to the song may be. But, it was the thought that went through my head while reading.
Four. Blocking, Voices, and Camerawork Changes
Page 15. Movie Theater.
The way that the scene is written, IMO it is implied that Mike, Max, Lucas, and Will are sitting together.
Page 250. Leading Billy to the Sauna
In the show it is Mike's voice that taunts Billy. In the script, it's supposed to be Max.
Page 256. Billy in the Sauna
In “max get away from the door” Mike's blocking was initially to turn first and say it. Instead, in the show, he stays focused on Will.
Page 539 Jonathan In Front of a Closet
The initial scene for Jonathan and Nancy was framed with Jonathan looking through his closet. He then turns to his whole room, but the closet first. In the show, he's just looking at the room.
Five. Lovebirds
Page 42 (as description) and page 505 (in dialogue) use the word. Take that as you will.
Six. Disgusting Again
In the scene with Mike and El making out disgusting is italicized (page 8) as is the word again.
Note that El says “No” but it’s just a description here.
People have talked about this already. Is the "disgusting" about the kiss or is it Hop’s POV? The issue is that Hop doesn’t see them. He’s just miserable because he doesn’t know what’s going on. I’d argue that means the disgusting is not Hop, but an indication for the reader, reading the script.
Then, on page 49 when El and smoke are in her room again after ditching the others we get this:
I’d argue that means the kissing is supposed to be annoying. The “again” being its own sentence and italicized combined with the “and yes—” makes it feel that way to me at least.
Seven. Dart as a Verb
I noticed this only after seeing @timblriche's post about reconsidering Dart (who represents Homosexuality) with the textual evidence from S2.
I found that Dart was used as a verb in S1 for El, when Mike first meets her in the woods. It is used again here in S3 on page 105 for the Mind Flayer/ Flayed Body of the rat. No. I did not see it used as a verb in any other place.
It probably means nothing, but I noticed it because I was looking for any use of the word "dart."
Eight. The Sauna Test. Pee and Horrified
Alright, let’s dive into the Sauna test. The scene has already been analyzed to bits. Some notes I want to make is that “pee” is in all caps.
Note that Lucas is horrified. Mike has no immediate reaction to the men in the sauna BUT he is immediately described as excited (yes, it’s about the thermometer but still).
This scene feels ultimately WAY more intimate than what we saw. People are peeing. There are tiny cloths covering their privates.
Now, the next time I noticed the word horrified being used was page 287 where Steve is peeing off the side of the elevator and Dustin is horrified. Notice, pee and horrified used together in conjunction ties it back to the sauna test. Dustin is "horrified" by Steve's place of undress and Robin is grossed out by the pee.
Nine. Mi/leven Moments, In Relation to Mike
Alright, I personally felt I’d be remiss not to mention these moments that stood out to me. Because they were interesting to me, about Mike’s character.
Page 260. Mike is Brave
Page 469-470. El Gives Up
El initially gives up getting the worm out of her leg during the cold open of Episode 8. Mike encourages her, then she does it. In the show, she just does it all on her own.
Page 478. Friends
Mike and Max take El from Hop and walk away as friends. (Prior to the final split at the battle for Starcourt)
Page 358. Honorable mention
I forgot that Max says that she is "enlightening" El to make her own decisions.
Ten. Become One
I know this means literally becoming one creature, but like it’s cool foreshadowing for the character of One.
Eleven. Eye of Vecna
On page 186, we get a description of Billy/The Mind Flayer recognizing El. This is done with Billy's eyes dilating. There is a focus on Billy's pupils and in the text, then we zoom OUT of Will's eyes as he recognizes that the Mind Flayer is back. In the show, we are instead show Will's goosebumps and not his eyes until he turns.
Twelve. Total Eclipse of the Heart (Let Me To A Reach)
I NEVER noticed the lyrics for the song that Steve sings in robin’s coming out (442) is Total Eclipse of the Heart. Like it’s not news, but it never actually occurred to me that it was the song. Robin is here talking about her love for Tammy Thompson and how Tammy loved Steve and Steve sings Total Eclipse of the Heart. The song is literally the lyrical version of Robin’s falling apart. She lost everything and she had to find herself.
Total Eclipse of the Heart is supposedly about Vampires, but more than that… it asks the question about loving in the dark. Which, reminds me of The First Shadow. Which, I still have not seen.
BUT this gets its own point for something more than that.
Total Eclipse of the Heart by Bonnie Tyler was written by Jim Steinman. Jim Steinman is one of the GREATS for music writing. “Turn around, bright eyes” is a refrain from songs in the musical The Dream Engine. Now from what I understand that musical never went anywhere, but it was a “story of a young boy named Baal who, along with his rebel fellows, does not accept the restraints and limits of their society” (Jim Steinman’s Wikipedia page). Some of The Dream Engine lyrics were put into the album Braver Than We Are by Meatloaf, which was initially called Brave & Crazy.
Now, the song Braver Than We Are (From The Dream Engine) was turned into the song Going All The Way (on Braver Than We Are by Meatloaf). Which has the lyrics:
There are times I gotta run
Times I gotta hide
Things I've left undone
Things I've cast aside
So many things to try
So many things denied
If I ever tell you the truth
I'd swear you would leave me
I need the proof
That you would believe me
…
There are so many wounds you can't heal
So many nightmares are turning too real
So much of paradise lost and you add up the cost
But there's nothing to be sorry for
Now we can feel so much more
Now I can be loving you
Nothing that we're scared to do
…
We always seem so much braver than we ever are
We always dream we seem braver but we never are
Let's run away
Let's go too far
…
How far is too far, baby?
Come on and take me, take me
We're crusaders of the heart
And going all the way is just the start
Now, I’m NOT saying that this could be the mystery song that the Duffers alluded to. Honestly, I think that’s a crazy stretch because the official song came out in 2016. And while The Dream Engine came out in 1969, I don’t think it makes much sense. I do think this is a crazy coincidence though.
Anyway, I don’t have the patience or the time to look heavily into The Dream Engine or Braver Than We Are right now, but someone who may, may read this so:
Amherst College Archive for The Dream Engine - https://consecratedeminence.wordpress.amherst.edu/2013/07/22/jim-steinman-and-the-dream-engine/
The Stageplay for The Dream Engine - https://jimsteinman.com/dreamengine/dream_engine.htm
Season 1 Scripts | Season 2 Scripts | Season 3 Scripts | Season 4 Scripts | Gone | Vanish | Season Comparisons | Normal | Gone & Vanish
Alright, I read S3, and now I need to go back through and in my first read, gone and vanish are used in similar but slightly different ways from S1/S2.
The word normal was only (need to verify) used five times. Twice by Robin. Three times it is used about Billy (who is now Flayed) and how his behavior is strange and changed. Meanwhile, Robin is trying/wanting to be normal. I will double check.
Preliminary thought tho on that, is it’s interesting for the word to be used only five times here. And I don’t remember it in S1 or S2. BUT I also wasn’t looking for it in S1/S2.
Something something. Mike just is trying his hardest to be normal. Something something Robin wanted to be accepted. Normal.
I did not see the word “spell” so that may be a S4 word.
Full thoughts will only be out after I verify some things with the TV show to see how it’s changed.